Linda Perhacs
Interview by Danielle Stech-Homsy
Singer, musician and composer Linda Perhacs is perhaps best known for her 1970 album, Parallelograms. Until recently, she was little known but, fortunately for us, that has changed. Her music and life have provided inspiration to many . She continues to provide illumination through music and other forms of healing work in the Los Angeles area where she lives.
WW artist Danielle Stech-Homsy AKA Rio en Medio recently conversed with her about thoughts on life as a female artist and songwriter in the 20th and 21st centuries.
DSH: One of the profound strengths of your 1970 album Parallelograms is your insistence on following a thread of consciousness to its intended manifestation. There is a distinct feeling that the listener is being guided, as the singer was guided, to an unknown destination, giving the music an open-ended quality that speaks to the open-ended nature of life itself. It is precisely that exciting, open-ended quality that typically confounds the critical establishment as they try to make sense of brilliant art.
How did you make yourself available to this kind of experience? Would you describe submission as part of your process? Was it ever strange to move in and out of Parallelograms' world as you carried on your "other life" as a dental student/hygienist?
LP: I did have a vision for my songs. They were not done accidentally, but by discovery from many years of silent contemplation of the music that was already inside of me from life's experiences and observations and from years of seeing light and music as one.
What really brought it all together was a simple question from one of my dental patients, Leonard Rosenman, a two time Academy award winner, music conductor and composer, who at the time was head of Universal Studio's music department. He asked me what I did in my spare time, I told him that in addition to spending a lot of time in nature, I also wrote music. He remarked that he and his wife, Kay, were at a spot in their music that they were curious as to what was going on with the young people at this time. He mentioned that he would like to hear my music, so I promptly set out recording some songs in my kitchen!
About a week later, I gave Leonard a copy of the tape, and that Saturday morning, he and his wife called me and asked me to come over.
What happened after that was that Leonard gave me totally free rein at the studio to create the songs as I saw them, without interference from executives or other producers. He also gave me access to Hollywood's finest studio musicians who were more than happy to depart from the norm and gave me their best efforts at all times.
I never really thought that I was "submitting" myself as a part of the process of music, I was merely letting it flow through me. In reflection, perhaps I unconsciously did allow for this "submitting myself". What I did realize with this grand opportunity that was given to me was that I was finally given a voice to share with the world my thoughts and observations from world experiences that were familiar to me.
In the end, I did not find it difficult to shift my state of mind from music to dental work and back. To this day, a part of me still works the music in my head, and the other part of me realizes the importance of practicing the healing art of dentistry.
DSH: In the tradition of Virginia Woolf's A Room of One's Own, a certain kind of physical or psychological sanctuary seems necessary for creating a visionary work of art. This "closing the door" can be difficult for women. How do you make space for your creative process to unfold? At what point, if ever, is solitude needed?
LP: Solitude. Such a rare and precious commodity! I rarely ever have it or have had it in my lifetime. In the spare moments that I can find, I use meditation and even listen to music, but it seems that the "door" is never really ever closed. So you adapt and learn to work around it, sort of like using a bookmark in a book you have to lay to one side for a time. And, when you find the time again sometimes in the early morning hours, you pick up the book and continue where you left off. A good example of this is my finding the RIGHT time to do this interview! (I do apologize for taking so long!)
I always find that if you try to force yourself to be creative, or restive or to be "at one" with yourself, you will never achieve your goal. You must be in a good frame of mind and happy with yourself first.
DSH: Parallelograms is considered one of only a handful of psychedelic records by women. What does "psychedelic" mean to you in a music context? What does it mean for a woman, in particular, to approach music that way?
LP: Psychedelic was never the intent of "Parallelograms". This was something that put on the album by fans after it was released and the label seemed to fit it just fine! When Leonard and I started recording the song, "Parallelograms" we wanted to really experiment with different voice overs and tape loops with different sounds that we could create on the equipment that was available at that time. It was after one of the late night sessions at the studio while I was driving home on the Ventura Freeway when the inspiration hit me on how to do the song! It literally hit me like a bolt of lightning, and I had to pull over on the freeway to write down what I was experiencing!
"Psychedelic" would mean that someone is reaching far beyond the norm in the context of music and is willing to explore the edge of what is possible and to push beyond that edge. Women, for the most part have a vastly different view of music, and they, if so inclined, should explore that difference. What it would mean for a woman to approach music in that direction is that they are willing to be brave enough to explore options.
DSH: You have described your music as visual, yet you have chosen music over visual art as your primary form of expression. What is it about music in particular that works for you as a medium?
LP: Music is powerful and flexible. Visual art can be too if the artist knows how to express themselves. To me, there is really no difference between the "visual" and the sound of music. Sounds have colors to me, music has patterns of colors that dance and shine and move. Sometimes this concept is very hard for some people to understand, but music within itself is something that everyone understands. Visual art such as a painting (and more times than not, film) is always subject to the viewers interpretation of what the artist was trying to say. An opinion or story you want to tell is best done through music. It is possible to guide the listener through the poetry of lyrics to a conclusion or to lead them to form their own opinion. And even music without lyrics, if done very well, can have a profound effect on people- it allows them to go inside and create their own visual story! A couple of examples are Neil Young's "Emperor of Wyoming" and "The All Spark". Neil's' short instrumental is totally open range and horses and sunshine and freedom of spirit, and "The All Spark" is dark and brooding, yet you feel a sense of hope that good will prevail. All sent to the listener without words.
DSH: You have used your public moments as a platform for discussing some important spiritual realities. Your music also takes on the adventure of spiritual awareness and discovery. Do you feel like sharing any recent contemplations with us today?
LP: I have tried to be careful with using the stage of song as an outlet for spiritual discussions and have tried to limit them by expressing my own spiritual awareness and experiences. I wish to share these thoughts with everyone from all walks of life and beliefs mainly to let them know that real peace on earth begins from within your heart and that, in turn will travel through the universe and affect everyone and everything around you in a positive way. You don't have to believe in anything spiritual, or in only one way to be with your God, but you have to believe that there is a basic goodness in all mankind and that is how the love and understanding begins.
DSH: Elaine Pagels didn't publish her translations of the Nag Hammadi (Gnostic Gospels) until 1979. Have you read them? If so, when? Do you feel that this work empowers the individual more than other accepted doctrines of the Christian faith?
LP: I am only briefly acquainted with her writings but from what I have read, she draws some very astute conclusions from her studies and translations. I believe that what she has done is to make people aware of certain facts concerning organized religions. First of all, (as an example) not all of the writings that were available are included as "acceptable" text, but were excluded as a result of someone's opinion that "others" need not be bothered with such thoughts that may be contrary to a current way of believing. You hear from them only what they want you to hear and learn, not the full story.
She pointed out that one must empower from within. And in my opinion, that must be done by serious contemplation and a love for the natural universe.
Her work is definitely worth a read. She draws many parallels to my own studies and beliefs.
DSH: Any attempt to define what is feminine in art will face a backlash, and rightly so. The danger is evident - a cult of purity, stodginess - the opposite of expressive freedom. No one wants to be put in a box. For all that, I've lately begun to wonder if there is perhaps a type of feminine genius that may differ radically from what we recognize, esteem, or even have the proper words for in our society. Take for example an artist like Alice Coltrane, arguably the most inventive jazz composer of our time, long marginalized and overshadowed by her husband's better known oevre. A simple lack of understanding lead some critics to dismiss her early work. They were looking for particular stylistic attributes commonly associated with celebrated male jazz players. Her approach was quite different, and they completely missed the subtle complexity and originality of what she was doing. Fortunately for us, she kept making music, but there are many women who will give up and not find the strength or support they need to carve out a sustainable path for themselves as artists. We associate those kind of struggles with the past, but I see many of the same patterns continuing to this day.
That brings me to my next question: In a truly futuristic society, how would things look different for women in music?
Gazing into the Oracle of Impossible Possibilities, what is the biggest visionary leap we as women can make for ourselves and future generations at this time?
LP: I totally agree with your assessment about the struggles women have faced in the music world. It seems so unfair of the critics to marginalize and to overlook the fantastic talents by such a musician as Alice Coltrane and so many others. The critics are and were for the most part comparing apples to oranges, and sometimes they still do so. I think that what they do is gather some sort of interior notion of what should be heard as a particular genre of music, that unless the artist they are critiquing mimics that preconceived notion, then it isn't worth a considerate review.
But in today's world, it has become more and more apparent that the critics are not so much in league with the big studios as they were in the past. What a critic does is offer his or her opinion of what THEY think (and, more than likely, what the studios want to hear). I find that their opinions good or bad, doesn't necessarily reflect reality and critics should be taken with a grain of salt. One must decide for themselves and not rely on an opinion offered by others. What I am seeing more and more of is, as the independent labels are getting more influential, more fair and impartial reporting of music and musicians is becoming the norm. In the end, though, bad is still bad, good is still good!
In a futuristic society, (and, we are slowly getting there) there will be more recognition for the true and avant guard talent as being offered by women these days. They are breaking the mold and getting more and more into areas that have never been explored by women (or anyone else either, for that matter) before. There is more opportunity for women now, and the appreciation for their talents and abilities will be heard.
And, I would predict that the Oracle will say to women to believe in yourself and to not be afraid to explore what you want to say from your heart. We must remember that women in a large part of this world are not much more than a disposable commodity. Try as they may, their voices may never be heard. We are fortunate in that regard. Our music must be for enlightenment and love.
DSH: We are very much looking forward to your new recordings. Would you like to tell us anything about your new work, or should we let ourselves be surprised? When can we expect to hear it?
LP: We are anticipating a late spring release as the album is about 90% complete. We are in the final mix down stage, so we are all very excited! The album is a collaboration of some very, very talented and wonderful musicians who have worked with me on this project. Fernando Perdomo, Chris Price (Price the Band), Julia Holter, Ramona Gonzalez (Nite Jewel) just to name a few who have been so much a part of this!
How did you make yourself available to this kind of experience? Would you describe submission as part of your process? Was it ever strange to move in and out of Parallelograms' world as you carried on your "other life" as a dental student/hygienist?
LP: I did have a vision for my songs. They were not done accidentally, but by discovery from many years of silent contemplation of the music that was already inside of me from life's experiences and observations and from years of seeing light and music as one.
What really brought it all together was a simple question from one of my dental patients, Leonard Rosenman, a two time Academy award winner, music conductor and composer, who at the time was head of Universal Studio's music department. He asked me what I did in my spare time, I told him that in addition to spending a lot of time in nature, I also wrote music. He remarked that he and his wife, Kay, were at a spot in their music that they were curious as to what was going on with the young people at this time. He mentioned that he would like to hear my music, so I promptly set out recording some songs in my kitchen!
About a week later, I gave Leonard a copy of the tape, and that Saturday morning, he and his wife called me and asked me to come over.
What happened after that was that Leonard gave me totally free rein at the studio to create the songs as I saw them, without interference from executives or other producers. He also gave me access to Hollywood's finest studio musicians who were more than happy to depart from the norm and gave me their best efforts at all times.
I never really thought that I was "submitting" myself as a part of the process of music, I was merely letting it flow through me. In reflection, perhaps I unconsciously did allow for this "submitting myself". What I did realize with this grand opportunity that was given to me was that I was finally given a voice to share with the world my thoughts and observations from world experiences that were familiar to me.
In the end, I did not find it difficult to shift my state of mind from music to dental work and back. To this day, a part of me still works the music in my head, and the other part of me realizes the importance of practicing the healing art of dentistry.
DSH: In the tradition of Virginia Woolf's A Room of One's Own, a certain kind of physical or psychological sanctuary seems necessary for creating a visionary work of art. This "closing the door" can be difficult for women. How do you make space for your creative process to unfold? At what point, if ever, is solitude needed?
LP: Solitude. Such a rare and precious commodity! I rarely ever have it or have had it in my lifetime. In the spare moments that I can find, I use meditation and even listen to music, but it seems that the "door" is never really ever closed. So you adapt and learn to work around it, sort of like using a bookmark in a book you have to lay to one side for a time. And, when you find the time again sometimes in the early morning hours, you pick up the book and continue where you left off. A good example of this is my finding the RIGHT time to do this interview! (I do apologize for taking so long!)
I always find that if you try to force yourself to be creative, or restive or to be "at one" with yourself, you will never achieve your goal. You must be in a good frame of mind and happy with yourself first.
DSH: Parallelograms is considered one of only a handful of psychedelic records by women. What does "psychedelic" mean to you in a music context? What does it mean for a woman, in particular, to approach music that way?
LP: Psychedelic was never the intent of "Parallelograms". This was something that put on the album by fans after it was released and the label seemed to fit it just fine! When Leonard and I started recording the song, "Parallelograms" we wanted to really experiment with different voice overs and tape loops with different sounds that we could create on the equipment that was available at that time. It was after one of the late night sessions at the studio while I was driving home on the Ventura Freeway when the inspiration hit me on how to do the song! It literally hit me like a bolt of lightning, and I had to pull over on the freeway to write down what I was experiencing!
"Psychedelic" would mean that someone is reaching far beyond the norm in the context of music and is willing to explore the edge of what is possible and to push beyond that edge. Women, for the most part have a vastly different view of music, and they, if so inclined, should explore that difference. What it would mean for a woman to approach music in that direction is that they are willing to be brave enough to explore options.
DSH: You have described your music as visual, yet you have chosen music over visual art as your primary form of expression. What is it about music in particular that works for you as a medium?
LP: Music is powerful and flexible. Visual art can be too if the artist knows how to express themselves. To me, there is really no difference between the "visual" and the sound of music. Sounds have colors to me, music has patterns of colors that dance and shine and move. Sometimes this concept is very hard for some people to understand, but music within itself is something that everyone understands. Visual art such as a painting (and more times than not, film) is always subject to the viewers interpretation of what the artist was trying to say. An opinion or story you want to tell is best done through music. It is possible to guide the listener through the poetry of lyrics to a conclusion or to lead them to form their own opinion. And even music without lyrics, if done very well, can have a profound effect on people- it allows them to go inside and create their own visual story! A couple of examples are Neil Young's "Emperor of Wyoming" and "The All Spark". Neil's' short instrumental is totally open range and horses and sunshine and freedom of spirit, and "The All Spark" is dark and brooding, yet you feel a sense of hope that good will prevail. All sent to the listener without words.
DSH: You have used your public moments as a platform for discussing some important spiritual realities. Your music also takes on the adventure of spiritual awareness and discovery. Do you feel like sharing any recent contemplations with us today?
LP: I have tried to be careful with using the stage of song as an outlet for spiritual discussions and have tried to limit them by expressing my own spiritual awareness and experiences. I wish to share these thoughts with everyone from all walks of life and beliefs mainly to let them know that real peace on earth begins from within your heart and that, in turn will travel through the universe and affect everyone and everything around you in a positive way. You don't have to believe in anything spiritual, or in only one way to be with your God, but you have to believe that there is a basic goodness in all mankind and that is how the love and understanding begins.
DSH: Elaine Pagels didn't publish her translations of the Nag Hammadi (Gnostic Gospels) until 1979. Have you read them? If so, when? Do you feel that this work empowers the individual more than other accepted doctrines of the Christian faith?
LP: I am only briefly acquainted with her writings but from what I have read, she draws some very astute conclusions from her studies and translations. I believe that what she has done is to make people aware of certain facts concerning organized religions. First of all, (as an example) not all of the writings that were available are included as "acceptable" text, but were excluded as a result of someone's opinion that "others" need not be bothered with such thoughts that may be contrary to a current way of believing. You hear from them only what they want you to hear and learn, not the full story.
She pointed out that one must empower from within. And in my opinion, that must be done by serious contemplation and a love for the natural universe.
Her work is definitely worth a read. She draws many parallels to my own studies and beliefs.
DSH: Any attempt to define what is feminine in art will face a backlash, and rightly so. The danger is evident - a cult of purity, stodginess - the opposite of expressive freedom. No one wants to be put in a box. For all that, I've lately begun to wonder if there is perhaps a type of feminine genius that may differ radically from what we recognize, esteem, or even have the proper words for in our society. Take for example an artist like Alice Coltrane, arguably the most inventive jazz composer of our time, long marginalized and overshadowed by her husband's better known oevre. A simple lack of understanding lead some critics to dismiss her early work. They were looking for particular stylistic attributes commonly associated with celebrated male jazz players. Her approach was quite different, and they completely missed the subtle complexity and originality of what she was doing. Fortunately for us, she kept making music, but there are many women who will give up and not find the strength or support they need to carve out a sustainable path for themselves as artists. We associate those kind of struggles with the past, but I see many of the same patterns continuing to this day.
That brings me to my next question: In a truly futuristic society, how would things look different for women in music?
Gazing into the Oracle of Impossible Possibilities, what is the biggest visionary leap we as women can make for ourselves and future generations at this time?
LP: I totally agree with your assessment about the struggles women have faced in the music world. It seems so unfair of the critics to marginalize and to overlook the fantastic talents by such a musician as Alice Coltrane and so many others. The critics are and were for the most part comparing apples to oranges, and sometimes they still do so. I think that what they do is gather some sort of interior notion of what should be heard as a particular genre of music, that unless the artist they are critiquing mimics that preconceived notion, then it isn't worth a considerate review.
But in today's world, it has become more and more apparent that the critics are not so much in league with the big studios as they were in the past. What a critic does is offer his or her opinion of what THEY think (and, more than likely, what the studios want to hear). I find that their opinions good or bad, doesn't necessarily reflect reality and critics should be taken with a grain of salt. One must decide for themselves and not rely on an opinion offered by others. What I am seeing more and more of is, as the independent labels are getting more influential, more fair and impartial reporting of music and musicians is becoming the norm. In the end, though, bad is still bad, good is still good!
In a futuristic society, (and, we are slowly getting there) there will be more recognition for the true and avant guard talent as being offered by women these days. They are breaking the mold and getting more and more into areas that have never been explored by women (or anyone else either, for that matter) before. There is more opportunity for women now, and the appreciation for their talents and abilities will be heard.
And, I would predict that the Oracle will say to women to believe in yourself and to not be afraid to explore what you want to say from your heart. We must remember that women in a large part of this world are not much more than a disposable commodity. Try as they may, their voices may never be heard. We are fortunate in that regard. Our music must be for enlightenment and love.
DSH: We are very much looking forward to your new recordings. Would you like to tell us anything about your new work, or should we let ourselves be surprised? When can we expect to hear it?
LP: We are anticipating a late spring release as the album is about 90% complete. We are in the final mix down stage, so we are all very excited! The album is a collaboration of some very, very talented and wonderful musicians who have worked with me on this project. Fernando Perdomo, Chris Price (Price the Band), Julia Holter, Ramona Gonzalez (Nite Jewel) just to name a few who have been so much a part of this!
For More Info About Linda Perhacs And Her Music, Please Visit Her Website - www.lindaperhacs.com
