Cy Curnin
singer / songwriter (The Fixx)
GB / US
„One Thing Leads to Another“, „Saved by Zero“, „Are We Ourselves?“, „Red Skies“, „Stand or Fall“: five songs by The Fixx that charted the U.S. Top 20. „Driven Out“ and „Deeper and Deeper“ were even featured on the soundtrack of the movie „Streets of Fire“. More of their tunes have been heard in tv-films like „Breaking Bad“, „Gone Girl“ and „Hawaii Five-O“. What differs this thinking (wo)man‘s rockband from its competitors are aside from the sleek, modern-sounding music the observational, thought-provoking, intelligent lyrics. They ponder life’s big questions influenced by political, social as well as ecological issues and appeal to the conscience and sense of responsibility of each individual. Circumstances are analysed with a clear view as well as a razor-sharp mind by the author and then expressed poetically and vividly. All the texts come from the pen of a half English/half French vocalist living in the USA now.
Cy Curnin
singer / songwriter (The Fixx)
GB / US
„Driven out by thieves, I watch them pillage the planet. Fuelled by a fattening greed, trees fall to the hatchet. Chopping against the grain, our spirits in a vacuum sadly ignore the pain, the end arrives, we all lose... Driving in my car I used to be able to walk this far. Now I turn on the light, I used to be able to sleep at night. I'm cooking with microwaves to warm up food not seen the soil. Plugged into my TV used to the lies they're telling me... Hoping that we find more to life than meets the eye. Can we escape the grind, build a life that's more worthwhile? Be rid of this empty pride, full of selfishness inside. Bathe in a turning tide, until then we all hide. I hope it comes around...“ („Driven out“, The Fixx).
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„Man as a beast came down from the trees. Crawling around spread the disease. Up on the rocks playing with fire. Inventing his needs to quench the desire. Blood on his hands. Love on his mind. Hell as a future leaving heaven behind... Shame at the feast, too much to eat. Throw out the waste at a beggar’s bare feet...“ („All is Fair“, The Fixx).
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„Good enough′s not good enough. Don't complain that you′ve got it tough. With all you have your life's a bore. Can't relax. You want so much more. Blind needs won′t set you free. Can′t you see that time is slipping away? But I got to say: How much is enough? When your soul is empty. How much is enough in the land of plenty? When you have all you want and you still feel nothing...“ („How much is enough?“, The Fixx).
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„As I wake today same as yesterday. I get in my car the poor turn my wheels. There′s so much today, who's got time to listen? As we fulfill our dreams, the shame is left unseen. Why should someone lose so that I get by? Why should someone pay just to send me high? No one has to cry while I can smile. No one owns the sky so blue above you... There's no self control as we play our roles. It′s all dog eat dog. We′re all dressed for show. As we plot and scheme full of American dreams. Who says it's fair? Who gets the opportunities? There are some who live without so that I get by. They pay the price for doubting just to send me high...“ („No One has to Cry“, The Fixx).
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Four representative examples of Cy(ril) John Curnin’s nutritious, meaningful lyrics. He (* 12 December 1957) graduated from high school in his birthplace of Wimbledon and studied drama at the city’s college. There the singer/songwriter and occasionaly guitarist/pianist met drummer Adam Woods. With him he formed a band from that The Fixx originated in 1980. Two singles from their debut became initial hits. That was the start of a successful career in years to come (cover art of their albums often designed by visual artist George Underwood – see his contribution on divine spark!).
Outside of The Fixx Curnin and guitarist Jamie West-Oram played on „Better be Good to Me“ and „I might have been Queen“ of Tina Turner’s multi-million-seller „Private Dancer“ (1984). In 1990 „CC“ participated in the album „One World, One Voice“ by Kevin Godley (see his contribution on divine spark). Mr. Curnin who has been influenced by early David Bowie, Mark Bolan and Roxy Music released the first of various solo-recordings in 2005 and delves into the singer-songwriter tradition of standard-bearers like Leonard Cohen and Joni Mitchell. „He supports the music-based cancer charity, Love Hope Strength Foundation. With them, the vegan and follower of Buddhism has participated in treks to the base camp of Mt. Everest, Kilimanjaro, Machu Picchu, and Pikes Peak to raise awareness and funds for cancer treatment facilities in remote areas of the world“ (Wikipedia).
„For Curnin, music allows him a chance to express what he sees going on in the world today. And, he sees a lot“, is to be read in spillmagazine.com. „He is aware that ‘everything old is new again’“... Curnin: “All that’s happened about that cycle is it goes around faster and faster. New cycles, political debate, even iconic fundamental beliefs are all in need of dry dock. The overwhelming sense is that we need personal responsibilities. We have all become sugared up and lazy, from being taken care of. Now we accuse ‘Big Brother’ of wanting to take care of us too much, but none of us wanted to go out fighting for our food. We just wanted a bar code, saran wrapped safely, boom we got it. Now we are paying the price for it. The roads are choked and the forests are falling but there is a personable responsibility of a vote. I don’t know where we go from here, other than love. If ‘love’ could become a political movement it would catch on. 'Suspended and Make Believe' is we allow ourselves to float in this plastic ridden water. And we are just kidding ourselves, so the wake up is the more violent part of the nightmare. Get out there, you know, affect change!”
Cy Curnin lives in Santa Cruz, California.
Interview October 2022
Town crier in the global village: observational, intelligent lyrics influenced by political, social and ecological issues
INTUITION/IMAGINATION
How does intuition present itself to you – in form of a suspicious impression, a spontaneous visualisation or whatever - maybe in dreams?
For me, the creative perspective starts with a change in my mood. At times, I can find myself sinking beneath the waves of everyday existence, with all that entails, the 'busy-ness,' the feeling that somethings we do are pointless in the big scheme.
Once I am below the surface, I have different conversation with myself. The narrative changes and the objectification of all things stops. I am now watching the person watching me. Or I am owning up to the lies I've told myself in order to protect my ego?
At other times, it may simply be entering the room in the middle of an ongoing conversation between others and hearing what they're saying without knowing the context. From there it may give me a sideways view of meanings and I enjoy playing around with different perspectives to bring out the ironies that surround peoples’ opinions.
Will any ideas be written down immediately and archived?
Yes, I've become quite good at writing in the dark. The only thing I've noticed is that the lines I'm writing start to curve either upwards, if I'm excited, or downwards if I'm sad.
?: How do you come up with good or extraordinary ideas?
It's not for me to say what is good or extraordinary about my ideas. I leave that to others.
But occasionally I do feel I've stumbled on an original thought (at least to me it is) and that excites me to work on melody that matches the concept very quickly afterwards.
I find reading a lot does help with keeping the mind exposed to all the other great minds that have or are still living. Expanding vocabulary while taking on new concepts and opinions is very important to staying aware and awake. Humanity is slowly falling asleep and missing the beauty of existence. We are trapped by gadgets that don't deliver mystery or magic in our personal lives.
Are great ideas based on intuition and do they reveal themselves in a kind of clear as well complete version that just has to be realized? Or is it endless trials and errors (after the first spark) that result in constant developments up until the final result?
As I've matured I do find that intuition kicks in earlier. Experience of many failures and few successes gives me the feeling if I'M ABOUT TO BE WASTING MY TIME ON A NEW SONG OR IDEA. On way to spot this is if my attention starts to wander and the concept dent grab me and stir the passion it requires to complete the work.
What if there is a deadline, but no intuition? Does the first fuel the latter maybe?
In this case, I have to rely truly on experience that certain risks can be taken, a leap of faith and if the intention is good, then maybe, the deadline can be met without embarrassment.
INSPIRATION
What inspires you and how do you stimulate this special form of imaginativeness?
I realize that when 'being' is truly a verb rather than just a model construct or an imprinted view of things, my imagination flies into another realm untethered by constrictive thinking. The universe and all consciousness is much greater than my imagination and I must constantly challenge the walls I keep building in order to fit in with others and the static world view.
If being is to really just be and experience consciousness then the best of me must remain aware.
Music inspires me. Sounds become pictures of emotions that soon become expressed into words that I ant to sing as a melody. All the chakras ailing and it may even bring me to tears as it's happening. This is always a good sign in my opinion.
How do you separate the good from the bad and which ideas are worthwhile to be explored further or whether one idea has the potential of being outstanding really?
'One can't make a silk purse form a pig's ear'. Never a truer quote when it comes to recognizing a bad start will lead to a terrible finish. To understand this early and not be too precious about the initial thought can save much time and energy.
A good idea that keeps inspiring the passion along the way remains simple yet deeply moving is the sign that a good idea is about to become a great one and deserves my full attention.
Has it to appeal to you primarily or is its commercial potential an essential factor?
I've given up chasing the commercial aspects of appeal. It is true that I am encouraged by new talent and sounds but these must always work into my personal taste or my own madness to be able to create something I'm happy with.
Do you revisit old ideas or check what colleagues/competitors are up to at times?
Always listening to others work. I rely on a close circle of friends and acquaintances for reliable new music sources. Sometimes it really inspires me other times it can leave me cold.
Old ideas, especially lyrics can come back into the current workflow, if something about it resonates still or an irony presents itself to look back at my own thinking and see how it may have changed.
CREATIVITY
Which time/place/environment suits your creative work process the best (tranquillity or pressure) and which path do you take from theory/idea to creation?
The creative urge can appear at any time. To me it's the subconscious bubbling up and spilling into my active thoughts. If something has troubled me or caused anxiety somehow a set of thoughts may develop that either help or add more questioning to the equation. To find the connection between this and the collective human experience is the challenge.
How to express without preaching, or dictating too strong and opinion that it causes alienation from the overall vibe of our work. It's ok to have radical departures of thought, when one is drunk or stoned for example, but for me the truest feelings are the purest and never far from the empathetic pathways. There is a oneness that's always trying to find acceptance or approval in my work. This is the cathartic, healing, personal growth I seek.
What is better in the realization process: speed and force creativity i.e. grasp the magic of the moment, or a slow, ripening process for implementation/elaboration?
Always follow the magic. Get lost in the storm. Surrender to the forces. Then see what remains and is washed up on the island afterwards to build something from. :-)
If problems occur during creativity or one’s stuck even, how can these be solved?
For me I've learned that the 'stuck' feeling is just a journey around the dark side of the moon.
At some point, if I stay positive it will return. Travel is a good way for me to stimulate my creativity. Adventure. Start a fire in my personal relationships was always good for my creativity, but that cost was heavy and I've stopped doing that as much these days. Three divorces is enough. Though my muse is happy I stayed with it through thick or thin.
How important are self-doubt and criticism (by others) during such a process i.e. is it better to be creative on your own, only trust your own instincts, or in a team?
I'm lucky to have been surrounded by the same musicians for over 40 years. I trust their opinions and am always happy to take criticism for the pursuit of excellence. Self-doubt is like the clouds they come and go. It's just to know that the sun is always shining behind them that counts. Powerful instincts come with lessons learned over the years. Sometimes the best lesson is in the biggest mistake made. We all make them. It's how we move on that counts.
Should a creative always remain true to him-/herself including taking risks & going against the flow or must one, for reasons of (commercial) survival, make concessions to the demands of the market, the wishes of clients and the audience’s expectations?
Creatively we always know when we lie to ourselves. The money is always a force pulling us towards a compromise, but even then this pressure can add to creativity. I like to think that the only rule is that there are no rules.
The judgment from the audience can be like the tail wagging the dog but it also is the source of acceptance that an artist always seeks so it's good not to purposefully abandon one's standards for money alone.
But again, maybe the offer of money came because the good work done for free has brought the attention of those who now wish to reward one financially.me, the first, taking risks. I feel very lucky that I haven’t had to compromise or ‘tone it down’ as the first thing I explain (for commissions) is that I want to show the issue in the most realistic way I can (ie, that it’s problematic, not pretty).
How is innovation still possible if one has established a distinctive style and, just in case, is it good to be ahead of one’s time even one hazards not being understood?
The randomness of creation is infinite. If I stay open to my feelings, I release that I'm just writing the same song over and over to begin with but then it evolves into something way beyond my initial thoughts.
Music is a language of its own and with words it has a quantum effect on the understanding/mood conveyed. The idea of introducing something beyond people's current understanding is very appealing to me. I'm used to not being fully understood. I enjoy the enigma of that. The power of suggestion can open up the mind leaving the final interpretation to the listener. That is a very powerful combination.
When does the time come to end the creative process, to be content and set the final result free - or is it work-in-progress with an endless possibility of improvement?
At some point I've learned to walk away from a work in progress. If not it can become like an over decorated Christmas tree. What is finished? What is enough?
In case of failure or - worse - a creativity crisis how do you get out of such a hole?
Failure is the close relation of success. It teaches a lesson that maybe I needed to learn. Failure can be the result of too much ego and blindness to relevance. To recover is to get out of one's own way and start again. To start again is the best end of the story.
SUCCESS
Should/can one resist the temptation to recycle a ‘formula’ one’s successful with?
Well, certain musical movements depend on being similar in order to maximize the festival nature of the experience. An oversized event that carries ripe fruit out to the world. From there it may explode and collapse into many derivative seeds and become something new. Every generation has its identity stamped by these sociological movements. Then this generation grows away and another comes to replace it.
Nostalgia is a form of recycling but to a different audience. We see kids who weren't born when we had our first success at concerts now listening to our music as it's the newest form of art. To them it is. To us it’s a grateful experience.
Is it desirable to create the ultimate/timeless work, but doesn’t “top of the ladder” bring up the question of “what’s next?” i.e. isn’t such a personal peak “the end”?
To arrive at a time and place in the zeitgeist, where one or several of our songs define the times we lived in (and still do) is very gratifying. Ok, maybe the world is no better than it was before the songs, but knowing they were out there in the debate, quietly influencing the thinking of some is exciting. I see the output of all in a horizontal way, not linear. The competitive nature is not there anymore. It should never have been there to begin with. We never thought that way.
I see our working as an unfinished legacy that we will keep adding to. Our maturing perspective, alongside that of our audience means that we all went through something together. We shared a lifetime together. This notion is very rewarding.
MY FAVORITE WORK:
The latest release "EVERY FIVE SECONDS" contains a song entitled "COLD". This song is possibly my best song written. The lyric, voice and melody collide to reflect my emotions as close to the actual experience of living them.
Soundfile: https://www.youtube.com/watch?v=ki4y9awhWSc .
