Sunday, December 13, 2015

Who’s setting the tone of your holiday season?

So, who’s setting the tone of your holiday season? And how’s that working out for you?

It’s a cliché that we in the developed world are bombarded with messages saying that our winter celebrations should involve consumption and commodities. The other part of the cliché is that you should fight these messages by somehow returning to the true, original, spiritual meaning of your preferred traditional winter holidays. Two competing shoulds.

I have a simple, technical suggestion that’s a little bit different. Reset the tone, the vibration, for yourself, of your own holiday season. More on how to do that below; you can skip to the end right now to read about it. Or continue on for more of my own holiday story.

As children, we usually default to the tone, and all the accompanying customs and emotions, that our family sets for the holidays. The result for me has been mixed. As a child in suburban Long Island, New York, I lived mainly among other secular Jews. Though my family was grounded in what I call the left-wing branch of Judaism – focused on progressive social action but not religious observance – we did what most of our neighbors and friends of various political leanings did for the holidays. We decorated a tree and exchanged gifts on Christmas, pretty much in the spirit that to do so was to be American; we also lit candles in a menorah and gave Hanukkah presents. It felt normal and comfortable.

We moved to Cupertino, Calif. when I was 10 years old, and I suddenly felt like an outsider.

The only Jews I was aware of lived across the street, but they didn’t have that comfortable New York-y feeling that was connected to modern intellectual culture as well as to the “old country” as personified by my Russian-born paternal grandparents (who had helped overthrow the Czar in Russian and were still Communists, and who still lived in the Bronx). No longer did my immediate pals and neighbors follow the traditions we did.

And I couldn’t really call them traditions anymore. My parents, in their interests and actions, increasingly matched the overall tone of cultural, social, and political change of the late 60s and 70s (peace marches, relocating to a self-reliant life in the redwood forest, and other experimentation, usually involving people much younger than themselves, even while my father still worked in Silicon Valley and my mother carried on to some extent the traditional life of a suburban mother). Amid all the hubbub, not to mention my father’s career switches and the economic challenges of the time, they never reestablished a consistent approach to celebrating the winter holidays. There wasn’t much of a tone for me to match.

In recent decades, one person in my immediate family made a strong stand for a December celebration: my only brother (and only sibling), not quite two years younger than me. He and his wife, an observant Catholic, started giving a big party every Christmas Eve. He swathed his house in Christmas lights, more of them each year, and put out a lavish spread. At first, though his approach felt startlingly foreign to me, I enjoyed these parties. They were fun, even though filled with a sea of his wife’s relatives whom I didn’t yet know well. 

But the pleasure of the parties was increasingly marred by what went on during the rest of the year. My brother, whom I loved dearly and was once quite close with, was extremely busy with a high-tech job and four kids, and his wife disliked my parents. Though he lived about a 10-minute drive away from my folks, and about an hour-and-a-half drive away from me, he and his wife chose to spend little, if any, time with us. The time I did gain with them was hard to schedule with him.

The only reason for all this that I heard from him was that he was too busy and wanted to focus on his new immediate family, and that our parents’ requests felt like big demands on him, while what he needed was help. Yet it was difficult to reach either him or his wife to schedule such help. Also, my brother and his wife wanted my parents to take care of their grandchildren for long stretches of time, but arthritis made it hard for my folks to do this for more than three hours or so. My brother and his wife couldn’t comprehend this. Finally, my parents, whom I remained very close with and saw often, didn’t understand why their son and his wife didn’t want to hang out with them as my parents had so loyally hung out with my grandparents, as often as every two weeks, kids in tow for a happy gathering.

I felt hurt and perplexed by the situation, and frustrated by my unsuccessful pleas to my brother about the value to everyone of us spending time together. So, every year at his Christmas Eve party, I felt more uncomfortable about the disparity between the cheer around me and the emotional pain and distance during the rest of the year. But I attended, managing to enjoy the festivities and the company, in some ways at least.

Then a second complication occurred: I began living with a man whose widowed father (also Catholic), celebrated Christmas on Christmas Eve. That was where we had to be. My brother wouldn’t hear of it. He wouldn’t see us any other day of the holiday season, or for that matter, of the year. It was his party or nothing.

So my Hanukkah/solstice/Christmas season became a welter of impossible desires, frustrated expectations, and confused sadness.

Gradually, it dawned on me that I, just me, could have – did have – my own experience of the darkest time of the year, in which humans historically set out light and gather together for warmth and company. I didn’t have to simply react to what others wanted. I didn’t have to only try to be a peacemaker, or, when that didn’t work, to feel an underlying drumbeat of frustration and anger and disappointment throughout the holiday time. That drumbeat was me being busy resisting other people’s decisions and tone for the season.

For here’s a handy truth you may have heard: what you resist is what you get. If a good deal of your energy is tied up with something, that’s what you experience. So why tie up your energy with what you’re fighting?

I still try to spend time with those I love around the holiday season. I still try to broker agreements where there are none. I help create and attend others’ celebrations. And I still feel some of those uncomfortable, even heartbroken, feelings. But amid all this, I also make sure to set the tone for my own holiday season – a largely happy tone. 

How? Well, as a poet, a singer, a psychic, or, for that matter, someone who cleans my own house, I believe in using good technique. It’s not an intellectual approach. You don’t have to be perfect at it. You don’t have to be particularly qualified either.

The technique I recommend is to consciously set the tone or vibration of your own experience of the holidays by imagining a color for it. Sit down in a quiet place where you won’t be interrupted for 5 or 10 minutes. Ignore the phone, the computer, and other devices. Give yourself this time.

Put your two feet on the floor. Close your eyes. Imagine a connection between the base of your spine and the center of the earth. Don’t make this too difficult. Just be like a child and imagine it – some connection that happens instantly, descending from the bottom of your spine and hooking into the middle core of the earth: a tree trunk, a rope, a stone column, a giant stream of water, something about as wide as your body. Once you’ve done this, your body is grounded, feels safer, and has some conduit through which to release feelings, thoughts, and energies you want to let go of.

Now, bring your awareness back up to behind your eyes. Postulate that you will see a rose in front of you with a color that embodies the tone you want for yourself holiday season. Don’t make it hard. Just see a rose. What color is it? Red? Gold? Blue? Green? This should feel good to you. If you don’t like the color, let the color change. Let the rose take on the color that represents the vibration you want to feel throughout the holidays. What’s the color? Let it fill the rose.

Look at it. Enjoy it. Does it conjure up a particular feeling in your body? What does it remind you of ? What song? What sound? What food? What place? Savor this rose you just made.

Reach out and grab the imagined rose you just created. Pull it up against your chest. Experience what it’s like to have this feeling. It’s all yours. Right in that moment, practice having this feeling. This tone. This vibration.

Then, when ready, let go of the rose and let it travel out into the universe to manifest. 

Energy vibrations can be communicated and quantified in various ways. In the slowest way, they become things. In the fastest way, they are subatomic particles we don’t yet know how to scientifically track or measure. One way to notice and set vibration is to use a mental picture incorporating color. I like to work with this mode because, for me as a human – as the old adage goes – seeing is believing. You don’t have to be officially clairvoyant to work with color as a way to reset a goal, an experience, a plan. (And you don’t have to be a musician to target and re-find a vibe via music.)

So with this simple technique, you can reset the tone of your holiday season – or for anything in your life – by targeting a color (that is, an energy vibration) and owning it for yourself, using the neutral, lovely, even healing image of a rose, then letting it go out to do its work. Then you don’t have to work at it all the time – you can let this energy analogue you created, the rose, do the job of keeping the tone you want for your holidays. You did it – it’s done. But you can call back the rose to check it, remind yourself of it, or even recreate it entirely if you can’t find it anymore or it looks a bit worse for wear.

Family conflict, external or internal expectations of what you should be able to buy for yourself or others, or just the demands of survival in the dark winter – all this can be painful and difficult. Even those of you who have harmonious family relations may feel the claims of the season to be exhausting. Life feels more complicated over the holidays. Time really is shorter.

All the more reason to try this simple tactic for changing the energy. Be the one calling your own tune for the holidays. No one else even has to know about it. 

When you do this, you’re no longer competing with the demands around you. You might meet the demands, or you might not meet them, but you’re still the one setting the tone for how you feel. And others get to set the tone for how they feel too. Which doesn’t have to be your responsibility or your problem.

It works for me.

Wishing you a joyful, easy, satisfying holiday season – along with a little bit more awareness of your own (changing) energy tone, and the tones of those around you! I can see the colors lighting up (or not), and hear the bells and the melodies sounding even now…

Last night to light Hanukkah candles...

Tonight's the last night of the year to light Hanukkah candles!

"Miracle" by Matisyahu sung by Lisa B (Lisa Bernstein)

Enjoy my version, accompanied by the brilliant late guitarist Andre Bush, of Matisyahu's inspiring song "Miracle." (And I made this video for it myself.)  

May you find more light...

Wednesday, September 23, 2015

Happy Birthday, John Coltrane ("Trane's Ride" by Lisa B [Lisa Bernstein])

Thanks to John Coltrane on his birthday. May his music inspire us always!

"Trane's Ride" is a poem I composed in the imagined voice of the great saxophone player and composer John Coltrane. (At the start of the recording I say, "I heard Trane say...." Later in the poem I refer in Trane's imagined voice to "Him," that is, God.) 

I listened to John Coltrane's music in utero, as my father was a big fan and then a friend of the humble master. I kept listening ever since. The power, depth, and beauty of his music, the intensity of his unique voice in continual struggle, yearning, and discovery, profoundly affected me as a person and an artist.

I wrote this poem when I was teaching undergraduate poetry writing at San Francisco State University during my two-year term as Associate Director of The Poetry Center there. That half-time position was itself split into two: quarter-time as Associate Director (doing grant-writing, publicity, and administrative work) and quarter-time as a lecturer in creative writing helping folks learn to write poetry. I loved it.

In every class, we did writing exercises together. I usually did the exercise along with the students. One assignment was to write in the voice of another person. I chose Coltrane. Unlike my usual writing approach, as I was composing the poem I heard the silent bar lines of a song passing underneath the words that streamed from my pen. Later, of course, I realized that song was "Naima." 
In 1993, I received the rare permission of Alice Coltrane, then owner of Jowcol Publishing, the copyright owner of "Naima," to record the poem with "Naima" as an instrumental background. It first appeared on my 1994 EP "Be the Word," next on my 1999 CD "Free Me for the Joy," and finally on my 2009 CD of new and remixed/remastered tracks, "The Poetry of Groove." 

This track is one of the few recorded Coltrane compositions with a legally permitted verbal element. 


The poem "Trane's Ride" copyright 
© 1993 by Lisa Bernstein. 

The composition "Naima" copyright © 1959 by John Coltrane (Jowcol Music, BMI). 

Lisa B (Lisa Bernstein) - lead spoken vocal
Sandy Griffith and Alice Peacock - background vocals
James Richard - drum and bass programming
Rock Hendricks - tenor sax
Bob Mocarsky - keyboard
Dave Yamasaki - guitar
Jim (James) Gardiner - engineering, production, all other music, and mastering
Vince Wojno - mixing
Pajama Studios, Oakland, Calif. - recording studio

Please support the costs of making indie music (rather than ripping this or generating a penny per play or less from streaming services):

-- download from iTunes at:


-- download or buy a CD from CDBaby at:


-- download an MP3 from Amazon at:

but please don't buy a CD there as no proceeds go to the artists.

Wednesday, September 16, 2015

What Diabetes Taught Me As A Creative Person

More than 30 years ago, I was diagnosed with type 1 diabetes (it used to be called juvenile diabetes; I wasn't a juvenile when I got it, though). It's been a challenge and a teacher.
pink writing journal from lisabmusic

Here's some of what I've learned from diabetes that is crucially helpful in my work (and play) as a poet, singer, and creative person:

1. It's never perfect.

2. What works one day doesn't work another.

3. Conversely, what doesn't work one day does work another. So keep a record of your previous drafts/approaches, stand back and assess context, and watch the trend.

4. Your body is not you; it's your instrument, lens, and primary companion. So take care of it.

5. Allow variation. To quote my vocal coach Jane Sharp, that's where the beauty is.

6. There's always more room for pleasure.

7. There's always a place for discipline. If not daily, almost daily. By that I just mean: "do your practice," "follow your plan." But see 5. and 6.

8. Use the technology that feels easy to adopt and manage.

9. Write stuff down. You won't always remember it.

10. Meditate.

11. Mortality is your friend. It makes the moment sweeter.

12. Sing. This goes for everyone. Admit it, you want to. Follow the lead of the angels, the animals, the birds, the insects, and the babies. It's the grown-up human way too. And it heals.

copyright © 2015 Lisa Bernstein

Thursday, August 6, 2015

Two Fall Workshops on Mind-Body-Spirit Tools for Singers/Performers!

co-taught by 

DariaLisa B


   Lisa B     

We have two workshops coming up

Confidence, Communication, and Creativity
for Singers and Other Performers

Sun. 9/13/15 - Piedmont Piano, Oakland 


The Complete Singer: Spiritual, Technical, and Practical Tools to Help You Realize Your Musical Dreams

Sun. 10/11/15 - Roots Music Marin, San Rafael

  • Take either or both
  • No prerequisites
  • All levels welcome!
  • More info below
Contact lisabmusic at hotmail dot com to register

Mind-Body-Spirit Tools for Confidence, Communication, and Creativity
for Singers and Other Performers

Sunday, Sept. 13, 2015, 12:30 - 4:30 p.m.

$90 (limited to 10 participants), pre-registration required
$85 if you register by Aug. 23
Registration closes Sept. 10

Piedmont Piano Company: 1728 San Pablo Ave, Oakland, Calif. 94612

* Feel more comfortable communicating to a group or audience
* Learn how to protect your personal space while communicating with others
* Learn fundamental tools to feel more relaxed, confident, and present
* Apply these techniques to performance in the workshop and get immediate supportive feedback

* Reconnect with your inner creative self
* Release invalidation and judgment from your creative and performance abilities
* Practice vocal creativity in the moment through improvisation
* Tap into your verbal creativity with fun writing exercises

Bring a song or performance piece to work on.

The Complete Singer: Spiritual, Technical, and Practical Tools to Help You Realize Your Musical Dreams

Sunday, Oct. 11, 1 - 4 p.m.

$75 (limited to 10 participants), pre-registration required
$70 if you register by Sept. 20
Registration closes Oct. 8

Roots Music Marin: 1455-C East Francisco Blvd., San Rafael, Calif. 94901

- Feel more relaxed and connected to your breath support 
- Feel more "in your body," confident, and clear
- Reduce stage fright, resistance, confusion, insecurity
- Expand your vocal exercises and terminology
- Draw on your different chakras or major energy centers when singing
- Learn helpful tips on your key vocal issues

- Reconnect with your own joy of singing
- Identify goals you want to keep, revise, or add
- Stop competing with yourself and others
- Explore how diet, sleep, allergens, medications, and stress affect your voice
- Set your own tone/agenda for your singing activities 

Includes guided visualization, meditation, instruction, sharing, and singing
and personalized feedback in the workshop


Past participants had this to say:

"The information presented helped me to connect with my spirit and improved my confidence. I would recommend this workshop to all singers." - M.G.

"The workshop covered a wide range of topics and techniques that I can apply to my singing. The information was understandable from every level, beginning to advanced, and adaptable." - J.B.

"I really enjoyed the combination of energy and vocal work." - C.R.

"What a wonderful workshop today! What I appreciated most was that it was not your typical workshop — exercises, sing a song. It truly was a complete overview — mind, body, and spirit." - O.J.

"The workshop was amazing. I really enjoyed the guided meditations and learning about the chakras. Still thinking about it all!" - J.T.

"Great start to discovering the artist in myself." - T.H.

"Thanks for reconnecting me to my spirit self. I forgot the little girl who just loves to sing."

"I thoroughly enjoyed it and greatly appreciate the marrying of technique and spiritual/emotional awareness." - L.W.

Thursday, June 25, 2015

Lisa B at The Sound Room, Uptown Oakland, Sat. 6/27/15: 8 pm - 10 pm

It's been 2-1/2 years since I've performed in a Bay Area club, so I'm thrilled to be singing, and performing poetic spoken word, again this Saturday night at the wonderful Sound Room in the burgeoning Uptown Oakland, Calif., neighborhood. 

In the interim, I've been busy with lots of creative work: new studio recordings, new poetry, and a nonfiction book in progress, not to mention nurturing my clairvoyant reading practice (see and undergoing two surgeries (the latest leaving me way hipper, with a new right hip). 

But it's time, already! 

The trio I'll have playing with me is fantastic, all titans in their own rights, not to mention creative, likeable fellows to work with.

Here are the details. Come on down!

Lisa B (Lisa Bernstein) 
at The Sound Room
in Uptown Oakland
Frank Martin, piano
Peter Barshay, bass
Jeff Marrs, drums
Saturday, June 27
8 p.m. - 10 p.m.
2147 Broadway, Oakland CA
(510) 496-4180

Get: tickets here

  • All ages
  • Delicious small plates
  • Nonprofit vibe meets fun-night-out
  • Drinks alcoholic and non-

And swinging, creative originals and standards, often with poetic spoken word woven through them...

What's not to like? 

See you there!

Friday, April 24, 2015

Lisa B's (Lisa Bernstein's) version of "What's New, Pussycat?" on YouTube

My version of the ever-delightful Bacharach/David song "What's New, Pussycat?" came out in 2006 on the album of the same name, subtitled "Tunes and Tales About Cool Cats." 

I recently put the tune up on You Tube with the marvelous CD cover Julie Ann Yuen created. I've neglected to post about it here, though. 

What better time to think of all things pussycat than the warming days of April? (Don't you want to go out and lie in the sun, stretching your paws?)

As the All Music Guide puts it, "Bernstein uses the word cat as a metaphor — as hipster/beatnik/bebop slang — and she is really singing about human situations… from Bernstein’s own material to an intriguing arrangement of Graham Nash’s 'Our House,' 'What's New, Pussycat?' is infectious…memorable, and clever.” 

You can read more press about the record here (scroll down):

If you'd like to own the track (and I'd be grateful for your support and the knowledge of your reliably ongoing pleasure), you can get it here: (mp3s and higher-quality digital files as well as actual CDs) or here:

Wednesday, April 8, 2015

the poem "Genesis" by Lisa B (Lisa Bernstein)

"Genesis" appeared in Caliban Online #4 (2o11). The online Caliban is a resurrected version of Larry Smith's imaginative hard-copy Caliban magazine of the mid-1980s to the mid-1990s. It in many ways was a successor to kayak, the groundbreaking magazine edited by George Hitchcock, who was one of my professors at the University of California, Santa Cruz. Caliban went on to publish a range of esteemed, exploratory writers ( Now, Caliban Online describes itself as" an internationally recognized literary and arts magazine featuring avant-garde writing" and other media, notably visual art. I'm honored to have had a number of poems in three different issues.

This one belongs to a group of my poems exploring Biblical themes and characters. Mild warning: it's not quite "safe for work." 


Face down on the green and brown bed
I put my hand under my pelvis
and feel the bone plowing a little, like a plow into the earth.

I can’t redo the Garden of Eden,
can’t recreate the errors, the judgment, the rows of plants and herbs,
the animals mutely watching God’s imposter

“the Lord” consign man and woman to post and field.
But I feel the original bone tip
meeting the earth through my palm’s flesh.

The bone wants to fuck in sorrow and rage
as if to plow up earth’s punishment like sod and copper.
And my hand nuzzles and takes

the heated plowing from my body.
And the plowing is so strong I smell the wet earth,
the parted moist ground,

the mist rising from where Adam’s old plow entered,
melting into manna and gold honey in my hand.
And as I close my eyes to the brown and green bed

and the sweat of my brow, I see the creamy, withered pages
of the false Lord’s creation
ignite and burn above my head.

The beings who sang at the true creation of the world
stand witness again,
their faces recalling the face of the God

who hovered over the waters.
I come into my hand
and breathe out a mist

which rests on my face,
my own face,
like God’s, the one I know.

copyright 2011 Lisa Bernstein (aka Lisa B)

Monday, April 6, 2015

poem "The Yoke" by Lisa B (Lisa Bernstein)

Most of the poems in my current unpublished poetry manuscript, "The Rhythm of Forgiveness," have been published separately, in literary magazines or other types of periodicals. I've been wanting to start posting these poems here.

In this Biblical season, "The Yoke" seems a good place to start.

This poem appeared in the wonderful magazine Lilith, in its spring 1999 issue. The same issue featured a second poem by me, to come in a later blog post.

Along with featuring a poem or two, Lilith covers a wide range of topics. Here's how it describes itself: "Independent, Jewish & frankly feminist since 1976, Lilith magazine charts Jewish women's lives with exuberance, rigor, affection, subversion and style." What's not to like? (I'm tempted to adopt those last five qualities as my personal writer's mission.) 

"The Yoke" also appeared in the July 1996 issue of the monthly newspaper Psychic Reader, which was published for many years by the Berkeley Psychic Institute, where I first trained as a clairvoyant reader.

The Yoke

Somebody’s yoke around my neck—
how can I think about God now
and what a kvetch he became in Genesis?

He walked there calling for Adam.
Then the verses fell down like a ladder on the dirt
smashing all that had been planted.
Adam stopped to be yelled at

but the actual Adam was off somewhere else
dancing and fornicating with Eve.

About all the pain and suffering that followed—
was it worth the neat rows of vegetables,
each with a picture-name?

I’m more interested in the snake in the dust
and the shimmering pyramids.
The goddess that came before them
shaking her stiff serpent at the tree.

I’m as tired of the One Dad God as he was with his trying children.
Let the cypresses be trees in my hungry city,
let the dusty roads be my littered streets.
God, this agreement to plow and to plead—
it’s enough already, don’t you think?

And this yoke—take it.
Go on without me
rearranging yourself, green into red
into blue. I feel better already.
I forgive you too.

copyright 1996 Lisa Bernstein (aka Lisa B)

Thursday, February 26, 2015

Mind-Body-Spirit Tools on Creativity, Communication, and Confidence: for Singers/Performers

Being a performer is so much about letting others see and hear who you really are. Which can be terrifying   and liberating.

I realized this all over again last night while on the road to an audition, with exhausted vocal cords from overpracticing and thoughts of pulling over, calling the bandleader, and feigning a flat tire. 

Three things kept me going: the fact that I didn't want to waste having put on make-up, the fact that I didn't want to be seen as a flake by this band I wanted to join, and (maybe most important) using the tools that I and my co-teacher would be teaching in our upcoming workshop for performers.

By the way, I made it. And the audition was a success! 

Daria and I are offering our fourth workshop on mind-body-spirit tools for performers since we inaugurated them in May 2014. This time we're focusing on creativity, communication, and confidence.

Past participants of these offerings have raved about them. A couple of comments from our most recent workshop, in February at Blue Bear School of Music in San Francisco: 

"Thanks for reconnecting me to my spirit self. I forgot the little girl who just loved to sing." 

"I thoroughly enjoyed it and greatly appreciate the marrying of technique and spiritual/emotional awareness."

Want to be seen and heard as who you really are, as a creative person and performer? Treat yourself to this workshop on March 21.


Mind-Body-Spirit Tools
for Creativity, Communication, and Confidence

A Workshop for Singers and Other Performers

All Levels Welcome

taught by
Daria and Lisa B (Lisa Bernstein)

Saturday, March 21st
12:30 p.m. - 4:30 p.m.

Piedmont Piano Company
1728 San Pablo Ave., Oakland, CA

$90 ($85 for Registration by March 9)


·        Reconnect with your inner creative self
·        Release invalidation and judgment from your creative and performance  abilities
·        Practice vocal/performance creativity in the moment through improvisation
·        Tap into your verbal creativity with fun writing exercises


·        Feel more comfortable communicating to a group or audience
·        Learn how to protect your personal space while communicating with others
·        Learn fundamental tools to feel more relaxed, confident, and present
·        Apply these techniques to performance and get supportive feedback

Includes guided visualization, fun group & one-on-one exercises, practical instruction & tips, sharing, and performance

Bring a song or performance piece to work on

Maximum 10 participants, all must pregister:  Contact

Daria is an acclaimed vocalist, recording artist, and educator who has performed and toured internationally with her trio and Dan Hicks & the Hot Licks. She has taught at the Jazzschool, College of Marin, Blue Bear School of Music, and elsewhere. See

"Gives you new experiences and insights beyond the ordinary...
songs that speak to the heart and spirit."Jesse "Chuy" Varela, Music Director, KCSM FM

"Daria's masterful and compassionate vocal coaching style, coupled with her ability to provide a safe and respectful environment, has transformed me from a shy, quiet individual to a more confident, vocally present participant in the world and in my own life. I am eternally grateful for our work together." - Darla Holst

Lisa B (Lisa Bernstein) is a singer, poet, and clairvoyant reader, energy healer, and coach. She has five CDs and two books to her credit. She received grants from the National Endowment for the Arts, Headlands Center for the Arts, and Money for Women. She has taught at San Francisco State University, the Jazzschool, and Allendale Recreation Center. See

“Lisa Bernstein's mix of spoken word poetry...and passionate jazzy, high-register vocalizing is …hard to resist.” - All Music Guide

I know Lisa as an accomplished poet and singer. Recently I had a chance to experience her other skill as an intuitive. I would recommend her without reservation to anyone who is curious to know more about themselves.” - Ben Flint, pianist and educator