Charlie Hebdo and Freedom of Expression in Art

Standard

It has been only two weeks since twelve people were killed at the satirical French magazine Charlie Hebdo by two gunmen. In the aftermath of the tragic events, there has been an outpouring of emotion throughout the world. Among these have been many peaceful protests in support of the magazine and the victims of the attacks. However other reactions have not been so sedate with anger being directed toward the magazine and its depictions of the Prophet Muhammad. With such strongly held views on both sides many questions about free speech have been raised. Most notably, when it comes to satire–whether in writing, art, or any other form–how far is too far? Does an artist’s right to freedom of expression trump the rights of those that might take offense?

In the United States the answer would seem to be a resounding and clear yes. After all Freedom of Speech and Freedom of the Press are featured in the First Amendment. In our history, revolution, protests and challenging the status quo have played a large role in shaping the country’s character. In turn the arts have been utilized to inspire and bring about change. In writing we have numerous authors including Harriet Beecher Stowe, Upton Sinclair, Jack Kerouac, Maya Angelou and many others whose voices and experiences changed the way we looked at the world and each other. In theatre we have Marc Blitzstein’s “The Cradle Will Rock” (which was famously temporarily shut down by the WPA to avoid government and union restrictions), Rodger’s and Hammerstein’s “South Pacific” which features one of the most poignant commentaries and critiques of racism “You’ve Got To Be Carefully Taught,” and of course boundary pushing works such as “Hair” and “Rent.” American protest music has a long history from early colonial protest songs like “Revolutionary Tea” (which celebrates the Boston Tea Party) to the anthems of Pro-Union workers, to the music of the Civil Rights and Anti-War movements. Thus attempts at censorship can and have often been met with resistance from the courts and the general population.

However, as some have pointed out, things get a bit more complicated when we consider practices that we seem to hold in contrast with our ideals. In an article from The Huffington Post, writer Pia de Jong noted the muted response to the shooting in the United States. She believed the reason for this lies in the country’s multi-cultural roots stating, “Self-censorship and hypocrisy are the main instruments that keep the many groups away from each other’s throats.” She also noted that unlike the free for all of European Press, the media in the US is very much in line with political correctness (de Jong). This view was echoed by columnist David Brooks who wrote in an op-ed piece in The New York Times, “If [Charlie Hebdo] had tried to publish their satirical newspaper on any American university campus over the last two decades it wouldn’t have lasted 30 seconds. Student and faculty groups would have accused them of hate speech. The administration would have cut financing and shut them down.” The media’s coverage of the tragedy seems to confirm these points as many newspapers and all American news networks have chosen to censor or simply refuse to show the offending artwork (Bankoff).

Obviously what happened at Charlie Hebdo is a tragedy. No one deserves to die over a picture, or any other piece of art for that matter. Moreover, I appreciate the ability of satire to expose hypocrisy and injustice within society. However, as an artist I couldn’t see myself going out of the way to offend a group (or groups) of people the way Charlie Hebdo does. In the end there is probably no clear answer to that question “how far is too far?” Instead it is dependent on all of us to (as David Brooks so eloquently wrote) “…maintain that delicate balance between the standards of civility and respect while at the same time allowing room for those creative and challenging folks who are uninhibited by good manners and taste.”

Works Cited and Bibliography

Bankoff, Caroline. “Some Newspapers and All Major American News Networks Decide Against Showing Charlie Hebdo’s Muhammad Cartoons.” Daily Intelligencer. NYMag, 07 Jan. 2015. Web. 22 Jan. 2015.
Brooks, David. “I Am Not Charlie Hebdo.” The New York Times. The New York Times, 08 Jan. 2015. Web. 15 Jan. 2015.
“The Cradle Will Rock.” Wikipedia. Wikimedia Foundation, 31 Dec. 2014. Web. 22 Jan. 2015.
Jong, Pia De. “When Charlie Met Charlie.” The Huffington Post. TheHuffingtonPost.com, 21 Jan. 2015. Web. 22 Jan. 2015.
Levs, Josh. “10 Killed, Churches Torched in Protests over Charlie Hebdo – CNN.com.” CNN. Cable News Network, 21 Jan. 2015. Web. 22 Jan. 2015.
Schofield, Hugh. “Massacre at French Magazine Office.” BBC News. BBC, 07 Jan. 2015. Web. 21 Jan. 2015.

Advertisements

Crowd Control: How to Deal with an Uncooperative Audience

Standard

As a musician and actress, one of the most frustrating things I’ve dealt with are uncooperative audiences. Sometimes it’s due to inattentiveness or an uninterested attitude. Other times it can be due to outright rude behavior or heckling.
The relationship between the performer and the audience is highly important to the success of a performer. However, any performer can tell you a story of at least one audience (or members of an audience) that didn’t act appropriately or were indifferent to the performance. This isn’t limited to performers in obscurity. In July of this year Ray LaMontagne stormed offstage and demanded two audience members be ejected from his show for talking during his set at Meijer Gardens in Grand Rapids Michigan (Karan). On the other side of the coin, Jack White ended a set at Detroit’s Fox Theatre early and has sworn never to play there again following a show where he cited the crowd’s lack of enthusiasm (Parks). While LaMontagne and White’s reactions are certainly understandable to many performers, they are probably not actions we can afford to take. So what is a performer to do? Below I have included some tips for performers that can hopefully help in keeping these situations from happening or at the very least de-escalating them.

1) Understand Your Venue: The type of venue you’re performing in does have an impact in many cases on what you can and should expect from your audience. If you are a violinist performing at a classical recital or an actor performing in a theatre you can probably expect a fairly well behaved audience (Estrin). Any breaches of etiquette will more likely then not be taken care of by other audience members (who might chastise the offender) or even the venue’s staff. However what if you are performing at a party, bar, festival or a public space like a shopping mall? Well unfortunately even though the lack of attention may wound your ego there probably isn’t much you can do because at many of these events people can also come to hang out and not just listen to music (Ibid). However if a crowd (or someone in it) is truly out of control you might need to have the club manager, bouncer, or whoever else is running the show step in (Bliesener, Knopper). Try to get to know these people ahead of time so that if a situation does occur you’ll know who you can rely on (Ibid).

2) Know your audience: This often goes hand in hand with understanding your venue. However in many ways it deserves it’s own category since knowing the type of audience to expect and what they like can go a long way to putting on a successful show. This might mean playing more covers then originals. In other cases it might mean playing more of a particular genre (i.e. playing mostly country music at a country/western bar or more rock at a biker bar). If you can, try to take requests and if you can’t play a song let the person know as nicely as possible (Bliesener, Knopper). However, don’t forget (especially if you are an original artist) to try and build your own audience. If there is anyone at a gig who seems especially interested in your work reach out to them; get them on your mailing list, your Facebook page, etc. Even if you get just one new fan at a venue, over time you can build momentum. Eventually you can reach a point where you are rewarded with audiences that are there for you.

3) Try to resist confrontation: While you may be tempted to confront a heckler or other uncooperative audience members, generally it’s not the best course of action. In many cases this situation can backfire by escalating the situation and further alienating the individuals involved. You also run the risk of alienating other audience members who might be friends with the heckler or may otherwise be turned off by a hostile response (however arguably deserved it may have been). In many cases the best thing you can do is to simply launch into your next song/poem/etc (Bliesener, Knopper). Hecklers in particular thrive on the attention they receive from their antics and ignoring them can sometimes shut them up (though of course if they are too unruly you might need to allow the venue to handle the situation). One tactic, recommended by pianist Robert Estrin, can be to play or speak more quietly. Obviously this isn’t a perfect solution for all performers (a heavy metal band can only get so quiet). However sometimes this can draw people in more and those that can’t hear might take it upon themselves to silence any offenders.

Ultimately as artists and performers we will at some point have those moments where no matter what we do an audience may not respond in the way we want them to. Hopefully though the tips provided here can help. If all else fails, just try to focus on playing the best you can and when the show is over focus on your next performance. In the words of Mr. White from the film That Thing You Do “If the crowd doesn’t go wild for you, don’t worry. They will tomorrow.”

(If you have any stories or tips of your own on dealing with uncooperative audiences please leave them in the comments below.)

Bibliography and Works Cited

Bliesener, Mark, and Steve Knopper. “I’ve Got the Gig! Now What? Crowd Control.” The Complete Idiot’s Guide to Starting a Band. Indianapolis, IN: Alpha, 2004. 136-37. Print.

Dealing with a Loud Audience. Perf. Robert Estrin. Dealing with a Loud Audience. Virtual Sheet Music, 23 Oct. 2013. Web. 21 Aug. 2014. .

Karan, Tim. “Ray LaMontagne Storms Offstage, Boots Couple From Show.” Diffuserfm. N.p., 24 July 2014. Web. 21 Aug. 2014. .

Parks, Andrew. “Jack White Ends Detroit Set Early, Pledges to Never Play Fox Theatre Again.” Wondering Sound. N.p., 29 July 2014. Web. 21 Aug. 2014. .

Strike a Chord: Vocals, Guitar, and the Music of My Life

Standard

This was inspired by a prompt from The Daily Post http://dailypost.wordpress.com/dp_prompt/strike-a-chord/

I sing and play guitar.

Or rather I’m a singer who plays guitar.

For those of you that aren’t aware there are two types of singer/guitar players out there. Singers who play guitar and guitar players who sing. I won’t go into too many details but it will suffice to say a singer who plays guitar is a stronger vocalist then guitarist and uses the guitar more as accompaniment. A guitar player who sings is a stronger guitar player and can perform all sorts of acrobatics along a fret board but while they might not be horrible at the microphone there is something to be desired.

Vocally, I’ve been singing for as long as I can remember. It always came very easily to me and with the exception of a shy stage I had as a kid I’ve always enjoyed having any chance to perform. Make no mistake the body is your instrument if you are a vocalist. A fact which is made painfully aware when you are sick or for whatever other reason “voiceless.” Getting sick isn’t fun for most people but it is devastating for me because when I get sick I lose my voice and thus I lose my very self.

Guitar is a more complicated story. I like it now and I certainly never hated it. If anything I always had an affinity for the string section. When I was a little kid my favorite instrument was the harp. I wouldn’t sneer at a Violin or Viola though. However for some reason my longing to play the harp went unfulfilled at the time. Perhaps it was because harps were hard to find. Maybe I simply didn’t beg hard enough for a harp lesson. Or maybe it was because my parents weren’t so sure about investing lots of time, money, and space in the house for an instrument that might not get played. (To their credit they did support many of my other endeavors in the arts and it is true I did go through a lot of classes and hobbies as a kid).

It was my father who taught me the guitar though it was somewhat forced at the beginning. I was 11 or 12 at the time and I didn’t want to learn at first. This might have been a result of pre-teen rebellion (i.e. anything your parents do is, like, so lame). Vanity was involved too (I shuddered at the idea of getting calluses on my fingers that, horror of horrors, would make me even more of an untouchable hag to the male version of the species then I already was). Still, because my father was and is a man who was undeterred by arguments based primarily in emotion, I learned to play guitar. Over time I did grow to like it, even love it though it’s not the same love I have for voice.

The love I have for the guitar is more of a love borne out of accomplishment. It is something that I have in my bag of tricks so I can accompany myself (as I have often had to). I am grateful for that level of musical independence. If I hadn’t learned to play I would probably always have to be at someone or something else’s mercy (a band, another guitar player, a vocal track, etc.). With the guitar I don’t have to be a slave to anyone. If a band falls through or a person doesn’t show up whatever, I can play this gig on my own. The guitar has made me more of an artist too (as opposed to just performing). I don’t have to play the songs exactly the way they are on the record. I can improvise and arrange at will which is a freedom I value.

The love I have of singing though is natural. It’s something I was born with and something I know without even having to think about it. It’s something I really couldn’t imagine living without and if I ever did lose my voice…well I can’t lie suicide would come to mind. I suppose I could find a way to keep going. Julie Andrews is thriving in spite of the botched surgery on her vocal chords and Linda Ronstadt inspires me with how she seems to maintain her good nature in spite of Parkinson’s Disease which ended her singing career. Still, when I read their stories I can’t ignore that undercurrent of darkness. What if you lost your voice and thus all that you seemingly are?

My singing and guitar playing aren’t all that I am though some days I may feel like they are. I am a singer who plays guitar and I want music to be a part of my life. However I don’t want to come to that point where I would be undone if I lost my voice or if I got arthritis and couldn’t play the guitar. Perhaps all I can do, all anyone can do, is to appreciate the gifts we have and use them whenever we can. That way at least you never have to live with regret. Or perhaps I can learn to make music a part of my life without letting it be the only thing in my life.

That’s probably going to take more practice then the guitar.

Stealing Artistically

Standard

One of the main rules many artists have been taught to take seriously is avoiding plagiarism or copying someone else’s work. However in the past few weeks some of my favorite artists have become embroiled in scandals and debates relating to this topic.

The first story is that of Led Zeppelin who are currently being sued by representatives of the band Spirit for allegedly ripping off the guitar line for the infamous “Stairway to Heaven”. While the story has gained plenty of publicity it’s actually one that many fans of rock music have been aware of for several years (Chappell). (Cracked.com, for instance, mentioned the similarities between the songs back in 2010.) This is not the first time Led Zeppelin have been accused of plagiarism. In 1972 the band was sued by ARC Records who claimed that “The Lemon Song” was plagiarized from the Howlin’ Wolf number “Killing Floor” (turnmeondeadman.com) In 1985 the band was again sued, this time by blues musician Willie Dixon who claimed the song “Whole Lotta Love” borrowed heavily from his song “You Need Love” (DeGroot).The most recent lawsuit against the band was in 2010; the plaintiff was musician Jake Holmes who claimed Led Zeppelin had plagiarized his song “Dazed and Confused” (Ibid). In all three cases the band settled out of court and the respective musicians have been given songwriting credits on reissues of the albums (though Jake Holmes has merely been given a credit of “Inspired by” on the Celebration Day album and DVD (www.turnmeondeadman.com).

The second story is that of Jack White and The Black Keys. The two bands have had a bit of feud for several years. However in a recent Rolling Stone article, White accused The Keys of ripping off his sound stating, “There are kids at school who dress like everybody else, because they don’t know what to do, and there are musicians like that, too. I’ll hear TV commercials where the music’s ripping off sounds of mine, to the point I think it’s me. Half the time, it’s the Black Keys…” White also went on to suggest that there are musicians that open up a market (his example Amy Winehouse) and those that merely follow in their footsteps (his examples Duffy, Lana Del Rey, and Adele). White has since apologized for his statements on his website.

Both of these stories are intriguing to me (obviously since they are both about artists that I enjoy and listen to on a regular basis). However both bring up some interesting questions about copying and plagiarism. When does “inspiration” turn into plagiarism? Where is the fine line between being in the company of your favorite artists or merely being a “copy-cat?” The answer might be more complicated then we think.

First we might need to review the definition of plagiarism. According to plagiarism.org (who utilize the definition of the Merriam Webster dictionary) “to plagiarize means; to steal or pass off (the ideas or words of another) as one’s own, to use (another’s production) without crediting the source, to commit literary theft, to present as new and original an idea or product derived from an existing source” (www.plagiarism.org). The site states plagiarism is an act of fraud that involves stealing someone’s work and lying about it afterwards (Ibid). It also notes that under US Law the expression of ideas are protected under copyright laws as intellectual property as long as they are recorded in some way (Ibid). Obliviously the definition is stringent though the site also notes plagiarism can be avoided by simply crediting any sources utilized (Ibid).

However there are those that challenge the conventional ideas about plagiarism and copyright law. Among these individuals are Kirby Ferguson and Austin Kleon. Both men argue that nothing is really “original” and that most creative works are a mash-up or remix of previous ideas. Ferguson in particular takes aim at copyright law stating, “American Copyright and Patent laws run counter to this notion that we build on the work of others. Instead these laws…use the rather awkward analogy of property. Now creative works may indeed be kind of like property, but it’s property we are all building on and creations can only take root and grow once that ground has been prepared.”

So what is an artist to do in a world where nothing is original but copyright laws rule the day? Well according to Austin Kleon (author of the book Steal Like an Artist) the answers lie in understanding your creative genealogy (i.e. the family tree of artist you admire and are similar to) and then collecting ideas from those artists and transforming those ideas into something greater. As Picasso said, “Good artists copy; great artists steal.” Though as Led Zeppelin might attest, citing your sources can help too.

Bibliography and Works Cited

Beauchemin, Molly. “Jack White Slams The Black Keys, Suggests Once Again That They’ve Ripped Off His Sound.” Pitchfork. N.p., 30 May 2014. Web. 5 June 2014. .

Chappell, Bill. “Led Zeppelin Sued Over ‘Stairway To Heaven’ Guitar Line.” NPR. NPR, 20 May 2014. Web. 05 June 2014. .

DeGroot, Joey. “7 Songs That Led Zeppelin Ripped Off.” Music Times RSS. N.p., 20 May 2014. Web. 05 June 2014. .

Ferguson, Kirby. “Kirby Ferguson: Embracing the Remix.” YouTube. YouTube, 10 Aug. 2012. Web. 05 June 2014. .

Kleon, Austin “Steal Like An Artist: Austin Kleon at TEDxKC.” By Austin Kleon. YouTube. YouTube, 24 Apr. 2012. Web. 05 June 2014. .

“Led Zeppelin: Plagiarism? “The Lemon Song”” Turn Me On Dead Man. N.p., n.d. Web. 05 June 2014. .

“Led Zeppelin: Plagiarism?” Turn Me On Dead Man. N.p., n.d. Web. 05 June 2014. .

“Led Zeppelin: Plagiarism? “Whole Lotta Love”” Turn Me On Dead Man. N.p., n.d. Web. 05 June 2014. .

Ramakrishnan, Rohan. “The 5 Most Famous Musicians Who Are Thieving Bastards.” Cracked.com. N.p., 06 May 2010. Web. 05 June 2014. .

Scalese, Roberto. “Stairway to Theftin’: Led Zeppelin Sued in Most Entertaining Lawsuit Ever.” Boston.com. The New York Times, 03 June 2014. Web. 05 June 2014. .

“What Is Plagiarism?” Plagiarism.org. N.p., n.d. Web. 02 June 2014. .

White, Jack, III. “An Apology and Explanation from Jack White.” Jack White. N.p., 31 May 2014. Web. 05 June 2014. .

So You Want To Be In The Arts (A Letter To The Class of 2014)

Standard

Dear Graduating Students,

 You are probably looking forward to finishing up your final classes, preparing for graduation (and any respective parties you may be having), and getting ready to kick off that final summer at home before you head off to college. You should definitely have some fun. You deserve it after all the hard work you’ve put in. However, as someone who has “been there” I would like to take this time to give you some (hopefully) helpful advice. Especially to those of you who want to go into the arts.

 First, I want to congratulate you on having the guts and spirit to go after what you want. Believe me that is definitely a hurdle that shouldn’t be underestimated. If you’ve got it in you to stand up and say “I want to do this” in spite of your parents, teachers, extended family, friends, politicians, and even your own self-doubting thoughts trying to steer you on a different path, then you just might have what it takes to make it as a singer, writer, actor, or whatever it is you want to be.

 That being said, let me give you my first piece of advice, prepare for difficulties. When I say this, please don’t think I’m insulting your intelligence. The first thing any of us hear when attempting to have a career in the arts is how hard it is. However, when I was in that place (that place being seventeen years old and deciding to major in music business) I knew there would be challenges but even I underestimated how many there would be. I think part of the problem is we tell ourselves that one day it will get easier; that all we have to do is get the record contract, write the perfect script, or star in the feature film. The hard reality is not that it’s difficult to get there. It’s that we believe when we do reach that point that things will suddenly get easier when that’s not the case. You got the record deal; great now you have to put out some quality albums (or at least what the label might think is quality), tour constantly, be interviewed by the press, and while you might have a more comfortable lifestyle then you did as a starving artist there are more responsibilities too. The sooner that you realize things won’t become “easier” the better off you’ll be. In the same way that your graduation doesn’t mean you won’t be facing new challenges in college, becoming a best-selling author or musician doesn’t mean that your life will be easier and that you’ll always create great work.

 My second piece of advice would be to get as much hands on experience as you can and build as many relationships as possible. You are probably aware that you will be required to complete an internship at some point during your time as a student. If I could go back and do things over again I would get an internship or volunteer with an organization every summer. Heck, start this summer. Call up an indie record label, music journal, publishing house, whatever organization you are interested in and say “I’m interested in this field and I’d like to intern or volunteer with your organization.” The best part? They’ll probably say yes. After all what person in their right mind is going to turn down free help? These internships are not to be underestimated, especially in the current economy. A secret that most people don’t realize about getting a job or career is that many organizations might not even post in the classifieds when they have a position open. They promote from within their organization or hire someone they know (Bolles, 8). If you start doing an internship or two every summer, then by the time you graduate college you will have gained a great amount of experience in the field you want to work in and you will have made deep connections with people who have the power to hire you or can recommend you to someone who can. I might add working for free now is going to be a lot easier then working for free with tons of student loan debt hanging over your head.

 My final piece of advice would be to not forget to have fun and take whatever opportunities you can to expand your horizons. College is one of the few times that you have enough freedom to make your own choices and do what you want but fewer responsibilities then you will have once you get out into the working world. While you should study hard, don’t forget to have fun and have as many new experiences as you can. Looking back on my college days, I tend to think I played it a little too close to the vest. While I did a very good job academically it does get to me at times that I don’t have any stories of wild road trips with friends or tales of studying abroad. Then again it’s never too late…it just might take me longer to scrounge up the time and money, so again have these experiences while you can.

I hope this advice can help you in your artistic journey. Best of luck to all of you and congratulations.

Navigating the Creative U-Turn

Standard

I haven’t written on this blog in about two weeks and I’ve had trouble picking up the guitar. It’s made me feel some guilt as I do tend to have a bit of a work/success oriented nature i.e. sometimes I feel my value as a person comes from what I produce or what I am doing with my life. However I’ve felt a slight sense of panic too. For most of my life, if not my whole life, I’ve wanted to be an artist in some sense and for the past few weeks I’ve suddenly been questioning myself about whether I have what it takes and whether I even want to be an artist anymore. In short I’ve been experiencing a creative U-turn (or perhaps in my case it’s more of a crossroads).

The Creative U-Turn is a term that was coined by Julia Cameron in her book The Artist’s Way. It can be defined as a point when an artist stops pursuing a creative goal or project; generally as a result of fear, negativity, or pain. Creative U-turns can take different forms depending on the type of art and the artists involved. Cameron notes many examples of this; the painter who picks a fight with the gallery owner at his first group show, the musicians who record a demo that gets an enthusiastic response and then stop working together, the screenwriter who doesn’t make any changes on his script for an agent are all examples of creative U-turns (Cameron,155). However, while U-Turns can take different forms Cameron theorizes they are usually a result of some sort of fear.

How should an artist deal with a U-turn? Well, according to Cameron, we should extend ourselves some sympathy and compassion (Cameron, 156). Creativity can be scary and in fact life itself is scary (Ibid). It helps to remember that artists are not the only ones to struggle with U-turns and various forms of self sabotage (Ibid). Lawyers, Doctors, Office Workers, and Retail Workers struggle with their own forms of self sabotage too. Cameron also notes that Creative U-Turns and failures are often a part of successful creative careers. She notes the story of Blake Edwards who spent seven years in a self-imposed exile in Switzerland following being fired from one of his own films (Ibid, 157). He returned to directing after deciding that using his creativity would be a better way to heal then sitting on the sidelines and he became aggressively productive with his main regret being the time it took for him to get to that point (Ibid). 

Sometimes a U-Turn might even be necessary. In this case I’m thinking about author Liz Gilbert. After the major success of her book Eat, Pray, Love, Gilbert suddenly found herself with millions of readers eagerly awaiting her next project. Over the next year she wrote a first draft of what would eventually become Committed. However after completing the manuscript she realized that something wasn’t right. In her words, “The voice didn’t sound like me. The voice didn’t sound like anybody. The voice sounded like something coming through a megaphone, mistranslated.” Gilbert put that manuscript away turned her attention to her garden and other pursuits (Gilbert, xiv). She wrote, “…this was not exactly a crisis, that period when I could not…figure out how to write naturally…I even started wondering if maybe I was finished as a writer. Not being a writer didn’t seem like the worst fate in the world…but I honestly couldn’t tell yet. I had to spend a lot more hours in the tomato patch…before I could sort this thing out” (Ibid). Ultimately Gilbert’s U-Turn ended when she realized that while she couldn’t promise that her next book would satisfy millions of readers, she could write something that she needed to write (Ibid). She limited the audience in her mind from the millions of expectant fans to twenty seven important women in her life and wrote the book for them (Ibid, xv). Committed was published in 2010 and since then Gilbert has continued her successful career publishing her recent novel The Signature of All Things in 2013.

Recovering from a creative U-turn can require a great deal of compassion and patience. According to Cameron, the first step is admitting it. You have to say to say to yourself “Yes, I did react negatively towards fear and pain. Yes, I do need help” (Cameron, 157). The next step is to figure out what obstacles are the most intimidating. In Cameron’s words, “An agent jump may frighten you more then a workshop jump. A review jump may be okay while a rewrite jump scares your talent to death” (Ibid). Often at this stage Cameron advises looking for help from other successful artists i.e. asking them how they have done successful rewrites, gotten agents, recovered from bad reviews or conquered whatever challenge that you are currently facing (Ibid). Self reflection is a key piece too. Cameron notes that before any project it’s a good idea to ask yourself questions that remove any blocks between yourself and the work (Ibid, 159). These questions are as follows.

1) What am I angry about? The goal is to make a list about any anger you have related to the project at hand. Examples could be anything from resentment about being the second artist asked to do a show, to anger at an editor or director who constantly nitpicks your work (Cameron, 159).

2) What am I afraid of? The goal with this question is to identify any and all fears about the project or people connected to it (Ibid). You might say in this case, “I’m afraid of people not liking my work,” “I’m afraid of not being able to live up to my past projects,” or “I’m afraid that the only reason I got the part was my competitor had a falling out with the director and now everyone will compare me to him.”

3) Have I left anything out? With this question you are supposed to ask yourself if your current issues are all there is. Have you left out any anger or fear that seems inconsequential or trivial (Ibid)? This might be the part where you say “Ok…I am somewhat afraid of seeing that one musician/writer/director/etc. that’s always so condescending when he talks to me at any events.”

4)What do I stand to gain by not doing this project? With this question you need to find out exactly how you benefit from any self sabotage. The most common example might be “Well if I don’t perform/write this piece no one can criticize it or me.” This is by no means the only example though; others might be “I can criticize others from a less vulnerable position ” or “My editor/mother/significant other/ex will worry about me” (Ibid).

Once you have asked these questions and identified all your angers and fears you can then be more able to let them go. At this point Cameron advises making a deal with your creative force and saying “You take care of the quality and I’ll take care of the quantity” (Ibid, 160). Ultimately, whether we reflect and make our deals with the universe or simply follow Blake Edwards’ example of going back to work and picking up where we left off, navigating our creative U-turns is a challenging but often valuable part of our journey as artists. I hope that you will share some of your own creative U-turns and recoveries in the comments section. As for me, I might just go pick up the guitar.

Bibliography and Works Cited

“Biography.” Official Website for Best Selling Author Elizabeth Gilbert. Dave Cahill/River Net Computers, 2013. Web. 16 May 2014. <http://www.elizabethgilbert.com/&gt;.

Cameron, Julia. “Recovering A Sense Of Compassion.” The Artist’s Way: A Spiritual Path To Higher Creativity. Los Angeles, CA: Jeremy P. Tarcher/Putnam, 1992, 2002. 154-60. Print.

Gilbert, Elizabeth. “A Note to the Reader.” Introduction. Committed: A Skeptic Makes Peace With Marriage. New York: Viking, 2010. Xiv-vi. Print.