DOCSLIB.ORG

On Being Brave with Flora Bowley + Melody Ross

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
On Being Brave with Flora Bowley + Melody Ross On Being Brave with Flora Bowley + Melody Ross Flora: Hi everybody. Welcome back. I am thrilled and just so excited to be here at the beautiful Oregon coast behind us here, with a dear friend and fellow artist and teacher and just all around amazing person, Melody Ross. Thank you. Melody: Thank you. I’m happy to be here. So honored. Flora: What actually happened to bring us here to this moment is pretty funny. We tried to do this chat online a few times and failed miserably. Melody: It was funny. But it didn’t work out. Flora: It was funny, but bad quality. And so we just discovered that you were going to be at the Oregon coast, and so I decided to hop in my car and come here so that we could actually sit and be together. And it’s so lovely. Melody: It’s amazing. It’s kind of a miracle, how it all happened. Flora: Kind of a miracle! Melody: We’re glad it didn’t work out before. Flora: It was really a blessing. It really was. And I walked in and Melody’s here with some artists having a week of art-making and I walked in and some other people I love and know. And it’s just been really sweet. So, here we are! When I was considering who I would talk to for the theme of being brave, you were just the first person that popped into my mind. I didn’t even go any further, because you just personify bravery in so many ways, both in art and in life. One amazing program that Melody runs is called “Brave Girls Club.” And this is an in-person gathering that happens five times a year. Melody: For women, yeah. Flora: For women. On her beautiful ranch in Idaho. And it’s all about empowerment. Melody: We say it’s a safe place to figure things out. And so we provide tools through art- making to help you figure out really what you want to do with your life. What you want to do with the transition that you’re in. Just how you want to move forward and who you are. It’s very quiet. We don’t have phones or computers. It’s very unplugged. Flora: That sounds great. Melody: So you can really get into... We take care of all your needs so that you can just focus on figuring things out. Lots of times we just can’t figure things out. I think that we all have the answers in us if we... if things get quiet enough to be able to hear them. Flora: Absolutely. Melody: We create an environment and also have a curriculum that really helps you pull out everything you want to do, how to be brave enough to do it, and be kind to yourself through it. Flora: Right. So, yeah, beautiful. I’ve never done it, but I want to. And you also offer online “Brave Girls Club.” Melody: Yes. Flora: As well as “Soul School,” which is like a monthly subscription. Melody: Yup, soul work. Flora: So we’ll add links to all her amazing offerings. I want to just dive right in because we are on week four in the course. And you’ve taken the course. Melody: I have. Live and online. Flora: Both versions. And so you understand this place that we’re at in the process, which is potentially frustrating, potentially confusing. Maybe really chaotic, messy... Melody: Ready to quit. Flora: Ready to quit. Ready to get out the gesso. Melody: Or paint over it. Ready to just abandon the whole thing. Flora: Exactly. And this is why this week is the “be brave” week. Because this is the time in the creative process, and in life, when we get to these moments where... Melody: The middle. Flora: The middle. Melody: The ugly, scary middle. Flora: The ugly, scary middle. The “awkward teenager phase” is what I like to call it. This is when we need to be brave the most. This is when we need to call on all of our, I think, past experiences where we had a block or had a fear. We were brave, we moved through, we survived, we made it to... Melody: No matter what it was in. Not just in art, but in life. Flora: Yeah, in everything. Melody: Everything has the same feelings and the same energy and requires the same place within us to make it keep going, whether it’s art or running a business or parenting or whatever it is. Flora: Yeah. And I always think that it’s just a practice. Like, being brave it’s... Melody: It’s a decision. Flora: It’s a decision, yes. Melody: Just like with everything else, it’s a decision. Flora: Really, one of the first things I say in my in-person workshops is that, you know, we’re all... let’s just accept the fact that we’re all going to have moments where we want to abandon, where we want to start over... Melody: You will make ugly things. Flora: You’ll make ugly things. Melody: Yeah, you will. Flora: You won’t know what to do next. You might just feel really bad. You might start to let that become an internal story about what it means about you. Melody: “Just like everything else! Everything like this happens in my life!” Flora: Right. Nothing works out. Melody: You start equating it to everything else that’s happened in your life. Flora: So I just say, let’s accept the fact that that’s actually a very important part of this process. Melody: Yes. It is. Flora: And so when that inevitable moment happens, instead of abandoning or feeling stuck or whatever the emotion is, we can actually say, Oh, hello. This is the moment. I knew you were coming, and here you are. How can I be with that? Melody: Yeah. Like you were talking about planning for it. You could even write a list, “This is what I will do when I get to a place where I do not like this at all.” Or “I’m even embarrassed of how it looks,” or whatever. Or, “I’m sick of it. This is what I will do.” “This is what I will do when it happens.” So that you can plan. Plan for difficulty. Expect difficulty. Flora: Can you share some of the things that you do in those moments? Melody: Well, sometimes I just walk away. Sometimes I start working on something else. Sometimes I change the music. You know? So you can change the energy. Sometimes I’ll go look at things that inspire me. We have Pinterest and all these beautiful places to go to look at beautiful things. Often I’ll go look at nature. I know you taught me to go find a unique leaf or something and paint that as one of your marks. There’s inspiration everywhere. So just go look at beautiful things and get inspired again. That’s what I do. And sometimes I just need to eat something. You know what I mean? Flora: Totally know what you mean. It’s like, Oh, I’m actually just thirsty! Melody: Yeah, exactly! So just walk away from it and say, “I need to do something for myself right now.” Flora: One thing – I’ve never actually done this, but I’ve always thought it would be a great thing to do – is to write all these things out and, like, put them in a hat so that when you hit the moment... Melody: That’s a good idea! Flora: I know, right! You could just draw it and say, like, okay there’s an idea. Melody: Crummy moment hat. Flora: Crummy moment hat. Melody: Yeah. I feel lost. That’s a good idea. There’s just so many things you can do instead of just abandoning the whole thing. We were talking before about putting things in perspective. Because you get so into your art – I do, you do, you guys do, I’m sure – you get so into it that you start forgetting that anything else exists. And that’s the beautiful part of making art, where you get lost in it. But also it can really mess with your perspective. It can make you think this painting is the meaning of my life. Flora: It’s so important. Melody: You know, and if this doesn’t work out... Because you’re so in it, which is exactly where you should be, but it’s really not your whole life. The painting isn’t. Flora: No. Melody: It’s such a great catalyst for so many things and it’s just... You might end up with the masterpiece of your life, but you have this whole life outside of it. Sometimes you just have to go, Wait a second. This is just canvas and paint. It’s not gonna ruin my life. Flora: Exactly. Melody: You know? You just have to get some perspective. Flora: That’s something I shout out in my workshops sometimes, “Remember it’s just paint.” Like, “Remember it’s just paint!” Melody: Yeah. It’s not going to ruin any of your most important parts of your life. Flora: And I think – I mentioned already – but this idea that these challenging moments are actually important parts of the creative process. And why that is, in my opinion, is that it demonstrates that we’re actually putting ourselves out there on the edge of something new.
Load more

Recommended publications
  • The Rolling Stones and Performance of Authenticity
    University of Kentucky UKnowledge Theses and Dissertations--Art & Visual Studies Art & Visual Studies 2017 FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY Mariia Spirina University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.135 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Spirina, Mariia, "FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY" (2017). Theses and Dissertations--Art & Visual Studies. 13. https://uknowledge.uky.edu/art_etds/13 This Master's Thesis is brought to you for free and open access by the Art & Visual Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Art & Visual Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • Linn Lounge Presents... the Rolling Stones
    Linn Lounge Presents... The Rolling Stones Welcome to Linn Lounge presents… ‘The Rolling Stones’ Tonight’s album, ‘Grr’ tells the fascinating ongoing story of the Greatest Rock'n'Roll Band In The World. It features re-masters of some of the ‘Stones’ iconic recordings. It also contains 2 brand new tracks which constitute the first time Mick Jagger, Keith Richards, Charlie Watts and Ronnie Wood have all been together in the recording studio since 2005. This album will be played in Studio Master - the highest quality download available anywhere, letting you hear the recording exactly as it left the studio. So sit back, relax and enjoy as you embark on a voyage through tonight’s musical journey. MUSIC – Muddy Waters, Rollin’ Stone via Spotify (Play 30secs then turn down) It all started with Muddy Waters. A chance meeting between 2 old friends at Dartford railway station marked the beginning of 50 years of rock and roll. In the early 1950s, Keith Richards and Mick Jagger were childhood friends and classmates at Wentworth Primary School in Kent until their families moved apart.[8] In 1960, the pair met again on their way to college at Dartford railway station. The Chuck Berry and Muddy Waters records that Jagger carried revealed a mutual interest. They began forming a band with Dick Taylor and Brian Jones from Blues Incorporated. This band also contained two other future members of the Rolling Stones: Ian Stewart and Charlie Watts.[11] So how did the name come about? Well according to Richards, Jones christened the band during a phone call to Jazz News.
    [Show full text]
  • Songfest 2008 Book of Words
    A Book of Words Created and edited by David TriPPett SongFest 2008 A Book of Words The SongFest Book of Words , a visionary Project of Graham Johnson, will be inaugurated by SongFest in 2008. The Book will be both a handy resource for all those attending the master classes as well as a handsome memento of the summer's work. The texts of the songs Performed in classes and concerts, including those in English, will be Printed in the Book . Translations will be Provided for those not in English. Thumbnail sketches of Poets and translations for the Echoes of Musto in Lieder, Mélodie and English Song classes, comPiled and written by David TriPPett will enhance the Book . With this anthology of Poems, ParticiPants can gain so much more in listening to their colleagues and sharing mutually in the insights and interPretative ideas of the grouP. There will be no need for either ParticiPating singers or members of the audience to remain uninformed concerning what the songs are about. All attendees of the classes and concerts will have a significantly greater educational and musical exPerience by having word-by-word details of the texts at their fingertiPs. It is an exciting Project to begin building a comPrehensive database of SongFest song texts. SPecific rePertoire to be included will be chosen by Graham Johnson together with other faculty, and with regard to choices by the Performing fellows of SongFest 2008. All 2008 Performers’ names will be included in the Book . SongFest Book of Words devised by Graham Johnson Poet biograPhies by David TriPPett Programs researched and edited by John Steele Ritter SongFest 2008 Table of Contents Songfest 2008 Concerts .
    [Show full text]
  • Aftermath Two Covers One Album Aftermath, Released April 15, 1966 in the UK, Marked the Beginning of the Stones’ Golden Age
    Aftermath Two Covers One Album Aftermath, released April 15, 1966 in the UK, marked the beginning of the Stones’ golden age. They were no longer apprentices playing the songs of Chicago bluesmen. The Stones were creating their own music. This is the story of one musically important album with two different album cover versions. It stands in contrast to the Stones’ earlier trend of using one album cover for two different albums. There is a UK version cover and a US version cover. The art is different but there is more that unites this story than that divides it so the covers are covered together. This is the story of After-Math if you lived in the United Kingdom and of Aftermath if you lived in the United States. It begins with a lengthy but fun diversion into the Stones first movie as a group, for which this album might have been the soundtrack. Heady Times These were heady times for The Rolling Stones. They had just completed their US tour and immediately began to record for their next album. They had been living life in a goldfish bowl where they were being fawned over, pandered to and thrust into a position to order anything on room service that would temporarily sate any pleasure or perversion. The Stones were working the touring and recording circuits hard while manager Andrew Loog Oldham worked all the promotion angles. One of those promotional angles had, since 1964, promised the Stones were coming to the silver screen. The backstory begins in 1964, this is, after all, an aftermath story, so we need to know the aftermath of what? Oldham was taken by Anthony Burgess’ 1962 novel A Clockwork Orange and he had adopted Burgess’s style of writing in his rambling sleeve notes on previous albums.
    [Show full text]
  • Contents Memo from Turner
    Contents Memo from Turner ........................... Performance soundtrack .........................57 Midnight Rambler ........................... Let It Bleed .........................................60 TITLE RELEASE PAGE Monkey Man .................................. Let It Bleed .........................................64 19th Nervous Breakdown .................. Single (1966) ....................................... 6 Mother’s Little Helper ....................... Flowers ..............................................66 2000 Light Years from Home .............. Their Satanic Majesties Request ................. 4 No Expectations ............................. Beggars Banquet ..................................68 As Tears Go By .............................. December’s Children (and Everybody’s) ...... 9 Out of Time ................................... Flowers ..............................................70 Bitch ........................................... Sticky Fingers ......................................10 Paint It, Black ................................. Aftermath ............................................72 Brown Sugar ................................. Sticky Fingers ......................................12 Parachute Woman ........................... Beggars Banquet ..................................63 Can’t You Hear Me Knocking .............. Sticky Fingers ......................................16 Play with Fire ................................. Out of Our Heads ................................. 74 Country Honk ...............................
    [Show full text]
  • Something Happened to Me Yesterday © Felix Aeppli 06-2019 / 06-2020
    TUMBLING DICE / FOOL TO CRY 1974 Something Happened To Me Yesterday © Felix Aeppli 06-2019 / 06-2020 FEBRUARY 8-13 Musicland Studios, Munich (Entry 0.249A) FEBRUARY 20 – MARCH 3 Musicland Studios, Munich (Entry 0.249A) APRIL 10-15 Rolling Stones Mobile (RSM), Stargroves, Newbury, Hampshire (Entry 0.249B) JUNE 1 Promotional film recordings, probably LWT Studios, London (Entry 0.250B) DECEMBER 7-15 Musicland Studios, Munich (Entry 0.254) 1974 Links Ian McPherson’s Stonesvaganza http://www.timeisonourside.com/chron1974.html Nico Zentgraf’s Database http://www.nzentgraf.de/books/tcw/1974.htm Ian McPherson’s Discography http://www.timeisonourside.com/disco3.html Which Album May I Show You? http://www.beatzenith.com/the_rolling_stones/rs2.htm#74iorr Sessions & Bootlegs at a Glance https://dbboots.com/content.php?op=lstshow&cmd=showall&year=1974 Japanese Archives Studio Website https://www10.atwiki.jp/stones/m/pages/282.html?guid=on The Rolling Stones on DVD http://www.beatlesondvd.com/19701974/1974year-sto.htm NOTES: Whilst every care has been taken in selecting these links, the author, of course, cannot guarantee that the links will continue to be active in the future. Further, the author is not responsible for the copyright or legality of the linked websites. TUMBLING DICE / FOOL TO CRY 1974 Sing This All Together LIVE & MEDIA SHOWS STUDIO SESSIONS RELEASES 0.248A JANUARY, 1974 SYMPATHY FOR THE DEVIL (SINGLE), DECCA DL 25610 (WEST GERMANY) A Sympathy For The Devil B Prodigal Son (Rev. Wilkins) Side A: Recorded at the One Plus One sessions, Olympic Sound Studios, London, June 4-10, 1968.
    [Show full text]
  • Camp Illahee Songbook
    Illahee Songbook Camp Songs Praise Songs Blessings A Day in the Life There are times in my life, when I am so afraid, And I can’t seem to find where I belong. I will love who I am, and learn from my mistakes, For we all have our own special song. Chorus And the life I live, and the love I give, Will flow free like the rivers and the streams, And wherever I go, I will always know, It’s a day in the life of my dreams. I will reach out my hand, to show that I care, And encourage those whose tears they cannot hide, I will learn how to trust, and to ask when I need help, And to talk about my feelings deep inside. Chorus I have dreams, I have songs, that I carry in my heart, As I walk in harmony upon the earth, Like the sun in the sky, the leaves beneath the wind, I will realize the value of my worth. Chorus Annie Mae Annie Mae, where are you going? Upstairs to take a bath. Annie Mae with legs like toothpicks, And a neck like a giraffe. Annie Mae stepped in the bathtub, Annie Mae pulled out the plug, Oh my goodness, Oh my soul, There goes Annie Mae down that hole! Annie Mae, Annie Mae, glub, glub, glub Ash Grove Down yonder green valley where streamlets meander, When twilight is fading, I pensively roam. Or at the bright noontide in solitude wander, Amid the dark shades of the lonely ash grove.
    [Show full text]
  • Pet Memorials
    Abbie Doodle Watson 9/17/06 ~ 6/6/16 You filled our hearts with enough joy, love and laughter to last a lifetime. We love you so much. We miss our little Doodle... God gave me 17 years and 8 months to be your momma. You were not supposed to make it but you were a fighter. Somebody dumped you on the interstate, you were run over by a semi-truck and yet you survived. Those first few days were difficult but you kept going. You had a few difficulties later in life but I hope you had the life you more than deserved. You were my constant companion when I was home, always by my side, in my lap, or on my computer. There was never a me without you. Your gentle nature and sweet disposition made you the best cat ever. You were a fighter, never gave up and you purred to the end. I am so glad that I was able to hold your paw and place my forehead to yours as you went to the Rainbow Bridge. Go and play with your sister Socks and know that I will love you till the day we are together again. Rest in love my sweet girl, Cammy In Loving Memory of Tank Perry Sir Man Samson ( Sam) We met when you were almost 1 year old, but we loved you like the day you were born. You gave us almost 16 years of love, fun and playing around. The trips we have taken with you were the best one’s we ever had.
    [Show full text]
  • Rolling Stones Singles Discography 1964‐1970
    Rolling Stones Singles Discography 1964‐1970 Regular‐Issue Singles “I Wanna Be Your Man”/ “Stoned” London 45‐LON‐9641 February 22, 1964. Label 61wdj White label with script London. Pressed by Monarch, job number Δ 51259. Label61dj White label with deep purple bar across label and gray ovals. Columbia Bridgeport (V suffix) Columbia Terre Haute Label61 White label with purple bar across label and gray ovals. Pressed by Columbia Bridgeport. Aside from the promotional copy having a stamping of February 17, 1964, there are other factors pointing to a date in mid‐to‐late February for the release of this single. Singles having Monarch numbers around this one were released at about the same time. “The Shoop Shoop Song” by Betty Everett, Δ 51253, was released the week of February 22nd and debuted on the 29th. Ray Charles’ “Baby Don’t You Cry” was previewed on February 15th, released near the end of the month, and debuted on the Billboard chart on March 14th; its Monarch number was Δ 51264. That information coincides with the fact that the Rolling Stones single was reviewed on February 22nd, 1964 (on page 22). “Not Fade Away”/ “I Wanna Be Your Man” London 45‐LON‐9657 March 28, 1964. Label 61wdj White label with script London. Pressed by Monarch, A‐side job number Δ 51659. Label61dj White label with deep purple bar across label and gray ovals. Columbia Terre Haute Label61 White label with purple bar across label and gray ovals. March 28, 1964, to March, 1965. Monarch (i) Monarch (ii) Columbia Terre Haute RCA Rockaway Columbia Pitman? Picture Sleeve Jan Davis’ “The Fugitive,” Δ 51671, was first mentioned in BB on March 28th.
    [Show full text]
  • Delaware State 4-H Camp Song Book
    Delaware State 4-H Camp Song Book Revised 2011 General Purpose Songs I‟m a Little Teapot........................................11 I‟m a Nut.......................................................11 Alice the Camel...................................................4 I‟ve Got That 4-H Spirit...............................12 The Ants Go Marching.......................................4 Jelly Bean......................................................12 An Austrian Went Yodeling...............................4 John Jacob Jingleheimer Schmidt.................12 Announcements..................................................4 Lemme...........................................................12 Baby Bumblebee.................................................5 Little Green Frog...........................................12 Banana Song.......................................................5 Little Red Wagon..........................................12 Bar of Soap.........................................................5 Lion Hunting.................................................13 Bear Song............................................................5 Lollipop.........................................................13 Beaver Song........................................................6 Milk Song......................................................13 Bedbugs...............................................................6 Moose Song..................................................14 Billboard Song....................................................6
    [Show full text]
  • The Anchor, Volume 98.08: October 23, 1985
    Hope College Hope College Digital Commons The Anchor: 1985 The Anchor: 1980-1989 10-23-1985 The Anchor, Volume 98.08: October 23, 1985 Hope College Follow this and additional works at: https://digitalcommons.hope.edu/anchor_1985 Part of the Library and Information Science Commons Recommended Citation Repository citation: Hope College, "The Anchor, Volume 98.08: October 23, 1985" (1985). The Anchor: 1985. Paper 21. https://digitalcommons.hope.edu/anchor_1985/21 Published in: The Anchor, Volume 98, Issue 8, October 23, 1985. Copyright © 1985 Hope College, Holland, Michigan. This News Article is brought to you for free and open access by the The Anchor: 1980-1989 at Hope College Digital Commons. It has been accepted for inclusion in The Anchor: 1985 by an authorized administrator of Hope College Digital Commons. For more information, please contact [email protected]. South A frid an Visits Campus by Eric Petersen With such interest in South Me Women, first appeared in Ju- African affairs these days, rt ly of this year. But it was not un- seems only appropriate for a til several months later that it native of this troubled land to appeared in ^ South African lend us some insights. Ellen Kuz- print. This is because her book is wayo is just such a person. more than an autobiography, it Kuzwayo, who arrived at Hope is the historv of a whole people. on Sunday, will be giving a series It trulv tells whT IT IS LIKE TO of informed discussions with BE BLACK IN SEGREGATED students and faculty throughout Johannesburg!her home city).
    [Show full text]
  • Citation: Mcgrath, JP (2019) "Doctor, I'm Damaged": Medical and Cultural
    Citation: Mcgrath, JP (2019) "Doctor, I’m Damaged": Medical and Cultural Narratives of Nicky Hopkins and The Rolling Stones. In: Beggars Banquet and the Rolling Stones Rock and Roll Revolution: ‘They Call My Name Disturbance’. Ashgate Popular and Folk Music . Routledge. ISBN 9781138304758 Link to Leeds Beckett Repository record: https://eprints.leedsbeckett.ac.uk/id/eprint/7234/ Document Version: Book Section (Accepted Version) This is an Accepted Manuscript of a book chapter published by Routledge in Beggars Banquet and the Rolling Stones Rock and Roll Revolution: ‘They Call My Name Disturbance’ on 09 December 2019, available online: http://www.routledge.com/9781138304758 The aim of the Leeds Beckett Repository is to provide open access to our research, as required by funder policies and permitted by publishers and copyright law. The Leeds Beckett repository holds a wide range of publications, each of which has been checked for copyright and the relevant embargo period has been applied by the Research Services team. We operate on a standard take-down policy. If you are the author or publisher of an output and you would like it removed from the repository, please contact us and we will investigate on a case-by-case basis. Each thesis in the repository has been cleared where necessary by the author for third party copyright. If you would like a thesis to be removed from the repository or believe there is an issue with copyright, please contact us on [email protected] and we will investigate on a case-by-case basis. Doctor, I’m Damaged: Medical and Cultural Mythologies of Nicky Hopkins and the Rolling Stones ‘We are deeply indebted to Nicky Hopkins and to many friends’, ends the list of acknowledgements on the Rolling Stones’ 1968 album Beggars banquet.
    [Show full text]