Hollywood, CA (January 9, 2017) -- Fender Musical Instruments Corporation (FMIC) sets the stage for 2017 with the launch of the American Professional Series, a new professional-grade collection of electric guitars and basses debuting January 19 at NAMM 2017 in Anaheim, Calif.
The American Professional series invites a new generation of players to express themselves with an original, toneful and roadworthy flagship line that honors Fender’s classic models, while boldly proclaiming the brand’s foothold into not only a new era of music but also a new generation of players. A proud testament to more than 70 years of knowledge, technology, and experience making iconic instruments, the American Professional is one of Fender’s broadest electric series to date; It brings forth best-in-class instruments giving committed players the best of yesterday and today by pairing industry-leading models with new modern, player-centric features designed for an incredibly diverse number of artists across all musical genres.
“We are committed to evolving with artists as their musical expression diversifies,” said Justin Norvell, Vice President, Electric Guitars and Basses. “It’s our goal to give artists the tools they need to push the boundaries of their artistry in ways they never thought were possible. The American Professional series stays true to the integrity, quality and craftsmanship of legendary Fender designs, while incorporating more modern, player-centric features.”
To demonstrate this new line’s versatility, Fender American Professional guitars and basses are already being used by top artists across multiple musical genres, such as: singer and producer Ty Dolla $ign; Rock and Roll Hall of Fame inductee and Guns N’ Roses bassist Duff McKagan; rapper and producer Mac Miller; multi-instrumentalist and singer-songwriter Dhani Harrison; American indie rock band Local Natives– accompanying each on their musical journey toward exceptional artistry.
Handcrafted in the U.S.—by professionals, for professionals—the American Professional series introduces new Stratocaster, Telecaster, Precision Bass and Jazz Bass guitars while adding new platforms—the Tele Deluxe, Jaguar and Jazzmaster with the later featuring a rich voice, flexible electronics and Fender’s new V-Mod Jazzmaster pickups – the introduction of Jazzmaster and Jaguar platforms is a testament to the resurgence of offset guitars. Featuring new pickups designed by pickup guru Tim Shaw, the line also incorporates a brand-new "Deep C" shaped neck profile, new electronics, a new case, bone nut, and narrow-tall frets for easier string bending.
In total, the launch boasts 16 models and 92 SKUs available in 11 colors, including three new colorways: Sonic Gray, Antique Olive and Mystic Seafoam. They speak to a legacy cemented by the enduring influence of the world's greatest players and songwriters, including Jimi Hendrix, Kurt Cobain, Eric Clapton, David Gilmour, Pete Townshend and many more.
The American Professional series ranges from $1,399.99 - $1,599.99 and is available now at local dealers and on www.Fender.com. Models include:
American Professional Stratocaster
The new American Professional Stratocaster and the American Professional Stratocaster Left-Hand are the latest evolution of the world’s most-loved electric guitar, that boasts a host of new features aimed at professional players. Developed by pickup master Tim Shaw, the new V-Mod single-coil pickups are voiced specifically for each position, mixing alnico magnet types to produce powerful, nuanced tones. Other key features include: a treble-bleed circuit that is tailored specifically for the guitar’s voice and a new modern “Deep C” shaped neck profile with narrow-tall frets that make it easy for players to bend strings. The American Professional Stratocaster right-hand model is offered in 3-Color Sunburst, Black, Sienna Sunburst, Sonic Gray, Antique Olive and Olympic White. The Left-Hand model is offered in 3-Color Sunburst, Olympic White and Black. Pricing for the new American Professional Stratocaster is $1,399.99-$1,499.99, and the American Professional Stratocaster Left-Hand is $1,399.99.
American Professional Stratocaster HH Shawbucker
The American Professional Stratocaster HH ShawBucker isn’t simply a reimagining of the classic design; it’s the authentic original model, evolved for today’s players. The pair of warm, rich-sounding ShawBucker humbucking pickups are voiced specifically for each position, producing powerful, nuanced tones. Other key features include: a treble-bleed circuit, that is tailored specifically for the guitar’s voice and a new modern “Deep C”-shaped neck profile with narrow-tall frets that make it easy for players to bend strings. The American Professional Stratocaster HH ShawBucker model is offered in 3-Color Sunburst, Olympic White, Black, Sonic Gray and Antique Olive. Pricing for the new American Professional Stratocaster HH ShawBucker is $1,399.99.
American Professional Stratocaster HSS Shawbucker
The best of yesterday and today, the American Professional Stratocaster HSS ShawBucker is one of the latest forms of electric inspiration from Fender. The fat-sounding ShawBucker humbucking bridge pickup is joined by Tim Shaw’s latest vintage-informed design—the V-Mod single-coil pickups. Other new features include: a treble-bleed circuit that is tailored specifically for the guitar’s voice and a modern “Deep C” shaped neck profile with narrow-tall frets that make it easy to bend strings. The American Professional Stratocaster HSS ShawBucker is offered in 3-Color Sunburst, Black, Sienna Sunburst, Sonic Gray, Antique Olive and Olympic White. Pricing for the new American Professional Stratocaster HSS ShawBucker $1,399.99-$1,499.99.
American Professional Telecaster
The American Professional Telecaster & American Professional Telecaster Left-Hand encompasses everything artists need to play their best. Developed by legendary pickup master Tim Shaw, the new V-Mod single-coil pickups are voiced specifically for each position, mixing alnico magnet types to produce powerful and nuanced tones. Other key features include: the newly redesigned Telecaster bridge that sports three compensated brass barrel saddles, a treble-bleed circuit that is tailored specifically for the guitar’s voice, and a new modern “Deep C” shaped neck profile. The American Professional Telecaster is offered in 3-Color Sunburst, Olympic White, Natural, Crimson Red Transparent, Sonic Gray, 2-Color Sunburst, Butterscotch Blonde and Mystic Seafoam. The Left-Hand model is offered in 3-Color Sunburst, Black and Butterscotch Blonde. Pricing for the new American Professional Telecaster and American Professional Telecaster Left-Hand is $1,399.99-$1,499.99.
American Professional Telecaster Deluxe ShawBucker
Today’s version of the American Professional Telecaster Deluxe ShawBucker, brings modern, player-oriented features to the stage and studio. The pair of warm, rich-sounding ShawBucker humbucking pickups are voiced specifically for each position, producing powerful, nuanced tones. Other key features include: a new modern “Deep C” shaped neck profile, a treble-bleed circuit that is tailored specifically for the guitar’s voice, and narrow-tall frets that make it easy to bend strings. The American Professional Telecaster Deluxe ShawBucker is offered in 3-Color Sunburst, Sonic Gray, Black and Natural. Pricing for the new American Professional Telecaster Deluxe ShawBucker is $1,399.99-$1,499.99.
American Professional Jaguar
The American Professional Jaguar has been updated with modern features and materials, “hot-rodding” it for today’s professional players. The brand-new V-Mod Jaguar pickups expand the guitar’s sonic palette with hot, vintage-informed tone. The improved tremolo and bridge incorporate a screw-in arm and brass Mustang saddles that stabilize the strings, while adding a touch of sonic zip to the player’s tone. Other new features include: the modern “Deep C” shaped neck profile, a treble-bleed circuit that is tailored specifically for the guitar’s voice, and narrow-tall frets. The American Professional Jaguar is offered in 3-Color Sunburst, Olympic White, Sonic Gray and Antique Olive. Pricing for the new American Professional Jaguar is $1,499.99.
American Professional Jazzmaster
An elegant model with flexible electronics and a rich voice, the American Professional Jazzmaster lends its unique sound to any player’s vision. Fender’s new V-Mod Jazzmaster pickups kick out hot, vintage-inspired tone with plenty of punch and definition. The improved tremolo and bridge incorporate a screw-in arm and brass Mustang saddles that stabilize the strings, while adding a touch of sonic zip to the player’s tone. Other new features include: a treble-bleed circuit that is tailored specifically for the guitar’s voice, modern “Deep C”shaped neck profile and narrow-tall frets. The American Professional Jazzmaster is offered in 3-Color Sunburst, Olympic White, Sonic Gray and Mystic Seafoam. Pricing for the new American Professional Jazzmaster is $1,499.99.
American Professional Jazz Bass
The American Professional Jazz Bass and the American Professional Jazz Bass Left-Hand combine modern features and materials with Fender’s craftsmanship and expertise to produce a contemporary bass. Developed by pickup master Michael Bump, the brand new V-Mod single-coil Jazz Bass pickups use a carefully selected blend of alnico magnet types. The redesigned tuning machines use a fluted shaft, creating optimum break angle over the nut, while keeping the string windings tight for increased sustain and enhanced tuning stability. Other new features include: a slim modern “C” shaped neck profile, narrow-tall frets, and Posiflex graphite support rods that run the length of the neck. The American Professional Jazz Bass is offered in 3-Color Sunburst, Olympic White, Sonic Gray and Black. The Left-Hand model is offered in 3-Color Sunburst, Sonic Gray and Black. Pricing for the new American Professional Jazz Bass and the American Professional Jazz Bass Left-Hand is $1,499.99.
American Professional Jazz Bass Fretless
The American Professional Jazz Bass Fretless combines modern features and materials with Fender’s craftsmanship and expertise to produce a contemporary bass. Developed by pickup master Michael Bump, the brand new V-Mod single-coil Jazz Bass pickups use a carefully selected blend of alnico magnet types for balanced tone. Other features include: the slim modern “C” shaped neck profile, and Posiflex graphite support rods that run the length of the neck. It also includes redesigned tuning machines that use a fluted shaft, creating the optimum break angle over the nut, while keeping the string windings tight for increased sustain. The American Professional Jazz Bass Fretless is offered in 3-Color Sunburst, Black and Sonic Gray. Pricing for the new American Professional Jazz Bass Fretless is $1,499.99.
American Professional Jazz Bass V
The American Professional Jazz Bass V combines modern features and materials with Fender’s craftsmanship and expertise to produce a truly contemporary bass. Developed by pickup master Michael Bump, the brand new V-Mod single-coil Jazz Bass pickups use a carefully selected blend of alnico magnet types for balanced tone. The redesigned tuning machines use a fluted shaft, creating the optimum break angle over the nut while keeping the string windings tight for increased sustain. Other features include: a slim modern “C” shaped neck profile, narrow-tall frets, and Posiflex graphite support rods that run the length of the neck. The American Professional Jazz Bass V is offered in 3-Color Sunburst, Olympic White, Black and Sonic Gray. Pricing for the new American Professional Jazz Bass V is $1,599.99.
American Professional Precision Bass
As music evolves our instruments change in lockstep - the end result is today’s version of the American Professional Precision Bass and the American Professional Left-Hand. Developed by longtime bass pickup master Michael Bump, the brand new V-Mod split-coil Precision Bass pickup uses a carefully selected blend of alnico magnet types for balanced tone. Other features include: the “golden” ’63 P Bass neck profile, narrow-tall frets, Posiflex graphite support rods that run the length of the neck, and redesigned tuning machines that use a fluted shaft. The American Professional Precision Bass is offered in 3-Color Sunburst, Olympic White, Black and Antique Olive. The Precision Bass Left-Hand model is offered in 3-Colored Sunburst, Olympic White and Black. Pricing for the new American Professional Precision Bass is $1,499.99, and the American Professional Left-Hand is $1,449.99.
American Professional Precision Bass V
The American Professional Precision Bass V combines the best of the past with modern materials and updated features to create a bass that’s ideal for professional players. Developed by longtime bass pickup master Michael Bump, the brand new V-Mod split-coil Precision Bass pickup uses a carefully selected blend of alnico magnet types for balanced tone. Other features include: the “golden” ’63 P Bass neck profile, Posiflex graphite support rods that run the length of the neck, and redesigned tuning machines that use a fluted shaft. The American Professional Precision Bass V is offered in 3-Color Sunburst, Olympic White, Black and Antique Olive. Pricing for the new American Professional Precision Bass V is $1,549.99.
or technical specs, additional information on new Fender products and to find a retail partner near you, visit www.fender.com. Join the conversation on social media by following @Fender.com
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Guitarists are used to coveting cranky, old gear, but if you’re not a rack user, the H3000 might not be for you! If you ever see one of these in a studio, be sure to take some time to check it out, and maybe give the plugin a try.When it debuted in 1987, the H3000 was marketed as an “intelligent pitch-changer” that could generate stereo harmonies in a user-specified key. This was heady stuff in the ’80s! But while diatonic harmonizing grabbed the headlines, subtler uses of this pitch-shifter cemented its legacy. Patch 231 MICROPITCHSHIFT, for example, is a big reason the H3000 persists in racks everywhere. It’s essentially a pair of very short, single-repeat delays: The left side is pitched slightly up while the right side is pitched slightly down (default is ±9 cents). The resulting tripling/thickening effect has long been a mix-engineer staple for pop vocals, and it’s also my first call when I want a stereo chorus for guitar.
The second-gen H3000S, introduced the following year, cemented the device’s guitar bona fides. Early-adopter Steve Vai was such a proponent of the first edition that Eventide asked him to contribute 48 signature sounds for the new model (patches 700-747). Still-later revisions like the H3000B and H3000D/SE added even more functionality, but these days it’s not too important which model you have. Comprehensive EPROM chips containing every patch from all generations of H3000 (plus the later H3500) are readily available for a modest cost, and are a fairly straightforward install.
In addition to pitch-shifting, there are excellent modulation effects and reverbs (like patch 211 CANYON), plus presets inspired by other classic Eventide boxes, like the patch 513 INSTANT PHASER. A comprehensive accounting of the H3000’s capabilities would be tedious, but suffice to say that even the stock presets get deliciously far afield. There are pitch-shifting reverbs that sound like fever-dream ancestors of Strymon’s “shimmer” effect. There are backwards-guitar simulators, multiple extraterrestrial voices, peculiar foreshadows of the EarthQuaker Devices Arpanoid and Rainbow Machine (check out patch 208 BIZARRMONIZER), and even button-triggered Foley effects that require no input signal (including a siren, helicopter, tank, submarine, ocean waves, thunder, and wind). If you’re ever without your deck of Oblique Strategies cards, the H3000’s singular knob makes a pretty good substitute. (Spin the big wheel and find out what you’ve won!)
“If you’re ever without your deck of Oblique Strategies cards, the H3000’s singular knob makes a pretty good substitute.”
But there’s another, more pedestrian reason I tend to reach for the H3000 and its rackmount relatives in the studio: I like to do certain types of processing after the mic. It’s easy to overlook, but guitar speakers are signal processors in their own right. They roll off high and low end, they distort when pushed, and the cabinets in which they’re mounted introduce resonances. While this type of de facto processing often flatters the guitar itself, it isn’t always advantageous for effects.
Effects loops allow time-based effects to be placed after preamp distortion, but I like to go one further. By miking the amp first and then sending signal to effects in parallel, I can get full bandwidth from the airy reverbs and radical pitched-up effects the H3000 can offer—and I can get it in stereo, printed to its own track, allowing the wet/dry balance to be revisited later, if needed. If a sound needs to be reproduced live, that’s a problem for later. (Something evocative enough can usually be extracted from a pedal-form descendant like the Eventide H90.)
Like most vintage gear, the H3000 has some endearing quirks. Even as it knowingly preserves glitches from earlier Eventide harmonizers (patch 217 DUAL H910s), it betrays its age with a few idiosyncrasies of its own. Extreme pitch-shifting exhibits a lot of aliasing (think: bit-crusher sounds), and the analog Murata filter modules impart a hint of warmth that many plug-in versions don’t quite capture. (They also have a habit of leaking black goo all over the motherboard!) It’s all part of the charm of the unit, beloved by its adherents. (Well, maybe not the leaking goo!)
In 2025, many guitarists won’t be eager to care for what is essentially an expensive, cranky, decades-old computer. Even the excitement of occasional tantalum capacitor explosions is unlikely to win them over! Fortunately, some great software emulations exist—Eventide’s own plugin even models the behavior of the Murata filters. But hardware offers the full hands-on experience, so next time you spot an old H3000 in a rack somewhere—and you’ve got the time—fire it up, wait for the distinctive “click” of its relays, spin the knob, and start digging.
You can access your complete TONEX library, including Tone Models, presets and ToneNET, quickly load favorites to audition, and save to a designated hardware slot on IK hardware pedals. This easy-to-use application simplifies workflow, providing a streamlined experience for preparing TONEX pedals for the stage.
Fine-tune and organize your pedal presets in real time for playing live. Fully compatible with all your previous TONEX library settings and presets. Complete control over all pedal preset parameters, including Global setups. Access all Tone Models/IRs in the hardware memory, computer library, and ToneNET Export/Import entire libraries at once to back up and prepare for gigs Redesigned GUI with adaptive resize saves time and screen space Instantly audition any computer Tone Model or preset through the pedal.
Studio to Stage
Edit any onboard Tone Model or preset while hearing changes instantly through the pedal. Save new settings directly to the pedal, including global setup and performance modes (TONEX ONE), making it easy to fine-tune and customize your sound. The updated editor features a new floating window design for better screen organization and seamless browsing of Tone Models, amps, cabs, custom IRs and VIR. You can directly access Tone Models and IRs stored in the hardware memory and computer library, streamlining workflow.
A straightforward drop-down menu provides quick access to hardware-stored Tone Models conveniently sorted by type and character. Additionally, the editor offers complete control over all key parameters, including FX, Tone Model Amps, Tone Model Cabs/IR/VIR, and tempo and global setup options, delivering comprehensive, real-time control over all settings.
A Seamless Ecosystem of Tones
TONEX Editor automatically syncs with the entire TONEX user library within the Librarian tab. It provides quick access to all Tone Models, presets and ToneNET, with advanced filtering and folder organization for easy navigation. At the same time, a dedicated auto-load button lets you preview any Tone Model or preset in a designated hardware slot before committing changes.This streamlined workflow ensures quick edits, precise adjustments and the ultimate flexibility in sculpting your tone.
Get Started Today
TONEX Editor is included with TONEX 1.9.0, which was released today. Download or update the TONEX Mac/PC software from the IK Product Manager to install it. Then, launch TONEX Editor from your applications folder or Explorer.
For more information and videos about TONEX Editor, TONEX Pedal, TONEX ONE, and TONEX Cab, visit:
www.ikmultimedia.com/tonexeditor
Valerie June’s songs, thanks to her distinctive vocal timbre and phrasing, and the cosmology of her lyrics, are part of her desire to “co-create a beautiful life” with the world at large.
YouTube
If you’re familiar with June’s sound, you know how effortlessly she stands out from the singer-songwriter pack. Her equal-parts warm, reedy, softly Macy Gray-tinged singing voice imprints on her as many facets as a radiant-cut emerald—and it possesses the trademark sincerity heard in the most distinctive of singer/songwriters. Her music, overall, brilliantly shines with a spirited, contagiously uplifting glow.
Owls, Omens, and Oracles opens with “Joy, Joy!” with producer M. Ward rocking lead guitar over strings (June plays acoustic on nearly all of the tracks and banjo on one). It then recurringly dips into ’50s doo-wop chord changes, blends chugging, at times funky rock rhythms with saxophones and horns, bursts with New Orleans-style brass on “Changed” (which features gospel legends the Blind Boys of Alabama), and explores a slow soul groove with electronic guest DJ Cavem Moetavation on “Superpower.” Bright Eyes’ multi-instrumentalist Nate Walcott helmed the arrangements with guidance from Ward and June, and frequently appears on piano and Hammond organ, while Norah Jones supports with backing vocals on the folk lullaby “Sweet Things Just for You.” The entire album was recorded live to tape, which was a new experience for June.
June shares her perspective on the album and her work, overall. “It’s not ever complete or finished, your study of art,” she offers. “It’s an adventure, and it keeps getting prettier as you walk through the meadow of creating or learning new things. Every artist that you bring in has a different way of performing with you, or the audience might be really talkative or super quiet. And all of that shapes the art—so it’s ever-expansive. It’s pretty infinite [laughs], where art can take you and where it goes.... I kinda got lost there a little bit,” she muses, laughing.
June’s favored acoustic guitar is this Martin 000-15M, with mahogany top, back, and sides.
Photo by Tim Bugbee/Tinnitus Photography
June didn’t connect with guitar in the beginning, but discovered her passion for it later, when the instrument became a vehicle for her self-empowerment. She took lessons as a teenager but was a distracted student, preferring to listen to her teacher share the history of blues guitarists like Big Bill Broonzy and Mississippi John Hurt. “I didn’t pick it up again until I was in my early 20s, and my band that I was in with my ex fell apart,” she says. “I still was singing and I still was hearing these beautiful voices sing me these songs, and I didn’t want to never be able to perform them. It was a terrible feeling, to be … musically stranded.
“And I was like, ‘Now, I could go get a new band and get some more accompaniment, but how ’bout I get my tail in there and keep my promise to my granddad who gave me that first guitar and actually learn how to play it, so I’ll never feel like this again.’ The goal was that I would never be musically stranded again.”
She became a solo performer, learning lap steel and banjo along with guitar, and called her style “organic moonshine roots music.” Today, she eschews picks for fingers, even when strumming chords, and is a vital blues-and-folk based stylist when she lays into her playing–especially in a live,solo setting. After two self-released albums, 2006’s The Way of the Weeping Willow and 2008’s Mountain of Rose Quartz, she connected with the Black Keys’ Dan Auerbach, who recorded and produced her 2013 album, Pushin’ Against Stone, at Nashville’s Easy Eye Sound, which helped launch her now-flourishing career.
Valerie June’s Gear
Guitars
Amps
- Fender Deluxe Reverb
Effects
- TC Electronic Hall of Fame
- MXR X Third Man Hardware Double Down booster
- J. Rockett Audio Archer boost/overdrive
Strings
- D’Addario XL Nickel Regular Light (.010–.046)
- Martin Marquis Silked Phosphor Bronze (.012–.054
Photo by Travys Owen
As we talk about art being a shared experience, June says she can be a bit of a hermit at times, but “when it’s time to share the art, then there you are. Even if you’re a painter and you just put your painting on a wall and walk away, that’s an interaction that brings you out of your studio or your bedroom to understand this whole act of co-creating—which to me is a spiritual act anyway. That’s why we’re here, to really understand those rules and layers to life. How do we co-create together?
“And I think it’s so fun,” she enthuses. “I enjoy learning, even when it’s hard. I’m like, ‘Okay, this chord is killing me right now, or this phrase.... but I’ma stick with it. And then that likens to something that I might face when I go out into the world. I’m like, ‘All right, I can get through this.’”
I suggest, “When you say ‘co-creating,’ it sounds like you mean something bigger.”
“Both in the creation of our art, but also in the creation of a life,” June replies. “’Cause how can a life be something this artistic? You get to the end of it and you’re like, ‘Wow, look at what I co-created! With all these other people, with animals, with nature, with sound that’s all around....‘ All of my life has been a piece of art or a collective creation. I imagine them like books: different lives on a shelf. And you go pick one—‘Whoa! I created a pretty fun one there!’ or, ‘Oh, man, I had no hand in that....’ Close the book, next one!” she concludes, laughing as she illustrates the metaphor with her hands.
“So does that make all of your inspirations your co-creators?” I ask.
Valerie June at one of her several Newport Folk Festival appearances, with her trusty Gold Tone banjo
Photo by Tim Bugbee/Tinnitus Photography
“Yeah! Even if they’ve gone before,” says June. “I was listening to some beautiful classical music the other day, and I was like, ‘Man, I don’t know who any of these artists are; they’re all dead and gone, but I’m just enjoying it and it’s putting me in a zone that I need to be in right now.‘ So, we’re always leaving these little seeds for even those who are coming after us to be inspired by.”
Some of her current non-musical co-creators are poets and authors, such as the poet Hafez, the philosopher Audre Lorde, poet Mary Oliver, and Robin Wall Kimmerer, a Potawatomi botanist whose works include Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge, and the Teachings of Plants, The Serviceberry: Abundance and Reciprocity in the Natural World, and Gathering Moss: A Natural and Cultural History of Mosses.
“It’s not ever complete or finished, your study of art. It’s an adventure, and it keeps getting prettier as you walk through the meadow of creating or learning new things.”
“These books are so beautiful and show the relationship of humanity with nature and the way trees speak with each other; the way moss communicates to itself,” June explains. “Those ways of being can help humans, who always think we know so much, to learn how to work together better.”
As she’s sharing, I see her glance out her window. “Right now, I just saw a muskrat go across the pond,” she continues. “It’s about this big [holds hands about three feet apart] and it digs holes in the yard. It’s having such a great time and I’m just like, ‘Okay, you are huge, and I’m walking through the yard and falling in holes because of you [laughs]. I’m just watching you live your best life!’ And then there was a blue heron that came yesterday, and I watched it eat fish.... They’re my friends!” she exclaims, with more laughter.
Valerie June believes in the power of flowers–and all living thing–as her creative collaborators.
It might seem like we’re getting a bit off subject, but it’s residents of nature like these who are important in her creative process.
I share how, in my own approach to art, I feel as though we can always access creativity and our ideals, as long as we stay receptive to experiencing and sharing in them. June agrees, but comments that sometimes her best self only wants to sit and focus: “No more information; no more downloads, please.”
An encounter with Memphis-based blues guitarist Robert Belfour, who June frequently saw perform, expanded that perspective for her. She shares about a time she went up to him after a show: “I was like, ‘Hey, I would love to work with you on some music and maybe we could co-write a song or something.’ He was like, ‘Nope! I don’t wanna do it.’ And I said, ‘Whaaat?’ And he’s like, ‘No. I do what I do, and I do not do what anybody else does; I just do what I do.’”
Sometimes, she says, “I think that’s just as much of an outlook to have with creating as anything. It’s like, ‘Okay, I’m there, I’m where I wanna be. I don’t want to be anywhere else.’”
“That’s why we’re here, to really understand those rules and layers to life. How do we co-create together?”
Part of what’s so enjoyable about speaking with June is realizing that she truly exists on her own plane. She has no pretense, and in that, doesn’t hide some of the fears that weigh on her mind at times. But she doesn’t let those define her. It’s her easy, exuberant optimism that sparks a feeling of friendship between us, without having known each other before that afternoon. What are some of her guiding principles as an artist, I wonder?
“I sit with the idea of, ‘Who am I creating this for?’” she says, “and returning to the fact that I’m doing this for me, and, as Gillian Welch said, ‘I’m gonna do it anyway even if it doesn’t pay.’ This is what I wanna do. And reflecting on that and letting that kind of be my guiding force. It’s just something that I enjoy, that I really wanna do.”
YouTube It
From there, the conversation meanders in other directions, and June even generously asks me a few questions about my own artistic beliefs. We share about trusting your gut instinct, and walking away from situations and people who don’t serve us. This reminds her of a bigger feeling.
“With everything that these times hold for us as humans,” she shares, “from the inequality that we face to the environmental change, the political climate, and all the things that could lead us to fear or negativity.... I started to think about it, and I’m like, ‘Okay, well, maybe we are fucked! Maybe the planet is going to eject us and all of the other things are gonna come true! Well, if that’s what’s gonna happen, who do I wanna be?’
“I want to go out in a way that’s sweet or kind to other people, enjoying this experience, these last moments, and building togetherness through music. I want to co-create a beautiful life even in the face of all of that. That’s what I want to do.”
