i have spent the last two weeks gathering selfies from My Girl’s friends and family with birthday signs and wishes. today is her 30th birthday and, with the pandemic restrictions, i can’t be there, out in those high mountains, to be the “return-to” information written on her bar-hopping balloons like i was on her 21st birthday or make her a special ariel or pocahontas or ballet slipper or happy face cake like i did every year she grew up. like many of you, i feel sad and challenged by the inability to celebrate or be with each other.
so i decided to throw her a surprise party. from all walks of life family and friends showed up and sent me selfies with signs they created or videos or photos they brilliantly photoshopped with greetings. i facebook messaged and texted and talked with people i had never met, all generous and kind and wanting to help; every one of them a valued person in The Girl’s life and now in mine. love at its best, i cried over and over receiving these and, after spending the entire day yesterday formatting all of it into a video, watched it again and again, tears streaming down my face. it is an amazing thing to see how loved your child is.
so, today, i woke up refreshed. my heart was full and i couldn’t wait to share this video and a gift video i made as well with kirsten. i wish i was hiking with her this morning or having gnocchi and wine with her tonight. but…
yes, it’s a virtual birthday – all of it.
but it is virtually impossible to not feel some peace in all this love. and i know that tonight, when i lay my head on my pillow, i will rest easy.
when you watch extreme mountain climbing videos every night you are bound to find morsels of wisdom and inspiration. chris, one of the denali climbers, tossed us this one: “i think it’s important to learn how to suffer gloriously.” he added he “tries to put a positive spin on all his suffering.” chosen suffering, that is, for who would doubt that there would be suffering on a climb up the highest peak on the continent. alternatively, his suffering yields reward, a summit, or, at the least, an attempted summit, traversing in elevations few have scaled.
in the early 1980s i taught music in the poorest school of a small county in florida. z was one of my students – he was in first grade. i know he suffered. his home was not far from the school campus with buildings attached by covered walkways, my music shed tucked into a swampy corner, complete with 3″ banana spiders.
z was a student who needed a lot of extra attention. he craved it. given his grave family situation, i know his heart had to be heavy, but his smile was light-itself and he loved hugs and music class. in that school, tucked into the middle of an impoverished neighborhood, where people spent days sitting on rotting porches waiting for the next day, there was much agonizing. and, clearly, a hell of a lot of surrendered acceptance. it was deeply inspiring to see children being glorious, even in the midst of hurting.
i heard somewhere along the passing years that z was in prison. i shudder to think of all who might say it was inevitable. he was truly stuck in a system that allowed very few to escape. the ‘subs’, as the area was called, was a breeding ground for glorious suffering, proud faces lined with sweat and worry, ponderous minds sorting for ways to survive.
we went back there about five years ago, drove to what-is-now a fenced-in complex and no longer a neighborhood school so i could stare for a few minutes at the old shed in the swamp. we drove around the neighborhood and stopped and got out to talk to a couple people rocking on a porch. we talked about the old school and, with shining faces, they spoke with pride about attending it. glorious faces.
when we pulled away, they went back to the chairs on the porch, under the collapsing portico away from the steamy sun and tucked into trees covered with spanish moss and yards of dry dusty dirt. still suffering.
we drove away, a few moments of silence as i took it all in. in my mind i hugged the little boy z used to be and wished for something better for him. for a summit.
“…Two roads diverged in a wood, and I— I took the one less traveled by, And that has made all the difference.” (Robert Frost)
a product of sunday-drive-parents, i am a meanderer. i’ll choose a backroad. i’ll choose the woods. i’ll avoid the six-lane interstate. i’ll avoid the leader-led-coach-bus-travel tour group. i blame my sweet momma and poppo.
in an obvious life metaphor, choosing to be an artist of any medium -for the long haul- is choosing to be a meanderer. it’s choosing to live life looking for and celebrating layer cakes – a layer cake of work. it’s a continual wracking-of-the-brain for the next idea, the next project, next pitch, the next initiative, the next validation of your artistry. it’s continual exploration and continual growth, surprises and intrinsic rewards of the heart. and it’s continual worry: how will what you earn equal or be greater than that which you owe.
my parents encouraged my every musical moment. neither of them was a musician, but their steadfast support reinforced the decisions i made that were more out-of-the-box. their prideful applause inspired and fed me, lighting a fire even when the embers were falling to ash. times i would rise and fall and rise again, i blame my sweet momma and poppo.
in somewhat recent days, when i was bemoaning the exponential cost of healthcare, someone asked me if i needed to see a financial counselor, someone who could ‘teach me’ how to budget. i was stunned at the lack of sensitivity and actual empathy. “no, thank you.” i responded, while trying to maintain the sound of calm in my voice, “i am actually quite good at budgeting and truly love math. this is not rocket science. it is simply a case of not having enough income, even from several jobs, coming in.” a meanderer. those sunday drives.
i’ve read plenty of ‘being the youngest child’ articles. it seems that my profession, lean toward autonomy, artistry, careful rebellion are all because of my place in the sibling line-up. so, once again, i blame my sweet momma and poppo.
the urge to be off-the-beaten-path, literally and figuratively, to quietly sit in the middle of the woods or i-wish-more-often the top of a mountain, to stand on a wooden stage with a piano, a boom mic, a few songs and a story to tell: things that are part of my very soul. the core. i blame my sweet momma and poppo.
we watched global citizen’s concert ‘together at home’ on saturday night. this virtual concert featured a wide spectrum of celebrities and musicians and raised about $128 million for the world health organization as well as local and regional frontline healthcare workers in support of covid-19 relief. despite wildly varying opinions about this effort, i would have been proud to play in the midst of this. it was about humanity. some of it was pretty raw. people were in their homes, many the likes of which i will never enter. they were with their instruments, they were playing or singing songs they felt would resonate with those watching. a few were, as expected, clearly voice-tracked. a few were, as expected, a bit ego-tainted. split-screen performances and technology raised the bar for musicians everywhere. but it was a moment in time – eight hours in total between online and on-air – when you could see that all of us grieve and yearn the same way. no matter the size of your mansion or tiny house, no matter the grammys on your shelf or the lack thereof, this global pandemic is just that – global- and is not discerning of your privilege. it does not care. it can take anyone. and so we weep.
if there is a painting that depicts the face-holding grief and prayerful yearning for hope, it is this painting WEEPING MAN.
i wonder if he weeps for those who have fallen ill, those who have died. i wonder if he weeps for those who refuse to acknowledge the seriousness of this pandemic. i wonder if he weeps for those on the front lines, helping. i wonder if he weeps for those who have hidden in extravagant bunkers underground in far away countries. i wonder if he weeps for our isolation. i wonder if he weeps watching people intolerant of the isolation that will protect others, people who are selfishly and arrogantly protesting stay-at-home orders. i wonder if he weeps for the unrelenting non-discrimination of this contagion or if he weeps for the divisiveness of responsibility-taking, the it-doesn’t-affect-me attitude. i wonder if he weeps for the continuance of humanity. or if he weeps for the loss of humankind. or, if he weeps for the lack of humaneness. i wonder if he weeps because, in the middle of this trying and profound now, Next will come. i wonder if this painting is tomorrow’s tomorrow and he weeps with relief and hope.
THIS all exists. for each of us. it isn’t always good. it isn’t always not-good.
there are those moments. the moments you weep openly, the moments you cover your face to cry, the moments of overwhelm, the moments of absolute weariness that, despite all evidence to the contrary in your tired mind and body, actually do lead to Next. times you feel alone, times of sorting, times of grief, times of fragile vulnerability, times of regret. the times you put your face in your hands and weep…
and there are those moments. the moments you weep openly, the moments you cover your face to cry, the moments of stunning awe, the moments of sheer exhaustion at your goal-line, moments that actually do lead to Next. times you feel enamored of life itself, times of incredulity, times of unquestionable good fortune, times of serendipity, times of simple all-consuming sweet love. the times you put your face in your hands and weep…
we recognize it. we can feel it. and we know that in another moment he -or she, for there is no pronoun-hogging here- will slowly raise his head out of his hands and Next will have arrived. (reverse threading, and so he weeps, january 17, 2019)
out of necessity it was only a few days after i broke both of my wrists that i played. it seemed that i had nine fingers that were attending this event, and i, relieved to have these nine, worked with what i had.
in the last couple months, my left hand progressed faster than my right. i had two breaks in my right wrist and, yes, i am older now than i used to be, so the doctor warned me that i needed to be patient. make that NEED to be patient; healing will take six to eight months, she said. but all five LH fingers participated in this early-on merrymaking and only my immobilized thumb was excluded on my RH. and both wrists. they were excluded too.
they changed the cast on my RH from over-the-elbow to one a tad bit shorter; this was happy for me as it gave me more mobility. i kept playing, despite the wad of cast that ended in the palm of my hand. i am a mom. i am used to working around things.
later, they changed it yet again to an exos cast, which is removable but much less designed specifically for your hand; it was actually quite uncomfortable and made my hand hurt in places it hadn’t hurt with the ‘regular’ cast on. i kept playing.
at the point when the coronavirus ceased all my regular doctor appointments, and after only one occupational therapy appointment, i kept playing.
finally, with the phoned-in blessing of my OT, i ordered a splint for my RH – the same one i wear on my LH, releasing my thumb from its cast-prison. i kept playing.
and then i noticed that my pinky wasn’t responding properly. nor was my ring finger. nerve pain was shooting from my fingers up my arm. and nodules in the palm of my RH were burning, stinging. no professional pianist i know wants his or her hands to hurt. i could draw hundreds of analogies here with other body parts and ways-of-living, but i will refrain from doing so and just say that this was disheartening and incredibly worrisome for me. and i kept playing.
i emailed the doctor and then sent pictures i labeled in photoshop so that my worry would be clear, since i was unable to be there in person; social distancing had put aurora on the don’t-call-us-if-this-isn’t-essential status. when she called me she said i really needed to come in. she said that they would take some x-rays and the hand specialist would look at my right hand, in particular. frankly, i was beyond nervous to walk into a medical center. they have their hands full (absolutely no pun intended) and i was reticent to be privy to whatever germs were hanging around or to take any focus from the more essential. but, because i am playing and because playing is what i do, i went.
although there is a slight chance that there is something else going on here, it looks like the palm tendons of my RH fingers are inflamed. this is likely because i have been playing with casts on. what’s the expression? damned if i do, damned if i don’t.
when i asked the specialist for a range of time this might last, his answer was ‘probably up to a few months’. he didn’t ask me a lot of questions to discern what was happening and i tried like heck to fill him in on every-single-last-thing about my hands, but, in as-quick-as-a-flash fashion, he was gone before i knew it. a-few-more-exercises-and-some-regularly-scheduled-advil advice later, i left the hospital, took off my mask and climbed, sighing, into big red in the parking lot.
my emotional well was full when i woke up today. thinking of us, our children, our families, our dear friends, our community, this world. i desperately want to gather our beloveds in, hold them close, protect them.
i have no words for all of this; i have too many words for all of this. i fear that none of them are helpful, none of them are wise. it’s just me. and, like you, carrying the weight of the world one step at a time, one quiet minute at a time, staring out the window and wondering.
1980. it’s not often i have listened to this song since four decades ago when i recorded it. i was a mere 20. listening to it warbling now, in the way that only old cassettes can warble, has been a mixed bag: this cassette master, with little studio experience, with reel-to-reel recording, with no auto-tune for my young nervous soprano-ish voice, with too-sweet flute lines and picked guitar, measures-too-long-instrumental-interlude; i am catapulted back.
it is shocking to hear the innocence. it is shocking to hear the pain. if my wednesday post this week was too much, i would hasten to add that this will be as well. this is a song about stripping a young woman of choice, of what should be the blissful love of first intimacy, of no justice, of no opportunity to process. it’s the story of sexual assault in the late 1970s. it’s the story of sexual assault any time. it changes everything. every trajectory. it’s my story.
NO BALLOONS is a song of the times. especially for someone who listened to john denver, james taylor, carole king, joni mitchell, bread, loggins and messina, america, england dan & john ford coley, the carpenters – the A-team of verse-chorus-verse-chorus-bridge-interlude-chorus. simple melodies, simple instrumentation, simply written, simply sung.
i can’t believe i didn’t write it in the vein of led zeppelin or kiss. it should have been a screaming heavy metal song, full of pointed weapons of anguish, of power-stripped anger. instead, it sounds like a sweet love-gone-bad song, “you take away my hopes, my dreams, you give me no balloons to fly.” only it’s not. it’s about no air. no breath.
“and now with my eyes closed, i no longer see the pain in yours or feel it in mine…” and that was a product of the times as well. i closed my eyes and silenced my voice. i stopped feeling it. or did i? “and i cried as long as the rain lasted and when it stopped i stopped.” was it really that simple?
until this week i really never thought i would share this song again. after all, the song is 40 years old; i’m an alto, perched firmly on the tenor shore. but somehow, between the #MeToo movement and the swirling-around-us-in-the-world-contention and public court battles in recent media and the lack of regard for those who truly need help or healing and my aunt’s texted article and the weeping inside of my younger-self and my silenced-silence, it felt like it was time to be vulnerable and candid and believe that our muddy-boots-narratives might make a difference for someone else.
we each have a story, a timeline, an arc that takes us through this life. things we want to remember in detail, things we desperately want to forget. things we have lived boisterously out loud, things we have lived in despairing silence. the tapestry that holds all these threads together is the soul of our experience, the way we can hear others and truly listen, the empathy we can employ in a world that seems to cite MeFirst instead of UsTogether.
i wouldn’t wish this experience on anyone. i’m pretty sure that every day since those-dark-days-in-the-late-70s i have both been affected and have effected because of them. i have made choices and non-choices, taken action and had reflexive reaction. i have searched for answers.
but i also know that my heart was blown open. i am not standing on a different rung of the ladder, too high up to understand or remember, too discurious to ask, too blinded to see, too discriminating or apathetic to care.
i am next to anyone who needs me to listen, really listen. i am next to anyone who needs me to jump and catch their balloons before they have flown too far to reach.
nine. i have nine fingers i can use right now. and, like chicken marsala, i am putting them on the keys and following the music. two weeks after breaking my wrists i was back playing and directing. who needs wrists anyway? who needs all ten fingers?
music can’t be stopped. it’s in the sound of the sunrise, the sound of your baby waking up, the sound of the clink of coffee cups. it’s humming as you ready for your day, singing along in the car, laughter shared over the phone. it’s in the hug you give your children as you drop them at school and the help you give your aging parents. it’s in dinner you prepare for loved ones, and in the volunteering you do for a local service organization. it’s in the walk in the woods, a stroll by the water’s edge. it’s in the quiet weary at the end of the evening, the sighs of a life-day done well. it’s in dreams and in hope. and it can’t be stopped.
we will always turn to the arts for comfort, for meaning, in joy and in sorrow. the music follows us; it surrounds us. it waits silently, ready to volume-up when necessary, hush-down when needed. it’s background. it’s foreground.
with these broken wrists i have moved from a whole rest to a quarter rest. i have made progress playing my piano and my broken-wrists have told me when to be silent. in the silence the earth keeps spinning, we trek around the sun, everything keeps keeping on. but for a moment, i rest.
we are each granted rests upon entrance into this orchestra-of-earth. sometimes they are chosen, sometimes they are not. always they are necessary. it is in your quiet that others make noise, that others speak, that other timbres color the muted. the hush is yours to own; the rest is yours to take. the silence both sometimes frighteningly deafening and sometimes a grand relief. the metronome really never stops.
(a reprise of paragraphs from 8.13.2015 post): at 1am, we walked to the lakefront. away from as many lights as we could get away from, we laid on some old steps, bricks and mortar digging into our backs so that we could gaze straight up, watching the night sky for the meteor shower.
the streaks of white light across navyblueblack make us draw in our breath. i’m wondering how far away this meteor is…how it is that we, here on earth, can see this amazing sight. such a big sky. such tiny bodies in contrast lying on the ground, waiting for the symphony to start, waiting for the downbeat, the symphony that has been continuously playing, the downbeat lost in centuries upon centuries of time gone by. like any good piece of music, it’s the rests in-between the notes, the rests in-between the meteorstreaks, that build the anticipation, that create the emotionflow, that bring tears to your eyes. each burst, each streak of whitelight is a miracle, a tiny moment exploding in time, so far away, in vast vastness.
time stretches out in front of us. and behind us. we are tiny and we are big. we gather in the moments, we breathe them, we rejoice, we worry, we ponder, we move. there is no downbeat and the symphony is already playing, has been playing and will continue to play. always. it is magical. and it is vast.
we are watching. two lovely young women, the daughters of dear friends, will be married this year. we will be attending each of these weddings. i will have the honor of playing at them. they are excited, immersed in the details of their ceremonies and their receptions, the times that people will gather around them and celebrate their joining of lives, of families. it is a time of immense joy for them and it’s certainly fun to be included, hearing about gowns and venues, songs and vows. they are amazed at how quickly these days are approaching. it’s that life thing. it keeps moving. faster and faster.
when my niece got married on the beach, she had her dj play instrumentals of mine as her bridal party, including me, walked across the sand. but a couple weeks ahead, when we were talking about all the tiniest details, she asked if maybe, just maybe, i could write her and her husband-to-be a song, something that would be solely hers as she walked toward him over the warm beach, bright sun low in the sky.
this is the song i wrote for them. no time to run to nashville or even chicago, i ran to a studio in town and quickly recorded it, just piano and voice, nothing fancy. i was moved to hear it broadcast over the sound of waves, watching as she walked into a new chapter of her life, directly to her best friend. and now, there’s so much more. life keeps going.
i wore a pink dress with puffy sleeves (yes, shockingly, a color) for my other sweet niece’s wedding. twice as long ago, i was touched at being included. i have watched her grow (she’s amazing!) and have watched as she and her husband have built a home together and lovingly raised their two boys. life. keeps moving on.
i recently heard from a nephew of mine after a pretty long time of silence. he sent a picture of he and his husband together and i was thrilled to see him looking so content, so in-his-life. it keeps moving.
we are at the age when many friends’ children are marrying. each time we attend a wedding or send off a gift we watch as two people decide to be together, through thick and thin. we wish them more of the best than the challenges, but we know that the challenges are also the glue.
each story is not as simple as it sounds. we know that. moving in together, whether post-wedding or no wedding at all, sharing a sink, worrying about life’s constant worries, dividing up household responsibilities, traversing family dynamics, navigating gigantic decisions, choosing which direction to put the toilet paper on the roller…life as two is both more difficult and less difficult than life as one. and, in the way of how it all works, the time of life both moves in slow motion and flies by.
it helps when you choose it with your best friend.
download the single MY BEST FRIEND on iTUNES or CDBaby
reverse threading 