Jon Batiste — The Quest for Originality and How to Get Unstuck

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• Young individuals are advised to take their time in finding their path and not to rush, as pacing oneself is important. (2s)
• The saying "what doesn't kill you makes you strong" is highlighted, but it is noted that true understanding comes only through personal experience. (15s)
• Reflecting on past experiences, it is suggested that unfortunate events can be magnified in one's mind and psyche, especially if one dwells on them. (38s)
• It is proposed that experiencing challenges is a gift that marks one's arrival, as it helps in learning how to process discomfort in various forms. (55s)
• The importance of pacing oneself and taking time is reiterated, emphasizing that everything does not need to happen immediately. (1m18s)

Is the secret to long life embracing the mundane? (1m46s)

• People who live to be very old, such as 98 or 103, often remain active and engaged in everyday activities like shopping and gardening, which are typically considered mundane. (1m47s)
• There is a common desire to retire from or outsource mundane tasks, but these activities can form a way of life or philosophy. (2m5s)
• Kurt Vonnegut, a favorite writer, suggested that the purpose of life includes engaging in everyday activities, which he referred to as "farting around," such as going to the post office and waiting in line. These activities are the connective tissue of life. (2m17s)
• Focusing only on major events means missing out on the majority of life, which consists of these in-between moments. (2m38s)
• There is a reflection on how to maintain a flow state in daily life by embracing the mundane and finding inspiration in it, without needing to escape to a special place to feel connected. (2m47s)

The gift of mistakes. (3m16s)

• Mistakes are described as amazing and brilliant, offering a unique gift in daily life. (3m21s)
• Unplanned events, interruptions, or seeming calamities provide opportunities to respond creatively. (3m37s)
• These moments allow for the discovery of something greater than what could be intentionally created or devised. (3m54s)
• The way the brain responds to these unexpected situations can lead to reaching one's highest potential. (4m6s)

Why did Jon wait until he was 10 to speak? (4m13s)

• Jon Batiste did not speak until he was around 10 years old, a fact mentioned in a Guardian article. (4m40s)
• During his early years, Jon Batiste has few memories and has recently begun to explore and understand this period of his life. (4m55s)
• He describes his upbringing as blessed but felt a need to observe and understand the world before actively participating in it. (5m14s)
• Growing up, he was surrounded by vibrant personalities, sounds, rhythms, and a mix of life energy and danger, which contributed to his introspective nature. (5m39s)
• This introspection led him to a phase of observing and gathering information before he felt ready to engage and influence the world, starting with music and eventually extending beyond it. (6m12s)

How music and performance entered the picture. (6m42s)

• At around the age of 14 or 15, music provided an opportunity to present oneself on stage. (6m50s)
• Performing involves amplifying aspects of one's inner self and making decisions about the persona projected on stage. (7m1s)
• Performers must choose how much of a discrepancy exists between their true self and the persona they create for the stage. (7m12s)

An early exercise in winning over the room. (7m31s)

• Andrew Zimmern, a TV host, advised being cautious about the persona one adopts in the first episode of a show, as it can become a lasting identity if it becomes popular. (7m31s)
• The process of turning personal ideas and visions into reality often requires stepping outside of one's comfort zone. (7m48s)
• In college, a band would perform in subway stations without asking for money, aiming to become fearless in presenting art and to change the atmosphere of the train station community. (8m11s)
• The goal was to create harmony among diverse people in the train station and to practice winning over the audience. (8m43s)
• This experience extended to initiating conversations with strangers about their experiences and sharing personal stories. (8m52s)

Choosing the personal facets that art expresses. (9m8s)

• The discussion revolves around the concept of choosing a path in the quest for originality, which is a significant part of one's life journey, often starting in the teenage years. (9m8s)
• In a world filled with numerous possibilities and facets of oneself, individuals face the challenge of deciding which pathways to explore and which aspects of themselves to express. (9m44s)
• It is important to identify what is yearning to be expressed within oneself, even if it is something that seems distant from one's current reality or is accompanied by fear and doubt. (10m15s)
• The aspects of oneself that persistently demand attention, despite fear or disbelief, are often the ones worth exploring, as they represent a deeper, authentic part of one's identity. (10m48s)

From a disappointing grade school performance to the Grammys. (11m4s)

• Early experiences with performing were traumatic, marked by significant performance anxiety, leading to the development of mantras and a sense of purpose to overcome it. (11m4s)
• The first performance experience involved participating in a talent show in elementary school, dancing with a friend in front of the entire school, which was a mortifying experience due to a lack of natural dancing ability. (11m54s)
• Despite initial rejection and the feeling of not wanting to perform again, a later experience at the Grammys involved leading a performance with 30 dancers, breaking the fourth wall, and creating a powerful collective energy. (14m22s)
• The Grammy performance was a transformative moment, recalling the early talent show experience, and was characterized by a strong, shared life force energy among the performers and audience. (15m27s)

Cultivating suspense and shifting modes of creative expression. (16m10s)

• The concept of "electricity" and "community" is described as an aspirational vision of what the world could be, and there is a reflection on the space or field needed to cultivate this vision, which has evolved over time and requires performance. (16m12s)
• There is an acknowledgment of a shift in the vocation of music and its meaning, with an intuitive and trust-based approach to understanding when it is time to change, without forcing it. (16m52s)
• The natural state of an artist involves having unwavering faith in making something real that others cannot yet see, and the challenge of communicating this vision to collaborators using words that often fail to capture it. (18m44s)
• Mystical experiences and evolved capabilities are discussed as being difficult to describe with language, and there is curiosity about how these internal feelings take shape and how much of it involves waiting versus actively seeking inspiration. (19m22s)
• Alfred Hitchcock's mastery of suspense in cinema is used as an analogy for creating suspense in creative processes, where stakes are high, and outcomes are uncertain, requiring everything to be put on the line to achieve desired results. (20m20s)
• Creating pockets of suspense and pressurized creativity is seen as a way to push forward and discover new ideas, drawing inspiration from non-musical sources like cinema rather than focusing solely on the craft of music itself. (21m51s)

When perspective drives motivation more than stakes. (22m39s)

• A conversation was held about strategies for overcoming feelings of being stuck, with a common approach being to commit to a project, such as booking a theater to write a play, which forces one to figure things out as they go. (22m41s)
• The concept of "zooming out" involves gaining a broader perspective on time, lineage, and lifespan, which can make commitments feel minor and require a different kind of motivation beyond conventional stakes or consequences. (23m35s)
• Motivation should come naturally, like a dream, rather than being forced. This approach allows for a more genuine and impactful creative process, as opposed to adhering to rigid structures or genres. (25m26s)
• The broader perspective gained from zooming out prepares one to embrace inspiration when it arrives, making it a top priority, even though it cannot be forced to appear. (26m50s)
• When experiencing a creative block, the best approach is to do nothing and live, trusting that deeper inspiration will eventually return, as it is a cultivated and enduring presence. (27m15s)

Spiritual practice and grounding mantras. (27m44s)

• The concept of being receptive to inspiration, likened to being ready to catch something without grasping, is discussed as a precursor to execution and exploration in creative processes. (27m45s)
• Performance anxiety and the use of mantras to ground oneself are explored, with specific mantras shared that focus on self-acceptance and feeling good, free, and fine. These mantras are often repeated in performances to engage the audience. (28m0s)
• The practice of music and performance is described as a spiritual practice and a ritual of community, sharing, and artistry, emphasizing the importance of living authentically to express genuine creativity. (29m20s)
• The quality of the human being and the vessel, even if broken, is highlighted as crucial for creating relatable and universal art, with an emphasis on maintaining a sacred space within oneself. (30m0s)
• The importance of taking time off to ensure the presence of this sacred space is mentioned, with a current period of strong fearlessness allowing for creative freedom. (30m31s)
• The power of mantras in meditation and repetition is discussed, with their ability to cleanse the mind and help achieve a state of equilibrium. Various forms of repetition, including drumming and instrumental practices, are noted for their potential to induce uncommon states of mind. (31m16s)
• The concept of "be still and know" is explored, originating from a biblical phrase, and is broken down into smaller parts, each carrying a different meaning. This practice involves sitting with each phrase and finding messages in the silence, which can change one's perspective on crises or feelings of being wronged. (32m9s)
• The idea of transmuting darkness into light or perspective is discussed, emphasizing the potential for personal growth and understanding in difficult situations. (33m28s)
• The phrase "thy will be done" is introduced as a practice of surrender, trusting in a divine power or logic that guides the universe. This belief helps individuals understand that they are part of a larger path and that there is a divine logic to events beyond their control. (33m39s)
• The uniqueness of each individual is highlighted, suggesting that the culmination of many factors has led to one's existence, and there will never be another person exactly like them. This realization is part of the acceptance that comes with the practice of "thy will be done." (34m41s)
• The importance of cleansing oneself from beliefs or attachments that are not connected to the best outcome is emphasized, especially during crises when it is difficult to know the right course of action. (35m10s)
• The uncertainty of outcomes is acknowledged, with the understanding that many factors are beyond one's knowledge or control, and what may seem like good or bad news can depend on various external factors. (35m27s)

Surrender, acceptance, and growth through health challenges. (35m43s)

• The concept of being "between two kingdoms," the kingdom of the well and the kingdom of the sick, is discussed, highlighting that everyone exists in this in-between space and has a passport for both. This idea is attributed to someone who gracefully navigates health challenges. (36m13s)
• There is a recognition of the need for surrender when facing health challenges, whether personally or with a loved one, as there are moments when nothing can be done to alleviate pain or uncertainty. These situations present opportunities for significant personal growth and learning. (36m51s)
• A coach's perspective is shared, describing unexpected challenges as a "pop quiz from the universe," testing the meditation and preparation one has done. This metaphor emphasizes the importance of applying learned skills in real-life situations. (37m23s)
• Sympathy and admiration are expressed for those who grow through health challenges, acknowledging the difficulty of feeling powerless to help a loved one. The growth observed in individuals facing such challenges is noted with respect. (37m50s)
• The experience of going through health challenges together is described as a privilege, with a shift in perspective towards seeing it as a blessing, despite the inherent difficulties remaining unchanged. (38m21s)

The fuzzy line between blessing and curse. (38m48s)

• The discussion emphasizes the importance of experiencing challenges and suffering, arguing that seeking a completely frictionless and comfortable life is not only impossible but also detrimental to personal growth. (38m50s)
• Jan 11, an astrophysicist, is quoted as saying that obstacles are not something to be avoided but are integral to the path of self-discovery, learning, and growth. (39m37s)
• The concept of blessings and curses is explored, suggesting that over time, events can be perceived as either, depending on one's perspective. It is recommended to choose the perspective that is most enabling, as the outcome is uncertain. (40m13s)
• It is noted that people often speculate about how they would react in difficult situations, but the reality is that one's true response can only be known when actually facing the challenge. Embracing discomfort is highlighted as a key to learning and understanding one's capabilities. (41m13s)

Growing up bullied as the “least talented” in a musical family. (42m7s)

• The concept of failure is discussed, emphasizing that what may initially seem like a failure can actually set the stage for greater opportunities and personal growth. It is suggested that failure does not truly exist, but rather serves as an opportunity for learning and transformation. (42m9s)
• Personal experiences of being bullied during childhood in Kenna, Louisiana, and New Orleans are shared, highlighting challenges with self-esteem and understanding personal value. These experiences contributed to a lack of awareness of one's potential to connect with the world. (44m37s)
• Despite growing up in a musically talented family, there was a belief of being the least talented and not destined to be a performer. This perception was challenged over time, leading to the discovery of music at the age of 11, which was considered a late start compared to family members. (45m31s)
• Early musical experiences included numerous poor performances and being known for playing without expression. These experiences were part of the journey towards developing a unique musical identity and overcoming initial awkwardness. (46m15s)
• Between the ages of 14 and 17, there was a period of intense practice and performances, with time spent in New Orleans and Kenner. (46m33s)
• During this time, there was a dual education experience, attending an art school in the evening and an academic school in the morning, while also dealing with bullying and developing as a young musical talent. (46m51s)
• The piano was central to this musical development, with performances in clubs at a young age and participation in classical piano lessons and competitions on weekends. (47m22s)
• There was a sense of not fitting in or knowing the future direction, but a community of peers was found, forming bands with cousins Travis and Jamal, and with Troy "Trombone Shorty" Andrews, who was already an experienced musician. (47m51s)
• These experiences involved performing in clubs and experimenting with new musical ideas, but a strong desire to pursue music did not emerge until the age of 17, leading to a move to New York. (48m24s)

Jon’s visionary mother guided him toward piano. (48m42s)

• Jon Batiste's mother played a significant role in guiding him towards focusing on the piano as his primary instrument at the age of 11, despite other options like drums being available. (48m42s)
• She believed the piano was the right choice for Jon because it is a sophisticated instrument that allows for a wide range of musical expression, from highbrow to lowbrow, and is often associated with conductors and maestros. (49m32s)
• Jon's mother is described as a visionary with a strong sense of leadership, having been an environmentalist before it became popular, and she possessed qualities that could have made her a CEO if circumstances had been different. (50m51s)

Parental support for Jon’s relocation to New York City. (51m15s)

• Jon Batiste graduated high school a year early and moved to New York City at the age of 17 with the support of his parents. (51m27s)
• His mother supported his decision to relocate, and his father, who was his first musical mentor, also encouraged the move. (51m30s)
• Jon's father believed that New York offered a unique opportunity to learn from other musicians, despite the perception that New York musicians might be a bit stiff compared to those in New Orleans. (51m49s)
• The intention behind Jon's move to New York was not necessarily to stay permanently but to gain experience and bring back valuable insights. (52m6s)

Serious setbacks that almost made Jon quit Juilliard and music altogether. (52m13s)

• Upon arriving in New York, Jon Batiste experienced a series of health issues, including passing out on a subway platform, which led to an emergency room visit where he was initially diagnosed with exhaustion and migraines. (52m39s)
• Shortly after moving into the Juilliard dorms, Batiste fell off a bunk bed, potentially fracturing a rib, and was later diagnosed with walking pneumonia, requiring hospitalization and causing him to miss school orientation. (54m2s)
• These setbacks, combined with the challenges of being away from home for the first time and adjusting to Juilliard's environment, made Batiste question his place in New York and consider quitting music altogether. (55m3s)
• Despite these difficulties, Batiste felt a strong internal motivation to push boundaries and disrupt traditional norms in music, which ultimately helped him regain confidence and continue his journey. (56m11s)

Jon’s advice to a younger musician enduring a similar path of hardships. (57m7s)

• The advice given to a young musician facing hardships is to take time to find their unique path and not rush the process. (58m16s)
• It is emphasized that experiences, even unfortunate ones, contribute to personal growth and resilience, adding depth and texture to one's journey. (58m39s)
• The challenges faced are seen as gifts that prepare individuals for future discomforts, helping them develop psychological and spiritual resilience. (59m18s)
• The importance of pacing oneself and understanding that success does not need to happen immediately is highlighted. (59m41s)

How Jon owns what comes his way rather than allowing it to overwhelm him. (1h0m14s)

• The discussion highlights the experience of feeling overwhelmed by constant busyness and the lack of a clear sense of direction when moving at a fast pace. Slowing down and creating mental space through activities like meditation or exercise can help reduce mental clutter and allow for clearer thinking. (1h0m16s)
• It is emphasized that individuals must take ownership of what is entrusted to them, making conscious choices about how they spend their time and what they allow to influence their thoughts. This involves setting intentions and being mindful of what is consumed through various senses. (1h1m43s)
• The importance of routine and basic self-care, such as staying hydrated, getting enough sleep, and filling the mind with positive and empowering information, is discussed as a way to be receptive to inspiration and creativity. (1h4m15s)
• Music is mentioned as a powerful force for empowerment and inspiration, with the suggestion to surround oneself with elements that ignite personal passion and creativity. (1h4m42s)
• The concept of giving away one's talents and knowledge is introduced, suggesting that sharing what one has cultivated is an essential part of personal growth and fulfillment. (1h5m11s)

Cultivating generosity without being drained. (1h5m20s)

• Greatness is measured by one's generosity, which involves sharing what one has been endowed with. (1h5m22s)
• The highest level of giving is intentionally donating time, but it is important to give time, resources, and energy in a way that is not strictly regulated or pre-planned. (1h5m43s)
• Living in a posture of giving requires creating an internal space of generosity while ensuring that one's life force energy is not completely drained. (1h6m7s)
• Discernment and awareness are crucial to maintaining this balance, as there are many things that can drain energy, including darkness in the world. (1h6m42s)
• Being aligned with this generous state leads to moments of deep impact and inspiration, and maintaining this state is essential for feeling joy and purpose. (1h6m49s)
• Regular maintenance of one's internal "machine" is necessary for it to function properly, even if it is not glamorous. (1h7m20s)

Jon’s billboard is invisible — but with deep posts. (1h7m39s)

• Jon Batiste discusses the concept of metaphorically having a billboard to convey a message or feeling to the world, but expresses reluctance to use such an opportunity. (1h7m41s)
• He explains that he does not feel compelled to broadcast a message in this way, as he believes that in the current era, messages without context cannot be purely received. (1h7m59s)
• Batiste elaborates that everything is now interpreted based on predefined cultural contexts, stereotypes, and social practices, which affects how people relate to and understand each other. (1h8m26s)
• He notes that despite the proliferation of data and increased connectivity, these surface-level interactions often prevent deeper understanding and connection. (1h9m11s)
• Batiste expresses a desire to avoid engaging in superficial communication that does not lead to deeper levels of understanding. (1h9m41s)

My rough draft of five deep handfuls. (1h9m49s)

• The podcast was started over ten years ago to explore deep topics and attract listeners interested in the subtleties and holistic aspects of people or subjects, which require time and space to fully understand. (1h9m50s)
• Emotional connections to content can serve as signals of deeper layers worth exploring, even if the reasons for the connection are not immediately clear. (1h10m29s)
• The book "Awareness" by Anthony De Mello is mentioned as an example of how revisiting the same material can yield new insights over time, as personal circumstances and perspectives change. (1h11m2s)
• It is suggested that individuals may have only a few core ideas in life that they continuously refine and present, and a question is posed about identifying five key influences or experiences that one would choose to keep if everything else were wiped away. (1h11m56s)
• The concept of focusing deeply on a handful of meaningful things, rather than pursuing more knowledge and broader understanding, is discussed as a potentially radical approach. (1h13m21s)
• A rough draft of five key beliefs or ideas includes: everything will be okay, the importance of relationships, the notion that death is not the end, not being afraid of sensitivity, and the idea that sensitivity is a gift despite its challenges. (1h14m24s)

Jon’s answer in musical improv. (1h16m16s)

• A concert was described as a unique experience due to its interactive and participatory nature, which differed from traditional performances where sound is directed at the audience. This approach allowed for a collective experiment that altered the sensory experience of the attendees. (1h16m17s)
• Jon Batiste discussed his method of musical improvisation, which he refers to as "streams" or "stream of consciousness" performances. These are completely improvised, spontaneous compositions where he plays the piano for 90 minutes to 2 hours without any sheet music or preparation. (1h18m12s)
• The improvisational performances invite the audience to experience a collective journey, akin to a chant, where both the performer and the audience discover new spaces together. (1h18m46s)
• During the improvisation, Jon Batiste described the experience as traveling and moving, with his hands guiding him to play music that reveals new colors and sounds. This process often leads to uncharted musical territories that he hasn't practiced before. (1h21m29s)
• The improvisation is seen as the truest expression of the moment, dictated by the moment itself rather than by prior preparation or personal preference. This results in music that is unique to that specific moment and never repeated. (1h22m31s)
• The presence of a piano during the discussion was noted as a rare occurrence, with a previous instance being an interview with Jamie Foxx in 2015, highlighting the special nature of the current improvisational performance. (1h23m32s)

Jon’s upcoming album: Beethoven Blues (with bonus blues tutorial). (1h24m33s)

• The discussion explores the concept of engaging with Beethoven's music in a unique way, not just by playing it as written, but by being in conversation with it and extending it with elements from various musical genres that emerged after Beethoven's time, such as flamenco, gospel, soul, jazz, and blues. (1h24m35s)
• The blues is highlighted as a significant innovation in both musical expression and human spirituality in the 20th century. It is described as a form, a sound, a style, and an inflection that can express the human condition through musical allegory. (1h26m10s)
• The blues is seen as foundational to human existence, existing even before it was named. It is a cultural movement that includes various forms of social and musical engagement, such as dances, rituals, and gatherings like juke joints and boogie-woogie. (1h27m11s)
• The blues is characterized as both simple and complex, often using a three-chord structure but not limited to it. It is described as spiritual and scientific, with the pentatonic scale being a fundamental element of its sound. (1h29m8s)
• Music has been a fundamental part of human culture since the beginning, with influences from Gregorian chants, indigenous folk music, and drum circles in West Africa and Ghana, as well as sounds from Appalachia and Eastern music. (1h29m39s)
• The blues scale, derived from the pentatonic scale, includes a "blue note" that adds a unique expression to the music, reflecting the American experience and life. (1h30m7s)
• The blues can be expressed through melodies, voices, and rhythms, particularly the shuffle rhythm, which combines African influences and evolved into the American shuffle rhythm. (1h31m13s)
• Despite its complexity, the blues is accessible and can be performed simply, often following a structure of two verses and an answer, as exemplified by the song "The Thrill Is Gone." (1h31m45s)
• The blues emerged as a form through the American experiment, similar to discovering fire, and can be applied in countless ways, influenced by different cultures and people. (1h32m31s)
• The blues is ubiquitous in music, heard in rock and roll baselines and other genres, and is deeply connected to personal and cultural experiences. (1h33m0s)
• Music, including compositions by Beethoven, has the power to evoke memories and emotions, connecting people to moments and experiences in their lives. (1h35m20s)
• The album explores the concept of "Beethoven Blues" and aims to connect people through music, encouraging those who have distanced themselves from playing instruments to return and inspiring young people to see themselves in classical music. (1h35m39s)
• The music seeks to merge different musical streams, allowing them to intermingle and giving individuals the freedom to create something uniquely their own. This approach was notably developed during and after the artist's time at Juilliard. (1h36m32s)
• The album includes a version of a piece that lasts 20 minutes, designed to create a healing, meditative experience for listeners. (1h37m13s)

Taking the hypotenuse to catharsis and other Parting thoughts. (1h38m35s)

• The album being discussed is described as something that can be listened to repeatedly, providing a sense of catharsis similar to taking a shortcut, or "the hypotenuse," to emotional release. (1h38m35s)
• There is an expression of gratitude for creating a space where people can share their identities and contributions, resulting in a feedback loop of mutual growth and learning. (1h39m6s)
• The conversation includes a mention of Jon Batiste and his work, specifically referencing "Beethoven Blues," and encourages others to engage with it. (1h39m34s)
• The discussion reflects on the joy and privilege of being able to work in a field that feels rewarding and fulfilling, likening it to a blessing of life. (1h39m31s)
• There is a sense of enjoyment and immersion in the experience, with a suggestion to create 20-minute mantras that can be revisited for continued inspiration. (1h40m0s)