YouSaid · the spoken record

Suzanne Ciani

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49
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2021-08-17
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2021-08-17
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Every line below is reproduced as it was said and linked to the record it came from. Nothing here is summarised or generated. Directory · Search · Corrections

  1. “I'm trying to be kind to my sister and give her a birthday party, but I guess she doesn't want any of that. So kindness is a two-way street, right? You have to be able to receive somebody's kindness. I never gave myself credit for receiving that wonderful birthday party, but now I see it.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  2. “Kindest thing that anyone has ever done for me. Kindness is a wonderful idea. You kind of have to be vulnerable to receive kindness, even to be aware of it, maybe the kindest thing anybody did was give me a wonderful birthday party. That's how we started this conversation today.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  3. “Sure, Seven Waves is wonderful. Yeah, I mean, it was a studio album. It's all electronic. And by the time I got into a position to record, I was no longer doing just bukla. My bukla had been stolen and broken and all that. It is a studio album. And then another album that's interesting is bukla concerts 1975. This was done by a label in Manchester, England called Finders Keepers and it was a recording that was just done happenstance wasn't intentional recording. It was a quadruponic performance that was recorded probably with one mic in the room. But it is a historic document of the early performance on the Bukla.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  4. “Cultural, you might like content that I don't like and whatever. There are a whole lot of different bubbles of content. There's no judgment except your own. I like to think that I like all kinds of music that I like. I'm not a big fan of rap, but I can appreciate a really good rap. So there'll always be this hierarchical creative content what pile of stuff. The great artists We do just count them on our fingers, but it's also a lot of fun. There's nothing wrong with that. Everybody should be out playing with their analog module ever since. It's fabulous, fun. It's good for your brain. So do we all have to be great artists? No. And are these tools useful as spiritual, creative? Tools, yes.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  5. “Yeah, the quadruphonics, and of course now everything's integrated. Visuals are integrated. It was like that 50, 60 years ago, but not on that scale. Is it all wonderful? I don't know. Some of it is just, I don't know, I'm about to go see Immersive Van Go. I don't know if that's going to be like, but that is a new experience of traditional art form. And I think that our immersive, we're going to be immersive. from now on. So that's all. You need the content. It's not enough to have an immersive van Gogh space without Van Gogh. There's something to put in there. And I haven't seen it yet. But all of these razzle, dazzle things that are going to come up, people talking about having 80 speakers and 120 speakers. All that's wonderful, but you need content. Content is always.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  6. “To dispel any of that that interferes with the communication. And once you think of it logically that your nerves or your nervousness is nothing but a detriment to what you're trying to do. I mean, there's really no place for it. Take a deep breath and just respect your audience and respect what you're doing. It's not about you. this whole idea of being a conduit or whatever It really is that way. Your job is to channel it.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  7. “Being in the moment. Performance is about being in the moment, is an energy system that usually includes an audience, right? That is the energy that's also part of the manifestation of the music. Also performing, you have to be in the moment, and that protects you from any kind of fear. I see some young performers and they're worried, will I make a mistake? And that nervousness is not your friend. And I can talk myself out of it logically because I'm a logical person. And I say here, well, if I'm performing, do I want to make my audience feel nervous? Do I want to be nervous? Because then that'll communicate to the audience. Is that what I want them to feel? No. So my job.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  8. “Please yourself. If you have to ask, Get behind what you're doing to the point where you're pleased and listen to that little voice, if that little voice says, I wonder if that's okay. Did that sound right? I don't know. Listen to your own voice. It will tell you where the problems are or where you're not happy. So listen to that voice. There are so many little voices that we have to listen to. And I've become aware of this talking with younger people because I've always thought of my inner voice as this wonderful thing that guides me and protects me. And if I just listen to it, everything is wonderful. But I've noticed that there are other little voices for women that undermine them, that little voice that says, you're not good enough, you're not doing it right, you're not this, whatever. There's another silent voice that is not on your side. So you have to be able to make the distinction.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  9. “To a piano in that piece. It was all sound design. But you couldn't tell somebody that then. So I would go in and play something on the piano. Then when I went into my studio, I did this completely other thing. And when they heard it, they loved it.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  10. “Control the initial output of somebody. It's not strong. I always said to my clients, look, I'm going to do what I do. If you don't like it, not in a bad mean way, but go someplace else. You have that option. I'm not going to second guess myself. I wasn't very good at taking input. And I had a lot of freedom. You know, in those days, when you did commercial music, it was more traditional. It was kind of like jingles. And when you went to present what you were going to do, going to the music producer's office, and there was a piano. So for instance, on this job that I was doing for a black and decker slow-mo, cut grass, I had to present on a piano. There wasn't even anything connected.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  11. “I loved it. I was in New York City. I was in love with New York, the energy. I loved the pressure. I loved the intensity. I loved being in it every second. I did it during the week. And then my weekends were my art music. And they had a synergistic relationship because in my work music, my commercial music, I got to work in the best studios with the biggest budgets, with the best musicians and talent. I did not use those musicians for the most part on my art music. My art music was just really kind of me, but they did feed each other. I worked intuitively. I mean, I was working in an area that nobody understood, so they couldn't control me. And I really do believe in a creative job. You have to give the person freedom. You don't try to backseat drive or...”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  12. “I wanted nobody else in the room. I wanted my complete immersion in that initial first viewing. That's when it all happens. That's when you open yourself. You know, you open yourself. You take it in. You let your reflexes work. You can grab hold, you know, as a creative, you can grab hold of a tiny little cell of an idea. and then nurse it into growth i've done many many studio albums where the process is different i'll go someplace my last writing i did in venice i rented this beautiful place on a canal and brought my stuff wrote i haven't recorded that album yet but it's there the writing is done”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  13. “I think we think alike on the importance of having a framework in which to work. Blank canvas is fine. It's the canvas. The process is putting yourself in a place where you're ready to receive, where you're attentive and listening. So for me, that place has always been going to a remote place or a place where the phone doesn't ring, where nobody can find me and where I'm safe, where I'm not distracted, where there are no interruptions. It's a conscious choice of being available to the whatever it's called, the muse or whatever. I can create on command if I'm doing a job or whatever. I'm very disciplined and professional that way. But for my work, and even then, I worked instinctively. So when I was doing a commercial, for instance, I required that I be alone the first time I saw, say, a commercial that I was going to.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  14. “Well, for me, personally, some of it has to do with letting go of the financial straitjacket of work. If you're a professional, you also work for money. You're a professional, you do things. Freedom isn't all wonderful, right? Because we produce a lot within the restraints of the system that asks us to produce the power of request. I've always thought of this dynamic as, you know, in my professional life, the requests came from outside. Now I generate the requests. As my mother would say, she was very funny, but she always said the world doesn't need another album. That doesn't sound like a supportive mom, right? Yeah, you're right. I don't need to do this. The world doesn't need it. I'm not doing it or out there. The world doesn't. Need it, but I do. And so that's the freedom.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  15. “She was out, like things blurring and time and dancers. But her emotional periods were really what counted. So when the war came and she was Jewish, this was a big shift in her outlook, her work, and I've had the same shift from romantic. Early work to a shift, something changes in your outlook. And for Ilse, it was the war. Then she started doing collages and other things. But anyway, she stopped doing her photography at the age of 60. And that always terrified me because I thought in my young mind, it meant that she had stopped being an artist. An artist is forever. I mean, honestly, it's not a job. You don't quit. You can't retire. It's just there. My sister's a painter. She's painting more now. She's almost 80. She's painting more now than she ever has. She's free. She's amazing what she's doing now.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  16. “I've always related to artists as I see them in the visual arts. You can tell immediately things about artists. They have periods. They have Picasso, you know, the early period, the middle period, the late period. Artists' language can evolve. It usually goes into a stage of more freedom in the later years. I'm in that stage now. I'm in a stage of freedom. You can call it jazz, but whatever is just Ilsa had stages. Her stages were based on, yes, the technology, you know, the 35mm camera. She was called a queen of the Laika. And she used that for the first time as a serious photographic instrument. And nobody had thought of that before. They were using these large format cameras and everybody had Mia as could be to have a picture taken.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  17. “Being a young professional woman was challenging in the sense that you got distracted a lot by male-female dynamics. You were often treated or objectified as a woman so that you didn't have a professional identity. With Ilse, whenever I went to visit her on the Upper West side, the first thing she would say to me in very excited voices, Susan, Susan, tell me about your work. I want to hear about your work. Maybe I was going through some horrible boyfriend problem and I was miserable and I didn't want to focus on my work. Let me know that my work was a thing. It was a valid source of interest with Ilse. Also,”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  18. “Anyway, we're doing now her story instead of his story, his story. So that's number one. We need to really explore what's been done to say that there were no women composers, that women couldn't compose, that blah, blah, blah. I mean, this is just all based on a lack of understanding. We simply didn't have visibility. And no fault to men. It's just, you know, we love men. They created a lot of structure and systems. But my theory is not that they excluded women for any particular reason other than they were uncomfortable. They were just uncomfortable. Humans like to be with similar people and men wanted to be with men. And once the women get their critical mass, they're going to want to be with women.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  19. “Great title. I haven't seen it But a lot of those women are already dead, you know, but it's about the pioneers of electronic music and how they were there. The odd thing is that we didn't really know about each other. Technological work can be very private. So you can be in your own space and maybe not know. So I was given the endorsement, whatever, that I was the first woman to score a major Hollywood teacher, the incredible shrinking woman. And no other woman scored in Hollywood feature for another 14 years. I mean, there weren't that many openings in Hollywood, right? But I found out that there was a woman in the 40s named Elizabeth Firestone. She scored a Hollywood feature several of them. And I can't find anything out about her. I wish I had known about her. I would have talked to her. We overlapped in age. We both lived in New York. She was old and dying.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  20. “And the concept goes way back. The idea of having this type of control of sound goes way back, but it was because it's now based in technology, they kind of had to wait for the technology to be able to express it. All instruments developed oddly and gradually. If you look at the trumpet, how many versions there were before it solidified?”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  21. “And kids, when they start today, you know, it's a bit overwhelming. They look at the machine and they like, oh my God, where do I start? But then you do start and you develop a relationship and you start to interact with it and you will develop techniques. And there are techniques in so many departments. I mean, I'm a spokesperson for the analog modular, but there are a million ways to interact. It's kind of odd that National Academy of Recording Arts and Sciences thinks of electronic music as dance music, turntable music. I don't object, but I hope that this time around, we'll have a wider cultural awareness that there is in fact a new instrument. And I mean, it's been around already for how many years. I mean, what 50?”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  22. “Composer grant. I had to write a paper to satisfy that grant, and I wrote a 40 page paper about how to play the bukla. When I came back to the bookla six years ago, I had been out of the bugla for a long time. And I went and I read this paper and I based my comeback and my performances on the techniques that I had developed in the 70s. They're still valid. They're useful. I believe that there are techniques the same way there were for other instruments, the same way you have an arpeggio and a piano or a certain pizzicato in strings or things that the instrument does that's part of its language, that there are techniques. I was married to this instrument for a good 10 years and I think that's why I could distill these seemingly obvious techniques.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  23. “Concerts always start with waves because I live on the ocean, I'm listening to the waves all the time. And my first album was called Seven Waves. And all those waves were designed on the Buklock. So the emotion of the wave would go with the song. And that is just an example of the palette that you have. You have timbres that sound like sounds of instruments maybe. But then you also have sounds that don't occur in our known world. Well, they do. I mean,”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  24. “I don't actually play that a lot. It's not like a traditional keyboard. It's more of a control center. So it is used, but disassociated in your mind from playing a melody on a keyboard. That's not what it is. And these things, this is my main performance module, this thing called a multiple arbitrary function generator. And I can move these sliders and I can change pulses and change ranges and access stages. And it's very performative, really. So that's how I play. It's complex.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  25. “Their own place. If I work with an engineer from Mog, he thinks like a Mog. It's really hard to find a collaborative system. You have to find your engineer.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  26. “Yeah, is it at an angle the same way the hand is? What are you dealing with going just obvious things you have to be aware of? A lot of people design based on what's available, what the parts are. It's like people build boxes or houses because that's what's available. In other words, the materials dominate. Whereas if you just started from a different perspective, If you started not by, oh boy, what can all these chips do, but looked at what the human wants and needs. That's my speech. I did try, you know, when Bukla was passing away, I needed certain modules. And I thought, oh, I'll design them. So I started working with engineers. And I saw how difficult it was because every engineer comes from”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  27. “Get my hands in there. I'm a woman, and I can't get my hands in there. Like, why are they making them so tiny? Don Bukla went through the very same intuitive questioning. He started from scratch. Well, what size should it be? And he looked at the human hand and he started there. The same way this keyboard is”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  28. “It does. And I think in this field, it is absolutely fundamentally a collaborative situation that it's an art and engineering task. So if you're the designer, you really do need to work closely with a musician who's going to use it because, I mean, these things are very generalized anyway. I have my bukla. No two people are going to play it the same way. In fact, in modular, no two people are going to have the same instrument on many levels. Here's a perfect point about that collaboration. When I noticed that this was taking off again, and believe me, I wasn't aware of it right away because I was touring on the piano, I started to look at the Eurack systems and I thought, oh my God, they're so tiny.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  29. “Analogy with jazz is a good one because as in jazz you're working off of a structure you're not in deep space you might be usually there's some kind of foundational architecture it might be a standard song and then you riff on that you go in and out but there is a structure there underlying I also have an underlying structure but it's not based on an existing song of any kind it's based on what I call the raw materials what are the raw materials well it is the patch which is the network of communication amongst the modules the communication of the modules has to be designed”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  30. “I don't know how people played them. I was brought up and they didn't, but I was brought up on the bukla. I had hundreds of LEDs, four LEDs, the early lights, that told me the rhythm, the pace, the volume, the level of a voltage. It was all speaking back to me. I could tell where the sound was in space because there was a light pattern that showed me where it was. That feedback was an essential part of the performance of being in the moment with the instrument.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  31. “Combine all those limitations of all those instruments, all those specialties of those instruments into this big fabric of music. And that was a very thriving approach. What we have now with electronics is a bit liberated from that. You don't have range limitations. For one, I can go from below the sonic spectrum to above in a sweep. I'm not working as a composer. to maximize the limitations of those instruments. There are other limitations, but that's a different story. How do you get feedback so that you know what's happening in the instrument? That's a major part of the interface. And Don Bukla mastered that. The early instruments, a lot of them, they were opaque. You didn't know what was going on.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  32. “Lovely, but it's so limited because I can instead have a voltage that sweeps and does a variety of things I can move the sound in space. I can shift the filter. I can shift the amplitude. I can stop and start things. I can create a network of possibilities that is a new language really. It's not really about the sound. It's about the way the sound moves, not just in space, but in terms of its melodic shape or pitch shape. The traditional world of music was always based on instruments. What could those instruments do? So you had ranges, you had certain aptitudes, you had techniques that developed in those instruments so that in an orchestra, if you are smart, you could”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  33. “Developed interfaces. How does the human touch and respond and interact with the machine? There is this potentiality. You have the modules, you have all that, but you need to bring it to life. And if you bring it to life with a traditional keyboard, that's very limited because what you're saying is that you do one action and you get one result. You hit a key.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  34. “Then you have other systems like Sequencers, which produce the voltages that control the pitch. So I base my performances on four 16 stage sequences. The beauty of these instruments, the problem that we had in the early days was that somehow in order to bridge the gap between the machine and the audience, they put a keyboard on it, a traditional black and white keyboard. And then people started to play it as a keyboard. And that completely short-circuited the understanding of what this machine could do. So Don Buchla, who passed away several years ago, was this brilliant, I call him the Leonardo da Vinci of Electronic Music Instrument Design.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  35. “Okay, the system is modular, which means it has modules. And each module covers one of the aspects of the sound or music generation. So you have oscillators for sound sources and noise for sound sources. Then you have modules that are filters that will then vary that tambrel sound. Then you have volume controls. You have gates that work with envelopes. So the envelope, this is all, by the way, voltage controlled. What does that mean? That means that the shapes that are doing the controlling, like the shape of an envelope being a slow rise in decay, or a very sharp percussive sound, all of that is designed by a voltage. So you have the attack and the decay that you can specify.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  36. “That says clay, and nothing happens. And then I recovered. I burned every brain cell in my brain. And, you know, in a split second, figuring out what happened and recovering. But anyway, it was a fun time. I know people think that he comes off pretty mean, but I think I got the better end of the deal.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  37. “I wanted to play it for the audience. So I made a deal. I said, yes, I'll go on your show, I'll do whatever it is, Razzle, dazzle here with my stuff. But then I'm going to play my piece. And of course, that end of the deal was not upheld because they cut to commercial, just as I was starting to play. There were a lot of interesting things about that show. One was that in those days, there was very little memory in the electronics. It was analog mostly. There was some digital, but the digital was volatile. So what happened was that I had prepared my piece. I went back into the green room. I came out and the production person had unplugged the computer that I was using for my piece. So I come out on live TV and I push the button.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  38. “Very practical. I think that's another aspect of this whole thing you're motivated by a vision or a cause. Money is a tool. I noticed in my career, I would make money if I thought it was useful. But I was never interested in money itself as some kind of goal. So David Letterman, I was used to the fact in those days that most people did not understand. They didn't know where the sound was coming from, especially the book club, because it is very complex looking. People still laugh at it like it's some kind of a switchboard. But with Letterman, I was processing his voice. And by that time in my career, I had the high-tech music house in New York City. And I was very busy. I wasn't really that psyched about going on the Letterman show, but I did it for a reason. Because I was working on my first album.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  39. “Okay, this is my current food glob. Okay, this is a 200e. On letterman, actually, I didn't bring the book. I brought something that I had assembled called a voice box. But how did I get there? I mean, technology, I mean, it was a long journey. My dreams were all bound up in the buhla. Could play in an art gallery, whatever, but I couldn't make a touring career out of this in those days. I thought, oh gosh, I have to change the way theaters are designed. And I did that for a couple of years. And I found out that nobody would listen to me because I wasn't rich and famous. So I decided to get rich and famous so that people would listen”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  40. “Classical radio station, and you hear music by women, no. My mentor, oddly, was a photographer because I didn't know any women in my field. But I saw photography as a technological art form. And so I bonded with Ilsa Bing. She was 80 when I met her. I was, what was 20s, late 20s. So she had a huge impact in my life. The whole idea of mentorship, the role of having connection with an outside awareness of the path that you've chosen, that's important.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  41. “In the evolution of electronic music, we see that for them and myself included, of course, it was a huge opening outside of the normal structure of musical life. I was going to be a professional musician, composer, and women composers really didn't have openings. So electronic music was this instinctive promise of freedom. where you could do it all yourself. You didn't depend on somebody else outside of you to give you a job or permission. So that was the attraction. This is in retrospect. I'm seeing it, you know, at the time. All I knew was that I was aware of the bleak outlook for a woman composer in our culture. You can't help but be aware of that if you're a woman. You turn on the”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  42. “It was kind of a random choice because they were giving me a fellowship in Berkeley, and I wanted to be independent. So I went to the West Coast, knew nothing about it, and that was the locus for all of the shifting that happened in my life. I met Don Bukla, who was the inventor of the analog modular music instrument. I also went to Stanford where I studied with John Chowning. who's the father of computer music. So when I met Bukla, it wasn't a gradual evolutionary thing. It was a complete earthquake. I dropped everything. I did not touch a piano for many years. I fell in love with this possibility. Now, why? I mean, now that we are looking historically at the place of women.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  43. “Yes, I grew up in a large family and we had a wonderful big house that you could get lost in and we had a grand piano at Steinway. And I just lived with that piano. It was my safety zone, you know, my private space. And I would go in and play for hours and hours and hours. And I knew music was my place. I didn't know how what it would look like. But I did go to college and I majored in music at a women's college. And then I went on to graduate school and got a master's in music composition. And I was still very much in the classical root system. But then the break came because at that point, when I made the choice to go to the West Coast instead of going to Paris and studying with Naddy a Boulanger.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  44. “Need outside validation. It's meaningless. The only opinion that's important is your own. You are the ultimate test of whether what you're saying has strength and validity and represents your voice. So that's always a sign. And I think that's a danger when people want reinforcement. I mean, it's nice to be appreciated. And it's nice for people to have good opinions of you. But the strength comes from this integrity of not being a victim of what other people think.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  45. “Well, for me, I think my educational years were more imitative because that was the process of learning. Write out a Beethoven quartet, get close to it, right in the style of Zanakis or whomever. So once you're out on your own, I think as an artist, you are an artist because you do want to speak your own voice. So I don't see the conflict there. I think if you're stuck in a rut, you're just not consulting your own voice. And what you have to say, one of the signs of that that I notice when young people ask me about things and they want approval. The idea is that the validation is outside of yourself. And for an artist, that's not true. You do not”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  46. “And a validity that is original, the same in art, I relate a lot to the visual arts because I have a sister who has been in my life my whole life, who's a profoundly wonderful painter. And going to a museum with her is an amazing experience because she gives you new eyes to see through that root system, but also to understand. We all have visceral responses to art and to creative things. We have our opinions, we have our reflection, but there is a deeper understanding and knowledge that you can bring to an experience that will deepen your experience of that works on many levels. Music you can appreciate just Likely in the background, or you can have a deep conversation with it.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  47. “Originality is the lifeblood of creativity, and originality doesn't mean that you don't interweave existing. You know, we are an organic system. We live in the root system of our culture and our history. And we acknowledge that history. I acknowledge Beethoven and Mahler and Chopin. But originality is when you really have something to say and you're speaking directly from who you are, whatever that is. And it gives strength to whatever it is. When I listen to music, for instance, people send me things. I can always tell if it's something derivative or trying to be in the cooking mold of some existing thing, or whether it just has an energy.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  48. “Okay, so I found in the backyard a bent old pan and the pan was not flat on the bottom. And so my father, he wanted to throw it away. And I said, well, why don't we just put it on the cement floor and pound it on the flat surface of the garage and it will come out flat. And he said, well, that's a brilliant idea. That's wonderful. That's amazing. You know, it was just flooded with the sense of, yes, I'd come up with an original idea and it was a useful idea. And I was appreciated for it. So I don't know why that came up to me this morning. I haven't thought of that in 70 years. Maybe you weren't looking for that”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source

  49. “Oh my, I've had such a long history. That's a long looking back. I mean, the first thing that I was proud of probably as a child was, I mean, this has nothing to do with me music.”

    2021-08-17 · Invest Like the Best · Suzanne Ciani - Exploring the Creative Process - [Invest Like the Best, EP. 239] · IDENTIFIED FROM THE TRANSCRIPT · source