June 10, 2024 • 44 mins
Air Date - 10 June 2024
Join us for a Musical Journey with Composer and Pianist Rebecca Harrold!
Dive into the enchanting melodies of Rebecca’s latest album, “The Tree of Life.” Recorded and produced at Imaginary Studios in Windham County, Vermont, this captivating collection of compositions promises to transport you to new realms of musical beauty.
Join host Kara Johnstad as she sits down with Rebecca Harrold to explore the inspiration behind “The Tree of Life” and delve into the transformative power of music as a path to healing. Discover the stories behind the melodies, the creative process, and the collaborative magic that brought this album to life.
Don’t miss this opportunity to experience the soul-stirring melodies of Rebecca Harrold and delve into the depths of musical expression and healing. Tune in to Voice Rising on the OMTimes Radio platform for an unforgettable conversation!
Visit Rebecca Harrold at rebeccaharroldmusic.com
#RebeccaHarrold #creativewriting #writingrituals #voiceempowerment #storytelling #KaraJohnstad #VoiceRising
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Join us for a Musical Journey with Composer and Pianist Rebecca Harrold!
Dive into the enchanting melodies of Rebecca’s latest album, “The Tree of Life.” Recorded and produced at Imaginary Studios in Windham County, Vermont, this captivating collection of compositions promises to transport you to new realms of musical beauty.
Join host Kara Johnstad as she sits down with Rebecca Harrold to explore the inspiration behind “The Tree of Life” and delve into the transformative power of music as a path to healing. Discover the stories behind the melodies, the creative process, and the collaborative magic that brought this album to life.
Don’t miss this opportunity to experience the soul-stirring melodies of Rebecca Harrold and delve into the depths of musical expression and healing. Tune in to Voice Rising on the OMTimes Radio platform for an unforgettable conversation!
Visit Rebecca Harrold at rebeccaharroldmusic.com
#RebeccaHarrold #creativewriting #writingrituals #voiceempowerment #storytelling #KaraJohnstad #VoiceRising
To get in touch with Kara Johnstad, go to http://www.karajohnstad.com/
Visit the Voice Rising show page https://omtimes.com/iom/shows/voice-rising/
Subscribe to our Newsletter https://omtimes.com/subscribe-omtimes-magazine/
Connect with OMTimes on Facebook https://www.facebook.com/Omtimes.Magazine/ and OMTimes Radio https://www.facebook.com/ConsciousRadiowebtv.OMTimes/
Twitter: https://twitter.com/OmTimes/
Instagram: https://www.instagram.com/omtimes/
Linkedin: https://www.linkedin.com/company/2798417/
Pinterest: https://www.pinterest.com/omtimes/
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:01):
Welcome to Voice Rising with Kara John'sDad. Enjoy weekly conversations with leading luminaries,
pioneering visionaries, singers, poets,musicians, and sound healers as we
explore the profound role our voice playson the path to self realization and global
enlightenment. The internationally acclaimed singer,composer, author, healer, recording artist,
(00:24):
voice expert, creator of Voice YourEssence, and founder of the School
of Voice, Kara John's Dad usesher extraordinary spiritual gifts to empower others.
Everything in this world vibrates, everythinghas a frequency. A pioneer in the
field of voice work and transformational songwriting, her breakthrough methods are helping thousands of
(00:46):
people worldwide fine tune their body,mind, spirit system and unlock the energetic
frequencies of limitless creativity, health andabundance. Share your voice, ask your
questions, join in the conversation,receive life changing positive transformation, and rise
together to create a sound world.And here's your host, Kara Johnstad.
(01:14):
Hello, all you beautiful souls outthere. Welcome to another enlightening episode of
Voice Rising, where we explore thetransformative power of voice and music. And
today I am delighted to welcome theincredibly talented composer and pianist Rebecca Herald.
(01:34):
She's based out of Bentonville, Arkansas, and Rebecca is a celebrated musician whose
new album, The Tree of Lifewas beautifully recorded and produced at Imaginary Studios
in Wyndham Hill. No, it'sactually Wyndham County, Vermont, and we're
going to be diving into the inspirationbehind this captivating collection of compasty physicians and
(02:00):
exploring the themes of healing and transformationthrough music. So join me and welcoming
Rebecca to the show today. WelcomeRebecca. So good to have you.
Thank you so much. Good tohear your voice. Yeah, it's beautiful
to hear your voice. And onceagain, congratulations on your new album.
(02:22):
You have a lot of albums outthere, so yeah, so share with
it, well, at least morethan one, right, I think,
share with us. How many albumsdo you have out there that we can
enjoy? I think how many too? No, I'm in the process of
(02:44):
organ on my third one. Thatis so cool, because I feel like
you already have at least five.I know, well, some days I
feel like I have five. Idon't. Yeah, it's so funny,
You've just been accompanying me for manyyears with your music, and that's why
(03:05):
I guess. I know you havethis this new album, but I know
you know your music for at leastover ten years. So I was like,
Oh, she's got to have atleast at least a million albums.
Yes, So tell me, Rebecca, what inspired you to create this your
(03:28):
latest album, the Tree of Life? So where was the inspiration? Well,
my first album was The River ofLife, and the River led me
to the Tree. I was thinkingabout it. It was like the tree.
This album actually has a lot ofdifferent genres and different styles, and
(03:52):
I started it seven years ago,like pre pandemic and that callelujah that was
kind of what happened through the pandemic. I finally released it. It has
been a long train coming, andI just I kind of felt like I
(04:14):
my first album was squarely planted intothe new age genre, which I'm not.
I'm not unhappy about that, andI totally get that the music has
that feel, but I've always whenI started to do some of the music
up that imaginary road on this secondCD, I know that there was some
(04:39):
uncomfortable ness about my styles just becauseI like rock, I like blues,
you know, I think you mightrelate to that. As a singer,
I feel like my voice has myvoice has always gone in a different way
than my classical piano, and soit was a real challenge. It was
(05:00):
a challenge for me to you know, stay with that and stay uh,
you know, true to true tomy artistic vision and then get interrupted by
this dog one bug, the bugthat bit the world. Yeah, I
mean everything just stopped, you know, everything just no, it just stopped.
(05:28):
It might also be why you're now. I don't know if that's the
reason why you're in Bentonville, becauseyou used to be on the East coast,
and that is exactly why I'm inDentonville, you know, Yeah,
it was just it. Really,we are still or I believe we are
still healing from this lockdown shut down. Our nervous systems are still learning to
(05:53):
breathe deeply and to trust. AndI think, you know, the Tree
of Life was so beautiful about thetree you know itself? Is that the
trees, at least the one outsideof my studio window, it's over one
hundred and five years old. Andthey teach us to go slow and study
it's like you don't have to click, you know, like the river can
be slow, but yeah, butwhen the river gets really really slow,
(06:17):
so now she starts getting stagnant somewhere, you know. But the river needs
to move and rush. But thetrees they root, and they root in
one place and they grow for many, many years, and they survive storms.
I mean the ones in Berlin thatI'm looking at right now. I'm
sitting in Berlin. You're in Arkansas, and the producer of the show is
(06:40):
currently in Brazil, which is justamazing. Yeah, we have an international
happening here. Well, I meanI think home times they're international, but
in the moment they're I think inBahia, but they're also on the East
coast. Many times, I wasvery good, very good. Oh the
(07:06):
famous drum Corps, Yes, yes, but yes so so the trees.
The trees, they basically we gotwhere we really went out on the limb
of the last few years, soto speak, and they're really rooting us.
Right. So you're you it soundslike I want to share with our
(07:27):
listeners, you know, one ofthe tracks. But from the work that
I know, you sound like yourfirst album was I believe only piano,
correct vocals, but no lyrics reallynothing lyrics, right, So I took
(07:48):
a risky turn. Yeah, yeah, good, Well I would love to
to play first of all, fromyour roots. Let's play this the title
rhapsody, and then we can gomore into your process also as a songwriter
and as a vocalist, and thenshare with our audience, you know,
other songs of this album. Sodo you want to say anything before we
(08:11):
listen to this track or do youjust want to die right in? Well,
be rhapsodic, just let yourself bemoved by the music. Beautiful is
a very spontaneous emotional response to something. It doesn't even need to be music.
It could be a painting, butwhen it's rhapsodic, it overtakes you.
(08:33):
Yeah. Okay, all right,let's have at it. Let's all
surrender out there. Okay. Sothis is a track Rhapsody from Rebecca Harold's
new album The Tree of Life.Yes, look at you? You get
(09:50):
any many men to beautifully raapsotic?That is rhapsody, which is by Rebecca
(11:56):
Harold is with us in studio today. So that's a good song. Oh
thank you say yeah you used toplay it with dancers? Yeah you did.
A lot of work with dancers.You you were basically, as far
as I know, alive a companyistfor the Boston Boston Ballet Company. That's
(12:20):
where I really took a lot ofa lot of my songs took form in
those studios. I would say,yeah, So you have in the liner
notes, Rebecca of this album,you talk a little bit about the divisions
that you see in the world today. So how did that weave itself into
(12:43):
the concept of the Tree of Life. What are your thoughts on the divisions?
What I was really intending was forthere to be the Tree of life
is like a play place where thereis no there are no divisions. And
(13:03):
especially in music, I felt likeall these genres and all the different styles
that I play, I wanted themto have a voice, you know.
I just wanted to have a placefor them to play and in the and
for me, music is that placewhere there doesn't need to be a division,
and I don't think there needs tobe separation. I understand it from
(13:30):
a business sense, you don't getme wrong. I totally understand it from
a business sense. But from acreative sense, I think it really usurps
our creative passion, our creative firewhen we start dividing out what it is
that we do so that it'll goa certain place. I mean, in
(13:52):
all honesty, we don't really haveany control over where the music goes.
So that was my thoughts. Itwas just that let's give it a try,
and let's that's my vision for theworld. You know that we all
get along. Yeah, well,I think I think for our listeners,
you know that who are not musicians, they don't realize that as musicians were
(14:16):
often kept in a certain genre orbox. Like you said, that makes
it easier for the business. Butimagine if we're cooks and we're just cooking
the same let's say, even ifit's a delicious sour dough bread every day,
right, But we never do Chinese, we never do Italian, we
never do pancakes. We we justdon't. We don't allow ourselves to have
(14:41):
that different those different tastes or thosedifferent you know, we don't have a
salad because we're always eating just thatsour dough bread. Right. And I
think what I used to say,because for people that might know a little
bit of my music, it's thesame kind of thing that I was,
you know, doing whatever it waswhatever boxes people wanted to put it in,
(15:05):
from jazz to classical too, Imean, whatever it was. I
remember I told one interviewer, yeah, I want to wear the shoes,
not the boxes. And he wasreally confused, but I was like,
you know, I don't want theboxes, you know, Yeah, that's
(15:26):
like one of my quirky Yeah,because I'm a quirky girl. And imagine
that you just have one pair ofblack pumps and you're not allowed You're just
not allowed to wear the flip flopsor the plateaus or you know, because
somebody has an idea of Yeah,but you're only a pianist. So what
(15:48):
was it like for you to thengo from playing piano and and well not
only playing piano, but being acomposer and also being a composer or who's
improvising live in spaces like with dancers. I mean, that's a very that's
a very unique thing to getting intouch with your not only your singing voice,
(16:14):
but your own words what you wantto authentically express. What was that
process like for you? Uh,challenging? Yeah, lots of lots of
tears. Well, I mean it'sit was up at the studio. I
mean the guys were great. Theywere very encouraging. But I don't think
(16:38):
that I have not had that muchexperience singing in the recording studio. Yeah,
so that is a whole that's awhole different ballgame. So it was
it was challenging for me. Iwas praying a lot, praying a lot,
(17:00):
and as far as the vocal lyricsand coming up with the words.
One of the songs is straight up, it's a verse out of the Bible.
It's psalone, he shall be likea tree. And I just kind
of took artistic liberty. God don'tstrike me down with how to phrase certain
(17:23):
things. I just rewrote it inmy own kind of way, like a
story. But of the two thatyou chose, those those are love songs
about God as well. They're aboutThey're about the way that I see God
sees me right, And so I'vealways been I've always written from a different
(17:44):
perspective, and sometimes people don't understandit. They think love song, who's
it for? And it's like,well, that's a love song that God
is singing to me. Actually,the one song anything for you. I
just was so overtaken by God's compassiontoward me. I was moving around a
(18:07):
lot. I haven't seen you ineight years, my dear, yea years.
I was in Berlin eight years ago. Yeah, I saw you in
a concert in Berlin, exactly inBerlin. And how many how many moves
have you done in eight years?That's the infinity number? So how many
moves have you done? I havedone one, two, three, four,
(18:33):
this is my fifth. Yeah,that's a that's and that's a lot
of moves. When I moved priorto that, yeah, I was just
clinging to the fact that no matterwhat, I will be taken care of,
you know, because I know he'lldo anything for me. And that
was really the consolation that I felt, because I was it just felt like
(18:57):
my world was being cassy turvy.Everything everywhere I went. I was like,
Okay, new living room, newnew backyard, new everything, new
neighborhood. I'm just like, whatis going on? And then I just
going to the fact that well,he's the same today, today, tomorrow
(19:17):
and all eternity. It's the divine, It's it's all the same, and
he'll take care of me. Didyou have to move with your grand piano
just out of curiosity? Or Idon't have you don't have a grand piano.
That's I don't have a grand piano. I do you know I have
an upright piano. I wish.Yeah, Yeah, it's my dream to
(19:38):
get a grand piano. I havefound a ballet here in the Ozarks,
and I'm playing for them. Theyactually just received a grand piano as a
donation. Beautiful. The gentleman,the artistic director got it for me.
So I feel so blessed. He'slike, we want you, girl,
(20:00):
need you down here. Nice.Yeah, it's a it's a really really
opulent grand piano. It looks morelike a harpsichord in that it's painted very
extravagantly, sort of like the Renaissanceperiod. I think that suits a composer
who likes to wear fancy shoes.Fancy shoes or no shoes. Yeah,
(20:25):
barefoot and free. Rebecca. Let'slisten then. Now you shared a little
bit about Anything for You, whichwas really about this space of deep not
only deep trust and faith, butthis understanding that God is he has your
back, right, the universe hasyour back. God's got your back.
So let's listen to your track offof the Tree of Life album. It's
(20:48):
entitled Anything for You. And hereyou're going to hear yeah, Rebecca's voice
coming into her Yes, I woulddo anything for you. I'd pull off
(21:18):
the store out of the moon andI would give her everything to you.
It wouldn't always be true to you. I walked the ocean shore looking for
(21:48):
he opened or waves of dark andwashed into the sea, clouds gathered darken
or elseways keep pulling me on myfierce gave way to honesty. I would
do it, say for you andpull all the starsher. I would give
(22:19):
everything to you. It would allbe true to you. I'm not sure
(22:41):
I'm listen E I learned story.We'll I smell the sweet way passing through
this bad wanted a nice flat backcover ski now my sad smile to day.
(23:03):
I want to do any anything foryou and pull all the stars up.
I will give everything to you.It would aly be true. I
(23:23):
would be true, always be trueto you, anything for you. Off
(23:45):
of the new album The Tree ofLife. Yeah, Rebecca, do you
have Do you have a daily voicepractice or a singing practice or is it
something that just erupts and when you'rein the mood. Well, songs definitely
erupt and come when I'm in themood, or even when I'm not in
(24:10):
the mood, but practice like atthree o'clock in the morning or exactly.
That's some of my best material.But the daily practice I have actually just
started. I decided I'm gonna,I'm gonna do this. I'm gonna I'm
(24:33):
gonna take this day by day andlearn about my instrument. Like you,
You and I, I think westarted having zoom lessons before zoom was even
popular. It was you and I. We were or something. We were
blazing trails. We were we wereblazing trails exactly what I mean. I
(25:00):
I have this theory after working withI mean literally thousands of people all around
the world, right and thousands ofvoices, and also as a songwriter myself,
knowing how scary and how fragile itis to really express our deep heart,
you know, what we really feelwithout putting any filters on it.
(25:22):
And that now we get again backto the business. There's a lot of
people that are writing songs. They'rejust like, hey, are going to
take a theme and I'm gonna,you know, do my thirty two bars.
I'm going to do my little youknow, my little hook. And
there are people that are literally writingin the moment in Chatgypt. It's it's
very scary, but there are peoplelike you and I or Joni Mitchell or
(25:42):
Laura Niro or a lot of othergreat writers and they're kaoking and they're really
bearing their souls. And so mytheory is, and maybe you tell me
if this resonates with you. There'sa lot of big, big voices out
there that we know, Let's sayWhitney when she was young Celene, but
(26:07):
they were not writing their own tunesso period. And then there's a lot
of songwriters that we know from LeonardCohen and Stinging, and I'm trying to
think, I guess we can't saythis about Jonie because she had a very,
very expressive voice, but like alot of the songwriters, they have
(26:27):
a smaller range and they have amore constricted voice. And my theory is
that we always the voice is thereas a guardian and a guard for our
deepest heart felt emotions, and whenthe singer's voice is really really big,
(26:49):
then the protective mechanism is I relateto the song, but I didn't live
it while writing it. And forthe songwriters, it's it's more like,
Okay, I am putting the truthout there like, for example, Leonard
Cohen, incredible poet, but I'mnot going to stretch the voice. And
(27:11):
for me, the thing that alwayswas so transformative is when I could dare
to have my voice as flexible,big and a huge range as much as
the emotions that were running through mybody and at that crossroads between incredibly honest
lyrics and very very big, expressivevocals, and that I saw time and
(27:37):
again when people went into that place, it was like giving birth to their
soul. I literally when I wascoaching, I fell a midwifing the birth
of a soul and there was noplaying safe anymore. So how is it
for you? Do you sense adifference? Because I definitely sense when I'm
really, really, really honest withmy lyric, my is in an earthquake
(28:03):
in the beginning when I'm singing it. And there are some songs I haven't
been able to even sing on stagebecause they're that that powerful, raw,
that raw. Yeah. So howis it for you? Which are are
there certain songs that also you you'vethat are lying either unfinished because the emotions
were just too raw still yeah,or you're hitting the polls? Yeah?
(28:30):
Yeah, I just I wrote throughthe pan when I moved out here.
It's sitting on the shelf because Ijust haven't really I haven't figured it out
yet, like what is what wasgoing on? But I really I feel
like I am at that I amat that precipiece or that crossroads where I
(28:52):
am I'm determined to you know.I put myself was like this is gonna
sounds funny, but like Tom Waitslike yeah, that man, that man
has got like the most and andand LIA love it. Like these people
(29:12):
that are not like known for likeoh they have the best voices like Luther
van Dross or you know, thesmoothest silk. But I like, I
want I want to grow and beingable to tell the story and just however
I can tell that story, whetherit means I go big or not,
(29:33):
it's not I I'm trying not tothink about that because it freaks me out.
Now. I was trained operatically,yeah, and so my training with
opera was it's it kind of tripsme up with the pop stuff. I
just think I made the wrong choicewhen I was in college. I think
(29:53):
I just made the wrong choice.And I'm a big girl now and I
could admit it. I probably shouldnot have, you know, majored in
opera. I love operatic music.It's the most gorgeous music. So it
did help me with my writing inthat way because I feel like I love
to write those rhapsodic piano parts.And that's the other thing for me as
(30:19):
a singer, And this is whatI'm working on. I've only just two
months ago I stopped sitting at thepiano and doing my vocal warm ups because
somebody said to me, singing isa leap of faith. When you have
nothing to get your note from exceptwhat's inside of you, that's when you're
(30:40):
gonna start growing as a singer.And I have. I've started to.
Really My next album is gonna bemost lot different singing, a little bit
more bluesy, a little bit morerocky. But I'm excited about it because
it's helped me to learn to usemy voice as an instrument rather than rely
on my piano to help my voicebe buffeted, if that makes sense.
(31:06):
I've always used my piano to sortof surround my voice. Well, I'm
sure that you used your piano alsoto support Anybody who studied voice knows that
often there's a you know, theteacher is playing scales or warm ups using
the piano a piano accompaniment, andyet in other there are many cultures where
that's not true, where they're doinga cappella's, you know, a cappella
(31:30):
music, where they're working with drums. The thing is, which I find
is really interesting what you said aleap of faith, because I also think
that many people that's you know,singing in front of people is one of
the most terrifying things. It isif you research this, so people really
literally say that if you ask someoneto sing in front of, you know,
(31:55):
strangers, they will literally say,I prefer basically to die then to
ever singing front. I mean,it's yeah, And I think that,
you know, it's a leap offaith because we everything is so exposed and
the channel to our heart there areno masks. When you sing, you
(32:16):
can tell if somebody's kind of fakingit, and the people that really touch
us the most. For a longtime, I had the whole voice,
your essence, you know, thetraining, and it was basically exactly that,
how can I how can I havethe courage to be authentically me in
(32:39):
this world where everybody wants you ina way to be something else? Right.
The easiest thing would be for youto do a second New Age piano
album. That would be easy,right, But you chose that you chose
the path of the either the pathof the river, which is like,
(33:00):
you know, let's see what it'slike to go around the bend and not
not know. As John John Donahuesaid in a beautiful last poem, which
was an unfinished poem, it saidsomething to the effect, I want to
live my life like a river,always surprised kind of by I can't remember
if it was its own unwinding orbasically you know, you're you're in a
(33:23):
river and you you don't know what'saround the band, You really don't know.
And and to allow ourselves to keepthat that freshness right as we and
to really be artists because I thinkthat you know, painters are allowed to
make little sketches and and and theyget to have the blue phase and the
(33:45):
the the you know, the I'mgoing to be abstract and I'm going to
be realists. Talk about in themusic business, can I can I do
an abstract album and then I'm goingto go and do a classical woman then
I mean some artists like your mom, Yeah, they managed, but it
(34:07):
takes a lot of put spot andit takes a lot of Yeah, I
think it's It's also it's a differenttime because a lot of the artists now
we're unless you're Beyonce, you're reallyhaving to push your own music out there,
right, there's a lot of independentartists that the labels have kind of
(34:30):
fallen apart. Yeah, exactly,God, yes, Spotify is l Yeah.
I mean when I think of likethe my favorite singers were the ones
that we're just really intimate, youknow, obviously, the bigger voices like
with Me and all that just knockyour stocks off, and you know,
(34:52):
it's just something super natural going onthere girls. You know what I mean.
When I yeah, i hear hersinging, I'm like, she's Louise,
it's the chorus of angels inside thatwoman's body. Yeah, yeah,
you know. But like but then, like janaesein at seventeen, I learned,
(35:15):
yeah, you know, has awhispery let me tell you something,
And it ripped my life apart becauseat seventeen I learned the truth too,
you know what I mean. Andit's just those are the kinds of things
and if I can write like Igot a song and I heard that this
(35:36):
had happened to see the next I'mnot comparing myself to her her say,
but this one experience that she hadwhen she wrote Rhiannon. It was given
to her like in a vision,and then she found out much later that
it was actually a story. Therewas actually a story about this person.
(35:57):
Yeah, a similar thing happened tome, and it'll be on my next
album. It's called Saugat Song.And it was completely unfunn owned to me.
I just sat down by a riverand I started to hear this music.
Quickly ran to my uh you know, my church where I was working,
and started playing this music. Andthen the words came to me.
(36:20):
Yeah, they just this this israre, but it just came to me.
It was a story. It wasn'tanything I knew. And then I
was talking to some of my uhmy churchmates, and they were telling me
about the history of Saugust. Thisis the city that I was living or
working in, and they said therewas an Indian princess that saved all the
(36:42):
tribes because her husband and all herchildren, the boys, got massacred,
and she had to save the tribeby floating down the river. Oh,
and that was the vision that Ihad. It was just so to me
because I was like, where isthis coming from? But it was on
the Saugust River. And so Ifeel like I'm just a conduit and if
(37:09):
my voice can be used, Ineed to use it. You know.
I never I never really well,I kind of wanted to be a star.
You are a star, but I'vemore so this has always just been
what I've always wanted to do,was just be able to work and work
(37:32):
with great people for my whole life, because you know, when we were
younger, we saw a lot ofthe great ones just drop off the planet.
They were so self destructive, youknow, and just you know,
Jim Morris and Jimmy Hendrix, JannisChoplin. You know, to me,
that was like I looked at thatand I thought, whoa, that's a
(37:52):
harbinger of doom. I don't wantto go into these spaces. I don't
want to tie at twenty seven,you know, because when you're younger,
I didn't put two and two together, like these people were having terrible,
terrible problems in their lives and stuff. I didn't know that part of it,
but I just thought that, yeah, they're having terrible problems. And
(38:15):
at the same time, like ifwe look at the the business is it
is pretty hard. And so againwhen we share our music and our deepest
feelings. It's why I really alwaystry to create sacred spaces for people to
(38:38):
perform and to or to share theirmusic, because it is an honor not
only to be a conduit for thedivine and the music and the arts that
flow through our arteries more or less, but it's also I think as listeners,
if we all of us learn howto listen deeply the person who's about
(39:02):
to share, whether it's their musicor their voice, or their artistry or
their dance, they dance better,they sing better, depending on the quality
of listening in the room, right. And I think that is our responsibility
as a community, as a humanityto really understand that it's not a bling
(39:25):
bling scroll my phone and hit thenext Spotify playlist, but to say these
are people's lives that are behind theart that is basically driving our humanity forward
to become more loving, more kind, more caring. You know, most
(39:46):
of the artists, I would sayninety nine point nine percent are not ever
thinking about dropping a bomb or knifingsomewhere in the subway. I mean,
they might be struggling with addiction,but they're definitely the most non violent people
I know. And if we canremember to honor this role that they have
(40:07):
for us, we're going to bebetter for it as a humanity. Yeah.
Well, I think I think themusic industry saw it in Bob Dylan.
He had an incredible power that evenhe he's still alive, he was
in an interview and he said,I could never replicate what I did back
(40:29):
then. It was it was acomplete like what you would call it just
supernatural. It was just completely supernaturalwhat he did. But the record industry
saw how much power he wielded overpeople, and they harnessed that to make
money. That yeah, no,I was just gonna say that is a
(40:52):
positive, is that the collective,which is a half a century ago,
could create those movements. And whatI'm hoping is that in this time that
we won't be silenced, that wewill have people that will dare to bring
out these songs and these movements thatwill lead us to a more peaceful place.
(41:15):
Well, that's been my goal comingthrough pandemic, with all the bizarre
changes we saw even within our communitiesand how people responded to one another.
It was just my motto to keeplive music alive and do whatever I could
(41:35):
in my own little world to makesure that children learn what that is,
what what is live music? Yeah, because you know, I just saw
all of a sudden there was thisfor the rest of our lives, and
(41:55):
I thought, oh my goodness,I am not going I am not going
out this way. No no,no, no, no, yeah no
no. I wanted to thank youfor keeping that more or less the hope
alive, for keeping live music present, for supporting kids and communities. To
(42:22):
you know, if we don't gatheraround a fire, we gather around a
piano. Thank you so much,Rebecca for sharing your wisdom and your voice,
and I wish you much success onyour new album, The Tree of
Life. It goes very fast,yes, yeah, yeah, many blessings
to you and to our listener.I always remember to share the show with
(42:46):
diffends coming visit me on my websiteRebecca Herald Music. Great, okay,
we'll do. You're welcome. Yougirls all right by me by ye Lo
Welcome to Voice Rising with Kara John'sDad. Enjoy weekly conversations with leading luminaries,
pioneering visionaries, singers, poets,musicians, and sound healers as we
explore the profound role our voice playson the path to self realization and global
enlightenment. The internationally acclaimed singer,composer, author, healer, recording artist,
(00:24):
voice expert, creator of Voice YourEssence, and founder of the School
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Everything in this world vibrates, everythinghas a frequency. A pioneer in the
field of voice work and transformational songwriting, her breakthrough methods are helping thousands of
(00:46):
people worldwide fine tune their body,mind, spirit system and unlock the energetic
frequencies of limitless creativity, health andabundance. Share your voice, ask your
questions, join in the conversation,receive life changing positive transformation, and rise
together to create a sound world.And here's your host, Kara Johnstad.
(01:14):
Hello, all you beautiful souls outthere. Welcome to another enlightening episode of
Voice Rising, where we explore thetransformative power of voice and music. And
today I am delighted to welcome theincredibly talented composer and pianist Rebecca Herald.
(01:34):
She's based out of Bentonville, Arkansas, and Rebecca is a celebrated musician whose
new album, The Tree of Lifewas beautifully recorded and produced at Imaginary Studios
in Wyndham Hill. No, it'sactually Wyndham County, Vermont, and we're
going to be diving into the inspirationbehind this captivating collection of compasty physicians and
(02:00):
exploring the themes of healing and transformationthrough music. So join me and welcoming
Rebecca to the show today. WelcomeRebecca. So good to have you.
Thank you so much. Good tohear your voice. Yeah, it's beautiful
to hear your voice. And onceagain, congratulations on your new album.
(02:22):
You have a lot of albums outthere, so yeah, so share with
it, well, at least morethan one, right, I think,
share with us. How many albumsdo you have out there that we can
enjoy? I think how many too? No, I'm in the process of
(02:44):
organ on my third one. Thatis so cool, because I feel like
you already have at least five.I know, well, some days I
feel like I have five. Idon't. Yeah, it's so funny,
You've just been accompanying me for manyyears with your music, and that's why
(03:05):
I guess. I know you havethis this new album, but I know
you know your music for at leastover ten years. So I was like,
Oh, she's got to have atleast at least a million albums.
Yes, So tell me, Rebecca, what inspired you to create this your
(03:28):
latest album, the Tree of Life? So where was the inspiration? Well,
my first album was The River ofLife, and the River led me
to the Tree. I was thinkingabout it. It was like the tree.
This album actually has a lot ofdifferent genres and different styles, and
(03:52):
I started it seven years ago,like pre pandemic and that callelujah that was
kind of what happened through the pandemic. I finally released it. It has
been a long train coming, andI just I kind of felt like I
(04:14):
my first album was squarely planted intothe new age genre, which I'm not.
I'm not unhappy about that, andI totally get that the music has
that feel, but I've always whenI started to do some of the music
up that imaginary road on this secondCD, I know that there was some
(04:39):
uncomfortable ness about my styles just becauseI like rock, I like blues,
you know, I think you mightrelate to that. As a singer,
I feel like my voice has myvoice has always gone in a different way
than my classical piano, and soit was a real challenge. It was
(05:00):
a challenge for me to you know, stay with that and stay uh,
you know, true to true tomy artistic vision and then get interrupted by
this dog one bug, the bugthat bit the world. Yeah, I
mean everything just stopped, you know, everything just no, it just stopped.
(05:28):
It might also be why you're now. I don't know if that's the
reason why you're in Bentonville, becauseyou used to be on the East coast,
and that is exactly why I'm inDentonville, you know, Yeah,
it was just it. Really,we are still or I believe we are
still healing from this lockdown shut down. Our nervous systems are still learning to
(05:53):
breathe deeply and to trust. AndI think, you know, the Tree
of Life was so beautiful about thetree you know itself? Is that the
trees, at least the one outsideof my studio window, it's over one
hundred and five years old. Andthey teach us to go slow and study
it's like you don't have to click, you know, like the river can
be slow, but yeah, butwhen the river gets really really slow,
(06:17):
so now she starts getting stagnant somewhere, you know. But the river needs
to move and rush. But thetrees they root, and they root in
one place and they grow for many, many years, and they survive storms.
I mean the ones in Berlin thatI'm looking at right now. I'm
sitting in Berlin. You're in Arkansas, and the producer of the show is
(06:40):
currently in Brazil, which is justamazing. Yeah, we have an international
happening here. Well, I meanI think home times they're international, but
in the moment they're I think inBahia, but they're also on the East
coast. Many times, I wasvery good, very good. Oh the
(07:06):
famous drum Corps, Yes, yes, but yes so so the trees.
The trees, they basically we gotwhere we really went out on the limb
of the last few years, soto speak, and they're really rooting us.
Right. So you're you it soundslike I want to share with our
(07:27):
listeners, you know, one ofthe tracks. But from the work that
I know, you sound like yourfirst album was I believe only piano,
correct vocals, but no lyrics reallynothing lyrics, right, So I took
(07:48):
a risky turn. Yeah, yeah, good, Well I would love to
to play first of all, fromyour roots. Let's play this the title
rhapsody, and then we can gomore into your process also as a songwriter
and as a vocalist, and thenshare with our audience, you know,
other songs of this album. Sodo you want to say anything before we
(08:11):
listen to this track or do youjust want to die right in? Well,
be rhapsodic, just let yourself bemoved by the music. Beautiful is
a very spontaneous emotional response to something. It doesn't even need to be music.
It could be a painting, butwhen it's rhapsodic, it overtakes you.
(08:33):
Yeah. Okay, all right,let's have at it. Let's all
surrender out there. Okay. Sothis is a track Rhapsody from Rebecca Harold's
new album The Tree of Life.Yes, look at you? You get
(09:50):
any many men to beautifully raapsotic?That is rhapsody, which is by Rebecca
(11:56):
Harold is with us in studio today. So that's a good song. Oh
thank you say yeah you used toplay it with dancers? Yeah you did.
A lot of work with dancers.You you were basically, as far
as I know, alive a companyistfor the Boston Boston Ballet Company. That's
(12:20):
where I really took a lot ofa lot of my songs took form in
those studios. I would say,yeah, So you have in the liner
notes, Rebecca of this album,you talk a little bit about the divisions
that you see in the world today. So how did that weave itself into
(12:43):
the concept of the Tree of Life. What are your thoughts on the divisions?
What I was really intending was forthere to be the Tree of life
is like a play place where thereis no there are no divisions. And
(13:03):
especially in music, I felt likeall these genres and all the different styles
that I play, I wanted themto have a voice, you know.
I just wanted to have a placefor them to play and in the and
for me, music is that placewhere there doesn't need to be a division,
and I don't think there needs tobe separation. I understand it from
(13:30):
a business sense, you don't getme wrong. I totally understand it from
a business sense. But from acreative sense, I think it really usurps
our creative passion, our creative firewhen we start dividing out what it is
that we do so that it'll goa certain place. I mean, in
(13:52):
all honesty, we don't really haveany control over where the music goes.
So that was my thoughts. Itwas just that let's give it a try,
and let's that's my vision for theworld. You know that we all
get along. Yeah, well,I think I think for our listeners,
you know that who are not musicians, they don't realize that as musicians were
(14:16):
often kept in a certain genre orbox. Like you said, that makes
it easier for the business. Butimagine if we're cooks and we're just cooking
the same let's say, even ifit's a delicious sour dough bread every day,
right, But we never do Chinese, we never do Italian, we
never do pancakes. We we justdon't. We don't allow ourselves to have
(14:41):
that different those different tastes or thosedifferent you know, we don't have a
salad because we're always eating just thatsour dough bread. Right. And I
think what I used to say,because for people that might know a little
bit of my music, it's thesame kind of thing that I was,
you know, doing whatever it waswhatever boxes people wanted to put it in,
(15:05):
from jazz to classical too, Imean, whatever it was. I
remember I told one interviewer, yeah, I want to wear the shoes,
not the boxes. And he wasreally confused, but I was like,
you know, I don't want theboxes, you know, Yeah, that's
(15:26):
like one of my quirky Yeah,because I'm a quirky girl. And imagine
that you just have one pair ofblack pumps and you're not allowed You're just
not allowed to wear the flip flopsor the plateaus or you know, because
somebody has an idea of Yeah,but you're only a pianist. So what
(15:48):
was it like for you to thengo from playing piano and and well not
only playing piano, but being acomposer and also being a composer or who's
improvising live in spaces like with dancers. I mean, that's a very that's
a very unique thing to getting intouch with your not only your singing voice,
(16:14):
but your own words what you wantto authentically express. What was that
process like for you? Uh,challenging? Yeah, lots of lots of
tears. Well, I mean it'sit was up at the studio. I
mean the guys were great. Theywere very encouraging. But I don't think
(16:38):
that I have not had that muchexperience singing in the recording studio. Yeah,
so that is a whole that's awhole different ballgame. So it was
it was challenging for me. Iwas praying a lot, praying a lot,
(17:00):
and as far as the vocal lyricsand coming up with the words.
One of the songs is straight up, it's a verse out of the Bible.
It's psalone, he shall be likea tree. And I just kind
of took artistic liberty. God don'tstrike me down with how to phrase certain
(17:23):
things. I just rewrote it inmy own kind of way, like a
story. But of the two thatyou chose, those those are love songs
about God as well. They're aboutThey're about the way that I see God
sees me right, And so I'vealways been I've always written from a different
(17:44):
perspective, and sometimes people don't understandit. They think love song, who's
it for? And it's like,well, that's a love song that God
is singing to me. Actually,the one song anything for you. I
just was so overtaken by God's compassiontoward me. I was moving around a
(18:07):
lot. I haven't seen you ineight years, my dear, yea years.
I was in Berlin eight years ago. Yeah, I saw you in
a concert in Berlin, exactly inBerlin. And how many how many moves
have you done in eight years?That's the infinity number? So how many
moves have you done? I havedone one, two, three, four,
(18:33):
this is my fifth. Yeah,that's a that's and that's a lot
of moves. When I moved priorto that, yeah, I was just
clinging to the fact that no matterwhat, I will be taken care of,
you know, because I know he'lldo anything for me. And that
was really the consolation that I felt, because I was it just felt like
(18:57):
my world was being cassy turvy.Everything everywhere I went. I was like,
Okay, new living room, newnew backyard, new everything, new
neighborhood. I'm just like, whatis going on? And then I just
going to the fact that well,he's the same today, today, tomorrow
(19:17):
and all eternity. It's the divine, It's it's all the same, and
he'll take care of me. Didyou have to move with your grand piano
just out of curiosity? Or Idon't have you don't have a grand piano.
That's I don't have a grand piano. I do you know I have
an upright piano. I wish.Yeah, Yeah, it's my dream to
(19:38):
get a grand piano. I havefound a ballet here in the Ozarks,
and I'm playing for them. Theyactually just received a grand piano as a
donation. Beautiful. The gentleman,the artistic director got it for me.
So I feel so blessed. He'slike, we want you, girl,
(20:00):
need you down here. Nice.Yeah, it's a it's a really really
opulent grand piano. It looks morelike a harpsichord in that it's painted very
extravagantly, sort of like the Renaissanceperiod. I think that suits a composer
who likes to wear fancy shoes.Fancy shoes or no shoes. Yeah,
(20:25):
barefoot and free. Rebecca. Let'slisten then. Now you shared a little
bit about Anything for You, whichwas really about this space of deep not
only deep trust and faith, butthis understanding that God is he has your
back, right, the universe hasyour back. God's got your back.
So let's listen to your track offof the Tree of Life album. It's
(20:48):
entitled Anything for You. And hereyou're going to hear yeah, Rebecca's voice
coming into her Yes, I woulddo anything for you. I'd pull off
(21:18):
the store out of the moon andI would give her everything to you.
It wouldn't always be true to you. I walked the ocean shore looking for
(21:48):
he opened or waves of dark andwashed into the sea, clouds gathered darken
or elseways keep pulling me on myfierce gave way to honesty. I would
do it, say for you andpull all the starsher. I would give
(22:19):
everything to you. It would allbe true to you. I'm not sure
(22:41):
I'm listen E I learned story.We'll I smell the sweet way passing through
this bad wanted a nice flat backcover ski now my sad smile to day.
(23:03):
I want to do any anything foryou and pull all the stars up.
I will give everything to you.It would aly be true. I
(23:23):
would be true, always be trueto you, anything for you. Off
(23:45):
of the new album The Tree ofLife. Yeah, Rebecca, do you
have Do you have a daily voicepractice or a singing practice or is it
something that just erupts and when you'rein the mood. Well, songs definitely
erupt and come when I'm in themood, or even when I'm not in
(24:10):
the mood, but practice like atthree o'clock in the morning or exactly.
That's some of my best material.But the daily practice I have actually just
started. I decided I'm gonna,I'm gonna do this. I'm gonna I'm
(24:33):
gonna take this day by day andlearn about my instrument. Like you,
You and I, I think westarted having zoom lessons before zoom was even
popular. It was you and I. We were or something. We were
blazing trails. We were we wereblazing trails exactly what I mean. I
(25:00):
I have this theory after working withI mean literally thousands of people all around
the world, right and thousands ofvoices, and also as a songwriter myself,
knowing how scary and how fragile itis to really express our deep heart,
you know, what we really feelwithout putting any filters on it.
(25:22):
And that now we get again backto the business. There's a lot of
people that are writing songs. They'rejust like, hey, are going to
take a theme and I'm gonna,you know, do my thirty two bars.
I'm going to do my little youknow, my little hook. And
there are people that are literally writingin the moment in Chatgypt. It's it's
very scary, but there are peoplelike you and I or Joni Mitchell or
(25:42):
Laura Niro or a lot of othergreat writers and they're kaoking and they're really
bearing their souls. And so mytheory is, and maybe you tell me
if this resonates with you. There'sa lot of big, big voices out
there that we know, Let's sayWhitney when she was young Celene, but
(26:07):
they were not writing their own tunesso period. And then there's a lot
of songwriters that we know from LeonardCohen and Stinging, and I'm trying to
think, I guess we can't saythis about Jonie because she had a very,
very expressive voice, but like alot of the songwriters, they have
(26:27):
a smaller range and they have amore constricted voice. And my theory is
that we always the voice is thereas a guardian and a guard for our
deepest heart felt emotions, and whenthe singer's voice is really really big,
(26:49):
then the protective mechanism is I relateto the song, but I didn't live
it while writing it. And forthe songwriters, it's it's more like,
Okay, I am putting the truthout there like, for example, Leonard
Cohen, incredible poet, but I'mnot going to stretch the voice. And
(27:11):
for me, the thing that alwayswas so transformative is when I could dare
to have my voice as flexible,big and a huge range as much as
the emotions that were running through mybody and at that crossroads between incredibly honest
lyrics and very very big, expressivevocals, and that I saw time and
(27:37):
again when people went into that place, it was like giving birth to their
soul. I literally when I wascoaching, I fell a midwifing the birth
of a soul and there was noplaying safe anymore. So how is it
for you? Do you sense adifference? Because I definitely sense when I'm
really, really, really honest withmy lyric, my is in an earthquake
(28:03):
in the beginning when I'm singing it. And there are some songs I haven't
been able to even sing on stagebecause they're that that powerful, raw,
that raw. Yeah. So howis it for you? Which are are
there certain songs that also you you'vethat are lying either unfinished because the emotions
were just too raw still yeah,or you're hitting the polls? Yeah?
(28:30):
Yeah, I just I wrote throughthe pan when I moved out here.
It's sitting on the shelf because Ijust haven't really I haven't figured it out
yet, like what is what wasgoing on? But I really I feel
like I am at that I amat that precipiece or that crossroads where I
(28:52):
am I'm determined to you know.I put myself was like this is gonna
sounds funny, but like Tom Waitslike yeah, that man, that man
has got like the most and andand LIA love it. Like these people
(29:12):
that are not like known for likeoh they have the best voices like Luther
van Dross or you know, thesmoothest silk. But I like, I
want I want to grow and beingable to tell the story and just however
I can tell that story, whetherit means I go big or not,
(29:33):
it's not I I'm trying not tothink about that because it freaks me out.
Now. I was trained operatically,yeah, and so my training with
opera was it's it kind of tripsme up with the pop stuff. I
just think I made the wrong choicewhen I was in college. I think
(29:53):
I just made the wrong choice.And I'm a big girl now and I
could admit it. I probably shouldnot have, you know, majored in
opera. I love operatic music.It's the most gorgeous music. So it
did help me with my writing inthat way because I feel like I love
to write those rhapsodic piano parts.And that's the other thing for me as
(30:19):
a singer, And this is whatI'm working on. I've only just two
months ago I stopped sitting at thepiano and doing my vocal warm ups because
somebody said to me, singing isa leap of faith. When you have
nothing to get your note from exceptwhat's inside of you, that's when you're
(30:40):
gonna start growing as a singer.And I have. I've started to.
Really My next album is gonna bemost lot different singing, a little bit
more bluesy, a little bit morerocky. But I'm excited about it because
it's helped me to learn to usemy voice as an instrument rather than rely
on my piano to help my voicebe buffeted, if that makes sense.
(31:06):
I've always used my piano to sortof surround my voice. Well, I'm
sure that you used your piano alsoto support Anybody who studied voice knows that
often there's a you know, theteacher is playing scales or warm ups using
the piano a piano accompaniment, andyet in other there are many cultures where
that's not true, where they're doinga cappella's, you know, a cappella
(31:30):
music, where they're working with drums. The thing is, which I find
is really interesting what you said aleap of faith, because I also think
that many people that's you know,singing in front of people is one of
the most terrifying things. It isif you research this, so people really
literally say that if you ask someoneto sing in front of, you know,
(31:55):
strangers, they will literally say,I prefer basically to die then to
ever singing front. I mean,it's yeah, And I think that,
you know, it's a leap offaith because we everything is so exposed and
the channel to our heart there areno masks. When you sing, you
(32:16):
can tell if somebody's kind of fakingit, and the people that really touch
us the most. For a longtime, I had the whole voice,
your essence, you know, thetraining, and it was basically exactly that,
how can I how can I havethe courage to be authentically me in
(32:39):
this world where everybody wants you ina way to be something else? Right.
The easiest thing would be for youto do a second New Age piano
album. That would be easy,right, But you chose that you chose
the path of the either the pathof the river, which is like,
(33:00):
you know, let's see what it'slike to go around the bend and not
not know. As John John Donahuesaid in a beautiful last poem, which
was an unfinished poem, it saidsomething to the effect, I want to
live my life like a river,always surprised kind of by I can't remember
if it was its own unwinding orbasically you know, you're you're in a
(33:23):
river and you you don't know what'saround the band, You really don't know.
And and to allow ourselves to keepthat that freshness right as we and
to really be artists because I thinkthat you know, painters are allowed to
make little sketches and and and theyget to have the blue phase and the
(33:45):
the the you know, the I'mgoing to be abstract and I'm going to
be realists. Talk about in themusic business, can I can I do
an abstract album and then I'm goingto go and do a classical woman then
I mean some artists like your mom, Yeah, they managed, but it
(34:07):
takes a lot of put spot andit takes a lot of Yeah, I
think it's It's also it's a differenttime because a lot of the artists now
we're unless you're Beyonce, you're reallyhaving to push your own music out there,
right, there's a lot of independentartists that the labels have kind of
(34:30):
fallen apart. Yeah, exactly,God, yes, Spotify is l Yeah.
I mean when I think of likethe my favorite singers were the ones
that we're just really intimate, youknow, obviously, the bigger voices like
with Me and all that just knockyour stocks off, and you know,
(34:52):
it's just something super natural going onthere girls. You know what I mean.
When I yeah, i hear hersinging, I'm like, she's Louise,
it's the chorus of angels inside thatwoman's body. Yeah, yeah,
you know. But like but then, like janaesein at seventeen, I learned,
(35:15):
yeah, you know, has awhispery let me tell you something,
And it ripped my life apart becauseat seventeen I learned the truth too,
you know what I mean. Andit's just those are the kinds of things
and if I can write like Igot a song and I heard that this
(35:36):
had happened to see the next I'mnot comparing myself to her her say,
but this one experience that she hadwhen she wrote Rhiannon. It was given
to her like in a vision,and then she found out much later that
it was actually a story. Therewas actually a story about this person.
(35:57):
Yeah, a similar thing happened tome, and it'll be on my next
album. It's called Saugat Song.And it was completely unfunn owned to me.
I just sat down by a riverand I started to hear this music.
Quickly ran to my uh you know, my church where I was working,
and started playing this music. Andthen the words came to me.
(36:20):
Yeah, they just this this israre, but it just came to me.
It was a story. It wasn'tanything I knew. And then I
was talking to some of my uhmy churchmates, and they were telling me
about the history of Saugust. Thisis the city that I was living or
working in, and they said therewas an Indian princess that saved all the
(36:42):
tribes because her husband and all herchildren, the boys, got massacred,
and she had to save the tribeby floating down the river. Oh,
and that was the vision that Ihad. It was just so to me
because I was like, where isthis coming from? But it was on
the Saugust River. And so Ifeel like I'm just a conduit and if
(37:09):
my voice can be used, Ineed to use it. You know.
I never I never really well,I kind of wanted to be a star.
You are a star, but I'vemore so this has always just been
what I've always wanted to do,was just be able to work and work
(37:32):
with great people for my whole life, because you know, when we were
younger, we saw a lot ofthe great ones just drop off the planet.
They were so self destructive, youknow, and just you know,
Jim Morris and Jimmy Hendrix, JannisChoplin. You know, to me,
that was like I looked at thatand I thought, whoa, that's a
(37:52):
harbinger of doom. I don't wantto go into these spaces. I don't
want to tie at twenty seven,you know, because when you're younger,
I didn't put two and two together, like these people were having terrible,
terrible problems in their lives and stuff. I didn't know that part of it,
but I just thought that, yeah, they're having terrible problems. And
(38:15):
at the same time, like ifwe look at the the business is it
is pretty hard. And so againwhen we share our music and our deepest
feelings. It's why I really alwaystry to create sacred spaces for people to
(38:38):
perform and to or to share theirmusic, because it is an honor not
only to be a conduit for thedivine and the music and the arts that
flow through our arteries more or less, but it's also I think as listeners,
if we all of us learn howto listen deeply the person who's about
(39:02):
to share, whether it's their musicor their voice, or their artistry or
their dance, they dance better,they sing better, depending on the quality
of listening in the room, right. And I think that is our responsibility
as a community, as a humanityto really understand that it's not a bling
(39:25):
bling scroll my phone and hit thenext Spotify playlist, but to say these
are people's lives that are behind theart that is basically driving our humanity forward
to become more loving, more kind, more caring. You know, most
(39:46):
of the artists, I would sayninety nine point nine percent are not ever
thinking about dropping a bomb or knifingsomewhere in the subway. I mean,
they might be struggling with addiction,but they're definitely the most non violent people
I know. And if we canremember to honor this role that they have
(40:07):
for us, we're going to bebetter for it as a humanity. Yeah.
Well, I think I think themusic industry saw it in Bob Dylan.
He had an incredible power that evenhe he's still alive, he was
in an interview and he said,I could never replicate what I did back
(40:29):
then. It was it was acomplete like what you would call it just
supernatural. It was just completely supernaturalwhat he did. But the record industry
saw how much power he wielded overpeople, and they harnessed that to make
money. That yeah, no,I was just gonna say that is a
(40:52):
positive, is that the collective,which is a half a century ago,
could create those movements. And whatI'm hoping is that in this time that
we won't be silenced, that wewill have people that will dare to bring
out these songs and these movements thatwill lead us to a more peaceful place.
(41:15):
Well, that's been my goal comingthrough pandemic, with all the bizarre
changes we saw even within our communitiesand how people responded to one another.
It was just my motto to keeplive music alive and do whatever I could
(41:35):
in my own little world to makesure that children learn what that is,
what what is live music? Yeah, because you know, I just saw
all of a sudden there was thisfor the rest of our lives, and
(41:55):
I thought, oh my goodness,I am not going I am not going
out this way. No no,no, no, no, yeah no
no. I wanted to thank youfor keeping that more or less the hope
alive, for keeping live music present, for supporting kids and communities. To
(42:22):
you know, if we don't gatheraround a fire, we gather around a
piano. Thank you so much,Rebecca for sharing your wisdom and your voice,
and I wish you much success onyour new album, The Tree of
Life. It goes very fast,yes, yeah, yeah, many blessings
to you and to our listener.I always remember to share the show with
(42:46):
diffends coming visit me on my websiteRebecca Herald Music. Great, okay,
we'll do. You're welcome. Yougirls all right by me by ye Lo
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