she said it: “we’re 9 to 5’ers!” and i laughed. “so are we!!” i replied. and, most days, it is pretty much true. sleepynightnight time comes earlier these days – with exceptions – and so does the first coffee in the morning. much earlier. and i like it this way. there is nothing like the sunrise streaming in the window, spilling onto our quilt, dogga at our feet and hot coffee in our hands. perfection.
in life, though, neither of us has spent all our time as a 9 to 5’er – in the traditional sense. though we have both had positions in professional arenas, we have mostly spent our lives either working for non-profits or in entrepreneurial projects and ventures. neither of those are 9 to 5 jobs. they are whenever-wherever-however-you-are-needed jobs.
from an earnings point of view, these are usually not spectacularly paying positions. they are not laden with benefits; they generally do not provide any kind of annuity or retirement.
from a practical point of view, there are often not enough hours in a day to do all the work you invest in when you sign on with a non-profit. it takes a big heart and an absence of calculators and time clocks to keep moving the soul of an organization forward. one would be saddened to divide salary paid by hours worked. instead, it takes true joy and every good intention. because it is about service and about passion, patience and resilience. from indeed, “when working for a nonprofit, the work you’re doing is meaningful. instead of working to grow a company, you’re working to make a difference.” the bottom line is mission. 9 to 5 flies in the face of nonprofit anima.
it is what it is.
we drove – early morning – to milwaukee a couple weeks ago. in the thick of commuter traffic and travelers, i was reminded that this was somewhat unfamiliar for me. it was a little hard for me to grok the unhappy faces of drivers around us. maybe they were heading to the 9 to 5. maybe they were tired of the grind. maybe they were just tired. i don’t know.
it prompted conversation between us about the kind of hours we worked in various service organizations and institutions over the decades. always on some kind of salary, those hours weren’t etched in stone. there weren’t time sheets and – likewise – there weren’t end-of-year bonuses. there were giant ideas and creative collaborations, camaraderie developed through shared interests and abilities, dedication with real-live love at the core. that stuff isn’t etched in stone. it’s soul.
i laughed when kate said they were 9 to 5’ers, for they are now retired and volunteering up a storm. but i agreed. for we are as well.
early to bed and early to rise. we are – at long last – real-life 9 to 5’ers.
the magic wand – infused by the sun – stood tall in the reeds. if only i could pluck it out and take it with, still full of its magic, still glowing, i thought.
it was a brilliant day. the sky blue-blue, the air crisp, the trail ready for us, quiet, winding. we pass by marshes and bogs and woods – the hoofprints of deer preceding us, crossing the way from safe-place to water source.
and then the magic wand glimmered and reached out, tapping me on the head, bestowing glimmer magic, begging the question: and what will you do with this?
i carried the glimmer as we hiked. it was quite like carrying a toddler – full of energy and zeal, ready to get down out of my arms and run, run, run. the glimmer knew that it had work to do and there is no time to spare. for the power to light dark places is not to be underestimated, the ability to drop a spark into ash is not to be underplayed. the glimmer was anxious and excited, both.
and yet, the magic wand knows this: that relighting the dark and touching the grief of flame doused by others, the pain of trauma caused by others is not easy. dark cannot be readily relit if there are only shadows and no room for light. grief cannot be easily eased if there is no corner of the heart untouched by it. pain cannot be addressed without balm to the wound.
the glimmerwand was trembling at the end of the trail, still held in my arms. i wanted to hold onto it, to believe it would be that simple.
but the wand knew better. like the extended finger of ET the extra-terrestrial, it touched the center of my chest, through down vest and thick thermal and baselayer shirt, directly to my heart.
and it told me it would always be there – this light from the sun. it would wait and wait. and it would be with me – with me – diffusing fear, enlivening exhaustion. and i could reach down and touch it any time, this glimmer, and it would warm me up from inside out.
the tulip was exquisite. grand and graceful and svelte and without wrinkle. it was stunning – even in its never-blooming. and then…a few days went by. days, in the lives of tulips-in-vases, are years, decades in the lives of humans, i suspect. it held on for many of those days, petals smooth and tightly wound in its bud. and then.
we glanced at it – this vase of flowers on the table – pale pink that had kept us company, had given us pause.
and there, in the place where there had been a tulip, was an orchid.
now, you might argue, that’s not an orchid!
but i would counter that with this: if a tulip – in its next phase – wishes to look somehow like an orchid, wishes to open its petals in an orchid-like ballet – who are we to question it? must the tulip mimic the orchid perfectly? or is the nod to orchid, the bow to that maestro enough?
the orchid, tulip, dandelion theory and study … a categorization of life. are we smack-dab in orchid: highly sensitive, beautiful flowers that need very particular environments to thrive? are we firmly entrenched in dandelion: low-sensitivity, hardy, resilient, adaptable, which can grow virtually anywhere? or are we nestled in tulip: which falls somewhere between the two extremes of the sensitivity scale?
yet i wonder. do we cross over? do we linger in the liminal space between flowers? do we stretch our limbs to touch orchid? do we relax to be dandelions in the breeze?
maybe this tulip wanted a moment to be seen almost as an orchid, to feel almost like an orchid, to experience orchid.
or – maybe – this tulip was part orchid all along.
and i wonder…what i will be in the next phase of life.
daisies were on my shopping list. our daughter was coming into town and i wanted some fresh flowers on our table and in her room. so, daisies are our go-to.
but the pink tulips caught my eye. long slender stems and the palest pink buds, i could feel my whole body slow down gazing at them.
every time i look at them it feels the same way.
the buds never opened. yet, the tulips are still proudly standing tall, ten days later. it is an image of potential. a visceral right-in-front-of-us portrayal of stately beauty. or maybe it’s an image of choice – of taking a different road. these tulips are stunning. and it is not in their blossoming open.
both of us artists, i can tell you there are many, many unopened buds. they stack in corners and in notebooks, in the recesses of our minds, on our laptops. they are pale pink and soft. they are deep-red and fiery. they wait for their moment.
and some buds don’t open. i read those buds may have faced a particularly cold winter, or had too much — or too little — exposure to heat and sunlight. i’d add that they may have had naysayers naysaying at them. they may be competing for sun with other buds, other flowers, other ideas.
or maybe they just like it that way. as buds. standing tall and quiet, emanating peace and tranquility.
every time i have looked at these pink tulips i have thought about their color. i have imagined it on a wall – the palest pink – with white crown moldings and trim. never having had a pink wall, i’ve wondered about how it might feel to be in such a room. i’ve wondered if it might feel the way it feels gazing at these buds.
i’m cheering our tulips on for another few days, maybe even another week. i want to keep them around. they are making me breathe differently. they are giving me pause. they are making me imagine.
and maybe that’s the point. it’s not always about the blossom.
i would be lying if i told you i didn’t cry at the string shop.
i did cry. i’m crying now.
i am a professional pianist. a composer. proudly a yamaha artist with an intensely beautiful C5 in my studio and fifteen albums plus of vulnerability out in the world. i play the guitar and the ukulele. i dabbled on the trumpet in college for five minutes or so. but, oh…the cello.
the moment i touched my cello i had a bond with it. and, holding the idea close of learning to play mournfully heart-draining melody lines, i purchased it. because artists dream, i played.
but reality is reality.
and now – with 45° of wrist forward range of motion – my cello needed a new home. it’s just a fact.
i held onto it long after i knew this. it’s hard to let go a dream. and i’ve never before sold a beloved instrument.
yet, cellos – like all instruments – need to be loved on: played, listened to, tweaked, played more. a paesold, german-made, warm and resonant in tone, it begged to come out of the corner of my studio. though i tried to ignore it, it is like ignoring the stare of an australian shepherd who clearly wants you to do something (and we have experience with this). so my cello kept staring at me and staring at me. even without entering my studio – for i have not spent much time in there in these most recent years – i could feel the stare of the cello through the wall.
until finally.
i know this cello is valuable. yet, the string shop i sold it to – for much less than its value – was full of string music and luthiers working, a performance space and a full marching line of cellos on the wall. it will not be lonely as it waits to be re-homed.
the shopowner knew how hard it was for me to sell this cello, to leave it behind, to leave at all.
i touched its maple and spruce, exquisitely varnished. i spoke to my cello. and i blew it a kiss as we left, entirely and utterly choked-up.
and i wondered how my cello-dream might morph into something else.
buymeacoffee is a website tip-jar where you may choose to help support the continuing creating of artists whose work resonates with you. thank you for your consideration. ❤️
though not as existential as ‘what is the purpose of life?’, when i read this question – “what’s the purpose of a blog?” – in our website email i admit to sitting and staring at it for awhile. good question.
since you are reading this, you must find some value in a blog. somehow it must resonate with you. something we are saying must find a spot to linger a moment in your mind or heart. or maybe we are dear to each other and you are staying in touch – albeit virtually – with what’s going on in our lives. maybe we have never met but you are walking this path of living for this period of time with me, with us. i’m not sure why you have clicked on this, but i am curious and, mostly, i am grateful.
this is part of what i wrote back to the question:
“we originally published our mutual website and blogs as a way to draw attention to our varied artistries. david is a painter and writer and i – well, you know.“ (the question was posed by a person who was quite instrumental with encouragement for my first full-length original solo piano album.) “but i was also doing a lot of writing (the written word) and we developed several cartoons and products. it was a mélange of artistic mediums, hence the name – the mélange.
as you know, being an artist presents many challenges, not the least of which is to earn money. people turn to the arts for sustenance, for comfort, for reassurance, for insight, to celebrate their bliss. but, as in the music world, for example, that is often derived via “free” formats…formats that pay the artists little to nothing: spotify, pandora, apple music etc. in an effort to hold true to our artistries, our site – developed a few years ago – combined all of what we do under the bigger umbrella of ‘the arts’ and put it out there.
theoretically, the purpose of a blog is to draw attention to product, to establish credibility, to perhaps be inspiring, to share thoughts, to form a community, to connect with like and not like-minded people, to ask questions, to drive engagement, to repurpose old content that still has life to live.
our blogs are read in over 80 countries – according to the stats. it’s a delight to see that anyone at all is reading what i or david have to say. even better is when they share content – outside our concentric circle – that means something to them or respond because something we said or posted or generated resonated with them.
many artists (and others) blog or vlog (video blog) now. they include ways to help support them. in our case, we have a BuyMeACoffee link (that’s the QR code on the blog pages) which is like a tip-jar website. others have patreon which is a subscription to which people can sign up and regularly support the continuing creating of artists whose work they value. it is simply an effort to continue to be artists in a financial world that doesn’t value artists in a financial way. sigh. with the encouragement of others, we will likely open a patreon account one of these days.
david and i sit and write each morning together. we choose images for the week and post them. then we sit – side by side with our laptops – and write our blogposts, not peeking or sharing until we are done. this process is truly meaningful to us and brings great joy as we read what the image has brought up for each of us – often quite different. david is much more esoteric than i am and my blogposts are usually thready, really from the heart. it’s a good balance, particularly in relationship.”
so, what’s the purpose?
the person who posed this question is an actuary. i suspect that a blog seems somewhat frivolous to them, maybe even out of the realm of pragmatic, certainly not sustaining or financially rewarding. and – though having millions of followers or subscribers could be very lucrative – i suppose all those other points could be true. and yet, there is this imperative we both feel – to write – that we answer, each and every day. it’s both the blessing and the curse of being an artist.
i can’t imagine that there are readers who read each and every of our six-days-a-week postings. but to think that someone in a different US time zone, in africa, in south america, in the EU or indonesia or the middle east or australia or canada or ukraine is sitting with coffee and taking time to read my words is humbling. it’s how i feel about listeners spinning my music. the same. humbling. shy of being in the same room with me or having some kind of live exchange or sharing time together, my music and my words are the closest you can get to me, to what i am thinking or feeling, questions i am trying to answer, the way i parse out what it means to live. it is relationship on the relationship target circle – the circle a couple circles in, where you are not only acknowledging existence, but you are paying attention, responding, even if silently.
we don’t know what would happen if we stopped writing. all of sudden – boom! – full stop! we don’t know if there are those people who would miss these ramblings. we don’t know if there are those people who might just notice, a tad regretfully, our blogs were no longer there. we do know there are those people who would never even know we were gone. it’s a funny thing. and as an artist you must be careful not to let ego and its attention-seeking behavior stand in your way. you just keep on. until you stop. and then, because imperative is – after all – imperative, you do something else. artistry is a living and breathing thing.
i hardly think that the words i write are gloriously wise or the smidgiest-bit funny or new thoughts in an old universe. i just know they are uniquely mine and, for some crazy reason, i am open to being vulnerable enough to share them.
maybe one day you and i will have a conversation about this. and you might be able to tell me what the purpose is of writing a blog.
in another life i am a potter. i have multiple aprons caked with clay and stained with glaze. i have a potter’s wheel and a giant old table in a big barn that looks out over a lake and mountains, the sun streaming in during late afternoon happy hour siesta-sans-sleep time. and the pots i throw don’t collapse in on themselves.
there is something so very visceral about throwing pots – sitting on a stool, wheel in front of you, a chunk of clay – prepared – kneaded, wedged, ready. my hands are sensitive and the texture is smooth, not sticky. my foot starts the wheel and i form a circle with my hands. and the sun streams in, a gentle breeze through the barn doors, the soundtrack from the movie ghost playing in the background, patrick swayze moving closer. eh! the dream sequence stops here.
i’ve mentioned my pottery successes before: a couple tealight or small trinket holders and one highly-valued dessert bowl. nothing like this stunning handleless wine cup, but maybe someday. rachel stevens – the potter – is clearly gifted, with a textural approach to applying glazes, transfers … like a collage of pottery elements melded into one piece. her spirit, her intention of the beautiful – both evident.
heidi gave us these vessels for our wedding and we treasure them. their earthiness reminds us to stay grounded and centered; their loveliness is a reminder of all that is art and beauty and goodness.
we don’t use these each time we sip wine. we have lovely stemware as well. but the days we do, i am back in the barn…surrounded by crystal singing bowls and potter’s wheels, old farm tables and swivel stools, the sun and a breeze streaming in, the mountains out there as i glance up. a girl can dream.
minus the beyondness, minus the trees, one would barely know it was foggy.
but context is everything.
up close, the boulders are clear. they are like the notes on the page, the score. technically, they are vital. but context is everything and it is the artist’s job to look beyond the obvious, to seek that which tells the whole story, that which evokes more. it is the musician’s job to play that which is beyond the obvious, to play that which evokes. more.
peter spering, in an online forum that was great-debating which – of technical wizardry and feel – was more important in playing music, wrote the words “…technically great but creatively dull”.
the boulders without the foggy trees: we have all heard this music, seen this art, read these words, watched this dance. if you have listened to a computer rendering of a piece of sheet music, you are aware of neat and tidy technicality, seamless, even perfection. you are also aware of the lack – of any emotion, any expression, any air, any space. boulders will only sound like boulders. there will be no question. there is no beyond. there is no fog.
to answer the this-or-that question from the forum – technical chops or feeling – is both impossible and necessary. music is the expression of the human condition. music is love in sound. it is a marriage of both the technical and the evocative.
yet…if art is to convey questions and answers, to explore and navigate, to inform, to find meaning…if the recipient is to be moved, to be smitten by life, then music – the simple and the complex – must be played with heart. and technical wizardry will cease to matter if it falls upon souls with nary a touch, without any dents or brushmarks or trace that it had been there.
“it is enough when a single note is beautifully played.” (arvo pärt)
because a single note – played with heart – will impact you. it will bring you to a place where – even without standing on the shore – you can see the fog, the trees, the dim horizon.
and you are able to “feel the world stand still”. (arvo pärt)
“all i can do is be me. whoever that is.”” (bob dylan)
it’s an imperative. composing, songwriting, producing, performing – they aren’t really choices. they are inherent – something inside that begs you to feel it. it is an ancient call for an answer that tugs and prods and taunts until you comply, baring your soul. it makes you vulnerable and demands courage and fortitude, sacrifice and a stalwart sense of purpose. it is not a straight path. It is fluid. it is failure and a phenom. it is devastation and ecstasy. it is necessary.
standing backstage – our son and the board clearly in view – i am whisked away to the place parents are taken when they see their children doing something they wildly love to do.
i have stood on a giant mountain – one of the highest skiable terrains in the united states – and felt this feeling as our daughter flew past on a snowboard, everything in her aligned in the freedom of expression that single piece of wood opened in her.
and now i have stood on a wood floor in a crowded nightclub – way past my bedtime – and felt the exhilaration of my son’s music – truly moving him, bringing forth who he is from a place deep in his heart.
and in both circumstances, i have been in awe. and in both circumstances, i have celebrated.
because though they have both been scrappy and deliberate, non-traditional, intentionally creating the ability to have the room to express – with any combination of full-time work, layered jobs, skimping and saving, lack of resources – in an ever-changing river, they have led with who they are. what is important to them – deep down – is their truth. their heartbeat. figuring it out as they go.
our son is an EDM artist – electronic dance music. his music is powerful and pulsing, driving you to dance. it is layered and complex and technical and, as a composer – even understanding a slice of the process – i stand back in wonder. we are both creating music and, even in its difference, it has the same goal.
“some people feel the rain. others just get wet.” (bob dylan)
he is feeling the rain. and his music invites everyone else to feel it as well. that’s the imperative. it’s what has compelled me to compose. it’s what compels me to write. it’s what compels david to paint. it’s what compels the potter to sculpt, the dancer to dance, the climber to climb, the actor to act, the skier to ski, the athlete to push, the chef to craft, the aerobatic pilot to soar on bluesky days, the creator to create. it takes some guts. but it’s necessary. for the world.
“dear artists. don’t hold back. that’s it…” (okuntakinte)
the shaggy manes clustered in front of the stage. it was a crowded mosh pit and there was no allowance for height. they were all just smushed in there, trying to see in-between pogo-ing to the music.
i couldn’t tell who the artist was. i was simply watching the audience reaction. it was clear to me that this was big. the artist had drawn a large crowd and all the shaggy manes were jazzed to be there. with rapt attention, they engaged in the concert, though all i could hear was silence. they were still there when i left, still standing, still moshing.
we create – paint, draw, compose, write, mold clay, cartoon, dance, act – for the shaggy manes in the world who wish to engage in our art form and, also, for the shaggy manes in the world who do not. we are noisy. we are silent. whether they walk away, stand quietly or pogo-mosh is not up to us. it is only up to us to put it out there. after that, we have no control. no machinations can force our work to resonate with a shaggy mane.
and as our work floats about in the universe – gaining or losing momentum, either – we trust that following the imperative is what we can do, what we must do.
and i am reminded – time and again – even if one shaggy mane gets it – one shaggy mane is moved – one shaggy mane is changed, even for a moment – then i have done my work.
