Live More Lightly - . . . saving our environment one small action at a time

Respect For the Big Bike

It all comes down to respect for the bike. I am realizing that the wonders of the big-bike are only now beginning to unfold to me. Although I am an experienced rider, I have not yet fully understood how different this bike is from any other that I have owned. Riding a large street-bike is an inspirational experience, but I realize that I have not been recognizing the extent of the difference in riding style and the maintenance required to minimize danger to the rider. I have been riding it like an overweight dirt bike; bouncing over the bumps and flying with very little patches of tire on the road.

After falling down, I took the FJ 1200 to Simon to check the brakes and to try to help me understand what happened. We returned to the scene of the first left-hand slider on the third day after the accident. The pavement at 16th and Cambie is very uneven due to Skytrain construction. The place I fell has a split pavement with each side of the lane a different height. The scraped ridge followed a manhole cover pavement mound, bulging from the road right after the bumpy intersection. The deep scratch, where I bent the foot of my centre stand on the pavement and the patch of gas where I had landed, were mute evidence to how much ground I covered on my side while I fell. I was going slowly and braking lightly, not stressed and hauling in the brake.

It felt like the bike had bounced up in the air, then lay down, and originally, I had thought that the bike had rebounded off of a neglected side-stand. Simon and I agreed that I had come too far from where I last parked to have left the side-stand down unscraped. So what could cause this effect? It was succinctly explained to me that if the front wheel locks up the rider can no longer steer the bike as the front wheel is not turning. The bike will slide in the direction it chooses based on tilt of pavement, direction of travel and other factors. Suddenly, I was really scared.

For some reason, I had never really pictured sliding on my FJ with the front wheel locked and not being able to steer. Continue reading Respect For the Big Bike

On-bike Video Camera Mount

My research of internet sites that feature motorcycle mounted video footage must include Virtual Riding Television. Jeff and his wife have made a trip across Canada together on a 2003 Harley-Davidson with a video camera mounted on their bike in 2006. The bike is a really beautiful touring machine that carries them both and Jeff has a lot of good information on his site. In an e-mail to me replying to my request for advice, he reminds me of the realties of the trip by saying that the most valuable piece of gear he took was his VISA card. Check out his site for some interesting virtual motorcycling.

The Harley is a dream machine, but even heavier than my Yamaha FJ1200. I plan to stick with the old iron for now and use a different camera mounting plan. I did a lot of research and I have to agree with both Jeff on the big Harley and the $5 camera mount demonstration rider that having the camera on the front of the bike gives the most realistic virtual motorcycling result. So, I talked over my options with Simon and we came up with the following idea. Here is an FJ fairing frame held in Simon’s strong, masculine hand. I have marked the areas where the mirrors are usually mounted when the rest of the frame is covered in the plastic fairing. This is a steel frame that is attached to the steel bike frame, so it is very stable and strong.

During the Jazz Festival my bike did spend a bit of time at Simon’s garage. When I dropped it the first time I broke a mirror off and did some other damage. This gave us a perfect opportunity to carry out the plan, and here is the prototype of the result.

Simon has since painted the mount black, so it blends in with the bike, but the prototype is more visible in the photo. The wide angle mirrors are still chrome and they stand way out from the stock profile. I can really see in them, as they are amazingly adjustable over a wide field of view. There is more vibration than in the damped stock mirrors that have a weight in them, but they are very functional.

This mount will be strong and can carry quite a heavy camera with full benefit of the bike suspension to smooth the ride. Now I have to find a waterproof camera housing for the video camera and shock-mount it on this steel rail. This is to protect from wind, that can cause vibration and blurring, as well as from rain. I will be consulting with many sources and will post about the progress.

Photographic Experience Theme

Part of my work as a visual artist is manipulating photos but I have never considered myself a photographer. Last year at the Jazz Festival, I took lots of photos of shows and I found it really difficult to get good pictures in the dark with no flash. The problem can be exemplified by this picture of Paul Plimley at the Roundhouse this year when he was playing on Saturday, June28, 2008. Even with a reasonably good camera, the length of exposure required makes it impossible to get a decent picture with a moving target.

This is an artistic photo, and I like it because it shows Paul’s musical spirit, but I always like to have control over results. [Yes, control is a deep part of my psyche — we’ll go there later …] I keep trying to get decent live pictures, and I am doing better in low light conditions than last year.

That is because earlier this year I started watching photographers to get some idea of how it was done. My first subject was Willie Cackett, photographer of the Blues and Roots scene in Vancouver, who gets some decent photos with inexpensive equipment. He has even had some shows of his work. Those are his photos on the wall behind him in my image below.

I noticed something right away. Photographers are very still so it is really easy to take pictures of them and I can use a flash. When I told Willie I had taken photos of him, he was pleased. He told me he didn’t have many images of himself because he was always taking the pictures. So, I have found my photographic niche — to take pictures of photographers in action.

Much better photographers, with better cameras can take pictures of the show. I will take pictures of them. It is interesting too, as it fits into my idea of “watching the watcher” by standing in front of highway cams and having them video me videoing them across the country.

This is Brian Nation with the flash diffuser obscuring his face– not the best, but look how still he is in the natural light. The next one caught him preparing, so his face is visible. I used a flash, so it is blue shifted and if I was using this for pro work I would colour correct it.

Next, I got a picture of Laurence Svirchev, but he was standing around before the show and saw me taking it. I really like to sneak up on them while they are being very still to take a photo. Laurence is a bit out-of-focus but it’s not too bad. I noticed he had a flash diffuser too. When he saw me taking the picture, he was kind enough to show me menus to set the ASA that I didn’t know existed on my camera. He flipped through the options expertly and I was surprised that there was such a hold-over from film technology in the digital controls. Continue reading Photographic Experience Theme

Canada Day on Granville Island 2008

The first day of July started with a plan to ride my motorcycle down to the Canada Day celebrations hosted by Coastal Jazz on Granville Island. This event featured some of Vancouver’s finest jazz talent on three different stages throughout the day, including Chris Gestrin, Jillian LeBeck. Brad Muirhead +Pepe Danza (Koan), Paul Plimley and Tony Wilson. As I was getting ready to go, my phone rang and my daughter requested my help to finish clearing out her godmother’s apartment. The jazz would have to wait, but it didn’t sound like there was that much to do and I would certainly be able to catch some of the shows. Continue reading Canada Day on Granville Island 2008

Vancouver Jazz Festival Part III

The free concerts at the Roundhouse Community Centre started at noon and I arrived by Skytrain after dropping my bike at Simon’s for examination. At the present time it is a long walk from the Stadium skytrain station to the site, but the new Olympic line is being constructed with a station right across the street. This site will be much more accessible for the Jazz Festival in 2010, although a lot of people do make the effort to walk, bike or skateboard rather than find scarce parking in the area.

The High School Jazz Intensive, with Chicago-based flautist Nicole Mitchell conducting, was in full swing when I arrived. The young musicians played at a very high calibre under Mitchell’s expert direction. Paul Plimley and I were discussing this concert later that day, and we both agreed that the quantity and quality of instruction and instructional materials has increased since we were young. Instructional multi-media, books,magazines, DVD’s and the internet have all contributed to a positive trend. This access to information and the improved acceptance of jazz, as a music that should be taught in school, has raised the standards of musicianship among Vancouver High School Bands. This nine-day intensive workshop series culminating in this performance is an educational outreach program that requires that the student to audition to qualify for entry. We were listening to the result of a focussed program applied to some of the most dedicated young musicians in the area courtesy of the sponsors and Coastal Jazz.

Brian Nation, the impetus behind Vancouver Jazz.com, was listening too. We both decided to go in to the tribute to Al Neil concert set-up to take photos. Brian wanted to interview Al Neil for his website jazz magazine as he remembers hearing him play and has known him for decades. The pictures I took of Paul yesterday did not turn out very well because of the low light conditions, so I welcomed a chance to to go in pre-concert and try again.

Brian and I compared cameras and he showed me his cool new flash diffuser, he took a photo of me with and without and the difference was amazing. Lan Tung, the erhu player in the next group to play in the venue, had asked me to take photos of her new ensemble. I quickly asked Brian if he had time to take a few shots of them during their set-up as his camera was so much better than mine.I think it worked out because I ended up using Lan’s video camera to record the show instead of taking stills.

Continue reading Vancouver Jazz Festival Part III

The Vancouver Jazz Festival Part II

There is only one full day left of jazz festival action and then there is a short curtain call of Canada Day festivities on Granville Island, July 1.

A quick reprise of today’s highlights at David Lam Park and the Roundhouse Community Centre. I volunteered at the Ironworks last night so, I did not get up early and I forget to charge my cell phone. I decided to leave my motorcycle at home and take the bus downtown. I arrived just in time to get into Paul Plimley’s performance on piano with a quartet of mostly European influenced players. Harris Einstadt (Toronto) on drums, bassist Wilbert de Joode and saxophonist Tobias Delius.

In the second piece, Paul’s extended solo developed beautifully out of an ensemble improvisation and was one of the best pieces of music making in the improvised set. The ensemble played very well together, interacting and responding to each other in a musical dialogue. The group’s mood changed dynamically when they played a soulful ballad as the penultimate piece, showing that improvised music doesn’t have to be loud, noisy and full of odd sounds. The final piece demonstrated that it could be exactly that and the concert ended on an energetic chord. Continue reading The Vancouver Jazz Festival Part II

Night of Broken Bikes

This is an unusual tale of mechanical mystery, charming chivalry and late-night suspense. Friday night was my last shift as Crew Chief at The Ironworks, a beautiful venue that has been my home at the Jazz Fest for 4 years. Although the Ironworks studio, an artistic space in an actual converted metal-working shop previously known as Burrard Ironworks, is sophisticated and beautiful inside, it is located in the worst part of Vancouver. The neighbourhood is one of the poorest postal codes in Canada and many homeless people wander the streets in company with drug addicts and mentally ill individuals. The area is starting to gentrify, behind security barracades, but the streets are still mean and inhabitants are unpredictable — it is the Downtown Eastside.

I went down to The Ironworks early, as the venue manager had requested that I be there at 6:30pm. I complied and helped organize the other volunteers by orienting and assisting the hospitality volunteer and making sure everyone else knew what they were supposed to be doing. My job as Crew Chief is to keep the volunteers happy, make sure they have water or soft drinks and get a break when they need it. I also keep an eye on the venue and support the venue manager.

While I was changing my boots for shoes, I left a message with Simon that my red+white loaner FJ motorcycle was developing the same clutch problem that my blue+black FJ had last year. I had noticed him leaning it over at angles I cannot achieve without becoming completely horizontal, and pumping the clutch to remove the air from the lines. Somewhere in the clutch system, which is supposed to be full of a pressurized oil, there were air bubbles getting in.

Continue reading Night of Broken Bikes

Vancouver Jazz Festival

Every year I volunteer at the Vancouver International Jazz Festival and last night, June 22, was my first shift as the Crew Chief at the Ironworks. The show last night was fun and unusual as Francois Houle and Mats Gustafsson organized an improvisational program around the idea of a hockey game, Improv Power Play: Canada vs Sweden. The individual solo improvs that started the event were excellent with standouts in my mind being Peggy Lee (defense for Canada) on cello and Per Ake Holmlander (defense Sweden) on tuba. Everyone played extremely well and the night ended with both teams on stage playing together. The drummer or goalie, Raymond Strid, for the Swedish Team (Tre Kroner), was very playful and showed a great sense of humor in this some times “serious music” jazz environment.

June 20

I have already seen some great shows, Barry Guy (bass) and Myra Homberger filled up the room at The Western Front with delightful sonorities and tasteful improvisation. The Baroque violins that Myra specializes in playing, have a unique timbre and blend with Barry’s bass beautifully. This duo has played together frequently and they mixed composed works with less structured pieces in imaginative segues.

Unfortunately, I had a small motorcycle accident, so I was a bit disoriented and missed Benoit Delbecq at the Roundhouse. That hurt more than the bruises I sustained, as I am always inspired by his playing.

June 21

I did catch the set with Benoit Delbecq and Quator Bozzini at the Western Front and it showed me a more restrained side of his musical skill set. I will see them again on Tues and will write more after that.

My daughter recommended Pink Martini as an interesting show and they were pure entertainment. The most unusual feature of this group is the multi-language focus of the songs. Although all of the songs fell within the movie theme + Vegas show + cruise ship show band type of genre; the switch to a different language showed how far the influence of stage band jazz has reached. The group excelled at Latin music and closed with a great version of “Brazil” after singing in Chinese, Arabic, Japanese, Italian, Spanish, French, English and probably other languages as well. The pianist, Thomas L. Lauderdale, played with flourishes that reminded me of Liberace. Lauderdale is the mastermind behind Pink Martini, and the lovely vocalist Chana (citation) was credited with co-writing the songs and was amazing in her abilitiy to sing in all these different languages. Other members of the 13 piece group were outastandin musicians and helped contribute to the multi-cultural aspect of the performance.

June 22

Despite having an afternoon business meeting regarding the book, I managed to hear a bit of the Vancouver Creative Music Institute (VCMI), a co-production of Coastal Jazz and Blues and the Vancouver Community College. The large ensemble, conducted by Georgio Magenesi, was brilliantly executed with space for all the players, changes in density, dynamics and timbre that maintained interest throughout. One of the best improvised large ensemble pieces for this year. Lan Tung was featured on erhu, Chinese violin, and her tone sang beautifully.

Georgio has taught me a lot about music. Sometimes when I listen to improv, noise music or another genre I don’t completely understand — I switch into another mode of listening. I change from listening for melody, harmony, rhythm and other structures, to listening to a matrix of timbres and densities. If I can break free of my traditional music frames, I can enjoy and experience music in another way. I feel like I have never properly thanked him for this tool, and other things he has told me about conducting. He is the Director of Vancouver New Music and we are lucky that he left his native Italy to enrich out community.

Francois Houle was the Artistic Director of this years VCMI and he did a wonderful job of supporting the players. All of the faculty also play in the festival and this week long series assists Vancouver players to interact with established International artists.

Later, I volunteered at the Ironworks.

Today, I have to go to work and so will miss the shows. However, I might be able to get off early enough to use my pass to see at least one show.

Forest Stewardship Council Certification

In my quest to produce the most environmentally friendly book possible, I am investigating printers that are certified by the Forest Stewardship Council of Canada. Their site has links to all of the FSC certified printers in the country.

Although it would be a lot less expensive to produce my book in Asia, I am willing to pay to “Live More Lightly.” I am sure that each individual who makes this choice influences other printers to change to more environmentally sensitive processes. There will always be a market for the absolute lowest cost production, but our children and grandchildren will pay for the damage we cause today. Friesen’s Corporation, one of the first FSC certified printers in Canada, produced a survey that showed that book buyers would be willing to pay more for a certified publication. I believe that the difference in price will be reasonable and that I can sell my book package for $18.95 Can/US.

I am confident that a Canadian FSC certified printer is doing the best that they can within the limitations of current technology. My father owned a printing business after being an offset printer and letter-pressman in larger firms and my grandfather was a lithographer and a craftsman in time before digital print. The toxic inks, cleaning chemicals and other air-borne pollutants aggravated his lungs and contributed to his smoking-related breathing problems. My father, who retired from the printing business many years ago, also had to deal with toxic chemicals in the workplace, but now inks are vegetable based and digital files make many other toxins obsolete.

I will have to get more quotes and weigh the environmental cost of shipping a lot of books over long distances. I won’t be able to carry large numbers of books on my motorcycle, so I will need to ship books to fulfill orders. I would like to sell my book in stores as well as through the internet and in person. To do this I need a distributor who will accept book orders and ship the books to re-sellers. Most book distributors are in Eastern Canada, and if I can arrange a contract with a distributor then I could have half the books shipped there and half to Vancouver. That narrows the choices to somewhere between Vancouver and Toronto . . . still a lot of choices.

Fear of Success / Fear of Failure

The commitment I have made to The Live More Lightly Project is becoming a larger part of my life. I battle against my fears as I invest my meager resources into project production. The fear of success is based on the experiences I have had as a performer as I know that attracting attention can be dangerous. As a woman, the idea of riding solo far from home is a risk and on a motorcycle, I am particularly vulnerable. I am trying everything I can to make this tour safe and productive, and I want to focus on the issue, not on myself.

The fear of failure is faced every time I present my artistic work.

Will people like it? Will anyone want me to do my workshop or decide to buy my book? The chance of complete rejection is one that always lurks in the background at any performance or artistic presentation.

I tell myself that no one is making me do this. It is all my own idea and all the deadlines and pressure to complete the project are totally manufactured by me. I am trying to have fun with it, so I have been working on the cover and avoiding the business plan.

The business plan looms though, and I will have to convince my credit union to provide me with a financial safety net. I realize that there is a possibility that I will return to Vancouver in September with no money and no employment. If I am able to organize workshops along the way and sell some books, then I will retain some of my savings. I have to look on the bright side and consider all the positive reactions that I have gathered from people when I talk about my project.

It always depresses me when I have to do accounting, but I have to approach this with confidence and see it through. My life is a series of small tasks that will lead to a completed project. This is one more task that I don’t have to do, but it will make my journey more comfortable and give me a larger margin of safety than my VISA can provide.