USMC Marching band at the Miramar Airshow

Community Music Video Competition

•    Does your community orchestra, band, or choral group provide an outlet for musicians of all ages and levels?

•    Do your community members have great stories to share about their musical experiences?

•    Does your group have a mission or goal you’d like to share with others?

The Purpose

The video’s “purpose” is to show the joy of music making and inspire others to start learning an instrument.  The video should include the following footage: rehearsals, personal commentary from members and volunteers, and concert day.  The finished product should be no longer than 10 minutes.  The video does not have to be professional quality.  The winning group will be picked based on how well the “purpose” comes across.

How To Enter

There is no fee to enroll in the contest.  However, in order for your group to enter, a total of five representatives from the group must sign up for LateStarterMusician.com and keep a monthly blog as well as participate in the forums. That’s a total of five blogs for each music group.  The five bloggers must fit the Late Starter Musician profile: began their instrument after the age of 13, or are returning to an instrument, or have a disability for which they overcome, or have a career in something other than music. Once registered for the site, each rep must send a message to suggestions@latestartermusician.com with the subject line “CMVC” and in the body say their name and which orchestra they are from.

Once the five reps have signed up for the website and sent the confirm email, your group will be automatically enrolled in the competition.  To stay enrolled, however, the five reps must each maintain their blog each month. Technical support for the bloggers will be provided via suggestions@latestartermusician.com. Deadline for enrollment is August 31, 2010.

Deadline for Video Submission is January 15, 2011.  Instructions on how to submit the video will be provided once your five reps have entered the website. The winning group will be announced February 15, 2011.

Prize:

Late Starter Musician CMVC Trophy
$600.00 donation from LSM to the group
Five reps from the winning group will all receive a $20 gift card and an LSM T-Shirt.

Barbara Dubinski

By Barbara Dubinski

It all started November 2009.

How could I forget the day I became angry and depressed because my life had changed. I miss how things used to be. How would I cope with this on a daily basis? How I wished things were different. Maybe I could have done more or this would not have happened. Through my tears, I couldn’t see light at the end of the tunnel. I needed this noise to stop! I hate this!!!

It’s been a little over six months but I am slowly adjusting to my new life, a life  without  SILENCE.

Tinnitus, also known as ‘ringing in the ears,’ can take on other forms of sound such as buzzing, roaring and pulsing just to name a few. Many of us who are afflicted with this condition have to endure unimaginable noises 24/7. It can occur in one or both ears and can be accompanied by different degrees of hearing loss or none at all.

Aside from the high-pitched hissing in my ears, feelings of isolation are probably one of the worst aspects of Tinnitus because no-one can hear it but me. There are a multitude of underlying causes of Tinnitus including extreme stress, trauma, age related hearing loss, certain prescriptions and over-the-counter medications but the most common cause is noise-induced damage to the delicate structures of the inner ear (acoustic trauma). One of the groups at risk is musicians and those who listen to loud music. The damage that can occur, depends on the intensity of the noise. Exposure can be sudden or accumulate over time. Tinnitus is sometimes temporary but in most cases it can be permanent. It affects over 50 million people in the U.S alone and is a worldwide problem. Currently, there is no cure.

The list of well-known public figures who suffer from Tinnitus include William Shatner, Barbara Streisand, Pete Townsend, Phil Collins, David Letterman, Ozzy Osbourne and Lars Ulrich.

How many times in your life did you hear someone say, “ Turn down the volume so it doesn’t hurt your ears”! You know that muffled feeling you get after leaving a concert?  That’s a sign that your hearing has been affected and overexposed. If done repeatedly, it can become permanent. It’s extremely important to protect your ears when you are doing anything that exposes them to extreme noises. Educate yourself about decibels and what is acceptable or safe.
There’s a wide variety of earplugs and ear muffs on the market but it’s important to talk with a qualified Audiologist about which devices are best for you and how to use them correctly.

Since I’ve developed Tinnitus, my life has been a rollercoaster of emotions. In the first few months, I suffered from severe anxiety and depression. The noise dominated my very existence and dampened my spirit. I struggled with suicidal thoughts and wished I would not wake-up in the morning as it would be a relief from this torture. In March of this year, I joined the ATA support group and learned that my darkest thoughts were shared by others. With their help and the incredible support from my husband, I’m finding ways to move forward and not look back at the life I used to have.

Someday there will be a cure for Tinnitus, but in the meantime, keep out of harm’s way by educating yourself about the importance of protecting your ears.

We need more public awareness of this condition. Please take a moment to visit the American Tinnitus Association website and listen to the many sounds of Tinnitus—our new silence.

Photo by Paula Casentini

At 2 1/2 years old, Dan had 80 percent of his skin burned off of his body.  Numerous surgeries after, and he was left without hands.  Tasks such as tying his shoes would take him years to accomplish, but once he did (as they say), the sky was the limit.  Today, he is a renowned motivational speaker and drummer.

When and why did you start playing the drums?

I started at 12 years old. Growing up in New Orleans, I was exposed to some great music at a very early age. In addition, it was in my blood. My paternal grandparents were both musicians, as was my father and two older brothers. Except for my grandmother, who was a singer, all were brass players. Unfortunately, I couldn’t make a sound on a horn so my father, noticing that I was always curious about rhythm, suggested that I try the drums.

Tell me about those beginning stages of playing.  Describe what a practice session or a lesson was like in your beginning years. What were some of your struggles and emotions?

My greatest struggle was the fact that I don’t have hands. Simply figuring out how I was going to hold the sticks proved to be quite a challenge. But I didn’t let that get me down. I was always optimistic. After about one month of trial and error, we tried a tennis wristband and rubber bands for my right hand. On my left hand, I have a reconstructed thumb which I could barely grip with at the time. With that, I began my musical journey.

In the very beginning, most of my time “practicing”  was spent without a drum. I used to walk around holding anything that had weight trying to build muscle or squeezing Skittles candy to develop the strength I would need to play for long periods of time. It worked!

How did some of your very first teachers react to your “situation”?

I had an outstanding teacher who was full of encouragement. Glenn Diecedue was a professional drummer in New Orleans since the 60s. He informed me that sometimes I might be discriminated against because of pre-judgements and people’s ignorance regarding my lack of hands as a drummer. Knowing that this might frustrate me, we worked relentlessly on the fundamentals of music and drumming so that I might have a technical advantage over most drummers who were unable to read music or understand music theory. Glenn and I figured this might help out in my favor [with] getting the gig.

How many hours did you practice each day?

I know a lot of musicians say this, but I practiced between six to eight hours everyday from the start–12-years-old–until around age 18. I enjoyed what I was doing so much, I never wanted to stop. But I had to eat and sleep, right? Ha! I feel that the hours I put into learning the art of drumming has served me well as a professional musician as well as preparing for any challenges that I would later face in my adult life.

How has music, in particular, benefited you?

My ability to even hold a drumstick and strike the drum head for a period of three to four hours for a gig is remarkable. I have developed dexterity which was lacking before drumming. In addition, music has brought me great joy. Having the opportunity to play with some of the best musicians from New Orleans and other parts of the world has been a huge inspiration for me.

Aspirations—we all have them.  What are your three biggest tips for accomplishing them?

1) Quit making excuses!!! The only thing that can prevent you from manifesting your vision is you. There’s no one or no thing to blame for not reaching your goals except yourself.

2) Practice practice practice! This requires a ton of discipline and time, but you will discover things about yourself that you didn’t know before. I have realized that I don’t just have a second wind; it keeps on going. When necessary, I have been able draw and channel energy from unknown sources and my surroundings. What I find amazing is that if you just push yourself just a little more than you think you can go, that’s when the magic happens. But never go to the point of frustration.

3) Love what you do! If you are not in love with what you are trying to accomplish then I feel that you either need to re-evaluate your situation or pick something else to do. Loving music and playing the drums was my motivation to succeed. I didn’t really care about being a great drummer in the eyes of the public, rather I wanted just to be able to play music. I got much more than I bargained for and it has been a great journey.

We all hold the keys to our destiny and if I can become a professional drummer without hands, there’s no excuse for why someone else can’t live their dreams.

You had a great support network growing up.  What if one is lacking a support system?

The greatest attribute of my support system was that they allowed me to figure things out for myself. As a result I gained tremendous independence early on, learning the great lesson that if you are not going to do it, then it is not going to get done. We are responsible for carving our own path.

I feel that when you’re in the right energy or mindset regarding what your doing and how you’re living your life, the right people will show up at just the right time to become your support group. It’s all an attitude. If you feel that the world is against you, then it is out to get you. If you feel that the universe if here to support you, then that’s what happens. Karma. As you think, so shall you be.

Do you ever look at other people and think, “Why are they complaining?”  Do you see life like that—different intensity levels of adversity? One should not complain if they are on the level one stage of adversity because there’s always a level 10….

Actually, I see everyone on the same level, no matter what their adversity. Fortunately, I have had great teachers in my life show me that adversity is a state of mind. I often wonder why people complain all the time, but I have never walked in their shoes and therefore should not judge. In my experience, by a change of perspective regarding the adversity, you can go from miserable or diseased to happy and healthy in an instant. Once again, it’s a matter of attitude.

How do you get past the “why” phase, dispelling thoughts such as “why didn’t I start earlier,” “why do I have to be poor or injured,” “why did this happen to me”? Do those questions ever really go away?

I don’t think on those terms because the “what if’s” are not the reality I have created for myself. The fact is I started when I started, and I’m burned, and it did happen to me. To think otherwise is my definition of insanity. I was insane, by the way, but only for a brief time by my thinking like that for some of my high school years. Now I choose to be happy. I think it’s pretty much a waste of time living in the ‘what if” state of mind.

What are you currently working on? Tell me a little bit about it.

I just released my first book, The Gift of Fire: How I Made Adversity Work For Me. Since it’s release in March 2010, I’ve been traveling all over North America for book signings, media events and lectures. Throughout most of 2009, I was writing. As a result, my music has sort of been put on hold for a while to promote the book, but I’m working on putting together music workshops in addition to my speaking tour.

When one visits your website, a song starts playing?  What is the name of the song and where can I buy it?  (I play violin, so when I heard the strings….)

I’m currently in the process of a total redo for my site. The song was for a documentary video made by the Shriners. Unfortunately I don’t know the details about the song people hear when visiting my site. I wasn’t part of the production process for that video.

By the way, The Shriners(who created the video) own and operate 22 pediatric hospitals throughout North America. After being burned in 1982, I was treated at the Shriners hospital in Boston. I had 80 surgeries over a period of 18 years at the Shriners Hospitals for Children. As an Ambassador for the Shriners, I travel all over North America trying to raise awareness for this phenomenal organization. The Shriners provide medical care at no cost to children under the age of 18 suffering from one of the four following conditions: orthopedics, burns, spinal cord injury, cleft lip and palette. Since 1922, we have provided this service to nearly one million children.

What resources are out there for disabled or injured musicians? Did you utilize any of them growing up?

Unfortunately, I’m not sure, although I should know. I’ve always found my own way through adaptation and persistence so I’ve never taken advantage of these resources. For a few semesters while I attended Loyola University in New Orleans, however, I was a music therapy major. I’m sure there are services or resources in many communities, especially in larger cities, available to musicians with special needs.

Dan Caro

Besides music and book writing, what other activities are you involved in right now?

Last summer, I moved from New Orleans, L.A. to Steamboat Springs, C.O. to live in the mountains. I’ve always loved the mountains and have always wanted to ski. That’s what I do now. If I’m not on the road touring for my book or with a band, I’m on the mountain skiing, hiking, or biking and loving life.

Is there anything you would like to add?

If there’s anything else, it’s just to live your life with purpose and passion. Without purpose, there’s not much out there for you. Namaste.

Read Dan Caro’s story in detail.  Also visit his website and watch a video of him playing.

Photo by Richard Oles (Click to visit George's Myspace Page)

George Flores is outspoken, active, strong, successful and–oh yeah–he does not have the full use of his body.  After the former rock star was in a near death motorcycle accident, he did not know he was going to live much less go back to a lucrative existence.  However, George knew lying in a hospital bed was not the answer. Why could he not return to his career as one of the youngest and best harp technicians in the field?  Why could he not speak up and make a change for others like him?  What was holding him back?  Well, for him, George was the only person who could stop his life from moving forward. Today, he has left a major mark in the classical field for symphony and University harpists as well as the medical realm with his true passion for fighting for others.

Are you comfortable with the word disability?

I am because it is just a word. It does not define myself or what I can do.

What do you feel are your greatest accomplishments since having the
accident?

Achieving my goal to return to the Harps and inspiring others all over the world to think differently.

Besides activism and repairing harps, what else have you accomplished or do you like to do?

I love to play my guitar and my bass as well as the djembe and other hand drums. I have began to study with the hopes of returning to school. I also have a new found love for computers.

I did try to develop a sport called wheelchair boxing, but it was too extreme for people–what ever that means. I did this because as a kid my uncle and friends used boxing to get in shape and to control the mind and body. So I thought it was a good idea for people in wheelchairs. Some only interested in keeping people “out-of-shape” saw it as too much for the norm.

What are some other goals you have?

To continue to inspire others to think for themselves and to inform them that simply cannot.  To design a Harp that will be like no other.

When are you going to start designing this dream harp?

As soon as I can find the time but soon!!!

What organizations and people have been your best supporters?

All with love and respect, [my] friends and family with the basic support as well as a few of my friends going to extended lengths to help me. VENUS for believing in me and allowing me to develop my skill in a new way.  N.S.C.I.A. for also seeing in me as the modern man in a wheelchair with SCI. With the Support of both VENUS and the N.S.C.I.A. I just recently finished work on a Harp for charity that will be auctioned off mid-2010 to help raise money for Spinal Cord Injury.

Describe what makes someone a great harp technician.

Someone that can work in complete detail and that is willing to do the best he or she can do to make the instrument the best it can be.

Do you plan on starting a teaching program for other aspiring harp technicians? Or at least a website with tips on how to hone the craft?

I have been asked to, and I very much would like to train a young apprentice.  ‘Til then, I will continue to help people on my Facebook and from home or the road.

Who was your greatest mentor when you were honing your skills as a harp technician and why?

I would have to say my teacher and mentor, Mr. Peter Wiley. He helped teach me the basics, and from there, I just took things to another level as do all good students.

You’re in demand all over the world.  Are you still traveling all over to fix harps?  Or is that one of the things that changed after the accident?

I am currently working on just that. I hope soon to return to do harps internationally once again.

How many harp technicians are there?

True professionals, there are only a few–around 15-20 and most are getting up there in age.

How often does a harp need to be repaired or tuned?  I mean, you are only one man.

A regulation as it is called in the Harp world is recommended once a year for beginners and twice for a professional harpist.

Are you playing a little harp yourself?  Or is it mostly guitar?

I play many instruments but the harp is not one of them by choice. I feel it would be a insult to not learn the harp properly as many harp teachers and students take years to master [it]. I am the man that makes them function not perform.

Do you hope to re-enter the performance arena at some point?

(Laughs) My years of being on stage at this point are not a focus anymore. I have been there and done that, ya know? I feel there is a much greater purpose for myself these days. But ya never know…

In one of your interviews, you said that one day it just clicked that you needed to go on and live.  How do you try to inspire others to have that same revelation?

All you have to do is to simply feel the sun on your face and the wind in your hair to understand that life is beautiful and it is worth the effort.

Do you still have those rough days—the regretful thinking?

Sure I do, but [doesn't] everyone have bad days?

When you do have those bad days, what do you regret the most or wish for?

It depends on the situation, like when I see a corrupt health system that is focused on treatments rather than cures. For example, when I am treated for a bladder infection that could take a full coarse treatment to cure. Yet, I am given a few days worth only to stabilize the infection only to have me return a few days or weeks later just so the system can make more money from my suffering. That is a very bad day or days.

I know you are neck deep in activism for stem-cell research, and you are super-busy with repairing harps. But does music “learning” and “playing” still play a key role in your life? Was the act of learning and playing music at all therapeutic and significant in your healing process?

When I was first hurt, it broke my heart to not only know I would never walk again, but that I might never be able to play the instruments I love. The first couple of years, I could not sit up well enough to hold a guitar or a bass let alone be able to hit a drum with my hands.  Yet, these are all tools that have shaped me to be the man I am today. So, yes, I was very scared and hurt especially when it came to playing the drums again.

Eventually, I was able to sit and hold my guitar again. I use to fall side ways from the added weight of the guitar. Also, I had to retrain my mind to relearn a lot of music that I had forgotten due to the accident and trauma. Even today, I have the mechanics down; I just have a hard time remembering the structure sometimes.

There are many opposing sides to stem cell research. How do you reply to them?

I say to take a life that would normally be considered a waste to support life is what we are meant to do. It is far better than it going in the garbage. However, I choose to support adult stem cell research, because today we can do almost as much with adult cells as we can with fetal cells. It just costs a little more.

How about the future? Are you planning on having a wife and children?

These days, that is all I can think about. I get asked all the time to [write] a book, and I tell people the story is not finished yet. I still am fighting to right the last chapter.

For more info on George Flores, visit his facebook page and myspace blog.

Photo by TS Gavanditti

The young and vibrant Tracy Marie has had more life experience than many older folks.  With Congenital Dysplasia, two hip replacements, bullying and finally her musical success on stage, Tracy truly is a spokeswoman for musicians with unbreakable  drive.

Describe growing up and life now with congenital dysplasia.

When I was younger, it was difficult to keep up with the other kids when it came to certain activities. I was made fun of a lot by kids because of my severe limp at the time.  I spent lots of time at the doctors.  In addition to joint deformities and degenerative effects, I also have a condition of the spine similar to Scoliosis.  I had to wear a fiberglass brace, which surrounded and covered me from my chest to my hips 24-hours-a-day for a long time– that was the worst.  Especially in the heat!  After some time, I wore a muscle stimulator at night at age nine.  In addition I had to have both my hips fully replaced at age 15.  So I have been through a lot.

Now, I have learned how to manage my condition better by balancing the amount of activity I do as well as diet and medication.  I still have pain, swelling and locking of joints.  It is something I have known my whole life.  I think I handle it better than someone who lost the ability they once had.  I have never known anything different.

What advice would you give to children who have to put up with verbal, physical and more recently virtual bullying?

I would ask them to take a step back.  A bully is only a bully if they are getting some sort of satisfaction.  I know it’s hard when you are sad or afraid, but if the bully is seeing that as a result, they are more likely to keep doing it.  Also, don’t be afraid to tell someone and ask for help.  If you think of yourself as a victim, then others (including the bully) will continue to treat you as one.  See yourself as a powerful force that can overcome anything.  Carry yourself that way.  Others will see that in you.  They will see you the way you see yourself and treat you accordingly–as a confident, powerful and positive force.

You have an organization called Breastfest.  Do you plan on starting a foundation for congenital dysplasia?

Breast cancer affects so many people.  My disease is very rare.  Only a few cases ever documented according to the genetic experts I have spoken with.  I really wanted to do something to help a larger group and cause.  This October will be our 10th annual Breastfest Concert.  I will be announcing my next venture for trying to help such widespread causes at Breastfest 10.

Tell me about your last couple of albums…

I have released three.  The most recent two albums were “The One in the Sun” in 2003 and “Live on Crooked River Groove” last year.  “The One in the Sun” was produced and planned for months prior and recorded and mixed in one week at Spider Studio in Strongsville.  “Live on Crooked River Groove” was recorded from a live television performance at Cuyahoga Community College and released through the college record label, CRG Records.

Who did you work with?

“The One in the Sun” features local musicians and was engineered and mixed by producer, Ben Schigel of Spider Studios.  He has also produced well-known acts such as Drowning Pool and Chimira.  My music is much different from theirs.   Before the recording started I was able to produce the band, and he recorded and mixed the album in his Strongsville studio.

What were your favorite songs on the album?  What were they about?

I don’t really pick favorites. I like them all.  I have a lot more songs than these, so I guess these all were favored since they were selected for the project.  Most of my songs are about things that evoke emotion in me.  It’s like something I need to release from within and share with others to relive the built up emotions attached to that subject.

Tell me about your latest album.

The latest album, “Live on Crooked River Groove” was recorded and released by Cuyahoga Community College.  The Recording Arts Department and CCC Television produce a television show called, “Crooked River Groove.”  Every Semester for one week, up to two local bands per day come and perform a 45 minute set on camera.  The following week, the band comes back for interviews.  The performance and interview show, “Words and Music” are archived on DVD and aired on local cable access as well as Internet.  This is the brainchild of Program Director, Tommy Wiggins.  He asked me if I’d be interested in releasing the product on CD.  I was thrilled!   Mark Baker at Tri-C did an amazing job mixing the product.  Proceeds of the sales go back into the label to produce future projects for bands and musicians that would not otherwise have the means to accomplish this on their own.  The musicians on the album include Bad Boys of Blues Bassist, Mike Barrick who co-wrote two of the songs as well as guitarist Michael Bay and Tim Lane on Drums.

What are the proudest moments of your life?

Just being able to affect people emotionally with the music I have created is pretty stellar.  I am really thrilled whenever that happens.  I had a stranger who said to me that he was borderline suicidal, and he told me this and that my performance that night may have helped him think twice.  That was pretty heavy to hear.

What are your least favorite experiences?

I hate playing for really drunk crowds that have access to the band.  I have had people grab me, my gear and talking or yelling on the microphone.  I love being liked, but since I am very little some people try to pick my up and if they are drunk, that is really scary.  Also, if I don’t know you, please please don’t kiss or lick me on the check or otherwise!  This has happened.

What emotions do you have when performing?

At the height I feel good, I feel a release, I feel better than before and whatever was wrong disappears in that moment.

Does your dysplasia prevent you from accomplishing certain goals in life?

Perhaps.  But if I weren’t for my disability my goals might have been different.  For example, I’d love to be more of a dancer, but the pain I’d go through and the fact that I’d not be good at it physically makes it less desirable to pursue.  However, having a disability gives me a different perspective on what is really important, and a greater appreciation for the things some people take for granted.

Are you still in school for music? How’s that going?

I love school.  I just recently closed in on completion of the Recording Arts Program at Cuyahoga Community College.  I was accepted to Berklee College of Music in Boston.  I am exploring financial options to attend that school because it is the best and very expensive.  I have awesome grades, so if anyone reading this would like to offer a scholarship, let me know.  Leaving Cleveland is the hardest thought, but I will come right back here and use my education and continue to help propel the culture and arts community in Cleveland.

What do you hope to accomplish in the future?

I would like to continue to perform while writing and producing for myself and other independent Artists.  Teaching has also become a recent love.

Do you plan on touring regularly?  If so, when?

I am not pursuing that route, but if all the planets aligned and it became an opportunity, I’d be excited to try it for a bit.  I have to admit that I am a homebody.  I don’t think traveling extensively is necessarily for me.  It is very hard on the body of a healthy individual to go on tour even with even a huge budget.

Has music saved your life?  If so, how?

Music has not saved my life.  Music is my life.

Visit Tracy Marie’s website.

Linda Wells (Click on photo to visit Linda's Blog)

My name is Linda Wells. I am a brain injury survivor, and this is my story. In 1993, my husband and I were in Catalina Island to celebrate New Years Eve. Of witch I did not make it on Dec 30. Rex (my husband) & myself were riding in a golf cart with 2 otters. We were sitting in the back, going up a street the driver drove Grover & threw me off the golf cart, I rolled down the street hit my head.

The ambulance came took me to the hospital in Catalina I had a bump on my head, was unconscious for just a little bit. The doctors said I had a conscious. To take me tour friends home watch me. Well within one hour I could no talk, walk, and my right side of my body was like paralyzed my face drop down.

My husband took me back to the E.R. They air watched me off the island to Long Beach Memorial Hospital. They did a cat scan on my brain. I had a bleed in my brain the size of lemon.

The doctor told my family that I would probably never be able to process information told to me think & speak to response back. More or less like a vegetable. Oh my, how did my family deel with this one. Me I was not knowing anything. They asked me my name. I knew in my head I was Linda but win I wrote it would be 1100222, no I know that does not say “Linda”. I had a long long journey ahead of me!!!!

I hard my first seizure only 1 of 100’s to come. Grand MAL, Petite & Focal. They started therapy rite away. Then I was moved St. Johns Rehab in Oxard, then solutions in Sant a Barbar then back to St. Johns. Then home!!!!! I had 5 years of therapy, speech, physical. It was so so so hard….. I never wanted to lose my husband. I wanted to be the best I could be. I worked very hard always, lots of confusment, your friends leave you because you are now not the person you once were.

The new world is hard hard hard….

I have trouble with [noise], vision, groups, no music, can’t read books, can’t drive, my thinks & words my not always work or make cents. Spelling oh that you can see in this letter – I do my best… I lost ability of money, but I know how to give a credit card. Concentration, comprehending, well.

We go throw 5 steps: denial, sadness, anger, bargaining & finally acceptance!!!

Well I do like myself most of the time!!!! You must work, hard, try to stay positive & you can do more than the Dr’s tell you can do, I have learned my new world.

I do like being with my brain injury friends….they so get it.

As a violinist with an active performing career, I have the privilege of playing around the country and abroad, from major concert halls to elementary schools. While these activities have given me the opportunity to expand my musical horizons, they have allowed me to observe a growing disparity between the world of classical music and the community. This divide draws lines across cultures, class and politics, breeding intolerance in a world that strives for social interconnectivity.

I was born with a congenital defect, meaning that I have lived without the use of a right hand for my entire life. When I was ten, my parents bought me a violin, which was an inordinate expense at the time; the possibility of a successful adaptation would be difficult. With the help of biomedical engineers at a pediatric rehabilitation centre in Toronto, I was able to play with a relatively simple adaptation known as the “spatula.” This device has allowed me to play the instrument to a level where I have two degrees in music, with the possibility of a third this coming year. While all children may not have the same luck and opportunities as I did, it is certainly possible to have a sustainable career in music for those with a disability, given the right environment and assistance. Mastery over a particular craft can be one of the most basic motivations for success-orientated behavior. What is missing most of the time in the world of disability is not the motivation, but rather the tools to master something as complicated as a musical instrument.

Given my background as a musician with a disability, it has now become a mandate part of my career to bridge a small niche of this divide: classical performance within a rehabilitative healthcare setting. This commitment in my life has evolved into several chamber music initiatives with the Bloorview Kids Rehab Centre in Toronto, Ontario, where I have joined a team of music therapists, educators, and researchers to allow children with disabilities to participate in classical music, making and using adaptive musical instruments and repertoire. I hope in the future to be involved with founding a chamber music society that would serve as a performance platform for such initiatives, and providing a legitimate medium by which talented children with disabilities can express their art.

When participating in classical musical activities within this setting, we are faced with a polarizing set of ideals that the lack of mindfulness can pull a performance apart by the thread. On one side, we have an art that relies heavily upon tradition and historical context, and on the other, a need for adaptation that for children with disabilities requires looking to new technologies and the future. On the grander scale, this is a dilemma that has seized the present world of classical music and its long-term survival, especially in light of recent economic turmoil. In a political world that increasingly attempts to siphon financial recourses to essential services, we are faced with confronting the burgeoning questions as to the relevance of our craft.

In what may constitute a poetic irony, it is within the world of disability that we see through a mirror into what currently ails classical music. What is the relevance of a child with a neuromuscular or orthopedic condition so severe that he is unable to manipulate the physical world around him (or traditional musical instrument) in a meaningful way? If we are to invest in our economy, is it in our best interests to focus on issues that directly affect commercial and industrial endeavors rather than rehabilitation? Most people would challenge the validity of such rhetoric, though the same argument can be made on behalf of classical music. The mutuality of predicament between these two worlds can also engender mutuality of cause, but like all cross-collaborative efforts, both sides have to negotiate a common ground. Herein lies at the heart of my personal cause: to create a chamber music society that will join professional musicians, clinicians and researchers towards the goal of enriching the artistic lives of children with disabilities.

________________________________________________________________________________________

Adrian Anantawan

Born of Thai-Chinese ethnicity, Anantawan began the violin at nine, and first toured with the National Youth Orchestra of Canada in 1999 and 2000. Following this was his acceptance to the Curtis Institute of Music in 2001, where he completed his bachelor degree under the tutelage of Ida Kavafian and Yumi Ninomiya Scott. He has performed with the Toronto Symphony and National Academy Orchestras, with recitals at the Aspen Music Festival, the Glen Gould Studio and the White House. In 2006, Adrian was nominated for a Juno for his work on the children’s album, “A Butterfly in Time” (Marco Polo Records). He has worked with Pinchas Zukerman as part of the NAC Young Artists Program in Ottawa, and Itzhak Perlman on Shelter Island, NY and Sarasota, FL.

Adrian is a key proponent of the disabled arts, as he was born without a right hand. He is a national spokesperson for the War Amps of Canada, and the Bloorview Kids Rehab Center. His proudest moments have included performances for the late Christopher Reeves and Pope John Paul II. He has also represented Canada as a cultural ambassador the past two Summer Olympics, and will perform at the 2010 Winter Olympics with the Vancouver Symphony. He will collaborate with violinist Anne-Sophie Mutter as part of a sixteen city European tour in 2011.

Adrian Anantawan plays the Tchaikovsky Violin Concerto

Adrian is very active in Canadian media, including CBC, CTV, and most major newspapers, his documentary “Adrian Anantawan: The Story Behind the Notes” is currently being broadcast across the country.

Adrian has completed his Masters Degree at Yale University, studying under Peter Oundjian, and has studied with Paul Kantor at the Glenn Gould School. His hobbies include swimming, ethnic foods, and the various incarnations of Star Trek.

He currently plays on a 2006 Daniel Karinkanta violin, made in Buenos Aires.

Derek Mortland

By Derek Mortland

Where have I come from? I’m not really a late starter to music. I destroyed my first drum set at around age 5 or 6. I played a variety of other toy instruments in my youth, including a guitar which eventually had 2 strings left on it.

By the time I was 11, I was starting to figure out a few songs. I think my parents heard me play “Another One Bites the Dust” one too many times, and decided it was time for lessons.

Lessons continued and my skills progressed. By the time I was in high school I had formed various bands with friends playing at churches, school dances, outdoor events, and eventually college bars. I was also playing in an instructional jazz group around that time.

After high school and through my twenties, I continued to play with different punk and heavy metal bands. I drove one drummer nuts by composing several pieces in varying time signatures, sometimes changing them three or four times in a song. I still like using 7/4 and 6/8 in my solo 12-string compositions.

I filled my need for speed and appetite for destruction by pursuing motorcycle roadracing in my twenties. After six years in the sport, my future of walking this earth came to a sudden halt when I crashed into an outside retaining wall, running part of a NASCAR oval at over 120 mph. I was permanently paralyzed from the waist down. That was thirteen years ago.

I thought that since I still had use of my upper body and arms, playing guitar would be a cinch. Not so. It took over a year before I could really say I was playing again. Hours of determination and dedication as well as hard work with a physical therapist put me in playing shape again.

My main adaptations were learning how to hold the instrument differently and using alternative tunings. Many of the pieces I now compose use DdAaDdGgaadd and CeGaDdGgaacc. These allow me to have several open drone strings. The position in which I hold the guitar makes it difficult to do a lot of fancy fretwork, holding down multiple strings at once.

A brief post-accident discussion at a guitar clinic with Richard Leo Johnson helped me to realize music is not always about technique and perfecting a technique, but feeling the music and concentrating on contrasts. More than one color makes a picture interesting. Thinking of music and composition as painting a picture is different than seeing something to technically master. It is said that a picture tells a thousand words. So if I can paint a beautiful picture rich in hues and contrasts with the music, what do I need to say? And what does the listener care about technical prowess? As Louis Armstrong said, “If it sounds good, it is good.”

It seems to be working so far. I’ve played in music festivals from Australia to Washington D.C., was nominated for two Native American Music Awards with Michael Joseph Ulery and SOTIW. We also won the Ohio Governor’s Arts Award in 2009, and I was awarded a teaching artist fellowship from VSA Arts for 2008-2009, all since my disability.

Currently, I teach guitar locally, do teaching artist residencies with local schools, perform, and am doing presentations at the VSA Arts International Arts Festival in Washington, D.C. this June, the Performing the World Conference in NYC this Fall, and playing with Michael at the International Native American Flute Association Conference this July.

I would like to credit God for the gifts I have received; VSA Arts and the Ohio Arts Council for their support and professional development opportunities, my parents for their love and support, my teachers and friends. It takes a village to raise a child and a musician with a disability. It sounds romantic and empowering to say I’ve done it all on my own. But the reality is I don’t have enough space to write about all the people I would like to credit.

Buy "Drive" on Amazon. Click Picture.

By Dr. Reynolds

There are some new ideas about human motivation afoot on our planet that I believe all of us can benefit from.  These ideas involve how organizations and institutions understand and deal with human motivation–how we think about what motivates us, and how and why we actually motivate ourselves.

Human motivation is a highly complex topic. One way of thinking about this subject is to consider that the history of human motivation is now in its third stage of development.  All human motivation is based in the social operational systems each of us lives in day-to-day.  All societies have social operating systems just like your PC has an operating system that enables your computer to function smoothly and efficiently.  These social operating systems consist of laws, social norms, roles, customs and economic arrangements that sit atop a layer of social instructions, protocols and specific suppositions about how a particular society believes the world works.  Underneath all of this social design is a set of assumptions about how each society understands human behavior, in this case, human motivation.

The first recognized human motivational system was biological. Human beings were motivated first and foremost by their desire to survive.  This is what Daniel Pink, in his new book “Drive: The Surprising Truth About What Motivates Us” (2010), refers to as Motivation 1.0.  The satisfaction of our biological drives is certainly an important aspect of life for each of us.  As humanity developed, however, there was the recognition of a second motivational system, the drive to seek rewards and avoid punishment.  Daniel Pink refers to this as Motivation 2.0.  As he points out, this extrinsic motivational system is deeply embedded in our culture and in our lives.  He writes that almost all of what we remember about how organizations, and our lives, are constructed revolves around a certain “solid assumption.” That is “the way to improve performance, increase productivity, and encourage excellence is to reward the good and punish the bad (p. 19).”

Now, along comes a third explanation of human motivation—Motivation 3.0—that sees human behavior in a very different light.  Social Science researchers are now looking at enjoyment-based intrinsic motivation, which focuses on how creative a person feels when working and living their daily lives.  This huge change reflects a shift in focus from external rewards to internal rewards such as personal satisfaction and “flow” experiences (which I have written about in an earlier article).

As an example of this shift in understanding what motivates each of us, Pink sites the story of how Wikipedia beat out Microsoft’s online encyclopedia MSN Encarta.  Wikipedia was put together entirely by volunteer labor, and now includes more than 13 million articles in 260 languages.  While Microsoft, using paid contributors, closed down its online encyclopedia on October 31, 2009.  Free labor beats paid labor? How could this be happening?

The demise of Microsoft’s MSN Encarta is an example of how intrinsic motivation (internal motivation) is beginning to replace extrinsic motivation (external motivation) as a driving force in post-modern societies.

What does any of this have to do with music and musicians?  It is my observation that we are entering an entirely new era of how we see ourselves, and how we want “to be” in the world.  We are learning that when we center our lives on intrinsic motivation, as opposed to extrinsic, prescribed reward systems, our lives are far more interesting, satisfying and meaningful.  Rather than a prescribed system to be followed that then leads to rewards for the dutiful, creativity is at the heart of intrinsic motivation.  We are increasingly more motivated to satisfy our own needs to be creative and satisfied in work and love, as opposed to being rewarded by an external system that demands we do things a certain way (in order to get the reward).

Neither of these older motivation systems, Motivation 1.0 and 2.0 will disappear, but we are expanding our understanding of who we are to include the vast importance of intrinsic motivation.  With this shift, there will be new challenges and opportunities for individuals, societies and cultures.

How does this shift affect the musician?  I have two responses.  First, there is no substitute for good, solid training in music.  Many, many musicians have braved the path for how we can best learn to play music.  At the same time, intrinsic motivation opens up a whole new arena for all musicians to consider their own opportunities to be creative, to play music for intrinsic reasons rather than follow a prescribed path.  We all love the applause that follows a good or great performance.  I am suggesting here that intrinsic rewards can be just as powerful, and can lead to more creativity and even better performances.

Second, we often wonder what drives people who are disabled to continue playing music no matter what (the subject of this month’s LSM edition).  Against all odds, how do they find a way to play music?  I believe we can find an answer where intrinsic motivation and mastery intersect.

One of the important insights to come out of studying human motivation is our understanding that what people believe about themselves, shapes what they are able to achieve.  Dr. Carol Dweck at Stanford University has labeled this idea as “self-theory.”  The “self-theories” we all carry around with us determine in large measure how we interpret our experiences, and where we set the boundaries on what we can, and cannot, accomplish.  When we carry “self-theory” into the field of human intelligence and motivation, we find that people basically hold one of two different views about themselves.  “Entity theory” addresses those who see intelligence as an entity that exists within us in a finite supply that cannot be increased.  Intelligence is something we are born with, and not likely to change that much.  “Incremental theory” takes a very different view of human intelligence explaining intelligence as an entity of the mind that will vary from person to person, but with effort it is something we can all increase.

In “Drive,” Daniel Pink explains this difference very well when he writes that if we believe intelligence is a fixed quantity, then every educational and professional encounter we have becomes a measure of how much we do or do not have.  If we believe intelligence is something that can be increased, then we will see these same encounters as opportunities for growth and development. “In one view, intelligence is something you demonstrate; in the other, it’s something you develop (p. 121).”
When we apply this kind of thinking to overcoming adversity (the LSM subject for the month), we find two contrasting responses based on the person’s “self-theory.”  There are those who will respond in a helpless manner, and those who will respond in a manner that is more “mastery-oriented.”  Research shows that those who believe, through their “self-theory” that their brain power is limited will tend to give up more easily.  While those who believe their intelligence is constantly being developed will respond to adversity in a much more positive manner based on their “self-theory.”

It is quite an inspiration to read about the musicians featured in this addition of LSM.  Their courage in overcoming adversity is something we can all take strength from.  And I am willing to wager that their courage has a lot to do with their strong “self-theory.”

By Chris Cox

I’ve played for most of my life, so when I was diagnosed with Multiple Sclerosis (MS), I wondered if the music was over.

I was in a few bands along the way and made some really great friends. I have had the opportunity to do a lot of things that if it had not been for music, I would have never been able to. I was in a music video with one of my bands that stayed in rotation for 30 days right behind the top videos from MTV and VH1 in 2004. I’ve played for 10,000 people, and I’ve played for 10 people, depending on the night. I had been playing seriously since the early 90s and could never imagine my life without playing music, and that’s what happened in 2006.

I got the chance to see what it was like not to be able to play guitar or sing. MS had damaged my hands and was causing my nervous system to attack itself. At first, I didn’t even think about playing music. I was in survival mode. Music was the last thing on my mind, but eventually the time would come when I would try to play again. Both of my hands were numb, and my coordination had been affected from my initial attack.

The first time that I picked up my guitar after MS hit me was not a happy one. I couldn’t feel the strings, and I couldn’t get my fingers to move with any speed or accuracy. I put my guitar down in disbelief, “What’s happened to me?” I would try every few days to play and eventually things started to come together for me. I had to practically learn to play again in a new way and get used to how my hands were feeling.

I started writing and recording at home and put out my first solo CD in 2009 called “Never the Plan.” Since then, I have written a book, Stop Hugging Me, about a few days of my life with MS and also finished my second solo CD, “Back to One.” I was still unsure of playing live, and recording at home made things easier for me. It was very relaxed to do this alone and not have a must have attitude on a time clock staring me down with the possibility of frustrating band members. Stress is a big problem for people with MS, and I was trying to avoid all that I could.

I’m at a place in my life now where I’m considering playing live again. I have put together a band with one of my old friends, and we have been recording a CD with a full band. When it’s finished, we will see how we all feel about getting out and doing it if anyone is interested in listening to us. I just try to keep moving one step at a time from day-to-day. Music stopped for a while but its back to stay for a while longer. If you would like to listen to my music or learn more about me, visit my website, www.chriscoxrox.com.