friends of ours asked if we had cicadas yet. they live a short distance away in illinois and their friends – in another close-by illinois town – have so many cicadas that they cannot sleep at night. we haven’t heard a one. at least not yet.
instead, our nights are quiet. we can hear the gurgle of our pond, maybe a little wind. seems about right for the sweet phase.
dogga wakes us early – this morning his first attempt was at 5 – jumping on the bed for pets and snuggles, he encourages us to get up and put the coffee on. but in those exquisite minutes between slumber and plugging in the cuisinart we can hear the birds greeting the morning, the spoon stirring in a mug through our dear west neighbors’ kitchen window, the quiet strains of symphony as the sun streams in through the window and spills onto our quilt. it’s a tender beginning to a day.
last night was warm – we sat out late after we ate dinner on the deck. sans air conditioning it was warm when we went to sleep. i woke up numerous times through the night…always trying hard not to start thinking – because once i go down that road – the thinking road – i have no real chance at going back to sleep. nevertheless, i went there.
it seems – most times – when you end up on the thinking road it is on autopilot, as if you have no ability to steer. last night, though, i tried to stay in control of the steering wheel. and each time my mind wanted to veer off and ruminate over something else, something of concern, i tried to gently bring it back to my breathing, to the sounds of quiet night, to the feeling of d laying next to me, to the gentle snores of dogga.
i’m pretty sure the cicadas will arrive. i hope so. i don’t know if they will be so loud that i cannot sleep. i’m not too worried. there are plenty of other reasons i don’t sleep. and i have actually been a cicada fan my whole life – i love the summer night sounds of crickets and cicadas and miss those when they disappear in the fall. i try to memorize the sound – until the next season of them. i find both reassuring and pointedly centering – “you are in summer,” they seem to say, “relish it.”
the sweet phase. it’s begun. every day. every night. we are fortunate, no matter what. because we are here. period. this is the time to remember that.
and the daisy turned skyward – cup-full. and as i passed, it reminded me of abundance and plenty.
for the measure of both abundance and plenty is not rigid. it is variable. my plenty is different than yours. and different expectations apply to abundance. it does not serve me well to gauge mine – my plenty, my abundance – by your standards. no, that comparison is not right. there are similarities. there are dissimilarities.
instead, i’ll look at the daisycup. i’ll set my face to the sun. i’ll count the times the dogga runs around the pond. i’ll gaze at the pussywillows on the white bathroom windowsill. i’ll savor the creak of old floors under my bare feet. i’ll tighten the back screen door handle. i’ll watch the house finches dine on grape jelly. i’ll feel his hand wrapped around mine.
we’ll go look for turtles from the bridge. we’ll clink glasses on the deck. we’ll listen to the wind in the chimes. we’ll paint rocks, write words and create big pots of soup. we’ll walk in sync on the sidewalk. we’ll make leftovers and serve them with happy napkins. we’ll relish time with family, with friends. we’ll make plans; we’ll revise plans. we’ll kiss goodnight.
“tonight while the lights are shining and the microphone is on, i’ll play for you…” (seals and crofts)
or no lights.
a piano perched among the boulders looking out toward the mountain range – in this very special place. a boom mic.
in my dreams, i can see it.
the bigrocks are seats and the program is not written. it all comes from the spirit in this place, from air, from healing. and – even more specifically in my dream – a yamaha disklavier pro minus the fancy-schmancy newfangled stuff – an instrument to record directly to disk…on-the-fly on-tape, in the vernacular.
in my dreams – in my regaining of feeling relevant – my fight to regain relevance – as a 65 year-old recording artist who broke both wrists snowboarding and then tore my scapholunate ligament (leaving me with a rh grand total of 45° forward rom) – i am sitting at C7 pros all over – in fields of boulders, in canyonlands, perched on mesas, in meadows of wildflowers, on a cool sand beach. i am playing the boulderfield, the canyonland, the mesa, the meadow, the beach. it is a conversation between us – even, maybe – through me. it is simply an offering to anyone – or any one – who wishes to listen. it’s a dream awash in unlikelihood but with maybe-just-maybe the smallest iota of possible. maybe we can make it happen.
i stood – again – on the most obvious rock from which to bow to my invisible audience. and i bowed low.
because sound or not, there is music. sheet music or not, there is composing. audience or not, there is listening. it is all happening – simultaneously. right there. in that place.
the boulders on the grassy knoll know it. and i can see it.
“i’ve practiced many years and i have come a long, long way just to play for you… my life is but a song i have written in many ways, just to say to you…”
buymeacoffee is a tip-jar website where you may choose to help support the continuing creating – or the renewed relevancy – of artists whose work speaks to you. ♡
i saw the letter k immediately. one always sees ones initials, i suppose.
it immediately made me think of the way i used to sign everything – back in the day. (note: “the day” means the 70s – which is now – shockingly – half a century ago – which makes me laugh aloud!!)
i used a combination of my initials K, E, A – joined together – nothing extraordinary, it looked like this:
i used it everywhere. i signed my poetry with it. turned in lab reports with it. i autographed my lyrics in black-and-white-speckled composition books. i signed all my greeting cards with it and left notes on crunch’s windshield adorned with it. my monogram traveled with me everywhere.
and soon, recipients of my dedication to this began to use it back to me. i even have a beautiful gold necklace that was gifted to me with my cherished self-designed monogram.
and then, the guitar strap.
it was a present.
it was during the time that tooled leather had more than a minute. like everyone, i already had tooled leather keyfobs, bracelets, belts, change purses and full-sized handbags.
but the guitar strap stood out.
i used this guitar strap for five decades on my guitar. i had compartmentalized what it represented, the person who had given it to me, the time of which it reminded me.
until one day, a few years ago.
when you join together with a partner much later in life, you are full of the stories of the rest of the time you were not together. it’s rich history, narrative begging to be shared. and so, these stories start to tell themselves a little at a time as you get to know each other. and so one day i told him the story.
in horror he listened. he held me as i wept. he gently asked questions. he was quiet with me.
the bungie cord tightly lashed around the compartment of the sexual abuse flung free, snapping back, narrowly missing us. and the box was opened.
i removed the guitar strap from my guitar, unweaving the leather cord that held it onto the neck just under the tuning pegs. i stared at it for a few minutes, my monogram tooled into stiff leather that had somewhat softened through all the years.
and i took it outside and placed it in the garbage can.
it is a ritual. the dandy dandelions show up and i instantly become the mother of toddlers. oh, those very, very precious times.
it is wondrous to me that i still receive notes about this song – fistful of dandelions.
my children are both in their thirties now. life as a mom has changed dramatically…but only from a practical day-to-day point of view. the heart stuff is the same. it never changes.
a friend wrote to me, wondering if she could turn her mother-emotions down a bit now that her child was an adult.
i wrote back it doesn’t get any easier. motherhood is both the joy and grief. it is the fierce loving, protecting, worrying, cheering on…forever and ever. it is the backing up. it is the letting go. it is trusting that – in both the bliss and the pain – the connection exists, there is love.
in the juxtaposition of october’s start and summer’s last grasp – up north – we were the recipients of the gift of a subtle duality, the gift of liminal space as the seasons shift and morph into the next: summer falling away and autumn rising.
i am a fall-girl and october is my favorite month. way back when – when color and season analysis was a thing – i was told i was autumn. but i already knew it. and now – in what is defined as the autumn of my life – i find myself looking back so as to look forward, to go forward. sometimes this is with great intention, sometimes it is not at all deliberate.
i stumbled across a video the other day. i was googling a youtube of one of my recordings. second up on the googlelist was a video i had never seen. from 1996, shot and edited by a videographer, this was posted recently as a memorial to him and is a 25 minute snippet of a full-length concert i had played at uw-parkside’s auditorium. i released two CDs that night, my second and third…a dozen albums and so, so many concerts and stages ago.
i pushed the play button.
there are days you wonder where the time has gone, how summer has turned to fall and fall to winter. time has rushed by and, in its fleetingness, you have left behind profound moments, defining moments.
watching this video became one of them. watching this video reminded me.
my straight-bangs-wrinkleless-eye-shadowed face was in her element. i could feeel it.
maybe – in the autumn of my life – in the liminal space of relevant-not-relevant, of summer-fall, of falling away-rising – i’m not quite done yet.
*****
snippets from 1996 CONCERT at UW-PARKSIDE – releasing BLUEPRINT FOR MY SOUL & THE LIGHTS CDs(a memorial post on YouTube to videographer Harry Stoetzel)
behind the curtain and between stage-left and stage-right wings, the action is paused and ready. umbel stalks on point, waiting to explode into clusters of tiny white flowers, delicate leaves opening, lacy, inviting the show to go on.
it’s spectacular – this performance of nature.
queen anne’s lace – i first learned of this wildflower from my dear friend linda – can be confused with other plants. bishop’s flower, wild parsley and hemlock taunt many from the meadow and one must be careful to realize that their performance piece is not the same – they are not edible – like this wild carrot of queen anne’s lace – and, in fact, they are toxic. the meadow stage offers up options but only carrots are carrots.
for those who love the stage in any capacity, there is a responsibility, things one must remember.
i knew from the beginning that the stage was not about me, not about what it could bring me. instead, the stage is about what i can bring to the audience. i have played to a handful of people; i have played to tens of thousands of people. i always knew it was simply my job to offer my music, stories, lyrics, song, to put it out there. to be absolutely present – sharing the moment – my jeans stuck in my boot. to connect, to resonate, to move – though my expectation was not to be moved, were i to feel it connect, resonate, move, i, in turn, am profoundly moved.
to be off-stage for a longer period of time is taxing. there’s expendable energy stoking up, ready to burst off the apron, into the house. shimmering moments, illuminating the glow of faces seated, the warm cloud of laughter, the sighs of sinking in.
i have stood on the giant rocks of the john denver sanctuary, bowing. i have stood on the stump and the downed tree in the forest, bowing. i have danced on the deck, bowing. i have fist-microphoned in the kitchen, bowing.
i googled “what is the difference between an entertainer and an artist?” for i am often called an “entertainer” and, for some reason, that word rubs me wrong. surprisingly, an AI bot responded. “sage” wrote, “entertainment often focuses on providing a pleasurable or amusing experience for the audience, while art is more about expressing ideas, emotions or personal experiences. … entertainers focus on entertaining, while artists focus on expressing themselves through their art.”
sage’s answer indirectly implies a contrived reorganization, a pleasing-you approach. and while i have read audiences time and again, choosing direction of a concert – if possible – as i perform, on the fly, it is still with an intent to share, to impact, not to simply “amuse”.
i think it’s a matter of purity. or order. or intention. a combination of the three. plus gut. intuition. emotion. to bring. to touch. to move. to prompt questions. to elicit change. artistry. to lift up – suspending in midair – a piece of music, to let it soak up tiny jet streams that will carry it, to let it fall – as it might – onto the anyone or the anyones who is or are there – recipients of my good intention, from stage to audience.
hunger for the stage is real. it is pining for that connection, for the very reason i have composed.
one day the curtain rises – one day the delicate leaves drop – and i’m grateful to perform, piano, boom mic, wood under my feet – and the clusters of tiny white flowers explode into daylight.
it is said – and clearly there are many people in the news now’days who subscribe to this – that any press…good or bad…is better than no press. you have to wonder.
way back in 2002 i released this album. ‘as sure as the sun’ was the culmination of much writing, practicing, arranging, driving, singing, hydrating, listening, reviewing, re-writing, more singing, more practicing, more driving, recording, listening, sitting and watching my producer, more sitting and watching my producer, re-recording tracks, more practicing, more driving, more hydrating, more singing, more writing, more listening, more reviewing, re-writing, practicing, singing, hydrating, more driving and a lot of worrying. i recorded the album in nashville and drove back and forth for sessions, in between which i spent my time finessing each piece of music, each song i had composed for the project.
as an independent solo artist and not a complete band with others to lean on or a label financially chugging it forward, it was a big project, a big investment in heart, time and money. my producer and i had to believe in it to keep it going. bottom line, i had to believe in it to keep it going. when it was done and i drove home with a mastered CD, it was with a mix of feeling proud, wiped out, anxious and full of dreams. ‘as sure as the sun’ was my sixth album and the first that was a full-length vocal. it was stepping out of my comfort zone. it was the edge.
i hired an agency to help with its release and a radio promoter to aid in its adds to radio airplay. i don’t recommend either. to the tune of almost $40,000 they took me for a ride and i wonder now how this was possible. but when your professed dreams come knocking it is hard to turn away and do it yourself. in retrospect, i should have just continued doing it all on my own as i had done with all the instrumental albums that preceded it. but ah, that whole retrospect thing is such a fine perspective arranger.
amazon, and various other entities, added the album to my lineup online and radio stations added songs to their airplay. ‘slow dance’ charted at number 13 on the secondary adult contemporary radio chart. i’m not really sure how important that was now – at the time, however, it kept me paying for the promoter. i suspect that was the goal.
i played concerts and interviewed on radio and drove around to wholesale and retail shows with product, selling to large box brick and mortar chains and small privately owned shops that played music and displayed cds for customers to purchase. at the label in our offices on lake michigan we put together more cardboard display boxes than i can count, shipping out displays and cds regularly. it was busy and fun and a time when people still purchased actual cds.
in the zeal of the after-release glow, i looked everywhere for reviews of this new album. i wanted to know how it resonated with people, how it measured up, what i could learn by reading others’ commentary.
and then there was this.
the title was just the start. dang. sounding like a “hoofed mammal in heat” or a “squealing pig” was a tad bit much, i thought. the first-grader-lyric-writing comment was, well, kind of first-grader-like. i noted the misspelling of norah’s name. and, much as i appreciate his style, i really wouldn’t use “soulful” to describe jim brickman’s vocal music. but i digress.
i was stunned to have such a review and didn’t know what to think. i spent lots and lots of time, an inordinate amount of time, pondering who might have written such a statement. for some reason, i did not give as much time to the emails i received, the notes, the non-promoter-sought airplay, the adds in box stores and shops around the country, and the thousands of cds that were shipped out. this review nagged me.
it’s funny to me now how i let this one commentary puncture a pinhole in my confidence. but that’s the way of negativity. to stand firmly rooted, to take on the edge, to step new steps, to grow, to believe in your ability to shift gears, sway in the wind – the inner job of every artist. one moose and one pig should not be enough to undermine you and yet, there it was.
somewhere along the line i mostly forgot about this review and got on with the business of the music business: making more music. nine albums and several singles followed this album’s release. but i never really looked for reviews. i listened to what was inside and kept stepping. one of these days, maybe when i decide that i am still relevant, i will step again.
artists of every medium adjust and re-adjust too often to the whim of the viewers’/listeners’ fancy. they lose something every time in their pursuit of wanting their work to be liked by others. yet, the artist is most certainly riding the value-train with every project released. for that project, the last project, the next new project – all represent making a living. they represent a vulnerability not broached in other life-work paths. they represent a piece of someone’s heart and soul, hoping against hope not to be pounced on. all together – the projects of all artists of all mediums – they represent the woven fabric of our narrative, diverse and rich.
as my sweet momma used to say, “if [someone] has nothing nice to say, [someone] should say nothing at all.”
though i generally like moose and pigs and am in good company either way, i trust the moose and the pig agree with her.
one of my treasured concert memories is a concert where The Boy played with me. i loved all the laughter leading up to it as he wailed on his tenor in my studio. we had so much fun. this song LET ME TAKE YOU BACK (listen below) makes me think of him. originally a solo piano piece and the title track for a pair of albums LET ME TAKE YOU BACK Volumes 1 & 2 (my solo piano arrangements of 60’s and 70’s songs), the infamous ken orchestrated it for the album AS IT IS with saxophone and thereafter, in live performance, it belonged to craig. let me take you back totally takes me back to those days.
have a cup of coffee (or, if it is later in the day, a glass of wine) and sit back with me. and, since the LET ME TAKE YOU BACK albums are no longer available, maybe dig out your old 45’s of john denver, dan fogelberg, pete seeger, gordon lightfoot, bread, bob dylan, loggins and messina, jim croce, carole king, joni mitchell, carly simon…well, you get the picture…and play them on a record player.
we walked The Girl to kindergarten. it was spring and sunny and warm. dandelions were everywhere. on the way home, The Boy dropped my hand to toddler-zigzag around a yard where dandelions > grass by far (kind of like ours.) he bent down and picked yellow flower upon yellow flower. until he came running back to me. he held up his sweaty-dirty-little-boy fist, full of bright yellow and green dandelions and said, “woses for momma.”
reverse threading 