Published by Echo Point Books & Media. Available soon in our online store.
Joe Gallivan’s birthday was on August 9th. I usually make a mango pie for that occasion, since it coincides with the height of mango season, but, this year, even though I had all the ingredients and equipment assembled, the mangos were green, and hard as rocks.
So, we waited another six days, until they turned golden and issued their unmistakeable fragrance.
If you live somewhere that has snow in the winter, fear not. Sliced, raw, ripe peaches can be used instead of mangos.
No need to light an oven in mid-August to make this pie.
Crust: Grind in a food processor, first a cup of cashews (neither toasted nor salted), then a cup of shelled walnuts, then, finally, half a cup of de-seeded and coarsely chopped deglet dates. Combine all three in a big bowl with a big spoon, until well blended. (Substitutions: unsalted macadamia nuts for cashews, pecans for walnuts).
Form the dough into a ball (or two), and then press the dough into the shape of a piecrust into a glass piepan or a ceramic bowl. (Or you could make tiny pies in custard cups.) Press the dough into an even thickness covering the bottom and sides of the container. Don’t place it over the lip of the piepan; it will just break off when you are trying to serve it.
Filling: Cut up the mangos inside a bowl, because, if they are ripe, they will exude a lot of juice, which you will want to capture and use. Place the bite size pieces of mango inside the prepared crusts, and measure the juice into heavy pot or a double boiler. Add more liquid, if necessary, to make a total of two cups – coconut milk, juice of another fruit, or purified water will all work. Add two dropperfuls of stevia liquid (or a commensurate amount of another sweetener, if you prefer), and two tablespoons of agar-agar (kanten) flakes.
Bring to a boil, and then simmer for five to ten minutes – stirring gently – until the agar-agar is completely dissolved.
Then pour the hot liquid over the mango pieces to within 1/2″ of the top of the pie shell.
Place the pies into the refrigerator, covering each one with an inverted ceramic plate, and let them chill for an hour.
Sincere thanks to wonderful Greg Castillo, Professor at the Department of Architecture, College of Environmental Design, at the University of California at Berkeley, who has been doing the first academic research and writing about Living on the Earth.
Yesterday he sent me this message: “I was just procrastinating from writing by doing some internet research on a subscription based site called Independent Voices, a database of alternative publications. I typed “Alicia Bay Laurel” into the search bar and came up with a number of reviews of Living on the Earth that you might not have.”
And here they are – five clippings displaying reviews of Living on the Earth surrounded by some of the countercultural icons among which it was born – Richard Brautigan, Steve Winwood, Baba Ram Dass’ Be Here Now, the East Village Other, How to Keep Your Volkswagen Alive, Alpha Brain Wave Monitors, and the Pacifica Film Festival.
In the 2003 and 2004, as the US invasion of Iraq was raging, I campaigned for peace activist, US Representative, and former Cleveland mayor Dennis Kucinich‘s presidential primary run on the Big Island of Hawaii, where I was living then. That’s me in this photo, with one foot in the street, at a demonstration in Hilo.
With my tribe of fierce peace and environmental activists, we offered voter information from booths we set up at farmers’ markets (“Dennis is the only necktie in Washington that represents YOU. He’s anti-war! And he’s a vegan!”), got trained to offer voter registration and then offered it everywhere, including in the theatre lobby during a three-week screening of Michael Moore’s Fahrenheit 9/11 at the Palace Theatre in Hilo, and, later, got trained to be a poll watcher at our local primaries. While engaging in these actions, I wrote my rant/waltz, America the Blues.
Our campaigning worked! People that had never voted before turned out in droves and swamped the normally tiny Democratic Party caucuses, giving Kucinich 60% of the vote in the Puna District, 50% of the vote for the Big Island (Hawaii County), and 33% of the vote for the state of Hawaii, which, along with the state of Washington, were the two states that sent Kucinich delegates to the 2004 Democratic Party National Convention in Boston.
Those of us that had organized this victory suddenly found ourselves officers of our precincts, writing resolutions and platform planks to present at the Hawaii State Democratic Party Convention in Honolulu, which I attended.
I wrote nine resolutions – one to outlaw GMO crops in Hawaii, and eight for election reform. One of these resolutions not only passed the vote on the convention floor, but also passed the vote in both houses of the Hawaii state legislature and was signed into law by the Republican governor, Linda Lingle. That is why all forms of voting in the state of Hawaii must produce a hand-countable paper trail. You’re welcome.
I had the pleasure of meeting Congressman Kucinich a couple of times during and shortly after the campaign. Here’s a photo from 2006 in which he graciously posed with me after a giving speech in Kahului, Maui, on behalf of Senator Daniel Akaka’s re-election campaign, in which he ennumerated Senator Akaka’s achievements in limiting the use of nuclear weapons.
I then presented this brave peace activist politician with a poster print of my painting, Peace Girl, which he liked very much.
Dennis ran again in 2007 and 2008. I would have liked to campaign for him again, but, during those years, I was responsible for my mother’s end-of-life care, and, afterwards, with addressing the various types of chaos she left behind. Even so, I posted about Dennis’ campaign, his platform and his speeches on this blog during those years.
I was pleased to reconnect with Dennis Kucinich again in 2020, on Facebook. I had replied to one of his posts on his wall that I had been a volunteer on the Big Island of Hawaii during his presidential primary campaign in 2003 and 2004. I did not expect a reply, since I was one of thousands of volunteers and voters that he met during those busy years, but, to my astonishment, he sent me the following message:
I treasure your brilliant, memorable art, and your support.
I still have it. It is extraordinary, incandescent, as are you. Yes, I remember.
Best wishes, Dennis
Seven fortune-telling cards commissioned by Creomoir, an aromatherapy and massage spa in Shibuya, Tokyo, Japan. Please click on the images to enlarge them.
Drawing printed on Creomoir’s catalog cover and canvas tote bag.
Illustrations for souvenir ceramic tea mug set and organic cotton bath towel, featuring Amaterasu, the Shinto sun goddess carrying the sun over Mount Fuji, for the Artist Power Bank Music Festival, 2018, Tokyo, Japan. The double-sided saucer/lid bears a Pagan proverb, “As above, so below.”
Drawing, wording and lettering for 25th anniversary commemorative canvas tote bag for People Tree, a fair-trade fashion and craft import company and chain of stores, Tokyo, Japan.
Logo drawing for Miho Ogura’s hula studio, Tokyo, Japan
Illustrations and lettering for Orie Ishii’s cookbook, Rainbow Sweets: Cover, title page, end papers, chapter headings.
Logo for Orie Ishii’s organic vegan bakery, Rainbow Caravan (used on packaging and website), as printed in her cookbook, Rainbow Sweets:
Logo and commissioned drawing for AO Birth Clinic, Tokyo, Japan:
New illustrations for the two author introductions to the 2019 Spanish translation of Being of the Sun (Ser Del Sol), hand-lettered by the translator.
Logo and hand-lettering for Good Earth Sandals, Hilo, Hawaii. Used on signage, stationery, advertising, web site and stamped into the sandals.
Art for my concert in Joshua Tree, California:
Art for organic garden vegetable seed packets:
Juan Antonio Martínez Sarrión, who is translating, relettering and publishing Ser Del Sol, the Spanish edition of Being of the Sun, for his company, Kachina Ediciones, painted the cover art on a house in the village of Milinicos, in the mountains near Albacete.
|TOP 12 DIY PICKS by Mare Wakefield, Indie Music Editor|
What Living’s All About—a title that’s appropriate for a woman who has lived her life with such gusto. A Bohemian artist, Alicia Bay Laurel lived on a houseboat off Sausalito and a commune in Sonoma before spending 25 years on Maui. In addition to her music, she’s worked as a cook, collage artist, yoga instructor, wedding planner, underwater photographer and she’s the author of a New York Times bestseller, the whimsical Living on the Earth, first published in 1971.
The rich tapestry of her life translates to her music. In the Billie Holiday-esque “Floozy Tune,” Laurel plays the role of the Sunday School teacher turned barfly. In “America the Blues” she dishes out scathing political commentary to the tune of “America the Beautiful” (“America, America, greed sheds disgrace on thee / You don’t need nukes, you don’t need slaves, you don’t need gasoline”). She has fun with the smart “Aquarian Age Liberated Woman Blues” (“Seaweed for breakfast is good for you”) and the gospel-imbued “Doctor Sun and Nurse Water.” Laurel’s jazzy Earth-mother sound will seduce and inspire.
Review by John Stevenson of Ejazz News in London, June 2006
Just a quick note from London. I have reviewed your last CD at ejazznews.com. It is excellent. As I wrote in the review, by far one of the best for 2006.
I get close to 200 CDs a week sent to me, but yours stood out because of its transparently high level of musicianship and sincerity – qualities which are very rarely found combined these days.
Alicia Bay Laurel: What Living’s All About, Jazz Blues & Other Moist Situations (IWS)
With a provocative title like this one, Ms. Laurel will certainly catch the attention of any reviewer! This is most certainly one of the most audacious, heartfelt and honest discs I’ve put in my CD player for the year. Alicia (who sounds like the artistic love child of Joan Baez and Tom Waits) brings a folk-singer’s sensibility to bear on jazz and pulls no punches: On America The Blues, she declaims: America, the beautiful/you’re thorny as a rose:/Radiation, global warming/Poisoned food from GMOs./ She also sings a delightful version of Eden Ahbez’s Nature Boy. The accompaniment from guitarist Nels Cline, bass player John B. Williams and pianist Rick Olson is divine.
* * * *
BLUES REVUE MAGAZINE January 2008
Blues Bites: Reviews in Brief
Alicia Bay Laurel conveys life’s sudden shifts and jarring juxtapositions on What Living’s All About (Indigo With Stars 003). Sandwiched between the opener, “Floozy Tune,” and “Aquarian Age Liberated Woman Blues,” two formally classic blues that could have come from Ma Rainey if not for the namechecks (belly dancing, astral projection, The I. Ching, bee pollen candy and natty dread), comes “America the Blues,” with strident references to economic inequality, environmental rapine, corporate greed, and political corruption. Laurel moves from girlish singing on the Twenties-style songs to this doomy incantation, the arrangement taking full advantage of the jaw-dropping talent of avant-guitarist Nels Cline (best known as Wilco’s secret weapon). With cuts such as “Doctor Sun and Nurse Water” (a gospel-drenched number with oddly matched lyrics), and the Fever tribute of the title track, Living will strike some as too California in its outlook. But lovely touches abound, such as the stately, quietly anthemic “Love, Understanding and Peace,” and Doug Webb’s beautiful alto work on “Zero Gravity.”
FEMINIST REVIEW, Friday, June 1, 2007
Alicia Bay Laurel – What Living’s All About
All would-be writers who have studied how to write know the rule: “show me don’t tell me.” Visual artists find this advice easy to do and musicians are, perhaps, the same way. When the creative instrument does not rely solely on words, showing is not too difficult.
Alicia Bay Laurel wrote Living on the Earth, a cult classic and the first paperback on the New York Times Bestseller List (spring 1971), which has sold over 350,000 copies. She has also written five other books. Laurel is a talented, trained musician. She grew up playing classical piano, switched to guitar in her teens and learned open tunings from legendary guitarist John Fahey, a family member. On this latest album, What Living’s All About, she works with some of the best musicians in the field, including avant garde guitar hero Nels Cline.
Alicia Bay Laurel tries to show and tell by weaving feelings, melody and an occasional diatribe word. She celebrates the Earth (nature) and embraces her sensuality. She also loudly laments the destruction of the environment, as in her song “America the Blues,” where the listing of our environmental sins drags a bit. At the same time, the song is strangely effective. The entwining hypnotic music ended with a smashing guitar rift, followed by a spine tingling sound of whale songs and a Native American Chant. This is an excellent protest song. Alicia Bay Laurel and Al Gore should be friends.
“Zero Gravity” is a haunting song about a city at night, reminiscent of Ground Zero in New York City where the Twin Towers used to be. Laurel talks about sex in this CD and does it with class, sometimes with gentle humor, like “Floozy Tune.” However, you won’t know what she’s talking about unless you listen closely. This blend of jazz, blues and gospel is a powerful feminist statement. It’s fantastic!
Review by Patricia Ethelwyn Lang
“Floozy Tune” Wins Song Contest
7/9/2007 4:38:10 PM
Congratulations, you have been selected as a Top 20 Finalist in the Jazz Category of the 11th Annual Unisong International Song contest. Results are at http://www.unisong.com/Winners11.aspx.
This year featured the highest overall quality of songs, lyrics, and writers ever submitted by far, with the most diverse and varied entries from a multitude of countries representing every continent on Earth except Antarctica (and songwriting penguins out there).
The judging therefore was extremely competitive and to be singled out anywhere in the top 15% of all songs submitted was no easy feat.
Review of What Living’s All About by psychedelic folk radio DJ, Gerald Van Waes. His show, Psyche Van Het Folk, is on Radio Centraal, Antwerp, Belgium.
Like one of my favourite heartfelt singer-songwriter singers (Heather McLeod with ‘Funny Thing’, 1997), also Alicia went to more towards (slightly standard) jazz territories, but as a former hippie, it is clear this is not done as a compromise to please/tease a public. Her interpretations (-most songs are self penned-) are with great feelings, and a certain light happiness beyond each other idea or emotion. She describes the style mix well on the cover as “jazz, blues and other moist situations”. With additionally a a bit of New Orleans influence on “Floozy Tune”, and a bit of gospel on “Doctor Sun and Nurse Water” (about what the environment of Hawaii did to her), she wrote inspired something between jazz and jazz-blues and something else soulful. I like the idea on “America the blues” saying “America, don’t wave that flag to con us with your jive…”..”we’re all family on this planet”.. (Just imagine how America is built upon so many nationalities and bought talents from everywhere, unfortunately mostly still chosen from what are seen as the trustworthy countries and areas (so practically still excluding preferably the French, Spanish, and several Arab-speaking countries and native Indians for economic concurrence, racist, nowadays partly religious, and a few other reasons)… Potentially, I realize America still has all opportunities and a certain openness to experiment for those who succeed to start to participate in the system. This track, like a few tunes elsewhere has some, for me, rather amusing freaky electric avant-garde guitar by Nels Cline (Wilco,..). Alicia, for having experienced a certain earthbound process, matured, she still has the happiest aspects of the hippie; this sum must having benefited the soul and music of the singer, who on her recent photograph on the back cover still looks 25 or so, so I guess the message of this lies somewhere as a benefit hidden in the music. Rather brilliant as an interpretation I think is “Nature Boy” (originally by Nat King Cole, but also covered by Grace Slick), in an emotionally calm contrapoint-driven moody jazz style, with the help of John B. Williams on upright bass and Enzo Tedesco on other instruments. A really fine and enjoyable album.
Alicia is a self-proclaimed “hippie chick” who I met through (drummer) Joe Gallivan. She had a hit book back in the 60s called [stay tuned for title – forgot it], which she says “was in practically every hippie commune outhouse in the west” (no doubt right next to “Be Here Now”!). This is, I believe, self-released, and is quite an odd but strangely entertaining, original, and disarming recording. It has some amazing L.A.-based session/jazz players like (saxophonist) Doug Webb, who reaches beyond his Coltrane-esque tenor to turn in some beautiful post-Desmond alto, brilliant drummer Kendall Kay, and bassist John B. Williams, whom many may remember as the Fender player on The Tonight Show With Johnny Carson for many years. There is a choir on here! The songs are sort of 1920s-30s era swing, acoustic swing blues, and… Well anyway, when someone like Alicia asks me to do tons of Hendrix-inspired shrieking and psych looping (“America The Blues”) or fuzzed out adversarial commentary (“It’s Not Fair”), I figure that when the disc comes out that the stuff will, as it usually is, be buried or cut out altogether. I was amazed when I heard this that Alicia REALLY WANTED these sounds and that THEY ARE REALLY LOUD! I don’t know what people who know my music will think of this, but there is something so wry and self-deprecatingly amusing about Alicia’s hippie anthems, protest songs, and tales of failed romance that I find myself grinning. Hmmmm…Oh yes, I also play slide, lap steel, and acoustic guitar on this. I’m on 4 or 5 tracks.
Review by Platinum-selling singer/songwriter Joe Dolce
I think this is a very creative record with a lot of wonderful ideas and performances and some pretty extraordinary playing, and endearing vocals all over the place. I like it a lot!! I liked all the songs much better on the second listen. A keeper. Good work.
The album is eclectic, diverse musical styles. Therefore, I can relate to it! What holds it altogether is Alicia’s musical ‘personae’ – the complex character she is creating, through her voice and ideas. As you get to know this character more and more, as the songs and ideas progress, you trust her more and it allows you to enter more easily into whatever type of musical style is coming next. (Also this trust is a reason to want to go back and listen again.) Also the IDEAS are clear. The lead vocals are strong with a lot of presence. The musicians are all brilliant and the soloing is tasteful and creative – no cliches or stumbling around musically anywhere to be found.
Re: “Nature Boy.” I believe that if you can take the listener to a unique Hilltop, and give them a view that they will never forget, even ONCE in a recording or performance, that is enough. One brilliant moment builds a bridge of trust between you and them that will allow them to be more open to whatever you do from then on, even if they don’t relate or understand it. (You may never be able to take them to that High Point again but it doesn’t matter – it’s like great sex or great playing- you may not be able to LIVE with that person, but you will NEVER forget that encounter.) This track took me to that Hill. I feel different now about the whole recording.
Re: “I Could Write a Book.” This track is the track where I first gasped: genius! What an amazing idea. A track like this makes me have to listen to the whole CD over again to see if I missed anything the first time around on those opening tracks. A totally inspired idea that works. No one else has ever done something like this with a standard. Perfect. I played this one for Lin. She liked it a lot, too. (She didn’t think her publisher would like it though! ha ha!)
This year I am having an art exhibition from September 1 through 20 at Sison Gallery in Daikanyama, Shibuya, Tokyo.
My concerts are also CD release parties for my newest recording, “Alicia Bay Laurel: Live in Japan,” which you can buy here from me directly, or you can buy as downloads via CD Baby here.
Here is the tour schedule in Japanese and then in English:
2018年9月1日（土）アリシア・ベイ・ローレル個展“ダンシング・ウィズ・ネイチャー”オープニング・パーティー＆コンサート。場所：代官山SISON GALLERY。15:00～20:00。ミニライブ＆小倉美保さんのフラダンス19:00～。住所：〒150-0033東京都渋谷区猿楽町3-18 電話：03-6886-8048
2018年9月6日（木）コンサート＆新作CDリリース・パーティ。場所：横浜ライブバー＆レストラン サムズアップ。オープン18:30、スタート19:30。共演：井上オハナ、小倉美保（フラダンス）通訳：キンバリー・ヒューズ。お問合せ：045-314-8705。前売り：2,800円、当日：3,300円。住所：〒220-0005神奈川県横浜市西区南幸2-1-22相鉄Movil 3F
2018年9月9日（日）コンサート＆新作CDリリース・パーティ。場所：横浜cafe ゆっくり堂。オープン17:45、平和の祈り18:25、スタート18:30。共演：馬場尚子（司会）、Rie Nobuso（創作舞）。1,500円+1オーダー。住所：〒244-0002神奈川県横浜市戸塚区矢部町125。JR戸塚駅東口より徒歩7分。電話：090-1795-0341。
2018年9月15日（土）コンサート＆新作CDリリース・パーティ。場所：神戸Modern Ark Pharm Cafe。19:30～21:30。住所：〒650-0012兵庫県神戸市中央区北長狭通3-11-15。お問合せ：078-391-3060。
2018年9月16日（日）大阪アート＆エコロジー・センター“THE BRANCH”を応援する小さなコンサート。場所：大阪THE BRANCH。オープン15:30、スタート16:00。住所：〒559-0011大阪府大阪市住之江区北加賀屋2-8-20
2018年9月17日（月・祝）コンサート＆新作CDリリース・パーティ。場所：大阪茶屋町URBAN RESEARCH DOORS（エコ・ファッション・ストア＆カフェ）。カフェでのライブ：19:30～20:15。住所：〒530-0013大阪府大阪市北区茶屋町15-31。電話：06-6485-0178（コーディネーター：Ryoko）
13:00スタート。住所：〒899-2431 鹿児島県日置市東市来町美山 東市来町美山2591
Here is the English language version of tour schedule:
08/11/2018 New Moon concert and CD release party. 18:00 start. SHIRAHAMA TOFU FACTORY. 1500 yen. Address: 1477 Shirahacho Takiguchi, Minami Boso-shi, Chiba
08/18/2018 Concert and CD release party at Lungta Yokone. 18:00 start. 1500 yen. Address: 217 Kyonan-machi, Awa-gun, Chiba-ken
09/01/2018 Art Gallery Opening Party for Alicia Bay Laurel’s solo exhibition, “Dancing with Nature,” and her concert, at Sison Gallery, Daikanyama, Shibuya, Tokyo. 15:00 to 20:00. Live at 19:00, with hula by Miho Ogura. Address: 150-0033, 3-18 Sarugakucho, Shibuya-ku, Tokyo
09/06/2018 Concert and CD release party at Thumbs Up Live House, Yokohama. Open 18:30, start 19:30. With the Inoue Ohana Band, hula by Miho Ogura, and translation by Kimberly Hughes. For more information, call 045-314-8705. Advance 2800 yen, Door 3300 yen. 3F Movil, 2-1-22, Minamisaiwai, Nishi-ku, Yokohama, Kanagawa 220-0005. http://www.stovesyokohama.com/
09/07/2018 Concert and CD release party at People Tree Jiyugaoka [fair trade fashion shop] (flagship store in Tokyo) 3-7-2 Jiyugaoka, Meguro-ku, Tokyo. 18:00 open, 18:30 start. With interpretive dance by Rie Nobuso.
09/09/2018 Concert and CD release party at Cafe Yukkurido, 125, Yabe-cho, Totsuka-ku, Yokohama, Kanagawa, 244-0002. Open 17:45, peace prayer 18:25, start 18:30. Hosted by Naoko Baba. With interpretive dance by Rie Nobuso.
Access from JR Totsuka station, east exit, 7minute walk. https://www.yukkurido.com/access Charge: 1500 yen +1 order. Booking information: email@example.com. Café Tel: 090ｰ1795ｰ0341
09/15/2018 Concert and CD release party at Modern Ark Pharm Café in Kobe. 19:30 to 21:30
中央区北長狭通3-11-15 Kobe-shi, Hyogo, Japan 650-0012.
For more information, please call 078-391-3060.
09/16/2018 Intimate Concert to benefit The Branch Arts and Ecology Center in Osaka. Open 15:30. Start 16:00. 2-8-20 Kitakagaya, Osaka 559-0011 http://branch.sociecity.org
09/17/2018 Concert and CD release party at Urban Research Doors Chaya-machi (Eco fashion store and café.) Live in the café 19:30 to 20:15. 15-31, Chaya-machi, Kita-ku, Osaka 530-0013. Tel: 06-6485-0178 (Ryoko is the coordinator)
09/22/2018 Concert and CD release event Saikouji Zen Buddhist Temple, in the mountains west of Hiroshima, near the town of Miyoshi. Event organized by Souken Danjo, the head monk. Start time 14:00. Includes a vegetarian curry dinner. 729-4207 Hiroshima-ken, Miyoshi-shi, Kisa-cho, 610 Saikouji. For more information, please call: 080 5338 6274. https://www.facebook.com/SAIKOUJI
09/23/2018 Autumn Equinox Party, Concert, CD release party, and country market, at Italia Kaikan Fukuoka / Centro Italiano di Fukuoka. Address: Tokirikyu – Nakarikyu 2F, 1-18-25 Imaizumi, Chuo-ku, Fukuoka, 810-0021, tel: 092 761 8570. Start time: 16:00. Please contact Ayako at firstname.lastname@example.org for more information.
09/28/2018 Concert and CD release party at Shoumyouji Buddhist temple. Start time: 18:00. Address: 〒899-6404 鹿児島県霧島市溝辺町麓 溝辺町2563 Kagoshima-ken Kirishima-shi Mizobechofumoto Mizobecho 2563
出演者 アリシア ベイローレル 他 出店 ワークショップあり
09/29/2018 Concert and CD release party in Miyazaki- city, Kagoshima. Time and place to be announced.
09/30/2018 Concert and CD release party at 〒899-2431 鹿児島県日置市東市来町美山 東市来町美山2591 風の丘 Kagoshima-ken Hioki-shi Higashiichiki-cho Miyama 2591 Kazenooka 出演者 アリシア ベイローレル Start time is 13:00.
July 23, 2018. Just coming off the press today is my 8th album, a collection of recordings by audio engineer Yasushi Yamaguchi from my concerts in Japan. Three of the recordings were made on August 8th, 2015, at a peace concert in at Hiroshima Nakaregawa Church, at ground zero in Hiroshima, during the week of the 70th anniversary of the bombings of Hiroshima and Nagasaki in 1945.
The album also includes a duet with legendary Japanese traditional singer, Ikue Asazaki, and a live rendition of my song Ukulele Hula with the Inoue Ohana Band, during kumu hula Miho Ogura’s debut performance of her original choreography created for this song.
Also, I recorded a medley that evolved onstage over three years of concerts in Japan, often with interpretive dancers, blending the four chants of the solstices and equinoxes from the book Being of the Sun, both the book and the songs a collaboration with composer/author Ramón Sender Barayón.
My cover drawing, Amaterasu Seen From Mori Tower depicts the Shinto sun goddess Amaterasu appearing over Tokyo as a cloud lifting the sun from the eastern horizon across the bay. The orange and white Eiffel-Tower-like Tokyo Tower, a television tower, stands directly between Mori Tower, a residential sky scraper in the Roppongi area, and Tokyo harbor. The art gallery that sold this drawing is in the building next to Mori Tower.
You can pick up a copy here: https://indigo-with-stars.myshopify.com/products/alicia-bay-laurel-live-in-japan
If you’re in Europe, you can get them from Libreria Nemo in Albacete, España.
Listener feedback for Alicia Bay Laurel: Live in Japan
Charming! A wonderful CD, light and lyrical and still timely and deep. I especially liked the crowd singing along parts. Such cosmic threads run through your life and music and art. Wow!
Singer/songwriter and recording artist/producer
Thank you very much for sending us your new CD: Live in Japan.
Your voice, so pure and warm, makes me feel at home.
With so many people suffering from cruelty of wars, and new totally devastating nuclear war still looming, your message reminding people of the beauty of life, and the warmth of peace is more meaningful than ever.
Ikue Asazaki’s voice is so soulful!
Professor Emeritus of Mathematics
Wow, the CD looks and sounds great Alicia.
Nice balance, guitar solo works, and you sound great.
New York City, NY
Alicia Bay Laurel is back in Japan and Okinawa. In this [track “Imagine”], she sounds like an angel in a church at ground zero in Hiroshima. Can’t stop listening, so beautiful, and a special time, place convergence for peace. Thank you!
Attorney, Professor, Journalist and Activist
Winter Park, Florida
Thank you for sending me your new CD.
I am really enjoying listening to it right now!
I was surprised to hear how good your Japanese pronunciation is.
You sound so Japanese!
I love your voice on “Imagine”.
And I love the sweet face of Amaterasu on the jacket!
Translator, graphic artist, and singer/songwriter
Nagano Prefecture, Japan
Six small but powerful tracks — as relevant today as when the songs were first written — speak to the depths of our souls and the heights of our spirits. Alicia Bay Laurel’s soulful renditions are the perfect balm for our troubled times, making Live in Japan another timeless gem in our collective treasure box.
今だからききたい Ima dakara kikitai
大地の音色 Daichi no neiro
今だからききたい Ima dakara kikitai
心の響き Kokoro no hibiki
今だからききたい Ima dakara kikitai
アリシアの唄 Alicia no uta
(it’s hard to translate the Japanese into English… Literally, it would mean, “Because it’s IMA (now), we want to listen to the tones of Mother Earth/Because it’s IMA, we want to listen to the vibrations of the heart/Because it’s IMA, we want to listen to Alicia’s songs” But it sounds much better in Japanese!)
Former Radio and TV Personality in Tokyo
Now Organic Farmer and Activist in California
Here is the link to the essay.
After Greg posted a link to his essay on Facebook, and I read it, I thanked him for the attention he gave to Living on the Earth (starting on page 8) in this paper.
He replied, “Although the Whole Earth Catalog gets all the scholarly attention, Living on the Earth conveys much more about counterculture feeling. One is all head-tripping, the other goes straight to heart and soul.”
I said, “ Thank you, Greg. To me, the illustrations convey that blissful feeling of connection – as tribal family and as one with nature and spirit – that most of us did not experience growing up, but acquired in the first 30 seconds of psychedelic voyaging.”
Greg Castillo was the curator of the 2017 exhibition Hippie Modernism: The Struggle for Utopia, which included some slightly used copies of Living on the Earth that people could read while lounging in the Relaxation Cube.