amanda palmer – artist & fan
Don’t make people pay for music, says Amanda Palmer: Let them. In a passionate talk that begins in her days as a street performer (drop a dollar in the hat for the Eight-Foot Bride!), she examines the new relationship between artist and fan.
i love this kind of random closeness
falling into the audience and trusting each other [crowdsurfing & couchsurfing]
i become the hat – and i’ve actually had a lot of practice
this is the moment i’m going to give my music away for free
i didn’t make them, i asked them, and in the very act of asking – you connect
asking makes you vulnerable
they weren’t with us on the sidewalk – they couldn’t see the fair exchange
it’s about a few people loving you that close – and a few people being enough
the perfect tools aren’t going to help us if we can’t face each other
when we really see each other – we want to help each other
obsessed with wrong question – how to we make people pay for music, what if we started asking – how do we let people pay for music
The Art of Asking | Talks at Google
there’s a difference between wanting to be looked at and wanting to be seen
exhibitionism vs connection.. not everyone wants to be looked at but everyone wants to be seen
24 min – trust. no strings attached to how money is spent.
27 min – please take the donuts.. accept the help in whatever form.
30 min – street performer for 5-6 yrs – breaks you – no sense of entitlement – and gets you really comfortable.
notes/highlights from book:
this book is not about seeing people from safe distances… uncomfortably close is exactly where we need to be if we want to transform thsi culture of scarcity and fundamental distrust… her lab is a love affair with her art… her ability to see into the parts of our humanity that need to be seen the most. take the flower. – forward – Brené Brown
p 6 – shame pollutes an environment of asking and giving that thrives on trust and openness.
afterward via Jamy Ian Swiss – in a culture that routinely sees creativity, art, and the human body as mere commodities, many find it difficult to grasp that there might be another point of view.
p. 17 – when artists work well, they connect people to themselves, and they stitch people to one another, through this shared experience of discovering a connection that wasn’t visible before.
art pries us open.
artist connect the dots – we don’t need to interpret the lines between them. we just draw them and then present our connections to the world as a gift, to be taken or left.
p. 36 – they didn’t understand that they were breaking my heart. gifting them my flower – my holy little token – was what made me feel like an artist, someone with something to offer, instead of a charity case. over the years, though, i got used to it, and instead of taking it personally, i began to understand: sometimes people just don’t want the flower. sometimes you have to let them walk away.
p. 38 – it was essential to feel thankful for the few who stopped to watch or listen, instead of wasting energy on resenting the majority who passed me by.
i liked giving permission to people to look at my face.. i wanted them to feel invited to meet my gaze and share a moment. ….having invited them in to my face…. i would be equally invited to look back into theirs. then we could see each other. and in that place lies the magic. i see you. believe me. as any great actor: sometime the mask is the tool that lets you get at the truth. (her white painted face)
p. 39 – there is something about silence….. one of the things i loved best about the bride was how, though she was silent, she could make it possible for people to talk to one another.
John Cage ness
p. 41 – ..he (Anthony) knew the way to win my heart. he never told me what to do. instead he told me stories. (favorite one – dog sitting on a nail… doesn’t hurt enough yet)
p. 42 – i’ve had a problem feeling real all my life .. imposter syndrome.. the fraud police: we’ve been watching you and we have evidence that you have no idea what you’re doing…
p. 43 – there’s no “correct path” to becoming a real artist. you might think you’ll gain legitimacy by going to art school, getting published… but it’s all in your head. you’re an artist when you say you are. and you’re a good artist when you make somebody else feel something deep and unexpected.
… outside approval can make the fraud police louder..
the professionals know they’re winging it. the amateurs pretend they’re not.
p. 44 – sometimes up on the box, i would fall in love with people. pretty often come to think of it. it was easy, given how safe and swaddled i was up there in my could of pretty, white, untouchbale stillness. no commitment. just this, just now, just us….. i hope to god you know that you and i are, i this moment exactly the same.
i never felt guilty about those dollars, though, because there was such a beauty and humanity in the fact that these homeless people were, right along with the rich tourists, stopping to connect with me. they saw value in what i was doing they saw the power and necessity of the human connection.
here’s your flower. i see you.
p. 46 – i wanted to be seen. that was absolutely true. all performers – all humans want to be seen; it’s a basic need. even the shy ones who don’t want to be looked at…. but i also wanted, very much, to see.
i was being looked at. but i never felt seen.
p. 47 – sometimes i would get home and have a nice little breakdown, having no idea what to do with all the loneliness i’d collected.
p. 48 – those who can ask without shame are viewing themselves in collaboration with – rather than in competition with – the world.
p. 49 – … the field of asking is fundamentally improvisational. it thrives not in the creation of rules and etiquette but in the smashing of that etiquette. which is to say: there are no rules.
p. 56 – hate is fear.
p. 57 – Lewis Hyde, in the gift, writes: the opposite of “indian giver” would be something like “white man keeper” … that is, a person whose instinct is to remove property from circulation.. the indian giver (or the original one, at any rate) understood a cardinal property of the gift: whatever we have been given is supposed to be given away again, not kept… the only essential is this: the gift must always move.
the cloud club – communal living space – http://www.cloudclub.org/
p. 68 – i wanted to stay anyone. it was easier.
every pair of gazing eyes that locked with mine, a reminder: love still exists.
p. 77 – just by seeing someone – really seeing them, and being seen in return – you enrealen each other.
what is possible on the sidewalk is unique. no song needed, no words, no lighting, no story, no ticket, no critic, no context.
it cannot get any simpler than a painted person on a box, a living human question mark, asking: love? and a passing stranger, rattled out of the rhythm of a mundane existence, answering: yes. love.
p. 79 – facing the street as a statue had its challenges, but truthfully, it all felt like cheating, because i wasn’t actually showing myself. i was hiding behind a blank, white wall. i love the connecting. i loved the seeing. but it wasn’t enough. people loved the brie because she was perfect and silent. anyone. i wanted to be loved for my songwriting…which showed me for what i actually was. imperfect.
p. 91 – managing the band didn’t mean talking to labels, agents, or publishers; we didn’t know any. managing the band meant making friends with other freaks in other cities, finding performers to share the stage with, lining up couches to crash on, chasing down a gallery where a friend was hanging paintings and was happy to have a band play at the opening. (email list per city – cloud club parties as happenings)
p. 93 – the spirit of an artist’s gift can wake our own. – Lewis Hyde
p. 97 – i’d learned that it was pointless trying to tell these people what their music had meant to me. it meant everything. their songs were the landscape of my inner life. i was modeling my own style of songwriting after theirs. it would just sound trite if i tried to explain it out loud. .. but i could make them eggs.
no words ness
p. 98 – we wanted the people who came to the shows to feel like they were part of our weird little family, that they would never be turned away at the door for not being cool enough. brian an i had both been insecure freaks in high school; we’d already spent our entire lives on the outside of that door, and we didn’t just want to gain entrance. we wanted to smash the door down completely.
p. 103 – on hours of signings after concerts – if i hadn’t made the effort to stand at the merch table every night; i might have stayed afraid for years (of the audience). and when you’re afraid of someone’s judgment, you can’t connect with them. you’re too preoccupied with the task of impressing them.
p. 124 – i kept the eyebrows – i found, to my delight, that it had the unintended side effect of causing people to look me in the eye. when you have creatively painted eyebrows, people will assume you’re approachable and affable, and talk to you. it’s like having a funny mustache.
p. 126 – Anthony.. asked me to be punctual for our groks – “to grok” from Robert Heinlein’s made-up word from stranger in a strange land, meaning to communicate and understand deeply, empathetically, completely.
p. 128 – i learned to love that about my fans: they weren’t sheep, they were people. i never knew what to expect, or how they’d react. (sharing on Amanda Todd – got the response of a bullied person’s bully committing suicide.. so convo – now with 2000 comments – turned to…. at the end of the day, we’re all human. we’re all broken in a way, and we’re just trying to feel whole…..
p 130 – the ability to connect directly, under our own umbrella, was making one thing very clear..we were the media.
p. 147 – (w/ukelele and twitter) – i felt like i was in control of my life again. i had missed the freedom of the street.
p. 156 – managers kept telling me to stop twittering and get back to work. i broke up with a lot of managers. they didn’t understand. that was the work.
p. 157 – couchsurfing is about more than saving on hotel costs. its a gift exchange between the surfer and the host that offers an intimate gaze into somebody’s home, and the feeling of being held and comforted by their personal space. it’s also a reminder that we’re floating along due to a strong bond of trust, just like when i surf the crowd at a show safely suspended on a sea of ever-changing hands.
p. 158 – i’m often asked: how can you trust people so much? because that’s the only way it works.
p. 177 – these are new forms of patronage, and it’s messy; the artists, and the patrons are making up the rules as they go along. …. the fundamental building block of all these relationships boils down to the same, simple thing: trust. .. as long as art is coming out the other side and making your patrons happy, the money you need to live – and ” need to live” is hard to define – is almost indistinguishable from the money you nee to make art…. it’s not like her fans’ money is an “allowance,” with nosy and critical strings attached. it’s a gift, in the form of money, in exchange for her gift, in the form of music.
gift..? be cool if we could get to truly gifting.. expecting nothing in return. no?
p. 179 – please take the donuts.
p. 208 – Anthony once told me: it isn’t what you say to people, it’s more important what you do with them. it’s less important what you do with them than the way you’re with them.
p. 231 – if you love people enough, they’ll give you everything. (text from anthony after getting million)
p. 253 – everybody i know, i said, especially the performers, has such a complicated relationship with being looked at.
i erased and redrew, thinking about how we judge one another was i trying to make her more beautiful?
p. 255 – i started to enjoy the feeling of absolute uncertainty.
p. 262 – i experience the physical truth of what it felt like to dwell in the act of creation as a direct escape hatch from an unbearable reality.
it hurt enough. i got up off the nail.
p. 263 – all i wanted was to plug neil into my brain and show him the entire history of our friendship. the love.
Jerry’s brain – would have helped.. no..? here’s to us all having that..
p. 267 – he (anthony) had love me way beyond enough. i would give him everything.
p. 276 – real isn’t how you are made, it’s a thing that happens to you…..once you are real you can’t be ugly. except to people who don’t understand.” – the velveteen rabbit, Margery Williams
p. 300 – if you want to know what you believe, ask the people you taught.
p. 302 – seeing each other is hard. but i think when we truly see each other, we want to help each other. i think human beings are fundamentally generous, but our instinct to be generous gets broken down.
science of people et al
the value of the gift rises in transit, as it is passed from hand to hand, from heart to heart. it gains its value i the giving, and in the taking. in the passage.
..i no longer see these things as risk. i see them as acts of trust. i think the real risk is the choice to disconnect. to be afraid of one another.
how do we create a world in which people don’t think of art just as product, but as relationship?
as art returns to the commons and becomes more and more digital, uncaged, freely shareable, we need to figure out how people sustain a new artistic ecosystem…. even the perfect tools aren’t going to help us if we can’t face one another. if we can’t see one another.
p. 305 – your acceptance of the gift is the gift…. the gift must always move.
p. 316 – i/you/we are bigger on the inside…. than another one can ever see.
Amanda MacKinnon Gaiman Palmer (born April 30, 1976), sometimes known as Amanda Fucking Palmer, is an American performer who first rose to prominence as the lead singer, pianist, and lyricist/composer of the duo The Dresden Dolls. She has had a successful solo career, is also one half of the duo Evelyn Evelyn, and is the lead singer and songwriter of Amanda Palmer and the Grand Theft Orchestra.
On April 20, 2012, Palmer announced on her blog that she launched a new album pre-order on Kickstarter. The Kickstarter project was ultimately supported by 24,883 backers for a grand total of $1,192,793 — at the time, the most funds ever raised for a musical project on Kickstarter. The album, Theatre Is Evil, was recorded withThe Grand Theft Orchestra, produced by John Congleton, and released in September 2012.
On November 16, 2010, Amanda Palmer hosted a flash mob wedding (not legally binding) for Gaiman‘s birthday in New Orleans. On January 3, 2011, the couple announced, via Twitter, that they had legally married in a private ceremony.
Bucky – allowing for art-ists to not obsess with earning a living.
dec 10 2014:
i love in my mind Amanda Palmer..
had only heard it at google and at school of rock..
Art is a business – and, yes, artists have to make difficult, honest business decisions
the comments section of my @guardian piece is truly fascinating (and well moderated). GO WEIGH IN.http://t.co/30QX7L0HbT
Original Tweet: https://twitter.com/amandapalmer/status/543896200504938497
twitter usage solidifying the human family. this can be such a powerful tool. theguardian.com/australia-news…
Amanda and Maria – nov 2014:
Amanda Palmer on the Art of Asking
36 min – validation/permission to go do your art..
not everyone wants to be looked at but everyone wants to be seen
47 min – talking about doing your art when there’s no title/pay
commons ness – no commodity – so much that matters is invisible/undefinable.. can’t label contributors.. et al. we need to assume everyone is contributing.. there’s never nothing going on.
mar 2015 – amanda experimenting with patreon (pay per thing):
mar 4 – 2015 – so far she’s got $13000 per thing – 14 hrs after – via 1400 backers:
pic – how live conf may 2015
The one and only @amandapalmer is in the #howlive house!!!!! http://t.co/lz7YIYdXR0
Original Tweet: https://twitter.com/debbiemillman/status/596722069812977664
#omg loving @amandapalmer and @brainpickings @brainpicker closing keynote #HOWLive #SVAxHOW @HOWbrand #ukulele http://t.co/7J7py9beuS
Original Tweet: https://twitter.com/michelle_poler/status/596733703423852546
may 2015 – playing the hitler card
And slowly, over the next few days, I received a string of emails and voicemails from local Bostonians who wanted to tell me, in private, that they, too, had felt empathy and compassion and even concern for this 19-year-old kid. But they dared not say it aloud.
not alone. pluralistic ignorance keeping us silent. isolated.
I kept running the phrase in my head: “wondering if this trend of empathy had gone too far”. What’s too far? Is there even such a thing?
i know you ness
june 2015 – on anthony – words when there are none
we’d been talking about that the night before…how screwed up the new systems are, how we’re all so far from death and life and birth all the time because we no longer live in tribes and villages and close quarters. it used to be that there was always someone around dying, and someone around being born, and it rolled out right in front of your eyes, this great cycle of life, instead of being hidden in locked, poorly-lit buildings with visiting hours.
bigger on the inside. for anthony. https://t.co/Gl1sgbAvD9
Original Tweet: https://twitter.com/amandapalmer/status/613843328338149376
ah thank you….it was, in a way, a long love letter. RT @petersagal I feel like I do know him from your book. A great monument to him.
behind the trees:
artist & fan & mom..
to work whenever inspired.. instead of working on the forced binge/purge feast/famine cycle..
please don’t terrify and jinx me..
i’m just about to jump into this net that I’m praying will appear to catch me, my art, and this baby — all at the same time.
i love you too..
life while you wait reading by Amanda – via Maria
i sat there trying to figure out how people know what you’re allowed to do when you can’t directly google it. and then i thought, wait a minute, i’m the kind of person who doesn’t do what you’re allowed to do and i just do it and then it’s a Thing People Do because I Just Did It and i’m technically People.
and i realized i was thinking that and that thinking that is what makes life bearable, when you realize you can just Do Things.
what if it’s not what makes life bearable.. but rather.. what makes the dance dance (where ie: bearable ness becomes irrelevant)
it’s important to be reminded that you can do anything you want.
Neil interviews Amanda oct 2015:
Neil Gaiman Interviews Amanda Palmer @ 2015 Boston Book Fest
7 min – the book is not supposed to be instructional.. it’s supposed to be about the theme of asking
11 min – it’s not as 1’s and 0’s as people want it to be but it does work..
12 min – art only works when you make people feel something
19 min – on anthony – he put up with me thinking he was perfect.. he taught me about imperfection/compassion….
love embraces the imperfect….
21 min – when you get sick.. you’re forced to get off the train.. to ask for help
23 min – asking and illness are like this (the same)
same as being vulnerable
24 min – in so many cases.. it’s just easier not to ask.. the fear of rejection is bigger than whatever the thing being asked for
27 min – it also made me understand the 1000 yard stare… that happens when you’re holding 89 concepts and figuring out how to thread them together
29 min – maria.. on the art of not having to ask – (theraue) –
love is the ultimate art of not having to ask…
32 min – we edged toward each other day by day … a slow self-conscious work.. alice never gets what she asks for… she gets these unexpected things…
35 min – she spoke fluent neil and fluent amanda.. and she would translate for us
37 min – we both (neil and i) always have an idea of how it’s supposed to be…. you both want control of the narrative.. it’s how we’ve both learned how to survive…
the beautiful thing about the baby – is we’re both going to have to let go of his narrative…
let go ness
39 min – maria: love only works when you learn to let go of it
42 min – asking connects us
43 min – on the internet being the poison and the antidote
52 min – q: on balance of making art for self and art for others.. a: in a vacuum for a long time.. but always created with an audience in mind
56 min – everytime something significant happens (ie: death of anthony) i feel it’s my part to make more art… i take stalk of my own mortality… i ask myself..
why would i not go as deep as possible… it’s stupid to be safe… the risky/unsafe place really is the gift you have to give..
the safe spot.. whatever you think is going to be pleasing.. will make people like you.. that’s not your gift..
Original Tweet: https://twitter.com/amandapalmer/status/662700910406033408
on teaching art of asking to business class
strung out in heaven – Patronage vs. Commerce, Art as Non-Ownable Nourishment,
feb 2016 – Maria and Amanda:
If you were going to make music in 1985, you looked at the system and figured out what your options were. Very few people decided to change the system. 99.99999% said, “okay, I’m going to find a record label to sign with” — because that was the method of distribution in 1985
makes me think of Simone Weil, who wrote in the early 1940s: “When someone exposes himself as a slave in the market place, what wonder if he finds a master?”
but I do think the pendulum is eventually going to swing back into the world of music being not something you have and own but something you share and you convene around, music as community glue. And that’s going to mean the simultaneous death of the superstar — it’s going to mean the death of the David Bowie types who can sell millions and millions and millions of records and be glorified by a system that no longer exists.
What I found was what I expected to find — there wasn’t a single person on Twitter who took the position of this woman, in part because I’ve been trying to educate and expound on what patronage is going to mean now, in these Internet days.
They would probably stop trusting me and go away. I talked about this so much when the Kickstarter happened — which happened because people trusted me. And then there was conversation number two, which was about whypeople trusted me, and that became The Art of Asking, because it’s not a two-sentence answer. But they trusted me because I toured the world for ten years and got to know them — and people don’t trust you without getting to know you and watching you work and seeing you make good on your word.
AP: Exactly. A bizarro-world example of art as product. And one of the questions that keeps coming up in my life, and kept coming up endlessly in the Kickstarter, was people asking whether I feel like I would be beholden to my fans — which is another way of asking whether I’m afraid of turning my audience into consumers. And that was so outside the realm of my imagination that it hadn’t even occurred to me to be worried about that until journalists started asking all the time. And my answer was always “no.” I’m not worried about that because I don’t have that kind of relationship with my audience — they’ve given me their support not because they have an expectation of a particular product that they want to arrive in their inbox, but because they have a curiosity about where my path is going to take me and they want to see what’s created.
Right. But the boundaries are also very fluid. When I pitched my audience Patreon, I pitched them a mystery into which we were all going to be going. But, as their art-maker and enthusiasm-provider, there’s a part of me that just wants to make them happy and delight them and surprise them and impress them and emotionally challenge them. And there’s a part of me that takes delight in finding new ways to do that rather than just sitting down and writing another delightful, emotionally challenging ukulele song every two weeks for which I get paid — that would be so fucking boring.
And this, actually, takes us full-circle to Bowie — because Bowie, like a certain lineage of shape-shifting art-world artists who didn’t just follow the script, fed off doing the unexpected while not departing so far off to the left that they lost their audience. And that’s a dance that you do with expectation — a dance between your audience’s expectation and the awareness that if you give them what they actually expect, you’d lose them.
most of the project from home, on my computer, in collaboration with Jherek, and I could spend two days at the studio and find a babysitter. I looked at the entire project and thought it was manageable, I could do it right now, which is the way I like to work — fast and furious and surprising and very chaotic and manic
seven months to put out our David Bowie tribute, it just wouldn’t feel the same. It is of the moment, and it was of the moment to sit on the couch and listen to Bowie songs with Neil [Gaiman] and read my patrons’ favorite Bowie songs and go on hunts for obscure tracks and sit there with the baby between me and Neil, immersing ourselves in this artist’s world — because all that felt like part of the project, it felt like part of the patronage.
local global ftf w b
That was our way of mourning, and that became our ritualistic David Bowie funeral.
it isn’t possible to love and part. you will wish that it was. you can transmute love, ignore it, muddle it, but you can never pull it out of you. i know by experience that the poets are right: love is eternal. –em fosrster.. a room with a view
That is the point. It’s about making enough money to make art, and making enough money to live, and making enough money to give to Bernie Sanders if I wanted to. Actually, this is going to be a very interesting question for me in the next five or ten years — how transparent am I expected to be and how demanding are my patrons going to be, because none of us have ever done this before and there is no rulebook.
mar 29 – 2016 – live concert – strings et al
via Maria.. live podcast interview of Amanda with Debbie Millman
to be in a true convo w the world and w people…
3 min – an incredible tool in the human voice… how the ear works.. ie: by ear.. match voice to whatever you’re hearing… and match on piano… partly talent… gift.. and practice… ie: match brown on tree to brown in crayon box…
that’s just because you’re thinking of eyes and ears differently… if you think of ears as eyes that see sound….we’re constantly taking in audio….
if we learn through repetition… always is a huge hodgepodge…. unless living in a bubble..
11 min – music used to have a common purpose… ie: no copyright et al…
14 min – i was confused about going to college.. because there wasn’t rock college…… i was terrified to be seen as failure… w/ ie: bad grades et al..
18 min – graduated weslyan… got full ride to hidelburg uni.. then thought.. o hmy.. another 2 yrs of school. why am i doing this… ditched scholarship/germany…
22 min – jobs as stripper et al… i met the most lonely people… people that just wanted to be seen…
25 min – any job i’ve ever had has taught me about the human condition.. vulnerability… the wanting to be seen..
28 min – when you’re in the street… an unchosen audience… it’s a service job… you’re asking the environment to give you attention.. to listen…. esp when people are busy and you fell like you’re bothering them.. it wears your ego down… and you’re not there to demand attention from any of them…. you become a zen performer.. you are not in the driver seat whatsoever…
30 min – a two way street.. helping them feel seen/real.. and they help me feel seen/real… i am so happy that i walked through the hall of street performance… esp in silence…an ego less ness that i didn’t start with but that i came to understand… above all connection… when audience/artist merge in a mutual gaze… that’s the moment… in any media/art form…
32 min – fundamental building blocks of anything in realm of art..
the condition of two human souls in mutual recognition… everything else is colorful noise….
2 needs – a nother way
33 min – all boiling down to one thing: believe me. i’m real.. modern society has dis connected us in a way we can barely comprehend… one thing i’ve become conscious of… nothing will underline/highlight how disconnected we have become……. as how crazy we must seem to that baby… ie: none of human beings are talking to each other.. none recognizing presence of baby… we are so isolated from one another in so many situations… we think we’ve progressed and are so connected… but when strip it down..not so.. so many depressed..paranoid.. worried… medicated… and fundamentally feeling very unseen…
36 min – maybe we’ve constructed culture in a way that people are not feeling recognized.. loved.. accepted.. happy w their place in society… where they’re supposed to be… rolling along with their day….oh my god what have we done to create such unhappiness…
indeed… so let’s construct..
let’s do this first: free art-ists.
37 min – took many years of me being on receiving end of fellow mammals.. that i was important to them…
39 min – for evertyhing that wanted a nother cd signed… had a story – your song got me through the death of my father,.. et al.. to hear them say to us… please keep doing what you’re doing.. that what we’re doing is of value…
40 min – what i wanted was to be in a true convo w the world.. the currency of human connection…
42 min – debbie: you’ve said if you love people enough they will give you everything.. i want to know how you love people enough.. amanda: i don’t know
i think everything we’ve talked about upt o this point is part of that answer… i never wanted to separate.. it was a busienss approach… brain and i considered our fans our comrades in this mutual convo… and everything we did fed that narrative… an ongoing intimate relationship… by the time i landed in 2012 and went to that community…. i was asking for pre orders.. asking them to trust i will give them something back in 6 mos… their answer was of course… becasue we’ve been iengaged in a relationship w you for yous…
45 min – debbie: why the backlash.. amanda: that kind of trust is so delicious.. there might have been some degree of jealousy..couldn’t believe pepole would trust me… but it was possible because we were in a long term relationship… i then went out of my way to give those guys the moon..
47 min – anothy making you wish you could turn back clock to 60s… where you could hitchhike, smoke.. listen to joni mitchell…
49 min – doing something till it hurts enough..ie: sitting on a nail… we are so cruel to ourselves… we punish ourselves..
51 min – not pushing people away… but falling straight into them…
52 min – anthony gave me the tools that he himself couldn’t even use…
56 min – he saw me as a piece.. that if it worked… could fit together in an unpresidented way
59 min – on constant exchange…. keeping score is the kryptonite…
we are not keeping score.. love cannot keep score..
on need for mech simple enough.. and that does not keep score (actually huge key to simplification)
ie: hosting life bits on blockchain (not to measure/validate transactions/people – imojean heap et al) to help people see each other .. find each other.. better…
on having a child.. and surge of energy to keep up identity as artist ..beyond mother..
1:11 – (singing) bigger on the inside – so much bigger than another one can see.. trying is the point.. so don’t stop trying…
1:19 – quote from neil – in song mother’s confession:she survived the warsaw ghetto
and she always says “i love you” when she sees you ’cause she knows you never know
feb 2016 ted -Amanda Palmer, Jherek Bischoff, Usman Riaz: “Space Oddity”
@ I hope you realize the strength in your ability to connect us all. The net caught me tonight and I could shout with gratitude.
it will widen. i am incredibly inspired right now to work and help.
www ness .. has to be all of us.. you model it well amanda..grazie
behind the trees
Amanda Palmer (@amandapalmer) tweeted at 6:31 AM – 31 Jan 2017 :
america NOT first. nobody first. world first. togetherness first. everybody fucking first. goddamit (http://twitter.com/amandapalmer/status/826422548900372485?s=17)
human\e constitution ness
feb 2017 – Expanding our definition of smart | Sir Ken Robinson + Amanda Palmer
6 min – simple way to solve problems is to stop causing them.. don’t do that.. do something else.. – ken
18 min – we cannot measure what’s important.. just what’s easiest to find.. – amanda
Amanda Palmer (@amandapalmer) tweeted at 5:28 AM on Fri, Mar 31, 2017:
my 1st attempt to podcast! in conversation w @missyhiggins, premiered in @rollingstoneaus! join patreon 4 downloads. https://t.co/GrBDFP7Ev6
43 min – oh my… amanda
48 min – let it be – both
52 min – i don’t want him to see me being afraid.. i can use him as a reason not to be afraid..
this is where i spent last week. shot by fridoon joinda, my new filmmaker friend, and a refugee from afghanistan. youtube.com/watch?v=yReIhG…