reverse threading

the path back is the path forward


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babies. [saturday morning smack-dab.]

the text came yesterday afternoon. it was a girl! born at 4:02pm with the sweetest little pink face. the up-north gang celebrated together virtually as new grandparents were born. and everything changed in the world as a tiny being – full of all the potential of the universe – entered this earth.

it’s happening all around us now – this grandparent thing. babies are being born, tiny boys and girls lighting up lives just as my own beloved children have always lit up mine. the focus changes, from one generation to the next, as it should be.

when you marry in the middle of middle age there are things you wonder. one of them is how you would have parented tiny beings together, had you had the chance to experience that. our girl and our boy were already adults when d showed up. and so, as empty-nesters, we ponder and wonder and guess and make up stories and scenarios and laugh aloud – a lot. we wonder what traits a little boy or girl would have of his, what characteristics of mine. these are questions that will never be answered, so it’s great fodder for us.

in the meanwhile, we adore the pictures of lilah, the videos we see of jaxon, tiny eliza on facebook, watching secondhand as landon and will and gigi and hayes grow and mini grown-up lily recites the pledge of allegiance.

and we wait, with great anticipation as new little people are expected, are pined for, are welcomed into this world. we know that with each new pot roast, each new bun-bun, each new diaper dinosaur the world gains so much more potential, so much more to love.

*****

read DAVID’S thoughts for this SATURDAY MORNING SMACK-DAB

SMACK-DAB ©️ 2021 kerrianddavid.com


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what would popeye do? [flawed wednesday]

i know there is a simple solution: cut them off and scatter them back behind the garage so little critters can munch on them and appreciate them. yes, a simple solution. but i just haven’t done it. so, in the meanwhile, i whine and complain – aloud – about the spinach stems tucked tenderly under my potatoes and eggs, next to my halo and banana and adjacent to my steaming mug of bold black coffee.

though popeye attests ad nauseam to the benefits of spinach, never once have i seen him depicted wrestling with a spinach stem. this begs the question – do he and olive oyl remove them first? he sticks his hand into that infamous spinach can and sends a spinach lob through the air into his mouth, but, indeed, no stems.

i just googled, “should you remove spinach stems?”

it’s pretty apparent that this is An Issue. numerous sites are dedicated to showing how to wash and properly de-stem your spinach leaves. in fact, bon appétit.com states the obvious, “it’s pretty crucial to know when to keep the stems on your greens and when to take them off.” i say – in most cases, though not all, lest i be accused of limiting the magnesium intake potential and discriminating against non-fibrous-non-stringy-non-stuck-in-your-teeth-possible stems – take them off.

take them off. snip them. tear them. just get them off. this simple solution will likely add frequency to the spinach lineup in our breakfast menus. just the thought of nakedly-stemless rich green leaves peeking out from under the roasted potatoes on my plate makes me want to call popeye and stop kvetching.

*****

read DAVID’S thoughts this FLAWED WEDNESDAY


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go back and buy the towel. [two artists tuesday]

i should have bought the pencils.

i love #2 pencils – though, in an inane detail you are probably unconcerned about, i love mechanical pencils more – and it was a whole pack of ’em. plus each and every one was printed with the word “dissent”.

that’s why i should have bought them. i could have stashed reminders of RBG’s venerable spirit and dedication to equality and goodness and principle and ethics and probity in my purse, on the kitchen counter, at my piano, in our mélange-planning notebook, in my calendar.

they would have reminded me to stand courageously in dissent, to back it up with facts, to hold to integrity, to not waver in the face of any question or any fear or any threat. the thing about supreme court justice ruth bader ginsburg, though, is that she was intrepid – even without the pencils.

and so, with the sisu of ruth, the belief in “an opinion, philosophy or sentiment of non-agreement or opposition to a prevailing idea or policy enforced by a government, political party or other entity or individual in a capacity of contextual authority” (wikipedia), the steadfast commitment to the truth and transparency, we all batten down the hatches and ready ourselves for whatever things we care about for which we must fight.

at the very least, i should have bought the towel.

*****

read DAVID’S thoughts this TWO ARTISTS TUESDAY

PS. “despite the fact that the justices routinely disagree with each other, they never let it get personal, and have good working relationships with one another.” (dhruti bhagat, librarian, boston public library blog – ruth bader ginsburg and dissents: what’s a dissent?)


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yup. uh-huh. [saturday morning smack-dab.]

there’s so much truth in this. the red wine. the adirondack chairs. the ‘what are you thinking about?’ the sky-gazing. the existential amazement. the mars and venus. the hot flash. yes, yes. so.much.truth. yup. uh-huh. nothin’ more to say here.

read DAVID’s take on this SATURDAY MORNING SMACK-DAB

SMACK-DAB. ©️ 2021 kerrianddavid.com


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existing in a whisper. [two artists tuesday]

“perhaps we are here in order to say: house, bridge, fountain, gate, pitcher, fruit-tree, window . . . to say them more intensely than the Things themselves ever dreamed of existing.” (ninth duino elegy: rainer maria rilke)

every day i take a photograph. at least one. the photo-of-the-day was started by my all-grown-up children at the height of the pandemic and, for it, i am forever grateful. as a group text we’re not as singularly dedicated as when it started, but it still exists and i seriously cherish each and every picture and text on it.

but i know it must come as no surprise to you that i take a lot of pictures anyway. both my phone and what we call the island-phone have gigantic photo streams, backed up by the cloud’s extra coverage. it’s obvious that i stop often while hiking, but what might not be as obvious is that i stop often, period. there is always something interesting, something fleeting, something to record and there are times that i must steer myself away from the very thing begging my capture just to keep on keeping on.

today i write the 1013th post on my blog. we looked back at the mélange weekly screenshots, five days a week each week. i wanted to spend a few moments looking at the things i stopped at, the things i wanted to hold, the notes or quotes i jotted down, the things designed, our thoughts through the years.

i would like to think that each of these photographs have brought a bit more intensity to the ‘thing’ photographed, that which is featured. it makes me wonder. does the ladybug on this coneflower marvel about its photo being taken, does it hear me draw in my breath when i expand the photo on my iphone, not knowing it was there when i composed the picture. does it realize, when i quietly gasp, “look! there’s a ladybug!” that i am honoring its existence, tiny-in-a-vast-world?

and that makes me wonder. is the universe – whatever the divine you believe in – doing the same? are our names whispered intensely into the galaxy, weaving around stars and lit by the sun and the moon, honoring our existence, tiny-in-a-vast-world? i think it must be so.

*****

read DAVID’s thoughts this TWO ARTISTS TUESDAY


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hopscotch. [two artists tuesday]

susan and i played hopscotch for hours. we’d toss a bobby pin or a rock and hop to our heart’s content, nothing else pressing on us in the summer sun.

the summer sun seems a bit escalated now. temperatures are soaring across our country. it is astounding to open the accuweather app and see places i have saved having highs in the upper 90s or even topping 100 degrees. extreme weather. it’s only june. summer literally just officially opened its season. and yet, there is article after article about drought and rapidly dropping water levels and severe storms and the beginning of oppressive fires and people evacuating.

this morning i awoke to an alert on my phone. pitkin county in colorado sent out an emergency message about a wildfire. i didn’t remember having these alerts but, now that i think about it, i must have initiated something either during avalanches over the winter or maybe when the high mountain county was sending out news about covid. either way, my beloved girl is up there in those mountains so i will not be likely to take the alerts off now.

climate change in all its iterations is upon us. weather pattern changes and global warming are pressing in on us. it would seem that we should pay attention, especially if we want this world to continue into future generations.

yesterday i was forwarded and read an article in the new york times about the giant redwoods and sequoias, trees that have been individually standing for perhaps as long as 3000 years, as a forest for millions of years. the peril faced by these enormous and wise giants of the forest is imminent. old-growth forests are critical, yet there are now less than 10 percent remaining in this country. we are stewards of the future earth. we need pay attention.

summer stretches in front of us now. the stuff of outdoor adventures, barbecues in the backyard, camping in national and state parks, faraway roadtrips and lazy beach days. coming upon the hopscotch chalked on the sidewalk i couldn’t help but hop. the joy of remembering, the muscle memory of the 1-2-3-45-6-78-9-10 or 1-23-4-56-7-89-10, whatever the template, hopping, hopping.

for that same delight, that same closely-held set of childhood memories, it is my hope that concentrated effort and dedicated budgeting is placed upon incredibly important research, on the threat of climate change, on the sustaining of our environment. we must pass on – to our children and our children’s children and our children’s children’s children – a world that is healthy, an earth that can support the drinking water needs of its people, a country that takes responsibility for its ecological challenges.

in the old-growth forests, the trees have somehow survived “fire and clear-cutting, new growth…death, death and life again.” the author continues, “the power of the tree isn’t in forgetting, but remembering.” (nytimes, lauren sloss)

maybe we need grab a bobbypin, toss it into a chalked hopscotch and hop. maybe that will remind us to remember.

*****

read DAVID’S thoughts this TWO ARTISTS TUESDAY


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the sustain pedal. [k.s. friday]

the file drawers are bursting. there are three bank boxes in the closet, next to and on top of the file cabinets. there is still music to be filed away, but it’s almost done. the ukuleles and the strum stick are hung on hooks. the cello sits silently in the corner. the black metal music stands are cleared of sheets and books. everything needs to be dusted or waxed. the wood floor needs to be swept more thoroughly – to chase away the dust bunnies. a few pencils wait. the storm is gathering. the sustain pedal begs for attention.

i’ve played maybe twice since last november. i stacked music and calendars and binders of slated songs and folders of research in there. i dragged in a box or two of supplies and cantatas that i brought home. i laid the ukuleles on the rocking chair, the poster behind the door. but i didn’t play. except for a day or two after our babycat died and maybe one or two other times. the piano is tacet. and the sustain pedal waits.

because i played and sang constantly for work before the end of november, and i was surrounded in my studio by all the tools and resources i used for that work, it has been, in the these last few days, important to me to finally move all that which i had been playing, all that which is no longer relevant to my life. this studio needs to be clean. it needs space. it needs room for new. it needs to no longer represent life doing that work, that dedication, that place. my studio needs a refacing. the sustain pedal holds its breath.

i got an email from a lovely woman somewhere in new mexico. she wants to order a baker’s dozen cds and wrote that she includes owning them up in her wish list of “large sacks of $100 bills and 25 hugs and smiles received daily for life”. i’m grateful to her and her dedication to analog music. it will be fun to pack it all up and ship it to her, though i will have to direct her to amazon for a few titles i no longer have in stock. her order is a reminder. and even in these days when i have been actively submitting titles to pandora for streaming (there are now nine titles available on pandora.com and everything on digital platforms everywhere) it is refreshing to go to the stock of cds and pull out shrink-wrapped copies of music to ship off. the sustain pedal giggles.

i’m getting anxious to finish the studio cleanse. to walk in and see possibility. to sit and listen to the quiet. to see the new project, the new song, the new composition through fog, fallow and passing time. to one day again depress the sustain pedal and place my hands on dusted keys under a full stick. i don’t know when that will be.

the sustain pedal whispers, “whoosh”.

*****

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listen or download from my little corner on iTUNES

read DAVID’S thoughts this K.S. FRIDAY

THAT MORNING SOMEDAY from BLUEPRINT FOR MY SOUL ©️ 1996 kerri sherwood


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touchstones. [d.r. thursday]

yoga series: iconic (54 x 54, mixed media)

in the beginning i knew very little. we wrote every day but only talked twice. i read his newsletters and appreciated his perspective on things. i had seen only one tiny photo of him online but we shared pictures of our coffee mugs perched in different places in our homes or on our travels. and i had studied his paintings.

you can learn a lot about a person immersing in their art. whether it’s prose or song, paint or instrumental musings, the clues are there.

i am not a fan of thomas kinkade. his paintings are tight and controlled and, for me (but not for the one in twenty homes in the US that hangs one his prints), somewhat trite and contrived. i know that “tommy k” (as scordskiii and i nicknamed him) was (and his paintings still are) inordinately successful, serene, idyllic images of cottages and streams, gardens and gates. his galleries are all over the world. the “painter of light” (as he trademarked himself in a smart marketing ploy) was not necessarily the same as his paintings. i met him one evening at QVC when i was on air during a year-long or so promotion of my music. waiting to go on-stage and on-camera, yamaha CFIIIS at the ready, i met him in the hallways between dressing rooms. he was not a light and airy friendly guy that evening. i don’t know if he was having a bad day, but really everyone at these studios was normally refreshingly jovial. except for him. this did not really bother me, however, as, though i could see “success” written all over him, having tommy k greet me and have conversation was not important. dick clark, of american bandstand fame, on the other hand, was a gem. he and his wife were lovely and generous folks and it was delightful to meet them and chat in the hallways. but i digress.

when david mentioned he was a painter i did not know what to think, what kind of paintings to imagine that he painted. our developing friendship was candid and didn’t include fluffing up the other so my curiosity about the form of his art needed sating. i visited the website he had at the time. and i was stunned. one of his newest works back then – thereafter named iconic – was graceful and beautiful and full of respect for the body woman. i dove deeper into the site. each painting i studied engaged me – the color, the white space (so to speak), the balance, the composition, the texture. i was joyous. there was no need for fluff. i loved his work.

downstairs where, prior to a real painting studio’s emergence, i had thrown paint on a few large canvasses to hang about the house, sits his easel. there are paintings stacked and rolled in various places, in and amongst the boxes and boxes of cds that find themselves housed down there.

some of these – paintings and cds – are truly relics, artifacts of our art, dating back decades, skipping stones through periods of our lives.

some of these are touchstones, moments of new form, of changing form, of solidity in an uncertain world.

some of these, the relics, the artifacts, the touchstones are cairns, pointing the way to the future, suggesting we follow both paths we know and paths we do not know. art is like that.

*****

read DAVID’S thoughts this D.R. THURSDAY

visit DAVID’S online gallery

visit this painting ICONIC

ICONIC ©️ 2010 david robinson


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time is flying. [saturday morning smack-dab]

these days, in the middle of middle age, time seems to just fly by. at inordinate speed. slowing it down doesn’t seem to be an option. i guess my sweet momma was right when she said, “live life, my sweet potato.” don’t wait.

“LIVE LIFE, MY SWEET POTATO” stuff

SMACK-DAB ©️ 2021 kerrianddavid.com


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the moose and the pig and me. [k.s. friday]

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.

*****

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read DAVID’s thoughts this K.S. FRIDAY