Category Archives: Thoughts

Launching “Plugged In”, the new music column by Simone Giuliani

Hello beautiful people,

I’m happy to announce my new collaboration as a writing contributor for Zio Music – a great music magazine and platform with thousands of readers in Italy and the rest of Europe.

Simone Giuliani's music column "Plugged In"Plugged In” – my new music column will be available exclusively on Zio Music and this blog.

To celebrate our collaboration, the nice folks at Zio Music asked me a few questions. If you like music anecdotes and are a bit curious about my past then you won’t regret investing two minutes of your time. Thanks Aldo Chiappini, Matteo Zarcone and Alex Esposto for inviting me into the Zio Music world.

“Music producer, arranger, composer, music director and keyboardist – this is Simone Giuliani, the new writer for Zio Music. Simone has worked with many international artists: Beyoncé, Royal Philharmonic Orchestra, Andrea Bocelli, Carly Paoli, Jovanotti, Sia and many more. He wrote original music for Spike Lee’s Humanity Project, the TV series True Blood (HBO), CSI: Crime Scene Investigation (CBS) and recently for the series Deep Into Shambhala (CCTV/CGTN) airing in China for a record audience of 900 million viewers. We are honored to have Simone working with our team and we’d like to introduce him to our readers with this interesting interview.”

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© Photo Credit: Simone Giuliani by Michael Weintrob

ZioMusic.it: Hi Simone, welcome to ZioMusic. Let’s start from the beginning: when did you realize that making music would become a crucial part of your life? How did you start your professional path?

Simone: I remember a very specific moment, I was 12, it was Summer. I didn’t see Pink Floyd or Genesis, but a little group of really good Italian musicians, I don’t know their names. They were on stage, spontaneously being amazing – they were smiling, they had their own language, a beautiful complicity. I was completely intrigued, I was holding an ice-cream cone and it melted in my hand. I was mesmerized by the beauty and power of music. I knew in that moment that was going to become the axis of my life.

Q: You live between New York and Los Angeles at the moment, was this move a necessity or an opportunity for your career?

A: I stopped thinking of cities as opportunities or necessities, I like to follow my instinct and continue exploring like I’ve always done since the beginning. I feel that’s a beautiful way to keep one’s flame alive. Each city is a container of beautiful things, different worlds, realities and people – these are all elements that a musician will assimilate, they’re all coming back into what you play and write.

I lived in London, Miami, New York, Los Angeles. Many different memories, many different musicians, different styles, I have always enjoyed so much learning new things, every place gifts you something new. A few years ago I spent quite a long time in South-East Asia, there’s a beautiful musical sensibility there, very unique, so many things and projects to start there, if one wants. Music is a powerful protolanguage, it was around before words appeared. It has two components that are opposite but crucial: the visceral one that connects you to higher forces, to the Source and the playful one that connects you with other musicians on a human level, the comraderie. It’s not a coincidence that in many languages and cultures the word ‘play’ has more than one meaning.

Q: In relation to our previous question: what do you think of the Italian music scene? Have you ever thought of coming back here to work?

A: One of the most beautiful aspects of the era in which we live is that we can connect and work from allover the world. I occasionally work with Italian artists: Jovanotti, Giovanni Caccamo, Andrea Bocelli and others. Not too long ago I worked as Music Director for a concert organized by Dr. Francis Yeoh, a great philanthropist and the Vatican for Pope Francis’ Year of the Jubilee in Rome. It was quite unique to work with a fully Italian orchestra, those symphonic musicians have sort of an extra-gear when it comes down to perform with real passion. 

Q: What is your ‘must-have’ music software and hardware?

A: Thanks for the geek question! I use more than one software because I work with different clients and everybody has different needs and ways of working – as a producer or engineer you must be able to manage everything flawlessly. For me it’s equally important being able to work well with any software: Pro Tools, Cubase, Logic, Ableton, Reaper. Why not? It would be stupid missing a chance to work on a project just because you don’t know how to run a software. Learn it! Here’s a little anecdote: once I got a call from Robert Sadin, Sting’s producer, he asked me: “From 1 to 10, how well do you know Pro Tools?”. I didn’t even know how to start Pro Tools. I answered: “8”.  “Ok, see you next week, we’ll work together.” Click. He hangs up the phone. You can imagine what I did that whole week: I studied Pro Tools day and night non-stop. That translated into a beautiful studio experience with Robert. Going back to your question: I love the Eventide Bundle series and Sound Toys that I use regularly with different DAWs, they’re both essential to me. Instruments, I can’t imagine not having my Moog in the studio, in London I still have my Fender Rhodes [electric piano], it’s at my friend Drew’s studio since 1994. It’s always there when I visit; my Rhodes is like my brother, we were born in the same year. We share a lot of memories.

Q: Today’s technology has simplified so many things, more and more people are able to produce music. Based on your experience, what would be your advice to young artists who’d like to start on this path?

A: I love technology. But it’s just a faster and faster way to get from A to B or if you wish, a way to gift an artist the necessary space to create more freely, to emphasize his uniqueness. But above everything, technology doesn’t convey any messages. Unfortunately all the easy, no-brainer, no-learning curve access to technology can easily destroy someone’s originality, especially in the beginning. Terrible. If you look at things a little more widely for a second, this process is also happening in other areas like photography, filmmaking, video editing. It’s a specific trend that is happening, a conscious marketing choice on a global scale – the market’s owners are leaning towards closing the gap between “pro” and “consumer”. Think about it: with very little money you can buy or rent monthly a software like Logic or Final Cut that has immense capabilities, but it reaches amateurs and professional in the same exact way. When you had to buy an Ampex tape to record your music demo or even an Atari with Notator software you had to make a tangible investment of money, time and energy and do some real homework. That was just the minimum requirement. This would put you in a certain “pre-professional” state of mind and would naturally filter out a lot of music admirers or amateurs that were happy at that point to remain music fans and not music makers. 

I turned down a soundtrack last year – they sent me some scenes from the film, it started beautifully, all shot in Super HD, it looked like Blade Runner. After 20 minutes I realized that there was no message, the script was trivial to say the least, not a trace of meaningfulness, no beginning and no end, it was a disgrace. That’s an example of technology completely taking over. Who cares if you shoot your whole film in 8K or you go to Indonesia or New Zealand to film with your expensive drone, if you have nothing to say through your art? What’s the point?

My piece of advice for young musicians, producers, artists is to follow their voice, experiment, don’t think of perfection. Listen to everything, absorb as much as you can. Don’t start from technology but from the story you need to tell. Listen to new records, old records, watch as many films as you can, old, new, foreign, anything you’re open to can speak to you – don’t stop with mainstream. Exploration is everything. The most beautiful records have been made quickly, maybe that’s why they are immortal. Jimi Hendrix, Beatles, Genesis, Michael Jackson, immortal records done in a few weeks.

Q: You are incredibly versatile. How do you usually work in the studio? What’s your creative process and how do you get inspired?

A: I often arrive in the studio to record ideas that I have already developed, I walk around with an ocean of vocal notes in my iPhone, I have hundreds of them from all my trips, various sessions with musicians, chats with taxi drivers, the sound of different cities, traffic, the woods, the ocean. Music is everywhere, sometimes I whistle melodies, then I spend days with them. Did you know that 20 years ago you could pass the composer exam at SIAE (the Italian ASCAP) by whistling? Haha! So Italian! Hey, here’s an idea for a song (whistling…). Inspiration comes from the degree of opening the you have in that moment, it’s not harbored inside of us, we are merely channels of ideas – a bird can give you a beautiful melody if you know how to listen. Your duty as an artist is to create something real from something that is not tangible. Music comes from nothing. And everything.

Inspiration is an endless source, it comes from Source. It’s up to the artist to open the tap. If you think too much you lose everything. Many years ago I attended some workshops with the great Roger Nichols (the inventor of sampling and sound engineer of Steely Dan). He used to say that the first mix that you do is usually the one with the most imperfections but it contains your first natural creative instinct and it will most likely be the most “unique” mix. I completely agree.

Q: Your career started in the early 90s, has your method of working changed since then? If yes, how?

A: Great question, I never thought about it. The answer is yes of course. I started using computers in 1990. I had an Atari and like many colleagues, our software or choice was Creator and Notator (eMagic) and Cubase. The Atari was the weapon of choice for many because it came ready with a MIDI port, you didn’t need any additional external interface. You would plug your synths straight into the Atari and start working. Those computers and softwares were extremely accurate and precise with MIDI.

I admit that being born and starting my first steps in music in Italy led me to think that Pop Music was the most amazing thing on the planet. You get all the mainstream, you know? So, in a totally naïf way I was obsessed in dissecting the structure and arrangements of pop songs. I was crazy for Toto. Then I discovered Earth, Wind & Fire, Michael Jackson, all of Quincy Jones productions, then Pink Floyd, Zappa, Genesis, Yes, Supertramp, King Crimson, Trevor Horn. The Beatles. The Stones. All the old soul stuff. Oh my God, the first time you hear the Hammond. It’s like losing your virginity but in a good way.

By listening to different things you will absorb every detail even if you don’t notice on a conscious level  – your language will spontaneously grow and transform and so will your working process. I listened and studied jazz for several years, my teacher was Stefano Bollani. Then all of a sudden I’m in a van driving up and down playing allover Italy with Diaframma: punk-rock, dark wave, gothic rock, after a few years I landed in London in the full Acid Jazz moment… an incredible musical turmoil, jam sessions every night with musicians from Incognito, Brand New Heavies. If you didn’t own a Fender Rhodes you were a nobody. Haha! I shipped my Rhodes from Italy. Unfortunately I had to choose to leave behind my band at the time, Funkareem. We had a record deal and released a single and we were touring but I couldn’t just stay in Italy any longer. I had a phase with Hip-Hop, I was in a band called Psychic Phenomena with 13 great musicians, we opened for The Roots in London once. Then DJs. I’ve always loved working with DJs, total freedom as a musician, in the studio and live.

I feel that this is a great way of living music before choosing a specific approach to a “work” system. I mean, the research IS the work. While you’re searching and exploring music, you’re searching and exploring inside yourself at the same time. Music is the ultimate soul-seeking experience when it’s lived as a shared experience.

Ask yourself the question: how do you perceive yourself as musician with another musician in the room? That’s a healthy way to compare yourself to another musician, instead of comparing professional achievements. What can I learn from this person? What can I give to this person?

Any artist should explore, always, in any direction. You don’t like that music? Fine. You tasted it and didn’t like it. What’s next? Maybe something amazing awaits you and it’s gonna flip your little music world upside down and expand it like a cosmic bang. It’s instant. There’s nothing worse than fossilize and trap yourself in one music style, especially in the beginning. To answer your question, my way of working with others is based on facilitating others. But if I work alone often I go into a sort of a trance and I don’t go back home until I finish what I feel I need to (my ex-wife can confirm this). When you work with others in some capacity – producing, arranging, mixing, anything that is done with other artists, you should facilitate the flow. Every artist has a different approach to music, go with the flow. I had the most memorable times working in the studio with Cibo Matto (Yuka Honda & Miho Hatori) on their album ‘Hotel Valentine’, the most crucial thing was eating the best food! We would eat for hours in total bliss and then “work”. Heavenly. Great friends, great food, great music. What more can you ask for?

Q: Have you ever had big “crisis” moments in your career? I mean, moments where it was really hard to integrate your ideas with other artists’ requests. If that was the case, how did you manage to overcome these moments?

A: Yes, of course, we all have these moments. I can’t explain to you how I went past them, but I think that if as a musician you’re honest towards yourself, towards others and towards Music, some really magical things can happen when needed. In the beginning of my experience abroad, more than once I found myself completely broke, no money at all and that’s when unexpected things started happening, I don’t think they came from this realm. I couldn’t pay my rent, I was short of 374 dollars. I get my mail and there’s a check from Sacem (the French ASCAP). You want to know the amount of the check? 374 dollars. This has happened at least 5 times to me. Receiving the same exact amount that I needed at that time for a reason or the other. You can’t make the stuff up. How can you not acknowledge this kind of signals?

Regarding the matter you mentioned – the contrast between “art” and “work”, yes of course… it used to happen a lot before. But there’s a way to find beauty in things that at a first glance don’t show it. If you start from there there’s stuff to learn. I used to hate writing music for commercials or trailers, I didn’t like what I was creating at all. It was tiresome, felt stupid. Then I understood that it was just a different language: quicker, different form of story-telling. It became one more thing to learn.

I start from the concept that being an artist is not something that I am, it’s something that I do. It’s a privilege that I chose, for my own reasons. I chose this noble path. I am a student, we are all students. “Perspective”, this beautiful concept invented by our fellow countryman artist Brunelleschi it’s amazing and can be applied to everything. We’re here drinking coffee reading this interview and 21,000 people died of hunger, today. That’s one person dying every 4 seconds for lack of food, it’s still happening today. I think that we can make a little compromise sometimes, in the comfort of our recording studios.

Q: Your credits are very impressive, you worked with a lot of international artists, you produced music for TV & Film and every project you’re involved with gets huge recognition. Many people would dream to achieve only a fraction of all this and this brings us to ask you: what’s next? Do you have a specific goal or dream to realize?

A: Music is meant to be shared among humans. It’s a life investment that has no shortcuts, if you do it for money you’re in the wrong business. The old saying really applies here: it’s not where you’re going, it’s how you get there. The highest point in my career: the musicians from the London Symphony Orchestra congratulating me after a recording session at Abbey Road. The human factor is everything. I live my dream every day, inside of me you’ll still find the kid with the melted ice-cream cone.

Interview by Alex Esposto for Zio Music | http://www.ziomusic.it © All Rights Reserved

Let’s Come Together and Sing for Change

Hello world,

a while ago my talented friend Jihae had the idea to start a beautiful initiative to help the overwhelming global refugees crisis in most continents through music, I was very happy to contribute and help producing this project along with Oscar-winner score producer Teese Gohl.

Now it’s a reality: Let’s Come Together is an interactive musical peace movement to activate the public’s participation in supporting UNHCR and NGOs in their fight for human rights in the midst of a global refugee crisis through the power of music.

Every week starting November 5th 2015 until December 7th, a group or a choir will perform “Let’s Come Together” and record the video of the performance to share on social media. The Putney School in Vermont has already launched the project with Jihae and Teese a few days ago.

We invite you to do the same! You don’t have to be a singer or a musician to participate, just gather your tribe of friends and sing.

Share a video recording of your version of “Let’s Come Together” on http://www.facebook.com/LetsComeTogether7 with hashtags #SaveRefugees #LetsComeTogether #UNHCR


LET’S COME TOGETHER

Words & Music by JiHAE
Arrangement by Teese Gohl
Production by Simone Giuliani and Teese Gohl

Let’s come together in one harmony
Let’s come together as one family
Since only love can heal the world
Let’s plant love and hope in every boy and girl

Let’s come together as one heart and soul
To brighten the weather and to break the mold
Since only love can heal the world
Let’s plant love and hope in every boy and girl

Come let’s come together for everyone’s freedom across the lands
Oh let hope overflow from the cold river to our loving hands

Let’s come together and sing a new song
A song full of laughter, a song of joy
Since only love can heal the world
Let’s plant love and hope in every boy and girl
Together we can heal the world
Let’s plant love and hope in every boy and girl

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On Dec 7, 2015 we are inviting people of all ages, races, nationalities and voices across the globe to gather together and sing at a public place in your town. Be sure to post  the time and location of your singing gathering on: www.facebook.com/LetsComeTogether7

Please also visit Jihae’s ‘Causes’ page for a lot of useful information about the refugee crisis and more details about this project.

“We don’t choose the place we are born, just as we don’t choose to live where natural disaster strikes. If we turn our backs on innocent children and families that have been stripped of everything but their lives, can we expect the world to do anything different if misfortune befalls us?

Each time the international community chooses to ignore international law due to fear and xenophobia, our civilization deteriorates further. If we use race and religion as a reason to ignore people’s right to freedom, can we expect others to do anything different to us?”

– Jihae

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ON LISTENING

Our ears can perceive vibrations and then convert them into sonic feelings. Our eyes can recognize the many shapes of light and convert them into signals that become visual images in our brain. It has been discovered that inside our brain, our hearing system is very close to other areas of the brain that regulate our life: pain, pleasure and other basic emotions.

The main difference between our hearing and all the other senses is that for instance, we are able to close our eyes if we want to, but we can’t control the penetration of a sound inside our body. We can’t close our ears. We are bounded to receive many audio signals every day with no direct control over their source or intensity.

In our society, hearing is not considered a very precious asset after all: we put a lot of attention and emphasis mostly on our eyesight. We teach our children to pay attention to both sides of the street before they cross, to make sure that no cars are coming, but we rarely teach them to listen to the sound of a car. We rely almost exclusively on our eyesight as a tool for survival.

We have poor habits when it comes to hearing and we often take it for granted, until we realize the importance of this vital sense, until we end up mistaking hearing with listening.

One of the most important gifts of our ‘listening’ is linked to memory.
A memory, something we remember, is directly linked to our thoughts. Our ears are intelligent when it comes down to ‘remember’ things, more than we think.

To our ears, even a slight form of repetition in music will become an essential element: music moves within a timeline, it moves forward, but our ears are able to memorize and store what they already heard the first time. We could say that our ears have a conscience of the present and the past. We can’t have a memory of a sound on its first note, but when we hear the second note, we can already connect it to the first one, automatically.

Our ears create a connection between the past and the present and they send signals to our brain, expecting ‘something’ to be happening in the near future.

Listening to music is very different from reading a book: when we are listening to a concert we can’t repeat something that wasn’t fully understood while it happened. The listener has to flex his/her own conscience and concentration to receive the information that just received.

To listen means to use our ears together with our thoughts.

Alfred Hitchcock never intended to have music during the shower scene in Psycho until he understood the incredible power of the music that the composer, Bernard Hermann, wrote for that specific sequence of images. That scene became Hitchcock’s trademark.

Only when our ears and eyes work together, we get to understand the incredible importance of listening.

ON INTENTION – Part II

I have recently scored a soundtrack for a short movie that inspired me very much for its genuine content and powerful simplicity.

I found the story so compelling and beautiful that at first I thought of writing something that could be defined minimal and very polite, with the intention of leaving enough space to the characters without overshadowing them and let the story evolve without too much distraction.

After a few days of work I realized what I was doing was ok, but was not exploiting the full potential of the beautiful message that the director was trying to convey. In other words, everything was fine to my eyes and ears, but my work wasn’t adding much to the movie. It felt detached. Why was that? How could that happen, since I felt so attached in the first place to the story and the characters?

The answer came to me the day after, when I asked myself (I often talk to myself): what is this movie really about? What is the sparkle that triggers all the events in this movie? What’s the primal dynamic? My answer was: intention. That was the only thread to follow in the story, the one element that I needed to translate into music. I kept ‘intention’ as my only reference and as soon as I started writing new music everything fell into place, magically.

This wasn’t anymore an issue of priority, space or importance of the music vs the story; this time everything was simply about intention. This newly-acquired notion made my music grow with and within the story. It was all unfolding under my eyes and I was happy to realize that I had very little to do with it. It feels good when that happens. It feels like natural magic because while we make music this way we become what we often forget we are: sophisticated human emotions translators.

I laid down a piano part and focused on the intention of my playing rather than worrying about quantizing or fixing dynamics, I gave priority to spontaneity rather than perfectionism. Then I wrote an orchestration for double bass, 2 cellos, 2 violas and 4 violins supporting the piano part and used the same method, when arranging.  Then I decided to trade themes from the piano to the oboe and hired an oboist to come in and record.

The player showed up the day of the session and we started recording. It was not what I expected. Sometimes it happens, guys. The musician was very young and things weren’t exactly going smoothly. Although he was a very good reader, he wasn’t emotionally aligned with the intention of the music and the result was a big sense of detachment in the delivery. Perfect performance, but no intention! Not enough real love. After about 30 long minutes, I suggested we took a break.

I explained what I meant and asked if this time he could please play while following the movie on the screen and forget about the music chart. He started playing again and this time it glued flawlessly with the other instruments: not a perfectly read performance, but a perfectly emotionally one!

This time he played his part with everything that was really needed: a lot of honest intention. When the kid was playing I felt his hesitation, his hope, his fear, his decisiveness, his bravery. I thought at some point he felt he was the main character of the movie. After two takes we were done, no punch, no edits. I kept everything in. The director loved the soundtrack and I did too because this time I felt extremely connected to the story.

The purpose of the music synced to moving images should be of serving the story, not to create another one. There’s always a different balance to be found between music and the images and it changes according to each story. Every story is different: different characters, different synergies, different settings. But at the core, there will be only one thread and it’s up to the composer to find it and translate it into music.

In my mind, the image of a good soundtrack is that one of two solid rails and I picture the storytelling as a train. The train must get to its destination, the rails must support it and guide it so that the message will be delivered.

Balance is everything.

ON HABITAT

Etymology: Latin, it inhabits, from habitare
Date: 1796

1 a : the place or environment where a plant or animal naturally or normally lives and grows
b
: the typical place of residence of a person or a group
c : a housing for a controlled physical environment in which people can live under surrounding inhospitable conditions (as under the sea)
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How does the habitat/environment affects a person? How much? In what measure and way?

It’s important to relate to the place where we happen to be, temporarily or otherwise. When we like wherever we are, we feel relaxed, at ease and we can release creative energy, we are open. On the other hand, when we don’t like where we are we feel misplaced, not in sync and disconnected. We feel something it’s not right.

The word ‘place’ means something different to different people. Sometimes great people with the best intentions and good spirit can become completely jaded and completely shift their attitude, when living in an inharmonious environment.

I see this as a beautiful reminder that we are animals, we belong to the animal kingdom. No matter how evolved we think we are, we are connected to our habitat and it has nothing to do with the quality of the furniture.

When I travel to a ‘place’ that is not my usual habitat, I’m always curious to experience new feelings. If I’ll end up in a habitat that I don’t like or has a vibe that I don’t like, this change of scenery somehow will affect me, even if temporarily. It will affect the music that I will write and the way I will react to the dynamic of the city. And it’s not necessarily a bad thing.

How do you feel about this?

ON INTENTION

Music has instantaneous powers.

It’s a snapshot, a moving frame in a slow motion timeline, that is our life.

When the content of music is genuine, it reaches us with the strongest impact: we feel that those lyrics were written for us, that the melody was composed exactly the way we wanted it to be. We awake and feel comforted.

A true artist has the ability to speak out his mind through music reaching anybody, instantly. The most beautiful thing to me is that when this message is genuine, it freezes a moment in someone’s life and makes that instant eternal.

For example, when Bob Dylan wrote ‘Blowin’ in the wind’, his message had a planetary impact. It affected millions of people and transformed Dylan’s thought – the thought of one man – into the most precious personal belonging of whoever took his message in. Everybody in the 60s felt that shot, instantly. Isn’t that the closest thing to a divine happening? Instantaneous transformation. No politician, spoke-person or religious leader can achieve that, in an instant.

The reason why we become so attached to a specific song in time, it’s because when we are receptive, especially at a young age, we take that moment in, fully – without any doubts or hesitations – and we make it ours. It becomes our moment, forever. It’s frozen in time and we lock it away as our most precious belonging, it instantly becomes part of our cherished memories.

This explains in part everybody’s favorite complaining line: ‘In my times music was much better, the lyrics were more genuine, the singers were more real, more this, more that…’ – That is very interesting because people will always say that: in the 60s, the 70s, the 80s, the 90s and it will be said about music that hasn’t been written yet.

It simply means that different songs have different meaning for different people.

Someone’s most precious song can be from 1952, from 1973, from 1985, from last week, from next week. Who cares when the magic happens..? This only confirms the fact that music is still one of the most powerful ways of communications, no matter its commercial value.

It’s an instant shot in someone’s life and it reflects a specific moment in our short terrestrial life: a song is just another milestone that we decide to set in our path to make our staying on this planet more enjoyable or heart-wrenching, up to us.

That’s why I think that the true value of an artist lies in the ability of delivering a message that always maintains its purest intention at the time of its conception. Time will do the rest.

ON TRAVELING

Etimology:
TRAVAILEN, TRAVELEN to torment, labor, strive, journey, from Anglo-French TRAVAILLER. Date: 14th Century.
TRAVAGLIO in Italian, it’s the labour pain, part of the delivery after pregnancy. Labor = work

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When we travel, we start a journey not only towards a physical destination, but also towards an emotional one. When we travel, we are starting the process of becoming what we have always dreamt of becoming. We are letting the unknown enter the field, we let our resistance go and we are closer to understanding who we really are, beyond the environment that we’re leaving behind.

Like in its etimology, the word travel contains a very broad set of descriptions: take the torment, for example.
What is the torment, if not a movement of our soul struggling to reach its desired destination? To strive, to devote our serious efforts and energy to the cause of traveling, to move, to shift, to transform. The preparation for a journey, the beginning of traveling, it’s nothing but a reflection of what’s happening inside of us, while we are preparing to accept anything that will come our way and welcome it as a tool for our growth. Like a warrior painting his face before he goes hunting, so the girl applies make-up before she begins her journey, not knowing what she will find on her path. Different times, but equal tribal customs. The excitement that we prove before we travel, doesn’t come only from a reaction to our expectation to see a new location, because the real novelty will be to find a new location inside of us. We know this but we don’t admit it. Or perhaps, we will understand this only at the end of the journey.

In any case, the physical movement, the logistic movement, becomes a mere reflection of what’s happening within us. It’s an expansion of our boundaries, and because of this, can sometimes create anxiety and fear. Fear of realizing that we are not who we think we are and fear to witness a reality that doesn’t match the one that we have created in our existing dimension. Fear of leaving our comfort zone, a place where we are accepted, a place where everything moves with inertia, in a constant motion moving in the same straight line unless modified by an external force.

Traveling to a different place means being able to let go of all our existing notions about culture, behavior, discipline, audacity and sensibility. While we are traveling, we are starting to understand better where we are going and where we are coming from.