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good for the soul. [two artists tuesday]

the smell of weed wafted around us.

their genre is listed as: jam band, bluegrass, country music, psychedelic rock, neo-pyschedelia, progressive bluegrass, rock and they are fearless about crossing all the invisible lines.

i don’t think i have been at a concert where absolutely everyone stood up and where absolutely everyone spanned the widest-ever spectrum of age. tie-dye, flannel, jeans, bell-bottoms, patch-laden vests and jackets, leather, maxi dresses – it was an everything-goes phenomenon of fashion. mostly, people wore their love of this band and gigantic contagious zeal.

“you’re going to do so much dancing,” our daughter texted, laughing. she was right. the dancing never stopped. everyone – again, absolutely everyone – danced with everyone, absolutely everyone.

the sidewalk and lobby outside the theatre in milwaukee made me feel a little out-of-body and a little like it was 1976. security officers, metal detectors, bag searches, lots of cigarette smoke and that distinct smell of pot…yes…a little out-of-body. there were so many people. it’s been a minute since we have been in a mob. we wove our way through, ordered a wine at the bar, asked if we could bring it inside and found our way to our seats.

the adorable couple next to us were probably the ages of our kids. they had left their three year old and their one year old at home with his mom. they were at their fourth string cheese incident concert. they had hard seltzers in their hands and seemed to be in bliss. the guy on the other side of me was already a tad bit wasted. he must have decided that i was not a worthy neighbor because he and his seatmate moved somewhere in the first few minutes. i wasn’t totally unhappy about that. to reiterate, a little out-of-our-element.

SCI played non-stop for hours, only taking an intermission break. their energy ignited the happy-factor in the audience and the whole concert was one giant ovation.

we laughed as we made our way out through the crowd, found littlebabyscion in its parking garage and drove home. sometimes a little out-of-body is good for the soul.

*****

read DAVID’S thoughts this TWO ARTISTS TUESDAY

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this is the stuff. [not-so-flawed wednesday]

the may apples stood on risers in the forest, singing to spring, singing to any audience who might be there, singing their glorious song. just like a choir. unified. united. elated to be in harmony. creating four-part jubilation to be alive. making music.

the singtolive choir stood on risers in the sanctuary of the beautiful church, directly in front of the organ pipes. their joy was palpable and, if i closed my eyes as they sang their program of the great american songbook, i could imagine the record albums of my parents playing and the choirs of 33rpm singing into our living room. they were cohesive and gently exploring the expanse of the songs chosen for the evening. and then, at the end of the concert – this concert dedicated to breast cancer survivorship – the singers left the risers and came out to stand among us, the audience.

to say that their last song was touching would be an understatement. a trademark of this marvelous group, why we sing was exquisitely performed. we all had eye contact with singers surrounding us. you could feel hearts swelling and tears forming. they delivered this emotional piece like no other preceding it in the program. i whispered to david, “this is the stuff.”

there is a lot of choir music ‘out there’. for the decades of my career as a minister of music, i was shipped an enormous number of catalogs, of listings, of cds with samples of songs. and then, there were charts to study, trends in music. and then, arrangements and reviewing lyrics and the range of my singers – in note as well as in degree of difficulty. i reviewed all this music always seeking that which would resonate, that which would help a person’s heart and mind connect with their faith, with the questions they had in this world, with good intentions and their community. it’s not a small responsibility to choose that which a choir – any choir, any worship band, any ukulele band, any choral ensemble – will sing in public – no matter the venue.

heidi and i stood in front of thousands of people through the time we worked together, performing “celebrate sweet life” – our breast cancer survivorship programs. with audiences of 35,000 in new york’s central park to hundreds in a medical center to a few thousand in the chicago sun with lance armstrong’s tour of hope to a more intimate group in pjs at md anderson to sharing a long island stage with hillary clinton to oncology pharmaceutical sales conference in puerto rico, it was our privilege to share messages – of hope, of healing, of making a difference for each other, of being alive – with audiences all over the country.

there is a video from one of our performances that touches me each time i see it. it is a bit blurry, not captured with the best of equipment. yet, at the end, as the audience has risen to their feet, there is a man in the foreground. as heidi speaks her last words and i sing the last lyrics of one of my songs, this man wipes at his eyes, stirred. and each time – no matter how many times i have viewed this – i am profoundly moved.

the may apples – gleeful in their rising out of the eradicated forest, now clear of invasives and plants with ill intent – stand proudly. they are furled at first and one might think they are quiet, meek, hiding. but as the sun warms them they arise. they will give their performance their all, joining together as one umbrella of green. the trillium will watch in the forest as audience members. and then, pure white flowers will form under the may apple parasols. and the trillium will turn to each other and whisper.

in the moments of performances under my choir baton or concert stages under my feet, there has been nothing quite like thinking that someone out there is whispering to the person next to them, “this is the stuff.”

*****

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a mission of symphony. [two artists tuesday]

though not quite as at-home as the cranes walking the edges, we know this pond. we knew it as a marsh. we knew it as dry dirt. we knew it with mulch strewn throughout as they eradicated invasive species. we watched as the rains began to fill it. we listened to the quiet wind ripple across its surface. and then, one day, we heard the first frogs. though we cannot see them, the orchestra pit is filled with frogs in chorus. the static becomes a symphony.

such is the way of a choir. for well over three decades, i conducted groups of people who chose to sing – in choir. they gathered, sitting in folding chairs cold with mid-week evening thermostat dips. they gathered, weary from their days at work or home, filled with activities of responsibility, of life. they gathered, to become a symphony.

the thing about choir rehearsals is that – with good leadership – they go from a meeting of a group of individuals to a collaboration of musicians, from quiet chatter to boisterous song, from people who possibly feel ill-at-ease to people whose voices are heard, whose hearts are seen. choir rehearsals are community events and – led with joy – become places that are generative, places that are accepting not competitive, places of great learnings and tremendous laughter, places that are spaces filled with concern for the other, lifting up of each other, a place with a mission of goodness, a mission of symphony.

i’ve missed being a choir director. it’s been over two years now and the lack of vocal choirs, ukuleles, handbells, worship bands is palpable for me. directing was always about the community – building it, reinforcing it – life-giving, loving. my resume shows seven churches along the way. seven communities in which i offered all i could give, responding to their individual needs, their particular circumstances, their strengths and their weaknesses. seven fluid rivers of music-making.

seven ponds with symphonies. rippling out.

quietly static to extraordinarily alive.

*****

read DAVID’s thoughts this TWO ARTISTS TUESDAY


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the pony. [k.s. friday]

and – up close – if you choose – you will see the foreleg of a winter-dressed pony, the extra cold-weather-coat trapping hair next to the skin of the horse, keeping him warmer. he is stopped, gazing at the distant field, ready to canter into it, the exploding of freedom of movement.

and you blink and it is a cattail. one of many in the field, waiting in the marsh through autumn and winter for early spring. as many as 250,000 seeds, white fluff sailing and transported by birds and breezes. and the life cycle continues.

it is winter in my studio. the rhizomes are gathering underground, together with the cattails. maybe around the spring equinox, maybe a bit later, the shoots will rise out of the ground – like a phoenix out of ashes – and new sprouts will grow and grow. the cycle germinates and pollinates and seeds will fly again. the birds and the wind and i will play for you – seeds and notes flying.

in the meanwhile, i wear my winter coat. it is keeping the heat in. it protects me. insulation for shelter in this long and cold winter, to shield in the storms, to brace in this fallow.

but soon, soon, with the sun and fresh air, the pony will run free.

*****

UNTITLED INTERLUDE ©️ 1995 kerri sherwood

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the icing on the cake. [merely-a-thought monday]

it’s 925 miles from the corner of sixth avenue and west 55th street, but it displaced me in an instant. there i was – back sometime in the 70’s, in new york city, seeing robert indiana’s love sculpture for the first time. i loved love then. i love love now. (could that be any more redundant?!)

a part of sculpture milwaukee in 2018, this sculpture has returned and was permanently installed at the milwaukee art museum in 2019. we saw it for the first time last week. life and covid interrupted our visits to mam. we were really happy to be back. seeing love out the window facing lake michigan’s lakefront was the icing on the cake.

there are nearly fifty of these sculptures around the world. people travel far and wide to have their photographs taken next to the iconic stacked word. it became a u.s. postal stamp in 1973. it has big history. its artist has big history.

the success of this giant – yet simple – sculpture begs questions for me: what musical gesture might be equivalent to this sculpture? what rhythmic or melodic motif has this kind of powerful impact? googling these questions produces a plethora of suggested lists – everything from classical to motown to the beatles and beyond. i suppose it’s a truly personal thing.

any listener of albinoni’s adagio in g minor or j.s. bach’s air on the g string or arvo pärt’s spiegel im spiegel or ennio morricone’s gabriel’s oboe or john denver’s annie song or leonard cohen’s hallelujah or carole king’s you’ve got a friend or aretha’s r-e-s-p-e-c-t or the beatles’ here comes the sun or, for that matter, eldar kedem’s you and i or any piece composed and played or sung by giant artists or tiny independent artists …. any listener of anything arrives at the place of listening – the dropped-down-out-of-the-universe of their own world – individually. we tote along with us our lives-at-the-moment, our busy schedules, our worries, our longings, color and breath and heart, a distinctively different set of ears. we hear and we listen and we are transported by music to worlds away, places and times stored up, a chorus of commentators in us telling silent stories in viewmaster snippets, our hearts grasping the filmy tails of memories. impact. giant impact.

the love sculpture means something different to everyone who poses in front of it; every person’s story has different details, a different emotional spectrum. how we connect to this emotive piece depends largely on where we are when we visit with it, what we bring to it, how open we are to its energy.

the love sculpture stands outside the museum and i know that each time we now visit, it will demand our time as well. we will stand and gaze and visit with it. and we’ll keep loving it. it’s simple. it’s that kind of piece.

*****

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the kitchen counters. [k.s. friday]

there used to be a lot of stuff on the counters. a breadbox, coffeemaker, fruit basket, basket with random mail and school dittos, microwave, paper towels, cookie jar…it makes me shudder now. the counters – back then – were yellow formica – bright yellow circa 1960 or earlier. i suppose the stuff on the counter helped disguise the counters a bit, but the backsplash was the same bright formica and there was plenty of that as well. i tried to think of it as cheery – every kitchen needs to be cheery. but…

the people who owned the house before us – back in the 80s and prior – had applied woodgrain contact paper to the counters and to all the shelves in the pantry and to the inside of the drawers, really anywhere it would stick. when we bought the house they asked us if we wanted a lesson on re-applying contact paper. i was horrified at the thought, and we politely said no. after we moved in i peeled all the contact paper off the counters and backsplash and elbow-grease-scrubbed off the sticky residue. yikes. what a mess. it was bright and it wasn’t without dings, but the kitchen went from peach cabinets and woodgrain to white cabinets and yellow. it seemed freshened, even with the yellow. it was supposed to be temporary.

there were other oddities – there was a door from our kitchen to the sunroom which they had kept on its hinges, blocking space that we filled in with an antique kitchen table that my dad refinished. we still eat around that table now. i suppose anyone touring our home who might consider it as theirs would utter “gut job” entering our kitchen but that’s for some future time. though we will make some updates to it, we love it the way it is. even temporarily.

at some point – a few years back – we decided to see what was under the formica. climbing into the cabinets i looked up and saw really lovely panels of good wood. we assumed that was the counter prior to the yellowness. it wasn’t so, as the first peel revealed. plywood was the countertop material and i literally starting panicking, running to the computer to google how to fix this dreadful mess. a sander, sandpaper, chalkboard paint and food-safe wax was the prescription and it achieved a kind of black soapstone look. black and white. it was supposed to be temporary.

we have pared down what’s on the counter. just the coffeemaker, the microwave and a wooden bowl of fruit – oh, and the roll of paper towels on a wrought iron stand. less busy, it makes it all feel less frenetic, tidier. it feels more orderly and that makes it feel more serene.

the florida national cemetery is the epitome of orderly. it is pristine and it invites you – without words – to wander. it would be easy to spend hours of time just walking among the big oaks and the lines of headstones, to weave in and out of the columbaria. its orderliness lends peacefulness and reassurance, its vastness a reminder of the temporal nature of this life – transitory, fleeting.

we arrived back home after a few days in florida with family, after interring my sweet momma’s ashes, after spending time with the adorable non-stop two-year-old and sat at our kitchen table with 20 who had soup and bread and glasses of wine waiting for us when we got there.

i love traveling and exploring and – simultaneously – always have a little homesickness when we are away, so i gazed around at our old kitchen and all its supposed-to-be-temporary fixings. my heart was full and i could feel all the time spent in there – my dad proudly placing the refinished table, my mom waxing poetic about the happy-yellow, my children in high chairs and suddenly on college breaks and suddenly adults. my kitchen counters and their timeline of transition, their sweet legacy.

one of these days we will update. but, in the meanwhile, i know it’s all temporary anyway.

*****

LEGACY ©️1995 kerri sherwood

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the pink backpack. [k.s. friday]

“it’s projection,” he wrote. yes. bill penzey is right. it is projection. we project love onto objects and we “really see these objects as love.” he continues, talking about his desire – were there to be a fire in his house – to grab the six-quart stainless kettle he has popped corn in for every movie night he has had with his wife, and his love of the heavy-duty spatula his father gave him, adding, “and in a world where nobody gets too much love anymore, i want to do all i can to hold onto that love.” he is clearly thready. i’ve never met him, but he is on my list – people with whom i’d love to have dinner.

we have a pink backpack. it’s packed from back in the days our town was on fire, days i can feel and hear and smell and taste – viscerally – but would rather not. we’ve kept it packed, realizing that it’s wise to have one thing to grab and one place to go to find that one thing. it has important stuff in it…papers and such. it doesn’t have the tiny cheese knife we use every day, the one that was my sweet momma’s. it doesn’t have the wedding ring my dad wore or the matching flannel shirt of a pair. it doesn’t have the toddler drawings of my children or the small bowl turned trinket-holder that babycat ate from. it doesn’t have zillions of photographs. it doesn’t have masters of all my albums or a collection of jpgs or pngs or printed photos of all of david’s paintings. it doesn’t have the rock i picked up hiking with my daughter or the cork i saved from the first fancy dinner my son made for me. it can’t hold my piano or the vintage typewriter 20 gave me or the bowls we love from ken and loida or the snuggly scarf jen gave me or the old torchiere lamp from my growing-up. it doesn’t have room for the old quilt or our favorite mountain mugs or our ukuleles or my guitars or our dvd favorite-movies-collection or the cardinal towels from my sister or the ‘i-found-you-you-found-me” painting of early k.dot-d.dot days.

the one thing about antique stores is that they give you perspective. lots of it. so many items in the world. so much stuff. you ponder why someone might have held onto a plastic flower arrangement in a plastic flower pot long enough that it became part of an estate that passed into an antique shoppe or how it is possible that there are so so so many 45 rpm records out there, collections of so many long-playing albums, and, someday, so many cds. even mine.

and then you know. it hits you like a spatula upside the head.

though none of that will fit in the pink backpack, were there to be any sort of emergency – and all we could grab is the backpack – we would not lose it all.

it’s love. all love.

*****

IT’S A LONG STORY ©️1997, 2000 kerri sherwood

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in wonder. [k.s. friday]

right now it is a mystery.

accuweather predicts a blizzard. and we wonder if it is truly imminent. on days of heavy holiday travel, there may be fierce winds, whirling snow, no visibility, bitterly cold temperatures well below zero. such extremes, circumstances that might dictate the comings and goings of loved ones trying to be together to celebrate.

we’ll keep watching the weather and the warnings. we’re hoping it’s wrong, that it’s exaggerated, that it’s cautionary but not totally necessary. that we will get to this day without the extremes.

it is days before the day before the eve of the day. and though i respect that app on my phone i continue to plan as if it will be days of celebration and joy and not snowplows and shovels and heet and de-icer.

there is still much to do. there are packages to ship, a few to wrap, a couple to deliver. there are trips to the grocery store and maybe a tiny bit of shopping. there is de-dogga-furring by vacuum and a little dusting and much tidying up.

and all the while sitting in the wonder of the season. people celebrating love and generosity, time spent gathered, kindnesses and the reminder of ancient stories carried into this time, open hearts, hope and light.

*****

I WONDER AS I WANDER

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faces on a bridge. [k.s. friday]

this darling face was larger than life, a giant print by simon te tai hanging on the wall at our airbnb in charlotte. many times we would find ourselves standing in front of it. it compelled you to do so. is there a “hug-a-sloth” day? we both would like to participate.

other than our sweet dogdog, the next animal face we were close to was the hawk’s.

it was out front in the yard, seemingly enjoying the sprinkler. d watched it out the office window, checking on it while he worked. when he went to turn the sprinkler off and remove the hose from the lawn, it stayed there and watched him. he sent me a photo of it, merely ten feet away, calm and steady. the next time he looked out, it was in the street and in trouble. grabbing a blanket he ran down to it. we have brought other birds to rehab centers so this would not be our first. the hawk was in distress and laid while david talked quietly to it. as he went to gently scoop it up, it flew off, straight up into the tree limbs above.

when i came home d was standing in the middle of the street, staring up, so i knew it had to be something to do with this hawk he had photographed.

there it was. a small raptor perched on a limb 25 feet above us.

we watched it for a while and then thought we should leave it be, believing it must be recuperating from – perhaps – being somehow stunned.

just a bit later, from across the street, at the front door, we watched with horror as this beautiful creature flapped its wings up in the tree and then fell out. grabbing a bin and the blanket we tore out the front door and ran across the street.

i implored him to wait. the eye i could see was closing and i caressed him softly, telling him how grateful the world was for his presence in it, how stunningly beautiful he was.

i don’t know when his tiny spirit floated away.

it was profound for both of us. david wrapped him carefully in a blanket and we placed him in the bin, hopeful that our suspicion was wrong and that it might be possible he was simply unconscious for a bit. but the time went by and each time we checked on him revealed no change. we called all the bird rehabilitation centers.

wisconsin dnr asked us to photograph the hawk. “take as many pictures as you can,” she instructed, “that way we can try to determine what kind of hawk it was and maybe a little information about what might have happened.” there were no obvious signs of injury and we know that the avian flu has been seriously problematic, especially for waterfowl and birds of prey.

his face was truly beautiful. feathers the color of bold coffee and caramel, amber eyes just like dogdog’s, a bit of green above his curled beak. really beautiful.

it’s these two faces of wildlife i will remember this past month.

the face of a sloth – though not three-dimensional – friendly and open, practically begging for a giggly snuggle.

and the face of a hawk – transient, evanescent and spirit-filled – visceral and, quite astoundingly, stroked by our fingertips – a moment we shared we will not forget – when this creature crossed over and we were all one, together. on a mysterious bridge that goes both ways.

BRIDGE from AS IT IS ©️ 2004 kerri sherwood

*****

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our mélange. still a toddler. [two artists tuesday]

every weekday for four years is kind of a long time. we kicked off our mélange on february 12, 2018 with the intention to blog each day using a mutual image. we’d see where those images would take us: down backroads of memory, forays into wondering, dropping into the tiniest cracks of things that happen in our days. they would generate stories and pondering and poetry and a dedication to a practice we both love: writing.

1106 blogs later – in the context of the mélange – and we are just as committed now as we were then. in these tens of hundreds of posts, we have been both succinct and verbose, grateful and snarky, questioning and certain. mostly, we have sat next to each other – every single post – typed on laptops and read aloud to the other what the chosen image evoked. it has been an absolute gift.

from an analytical standpoint, we can see that people all over the world are reading. we marvel at the number of countries where someone has opened up what we have blathered. it is not without wonder that we -every so often- hear from someone from afar. and then, there are those days that the analytics suggest perhaps no one is interested and our writing is for naught. yet, we write anyway. because, we have discovered, this is for us – a gift we have given ourselves.

in the beginning our monday-friday topics included two cartoon days: chicken marsala monday and flawed cartoon wednesday. those days have since morphed and changed into merely-a-thought monday and not-so-flawed (and sometimes flawed) wednesday. in the beginning, too, every day had products i designed for that day. we had (actually, still have) five stores on society6 where people could purchase prints and canvases and tote bags, mugs and phone cases, throw pillows and leggings and shirts with our original work. hundreds upon hundreds upon hundreds of products. and so much fun to design. we have featured morsels of david’s paintings and youtubes or mp3s of my music, tiny snippets of color and texture and devoted artistry. we dove into the telling-the-tale of these pieces and we have shared the soul of our work.

soon it will be a year since we first added saturday morning smack-dab, our smack-dab-in-the-middle-of-middle-age cartoon. we’ll be setting up an additional separate page for smack-dab, the cartoon. some people want less words and that will be the place to go for the less-is-more approach. this cartoon is one of the delights of my week and the scripting, layout, colorizing, design work give me a distinct honor of co-cartoonist.

we have learned – in this practice – to photograph, to look, to listen – even more carefully and intently than before. so much to notice, to pay attention to. life is about how you take it in and respond to it all.

the learning curve on anything worthwhile can be steep. toughing out the vulnerability factor, finding your voice, using it to write, putting-it-out-there, brings a mélange of emotion. for us, it has been about 1106x joy.

thank you for reading.

*****

read DAVID’S thoughts this TWO ARTISTS TUESDAY

our first mélange post

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and – if you are in the mood for browsing:

CHICKEN MARSALA SOCIETY6 STORE

TWO ARTISTS TUESDAY SOCIETY6 STORE

FLAWED CARTOON SOCIETY6 STORE

DAVID ROBINSON SOCIETY6 STORE

KERRI SHERWOOD SOCIETY6 STORE

THE MÉLANGE ©️ 2018-2022 kerri sherwood & david robinson