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Interview: Joan as Police Woman (Pt. 2)
Interview: Joan as Police Woman (Pt. 2)
- Genre : More Music
- Type: News
- Author : Super Admin
- Date : Wed, 15 Oct 2008
I know from my own writing experience that it can be very cathartic to write about personal loss–that probably goes without saying. But I’m not a musician, let alone a touring musician, so I wonder what it’s like to play these songs night after night–and revisit emotions that you may not otherwise revisit so frequently?
For me, creating a place to house those emotions has helped me better understand how loss affects me and to ultimately find more joy. It’s not like the knowledge of one's loss is ever gone, it’s just placed somewhere else, so one can live a normal life. Expressing my feelings about it in the most beautiful way I know how helps me remember that it’s not as desperate of an experience as it might seem if it had just remained untouched and smoldering in my body and mind. Singing about it reminds me that I am not unique, that everyone experiences the same general troubles, and this is where I feel the most thankful that we have the power of communication. As time passes, it reminds me of the honest feelings I had at that time. If I didn’t have the songs, I know I would re-negotiate my memories and decided that I felt a way that I really didn’t. I don’t know if it’s possible to remember honestly how bad/hurt/abandoned/angry/depressed you feel. I think it’s hardwired into humans to remember a lighter experience, so that there’s some momentum to go on. Music is such a good meter for knowing that feelings can change, things get better, life truly does go on.
You’ve had a pretty interesting career arc thus far. I wanted to touch on a few key plot points–starting with your classical training. Formal education gets a little pooh-poohed in creative circles sometimes (and unfortunately we’re seeing things like music classes cut out of high schools and middle schools). In hindsight, how was it for you? Decision well made and money well spent?
Oh, man, I will never disrespect my classical training. I started playing violin because they offered it in my public school in 3rd grade. Anyone could rent an instrument for $10/year. If this program had not been offered, I don’t know what I’d be doing now. Most importantly, it taught me discipline. I will never be grateful enough for that. That is how one gets shit done! And beyond that, I love the classical repertoire. When you play a Brahms symphony, for instance, you learn early on how music works, how themes return and go through metamorphosis. I learned that there really are no rules, you have endless possibilities at your disposal. Any composer who is known today is known because s/he broke rules, or did something differently or more magnificently. I don’t hear that much difference between classical and any other form of music. Radiohead are making classical music in my opinion.
You went on to work with a number of pretty amazing singers and songwriters–some of whom were fairly iconic already by the time you came into their orbit. Have you ever been starstruck? When was the last time?
Meeting Nick Cave was pretty insane, mostly because of his persona. But damn that guy is down to earth. I was starstruck recently when I saw Neil Young play, and I was just in the crowd! That person is a living god. I think I was most starstruck, though, when I met the Dalai Lama. Now that dude is famous. That was in 1997, when I played electric violin for a peace conference.
The part of your audience that knows you just from the Joan As Police Woman albums would probably be surprised to learn of your more sonically aggressive past. What are your favorite albums when it’s time to turn the volume up to 11?
Bad Brains - Bad Brains
Jesus Lizard – Goat
The Nation of Ulysses – 13-Point Program to Destroy America
Grifters – Crappin’ You Negative
There are some political rumblings on the new record, and it ends with an ode of sorts to America–it ends on a swinging, dare I say hopeful note. So it’s safe to say that you’re a McCain woman?
Ha. I am a hopeful person, an optimist. I know it
For me, creating a place to house those emotions has helped me better understand how loss affects me and to ultimately find more joy. It’s not like the knowledge of one's loss is ever gone, it’s just placed somewhere else, so one can live a normal life. Expressing my feelings about it in the most beautiful way I know how helps me remember that it’s not as desperate of an experience as it might seem if it had just remained untouched and smoldering in my body and mind. Singing about it reminds me that I am not unique, that everyone experiences the same general troubles, and this is where I feel the most thankful that we have the power of communication. As time passes, it reminds me of the honest feelings I had at that time. If I didn’t have the songs, I know I would re-negotiate my memories and decided that I felt a way that I really didn’t. I don’t know if it’s possible to remember honestly how bad/hurt/abandoned/angry/depressed you feel. I think it’s hardwired into humans to remember a lighter experience, so that there’s some momentum to go on. Music is such a good meter for knowing that feelings can change, things get better, life truly does go on.
You’ve had a pretty interesting career arc thus far. I wanted to touch on a few key plot points–starting with your classical training. Formal education gets a little pooh-poohed in creative circles sometimes (and unfortunately we’re seeing things like music classes cut out of high schools and middle schools). In hindsight, how was it for you? Decision well made and money well spent?
Oh, man, I will never disrespect my classical training. I started playing violin because they offered it in my public school in 3rd grade. Anyone could rent an instrument for $10/year. If this program had not been offered, I don’t know what I’d be doing now. Most importantly, it taught me discipline. I will never be grateful enough for that. That is how one gets shit done! And beyond that, I love the classical repertoire. When you play a Brahms symphony, for instance, you learn early on how music works, how themes return and go through metamorphosis. I learned that there really are no rules, you have endless possibilities at your disposal. Any composer who is known today is known because s/he broke rules, or did something differently or more magnificently. I don’t hear that much difference between classical and any other form of music. Radiohead are making classical music in my opinion.
You went on to work with a number of pretty amazing singers and songwriters–some of whom were fairly iconic already by the time you came into their orbit. Have you ever been starstruck? When was the last time?
Meeting Nick Cave was pretty insane, mostly because of his persona. But damn that guy is down to earth. I was starstruck recently when I saw Neil Young play, and I was just in the crowd! That person is a living god. I think I was most starstruck, though, when I met the Dalai Lama. Now that dude is famous. That was in 1997, when I played electric violin for a peace conference.
The part of your audience that knows you just from the Joan As Police Woman albums would probably be surprised to learn of your more sonically aggressive past. What are your favorite albums when it’s time to turn the volume up to 11?
Bad Brains - Bad Brains
Jesus Lizard – Goat
The Nation of Ulysses – 13-Point Program to Destroy America
Grifters – Crappin’ You Negative
There are some political rumblings on the new record, and it ends with an ode of sorts to America–it ends on a swinging, dare I say hopeful note. So it’s safe to say that you’re a McCain woman?
Ha. I am a hopeful person, an optimist. I know it
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