reverse threading

the path back is the path forward


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to fly. [kerri’s blog on k.s. friday]

each of us is in truth an idea of the great gull, an unlimited idea of freedom,” jonathan would say in the evenings on the beach, “and precision flying is a step toward expressing our real nature. everything that limits us we have to put aside.” (jonathan livingston seagull – richard bach)

as this new school year begins i think of all the teachers and mentors i have known – those who were my teachers, my professors, my mentors, those who taught my children, friends who have been teachers, my own time spent as a teacher, instructor, director. immensely different stories, all over the spectrum.

the common denominator – to empower others to push themselves without limits, to reach their own potential, to become the best version of themselves, to fly. jonathan’s imperative.

growing up on long island meant – in the sheer sense of the word island – that i was surrounded by water. i spent a great deal of time by that water, particularly when i was able to get myself there – by bike or my little vw. i was always enchanted with the seagulls that lined our coastline, seagulls swooping and diving and soaring. the book jonathan livingston seagull was a treasured possession, kept close on the little bookshelf next to my bed. my paperback copy is waterstained and priced at only $1.50, evidence of its long tenure in my life.

even back then – on a beach towel at crab meadow beach in the mid 1970s – it was clear that the search for a life of purpose and excellence meant, also, a life of self-discovery and risk-taking. but susan polis schutz’s words “let us dance in the sun wearing wild flowers in our hair” rang for me as joyful north stars.

and so i watched and studied seagulls flying in community, flying alone. i walked the beach together with others and alone. i studied poetry with others and wrote in my tree alone. i sat on spotlit piano benches with a boom mic on old wooden stages together with others and alone.

my son recently wrote some vulnerable words. his post ended with, “…stick with it no matter what. tell your story.”

were jonathan livingston seagull around, he’d nod and think of an elder seagull’s words to him, “you will begin to touch heaven, jonathan, in the moment that you touch perfect speed. and that isn’t flying a thousand miles an hour, or a million, or flying at the speed of light. because any number is a limit, and perfection doesn’t have limits. perfect speed, my son, is being there.”

i paged through my old book. and went back to the title pages.

there in pencil i had written one of the lines i quoted above:

everything that limits us we have to put aside.

*****

TAKE FLIGHT © 1997, 2000 kerri sherwood

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a tall spikelet. [not-so-flawed wednesday]

she was a coloratura soprano. her leaps, her trills, her range were atmospheric. bell-like and of angel quality, rayna sang effortlessly.

i have no idea if she is singing now. the last i heard – after i graduated with a degree in composition – she left and was in med school, seeking a degree outside of the arts. she must have had a wise mentor along the way. someone who told her she could always sing “on the side”. like rice pilaf.

“on the side.”

it’s the ever-present albatross of artists. even those who stand out in a crowd are thrust – by a society that doesn’t place as much value on the arts – into the yin-yang of opposing forces: stay. go. full-time. on the side.

every now and then there is a whitetop sedge spikelet in the field that is strikingly more successful than the rest… the mariah carey, the ariana grande, the beverly sills, the joan sutherland. delivering exquisite bel canto, they do not render the other spikelets any less important, nor should they be. each voice is unique in the meadow and this spikelet is just a little taller.

before i finished my bachelor’s degree i was accepted into the business school at usf. “accounting,” i thought. “i love math, therefore accounting.” the “normal-job” world was taunting me. but i declined the placement and continued on my merry way, writing music. i did not have rayna’s mentor and i believed there was a way to stand out, somehow.

it took some time just to get around to writing. life and its put-the-art-making-on-the-side-and-get-a-real-job-and-make-a-living had me directing and teaching. but not writing. i dabbled a bit relatively early on, did some recording and visited nashville – but didn’t move there. i don’t think i recognized the garden there when i saw it.

it wasn’t until a decade later that the muse caught back up to me. and when it did, it was with some gusto.

and now i’ve seen “the fault in our stars”. and i’ve witnessed mortality. i have loved and lost and changed and learned and made giant messes and have ridden the tide in and out, in and out.

and i’ve written some of my best and some of my worst. and it all counts – whether i – or you – are a tall spikelet or not.

i wonder now if rayna is practicing medicine. i wonder if she is singing.

*****

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the imperative. [merely-a-thought monday]

i loved it all. the halls of john glenn high school, the walls of the classrooms i sat in, most of the extraordinary teachers i had the pleasure of studying with, most of the classes i took. i loved math, i loved science, i loved english and creative writing. i even loved my jewelry class, though i was not particularly skilled at it. i took no music classes in high school. none.

the guidance counselor didn’t know what to do. what direction do i go? what path do i take? what major do i pursue? the emphasis was on the decision. make one, i was told. it is quite possible this is one of the reasons why, years later, i completed a guidance and counseling masters – to scrap the emphasis on the decision and shift it to the process. at a time in the late 70s when college was ever-important and i was top-of-my-class i was underserved. it does not matter where you are in your class if your spectrum of curiousness is dowsed by someone pressing you into a mold, narrowed into a this-or-that.

in my first years of community college i still loved it all. philosophy classes were a stand-out. economics were not-so-much. business law was a low point. environmental science classes fascinated me. because i played the piano, taught piano lessons, wrote songs, and directed a youth choir, i signed up for a couple music theory classes and met paul simon, the godson of my music theory professor sy shaffer. listening to paul talk about songwriting was a huge highlight. i mean, it was paul simon. but i really still didn’t know what direction to take.

a life-changing event, as life-changing events do, changed that.

i moved when i should have stayed. i left when i should have dug in. i dropped the rest of the curiosity to focus on the familiar, the known. albert einstein would have taken me by my ear. “stay curious,” he would have admonished. “what you seek is seeking you,” rumi would have whispered to me. “wait.”

it’s funny to me now – as i look back – that i did not focus on the inordinate number of hours i spent writing in a tree. it’s funny to me now – as i look back – that i wrote songs and music and arrangements – fifteen albums worth – and never really thought of all the heavy composing or theory classes i took in my second half at university. never once have i gone back and compo-analyzed the structure-texture-tonal-system-consonance-dissonance of a piece of music i have written. it’s funny to me now – as i play with design and photoshop and cartooning and blogging – that it didn’t occur to me, as an editor at john glenn’s art and literary magazine “gemini”, how much i loved what i was doing in those after-school hours-and-hours sessions with one of the world’s best and most expansive english teachers, andrea vrusho. it’s funny. we see and we don’t see. twists and turns, paths taken, paths not taken. our stories all different. stages and flatbeds, classrooms, church chancels, the state side of the courtroom, piano benches, recording studios, choir rooms, department-store-holiday-wrapping in lean times. all part of the curio cabinet, never full, never finished. we take paths and, if we are scrappy and confident and lucky enough to be supported and even mentored, we make the best of them. anyway. there is a richness to each story and each path.

no special talents. passionately curious.

we all have something. something that sets us apart from each and every other person. something that the world we are in cannot do without. for every spoke in the wheel counts and every gift, every talent, every nurturing soul, every fixer-upper, every engineer-brain, every teacher, every scientist, every laborer, every inventor, every chef creating magic in a soup kitchen or michelin-star-bistro, every artist, every athlete, every skilled-trade expert are necessary in this place, at this time.

it is exactly that – that is brilliant. it is exactly that which is genius. it is the appreciation of that – so much to learn – which is the gift of being human. it is the imperative of humanity.

*****

read DAVID’S thoughts this MERELY-A-THOUGHT MONDAY

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the organ bench. [k.s. friday]

organ pipes

no one else.  there was literally no one else i knew who took organ lessons.  eight years old and i was the only one.  everyone else i knew took piano lessons.  they went to the new local music store –munro music on larkfield road in east northport – and had lessons in itty studios downstairs and came back upstairs to pick out sheet music from a big wall featuring the latest hits and books of collected artists, written out for various levels of piano-playing ability.  me?  i went to mr. i-never-knew-if-he-even-had-a-first-name sexton’s house (now, think about the torture my peers had with that name) and took organ lessons in the addition adjacent to the garage.  there was no wall of sheet music, were no cool guitars hanging up begging to be purchased, no amplifiers or drums.  just that one organ.  no windy or ode to billie joe or i’m a believer easy piano for me.  it was beautiful dreamer and long, long ago.  and hymns.  lots of hymns.  but i had been asking for lessons since i was five and the little chord organ that was my grandmother’s was moved aside and a ‘real’ organ with two manuals (keyboards) and real pedals and cha-cha button settings was added to the corner of the dining room that was next to the kitchen and the living room.

when i was ten i tearfully played the pipe organ for my brother’s wedding, the processional as my sweet sister-in-law walked down the aisle to my big brother.  yesterday i was talking to john whelan, a master celtic accordionist the exact same age as me, and we talked about the first real gig we did.  his was at 12 and he actually got paid.  mine was this wedding and, for obvious reasons, payment was out of the question.  i got to wear a really pretty peach-colored party dress and white shoulder stole and wept my way through the difficult piece.

after some time, i somehow convinced my parents that they needed both an organ and a piano and they signed me up for piano lessons.  joan ostrander, the very chic music teacher, was my first piano teacher and i adored her.  she pushed me and i adored that too.  i spent long hours practicing on the piano bench with my dog missi sleeping underneath, my dad whistling in the background.

in years to come i studied with the teacher-of-all-teachers alan walker and was convinced that the piano and i were kindred.  i taught more piano lessons on long island (and later florida and even wisconsin) than i can remember, back then driving from one house to another, delighting in each student’s joy playing the piano and progress no matter the pace, hoping to emulate the teaching style of this amazingly kind man.  after lessons we talked life and ham radio and ate open-faced crunchy peanut butter sandwiches.  music is not just about music, you know.

during my undergrad, i studied piano in college with one of the professors but kept bringing in pieces of original music and kept veering off course from assigned large scale pieces, hoping he wouldn’t notice.

as no real surprise, i majored in music composition, the first (?) step toward living as an artist, the first step in a road that leads to here and now.  so much in-between.  the gigging composer music timeline is filled with albums, concerts, performances, cd sales, radio and tv, qvc appearances, barnes & noble and borders, listening wall placement, phone calls, yamaha, traveling, shipping and more shipping, recording labels, carrying boxes, standing in the rain on flatbed trucks playing and singing, driving, driving, driving, press releases, graphic design, writing, recording, supportive family and friends and coworkers and a person named hope hughes.

but that organ.  it has kept on re-appearing.  somehow it is one of the threads that has woven its way through my life.  there aren’t that many of us out here:  people who play the organ, who can finesse a chosen timbre through the pipes and who can actually play lines of bass notes on the pedals.  those lessons from the very beginning somehow set the stage for me to work for three decades already as a minister of music.  conducting choirs and handbells and ukulele bands and worship bands, choosing music for services and performing groups, leading and shaping worship and, yep, playing the organ…it has been a constant.  there are days that i will pull out all the stops and play as loud as the organ pipes will allow.  its bellowing echoes through the sanctuary and i giggle as i think of my ten year old self, sitting on an organ bench in williston park on long island and crying.

what would i have thought if i had known that fifty years later i would still be sitting on an organ bench?

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i cleared the path for you. [merely-a-thought monday]

cleared the path bridge copy

there have been times when a clear path would have been my choice.  something that was predictable, “normal”, serene.  a path upon which i wouldn’t have to ask a lot of questions about direction.  sense-making would be easy; “right” choices would be obvious.

how many times have i hoped for a sticky note to float down from the heavens above, simple instructions listed like on an ikea bookshelf leaflet.  how many times have i wondered about how to forge through the muddy waters, how to get where i can see but not touch.  a clear path seems maybe too much to ask.  we seek mentors to aid us, to ask tough, blunt questions. expecting candid answers, they help us see.  perhaps we would miss too many lessons – or just too much – along the way were we to have a clear path.  there is no “normal”.

the elderly hiker in the woods approached from the opposite direction.  his hat pulled down over his forehead and his jacket zipped up keeping him warm along the trail, he smiled, inviting a response, and said, “i cleared the path for you.  it’s all clear.”

we laughed and thanked him, but i know we both wished he meant it literally.  in a life sense.

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andrea’s song

IMG_2711the sound of the cicadas outside brought me back to my childhood home on long island.  we had woods behind our yard and the summer days and nights were a symphony of crickets and cicadas. i would sometimes sit in my poetry tree (a maple outside my bedroom window with perfect limbs for climbing and sitting) late into the day, writing or reading and, although i probably never appreciated the crickets and cicadas as i do now, i would listen as the day would softly pass by. my sweet momma would know where to find me; if i wasn’t riding bikes with sue, at the dive center, fishing with crunch or at the beach, i was likely in that tree.

i wrote a lot of poems in that tree, a lot of reflections, a lot of stories and maybe even a little music…the kind without the music. as i think about the people who encouraged me in writing, one of the first people i think of is andrea. andrea was my high school english teacher. she, along with kevin, were the coolest in the english department. andrea, with kerchiefs in her hair and peace sign necklaces, long skirts and funky glasses, was the epitome of hip. we, painlessly, learned from her teaching style, her quiet wisdom, her laugh, her smile.

andrea was the teacher coordinating the art and literary magazine ‘gemini’ at our high school. i was involved with this annual publication each year, but was the editor-in-chief during my senior year of high school, a job i adored. not only did i get to immerse myself in a lot of poetry and art, but i got to lay out the publication and handle many of the details, all the while hanging out with andrea and having conversations about life and writing and balance.

in the (aaack! many) years since high school i have thought about her often and finally, over the last eight years or so, was able to get back into contact with her.   not only did i want to know how she was, where she was, what she was doing, but i wanted to share with her where i was and what i was doing. mostly, it mattered to me what her thoughts were. during that time we shared snippets of life. i found i could still learn from her teaching style, her quiet wisdom and her smile, even without physically seeing her. at one point she wrote to me, “nothing is idyllic. i think we have idyllic moments. we have to take time to savor what is around us.”   yet another invaluable reminder. how often must we learn these things, i wonder.

when we were planning our trip to boston for this summer, i found myself hoping that we would have the chance to see andrea…meet for coffee, have a glass of wine together. i worried when i didn’t hear back from her; she usually answered email. i was anxious to visit with her, thank her in person for the influence she had had on me, hear what she thought about a project i had sent her. it was about a week before we left, when i was online pondering whether to send her another note, that i saw the very sad news that she had died. i was stunned and (what would maybe seem) inordinately devastated. the connection backwards in time was broken; the opportunity to sit with andrea now vapor.

i thought about extending my sympathies on social media but for some reason that seemed too shallow. there is a loss i feel when i no longer hear the cicadas in the fall…something visceral that i feel inside. the loss of andrea was intensely visceral.

IMG_2708all throughout our home you will find peace signs; each of these signs make me think of this beloved lady in my life, this positive force who, without knowing, kept me writing, thinking, writing.

in my mind’s eye, i can feel sitting in my poetry tree. the cicadas’ song was all around me. as i write now, i cannot help but think about andrea and the things i learned from her, most of which had nothing to do with grammar and punctuation, but instead, with honoring the words within, the emotions, things palpable and things we can’t see or touch.  and so, savoring that learning, in fact, leaning into it, her song is all around me. it’s idyllic.

…peace out…