on friday i projected being proud to be there – at chicago pridefest. i underestimated it.
even in its boisterous volume – loop high-fidelity-noise-reduction-earplugs and all, even in its crowded-can-hardly-move streets – take a breath, take a breath, take a breath, even in its vast array of body-expression – everyone seeming so comfortable on this day in their own skin, i felt at home. there was not one time we experienced any rudeness. there was not one time anyone excluded us. there was not one time anyone looked us up and down, measuring, discerning, approving or disapproving. there was not one time anyone seemed in-your-face superior. there was freedom. there was the peace of acceptance. there was – love of one another – as far as the eye could see.
our son’s friends ran to greet us and a tiny little girl passed out rainbow happy face buttons. we browsed the merch booths and returned to the corner in time for our son’s performance. an EDM artist, his show was seamless and powerfully energetic.
i might have worn different shoes. the health app on my phone said 9.7 miles. i’m thinking it was more. it was impossible not to dance, so i’m pretty sure that added to the steps i took, but keen sandals are not really dancing shoes. i don’t know if the tevas would have been better. what i do know is i had really happy feet and that doesn’t even start to compare to my heart.
though most of the time i watched my-son-on-stage-in-his-element…his imperative, as david said, “making music that sets people free.” i turned around a few times, to look at the crowd behind us.
people blissfully dancing, moving, touching, hugging, smiling. there didn’t seem to be one iota of self-consciousness or doubt. it wasn’t about wondering if they belonged, if their actions – or their very beings – would be measured against some heteropatriarchal b-s.
and i was so proud.
proud of our son and his music. proud of his really kind friends. proud of the people dancing around us. proud of the fishnet statements and the rainbows and the exposed skin.
this is what the world should model itself after. this is what our country should model itself after. this is what our communities should model themselves after. period.
and then – in the forwarding of love as the only north star – all could be proud.
and tomorrow we will go to chicago. we’ll metra downtown and walk to boystown. there will be sooo many people. and with them, we will stand on the corner of halsted and waveland and watch our son perform on-stage outside in the rainbowed city.
to say i am overjoyed at his producing of music these days would be an understatement. his zeal is full-on and he is squeezing every last minute of every day as he works in his professional position full-time and djs edm (electronic dance music) the rest of the time.
at his condo in chicago, in his studio, he demonstrated to me how he creates. as an analog artist, it was a fascinating experience to glean this complex digital mixing of tracks, layering, feathering, a sedimentary piece of music produced with great intention. it is hard not to dance as i watch. it’s hard not to be aware of the invisible bit of baton i hold, poised to pass. and i am aware of the contagious quivering of excitement, the gift of his sharing his process, how much i understand – on a cellular, heart level – how this creating feeds him. and then…then, there’s the joy…
different genres, but i still grok how my son feels. knowing that what you are producing is resonating with someone – someones, if you will – is powerful inspiration. i won’t forget the release of my first album and, even at number fifteen years later, it was with both the same excitement and vulnerability as the first. time and study and experimenting and lessons bank courage, though, so we each keep on keeping on, growing – much like anything in life to which we give time and attention.
i’d imagine that the day my yamaha c5 was delivered into my studio felt much like the day he upgraded his decks and gear. i’d imagine the day i stood in the sitting room with the chicago radio station on – waiting – and then my music aired – the first airplay ever – feels much like his tracks being signed to major edm labels, waiting to be released. i’d imagine the applause, stepping into the apron, at the end of a piece, feels much like the exhilarated dancing and cheers of the crowds at his gigs. i get it.
you know you are merely one artist in a universe of artists. humility. relevancy. there is much to learn. for both of us. always. the arc of an artist is never really done.
we have spent nights watching our son stream from clubs. 2am is later than it used to be but it’s a thrill to watch him in his element. we’ve listened to every single track he has sent us, every idea, every gesture in whatever iteration. we’ve connected our remote speaker and played his music during our happy hour, i’ve listened with ear buds on soundcloud, spotify, iTUNES. but tomorrow…
it is with much pride we will stand and watch our son. it is with much pride that we will be surrounded by his friends and by the community. it is with much pride that we’ll dance and cheer along with the gathered crowd. it is with much pride that we celebrate pride.
it doesn’t seem quite possible – this time has flown by.
but 10.
our cherished dogga is beginning to show signs of age…slowing down a bit, sleeping more, not always waiting at the door, but meeting us there as soon as he hears us walk in.
i guess aussies are typically with us for about twelve years, with some maybe as long as somewhere between 13 and 15. if we could vote, we’d vote for one of those, so long as he felt well in those years. because, like you, we know that the next two years will fly by as well. and that just makes us cringe.
the wander-women-thru-hiking-superstars-in-our-book once spoke about their plans for the future. they had downsized and sold off homes, sold off stuff, bought an rv named “biggie mama”, planted it in colorado springs and now travel all over thru-hiking, exploring and adventuring. they talked about their summers, the time of their biggest adventures. last year they were going to bike across the united states, but their plan got waylaid and they decided to set it aside when they felt unsafe on the roads which had no provisions for long-distance bicyclists. they said – not verbatim – that they wanted to use their summers wisely. if they – at around 60 and 65 – had another 20 good summers or so, then they wanted to use them in the happiest of ways, feeling centered and grounded in their plans.
another 20 good summers or so.
that made me stop.
and think.
it made me wonder about my sweet momma and whether she, in the last twenty years of her life, thought about the potential of those last twenty years. she moved on to the air around us at almost-94, so those last twenty years or so started in her 70s.
in her last years i saw momma often. and david met her on nine trips we made in her last eighteen months. they became fast friends. but what about before that? what about in all that time i lived in wisconsin and she lived in florida? i wonder now.
did she think about this tiny fact: because of distance and travel expense and busy schedules and all that life places in our actual and emotional way, that if i had only been able to see her once a year in her last twenty years, she would have only seen me twenty more times.
it’s a sobering thought.
very.
and it applies to all of us. even more so because we don’t have any guarantee about the number of years – or summers – we actually have.
and so, i’m thinking that living like our beloved dogdog: exuberantly happy to see us each time we re-enter the room, full of love and not-even-one grudge for anything we may have done, missing us when we are apart, a curiosity perspective willing to learn any new trick, anxious to be around us simply to be around us – without expectation, eager to go along anywhere we are going, truly unconditional – may be the best way to live ANY amount of time between now and the wind.
barney’s nails are popping, its layers are peeling back even more, rust is gathering on surfaces subjected to air and moisture. this is not a surprise. barney has been outside in the sun and the rain and the snow and ice and wind and humidity and drought for almost ten years now. a decade has a way of peeling things back. i wonder what barney might look like in another decade or maybe two. its soul will be intact; its boxy exterior will be falling away, opening strings, hammers, soundboard to the world. and always, its soul, present, true.
barney is no less beautiful now than the day it arrived in our yard. in fact, as it changes, its transformation is a metamorphosis into an aged piece of art sans any expectations. it stands as a stalwart symbol of constancy in our backyard. it reminds me that soul is resilient, fluid. no matter the weathering, the chippies and bunnies nesting, the birds stopping off to rest, the squirrels sitting and taunting the dog. no matter only eleven white endpieces of keys are left. no matter the line of popped nails in a row along its upright top. its soul – exposed – carries on, aged and stronger than before.
“this is the first, the wildest and the wisest thing i know: that the soul exists and is built entirely out of attentiveness.” (mary oliver)
if barney needed to express itself, tell stories of its past, the narrative of a life of a hundred years, it would merely stand and speak – firmly planted. time and nails have loosened its jointed wood and the container of a million tales, and have – figuratively – unlidded the top of the shoebox under the bed or on the top shelf of the closet. every story counts and, as we sit in the backyard, we pay attention. we listen to barney, giving credence to its voice, glad that even in its aged appearance – and its agedness – it is not silent.
in ways i can’t explain, i can feel the nails popping.
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.”
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.
i went to school for nineteen years. when i finished my master’s degree my sweet momma asked if i would – one day – work on a doctorate. i emphatically replied, “not a chance!”. i felt that i had reached my terminal degree, so to speak, and that all the rest – all that education, work experience, talent and intuition and tenacity and wisdom gained along the way – would serve me well.
i am 64 today. sixty-four. six decades plus four.
and i am a woman. woman. she/her/hers.
and this is the 21st century. the 2000’s.
yet, sitting on the couch the other day, watching new amsterdam – cast with actors in many female physicians’ and specialists’ roles – i stood up and cheered for the female character who firmly stated, “i didn’t go to school for twelve years [med school] to learn how to smile more.”
what – exactly – is the propensity for people to tell – specifically – women to “smile” or “smile more” or “just smile” or some similar iteration in answer to conflict, to agenda, to management riddled with prejudice? the question i ask – would you tell a man to “smile” or “smile more” or “just smile” or – truly – any iteration as such?
the continued thwarting, silencing, harassing of women is insidious. and forever. as in – forever.
“there is a pull, a fiercely ingrained pull, to mute a woman’s voice until it coos. to press it down until it is as small and sweet as a pastel after-dinner mint. to control it. to silence it.”
“and still, she speaks. she tries to be heard. but very—too often—her voice is ignored … or belittled, mocked, critiqued, or shouted down.”
“if a woman utilizes her voice in a powerful way, or shakes up systems that are firmly in place, she will be subject to an abysmal, hack, silencing-method known as punishment.”(fiona landers – we have always silenced women – damemagazine.com)
“learn how to smile more…” i put new amsterdam on pause and rolled my eyes.
smiling more and keeping silent…when is that appropriate action in one’s workplace? is it appropriate – palatable – with a minimal salary and no benefits? is it substantially more appropriate – indeed more palatable – with a substantial salary, full benefits and retirement? do leaps and bounds of higher financial reward translate to keeping-one’s-mouth-shut even in the face of maltreatment? is a silent smiler in the upwardly-mobile ranks helping those on the lower ladder rungs? where is the line (or is it a ladder rung?) between generative transparency and closed-lipped acquiescence? where is the respect?
my sweet momma – who died at almost 94, a woman before her time – was a smiler. i – like most people – love to smile. i can see her smile in mine, the thinning curve as she grins, the crinkling of her eyes and the crease just above her top lip. she was a promoter of joy and kindness and – as the basic tenets of all the work i do in the world – i would like to think i have brought those forward, from her.
i found a small pocket calendar she sent me. i had saved it in a drawer in my studio for fifteen years. there is a handwritten sticky note on the back in which she directs me to “read the motivations through these pages” and to “start with the cover”.
the cover quote reads, “you must be the change you wish to see in the world.” (mahatma gandhi)
smiling-on-demand – even being a “sweet pastel after-dinner mint” – does not get one anywhere. conversely, not smiling-on-demand, not being a “sweet pastel after-dinner mint” can get one destroyed. but, in fact, smiling-not-for-a-real-smile’s-sake and the act of being a “sweet pastel after-dinner mint” and staying quiet about any prejudicial wrongdoing or malfeasance is an abhorrent manipulation, a coercion, shutting down strong, smart, valuable women – employees – time after time. and for what purpose? is this not perpetuating the oppression? just what responsibility do we have to each other, to the next? are we the change or aren’t we?
and in the way that getaways slip into the wind, i know that this one will as well. time spent in the snowy up-north will slowly peel off and fly, seeds for the next time, the next few-days-away, the next memories.
this weekend we’ll have dinner with our son. he owns a new home – his first – and this will be our first actual viewing of it. i can’t wait! time spent with our adult children flies all too fast. already it’s been six months since i have seen our daughter; already it will be three months since we saw our son. their lives are busy and active and they are not in the same town. their homes have been anywhere from an-hour-and-a-half to twenty-seven hours away. it takes time and planning. and life is full of things – many things, for all of us – that take time and planning.
in what will feel waytoofast, our time spent together will zoom by. visiting and catching up and doing the yes-of-course-i’m-staring-at-you-i’m-your-mother will be followed quickly by goodbyes at the door and me, as ever, wiping happy (and wistful) tears as we drive away. and the tiny layers that comprise this time will feather, drifting into air streams where our mind searches for details and they are just a little further out than we can reach.
the wind brushes past us and time passes in its grasp. we – as ever – attempt to hold its filmy contrails, but time and vapor cannot be held. they are part of the wind that swirls and we simply are witnesses to its magic. we experience, we create memories, we stand next to those memories and gaze back as time’s half-life multiplies before our eyes. on friday, we are astounded by a long week’s end. on our 60th birthday, we are astounded by the six decades. as we sit at our child’s table, we are astounded by their maturity and place in the world, their mark.
we – and the stars – float in the basket of the hot air balloon of the universe and – if we are wise enough – glory that we are part of it.
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.
we saved an article last sunday: “the best waterfall in every u.s. state”. from alabama to wyoming, we scrolled through to see how many waterfalls we had seen. there were aggressive falls and double falls, falls that trickled from natural springs and, of course, niagara falls. we have missed many. like the articles about the best small towns or best places to retire, it’s all about dreaming. a list of waterfalls.
we hike or walk many miles each week, either on the weekend or squeezed into the rest of the sun at the end of the weekday. yesterday and the day before we noticed a tiny waterfall on our trail. it didn’t make it to the list of “the best” but it gave us pause and we stopped to watch and listen. the sound of a trickling stream, the sound of a minute waterfall…both unquestionably sounds of peaceful flow. we drank it in. we stood together in a silent, still dance.
as i looked at the list of waterfalls, it occurred to me that it is not likely i will ever see all of them. there is much on our bucket lists and, though i can appreciate – very much – adding this list into the bucket, i also know that it’s not the award-winning, the listed, that will always touch us.
the best waterfalls – for me – haven’t been the grandiose waterfalls. though i can appreciate their grandeur, it is the waterfall you stumble upon in the woods, the waterfall that shows up just when you needed a waterfall, the waterfall that will never make the list that negative-ions you into a feeling of well-being.
when i was in my thirties and composing i started to dream. in my forties – composing, recording, performing – i was headed to niagara in my dreams. sometimes i’d watch the grammys and wonder. but the smaller waterfalls – despite their beauty, despite their ability to resonate or to bring peace, despite the number of times on “repeat” – will not likely show up at the grammys. nevertheless, they have fault-in-our-stars impact. even to one.
charts – the top 100, say – are compiled by detecting the songs played on a select panel of top40 radio stations. this is not objective, nor is it not machinated. many, many integrated, financial and complex symbiotic relationships go into the positioning of a song, the charting of a song. “the best songs” lists beget “the best songs”.
back in 2002 – waaaay back…up the waterfall, upstream, backaways – one of my songs charted on the secondary adult contemporary radio chart. “slow dance” made it up to #13. i was inordinately thrilled but, like many things, it did not come without a price tag. the radio promoter was steep, not to mention a little slimy. it’s a system and, at least back then, those guys had it wired. it wasn’t long before i realized that the charting did not help. it quickly flowed over the riverstones, past the boulders at the peak of the cliff and dropped – the waterfall never stopping for pause.
i don’t necessarily need to see the “best waterfall in every u.s. state”. instead, i think i’d rather see the ones that will invariably touch me, will give me moments to stop and drink them in. i’d rather see the ones that go mostly undiscovered. for even in their relative obscurity they are a gift and they count.
reverse threading 