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When there is all of that insecurity and questioning, what does it mean and what will it be and all of that kind of stuff, too, there is the part of me that is just like, "Suck it up! Get over yourself. You have an opportunity to really be who you are and other people don't, so get over your bullshit and get out there and try to do something. Scream your head off, if that is what you feel is right." (Laughs) In Crystal Beth, that is kind of what happens. It is funny how those things feel. Even though it is such a huge thing, it feels trite to talk about it.
AAJ: Because of what is happening in the world?
BF: I think because there is a lot of American tendency to be "inspired by someone's struggle" and use that as a torch to elevate yourself through your own trials, or whatever. But the reality is that it is a very human characteristic to see someone and be inspired by them and have that affect your life. But it is often looking at the person as a type of celebrity and taking some sort of power in that.
I feel like it makes me recognize, like, "You truly have a great amount of privilege. What are you doing with that privilege?" That feels like a different kind of equation. Something that is coming up for me in general is that, even when you are having a rough time, life is comparatively easier than most other places in the world.
I have gotten more interested in the therapy aspects of music, and with the Frank Agency side of things too, more and more all the time. I am curious in terms of like what is coming up next. I am curious to see where that is going to lead because it is becoming more important to me, thinking about it as therapy as opposed to the business of music.
I don't remember who wrote about this, but there is that concept that music has existed since the dawn of civilization, but the music business has only existed with increasing frequency over the last couple of hundred years (laughs), and then within the twentieth century as what we know it to be now. That is a good reminder of what is really going on, as opposed to this other business aspect that has been created around it that is not the thing itself.
Of course, everybody who plays knows that. You feel that when it is happening. That is why you keep doing it. There is this huge conversation about what is happening in the music business. Part of Frank is working in that business, but this is not at all what any of those things are about, those experiences.
Crystal Beth for a healthier world, primal scream therapy. I am a big advocate! (Laughs) Everybody get blindfolded, hang out with your friends, do some screaming exercises. It will be a better world for it. I might be the woman who is standing up on Broadway talking at random, and at some point that might be what the path actually leads to.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.