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carrots and bottom lines. [k.s. friday]

someone peeled carrots into the pond and then it froze over. shavings of those multicolored organic rainbow carrots on the ice surface, just below the surface…it made me laugh to see so many carrots in one place. only they weren’t carrots. they just looked like carrots. instead, it was bits of bark and dried grasses and small sticks – no nutritional value or nurture to bunnies and squirrels and chippies, deer and birds.

it brings to mind the children’s book “the carrot seed” – the little boy plants carrots despite the fact that practically everyone around him tells him – basically – that the bottom line is that they won’t come up, despite his care. the last frame of the book shows him – having persisted nurturing the seeds he had planted – pushing a wheelbarrow with the biggest carrot you’ve ever seen. the value – the power – of true nurture.

nurture: to care for and encourage the growth or development of someone or something.

at this moment, for me, it is a hop, skip and a jump from there to thoughts about healthcare and insurance, keeping wellness forefront.

insure: to secure or protect someone against (a possible contingency) this definition would lead one to believe that “to insure” is somewhat parallel – or at least supplementary – to “nurture” – seeking to keep someone safe, healthy, attempting to look out for someone’s best interests.

“insurance is a means of protection from financial loss in which, in exchange for a fee, a party agrees to compensate another party in the event of a certain loss, damage, or injury. it is a form of risk management, primarily used to hedge against the risk of a contingent or uncertain loss.” (wikipedia)

“insurance plans will help you pay for medical emergencies, hospitalization, contraction of any illnesses and treatment, and medical care required in the future.“(an insurance company)

our current (and unfortunately necessary) gap coverage insurance company states they are dedicated to a simple goal: “making health care easier for the people we serve.”

the insurance plan that will take effect in five days believes that “health connects us to each other” and that “what we all do impacts those around us”. and so, they say they are dedicated to “delivering better care to our members”.

nevertheless, the united states seems to have a grotesque insurance problem. the earnings pie – or say – the carrot cake only goes so far, particularly with major medical insurance. but then, there’s dental insurance, vision insurance, life insurance, home insurance, car insurance, major appliance insurance, small appliance warranty insurance, laptop and tablet insurance, recreational vehicle and boat insurance, travel insurance, personal, general, property damage liability insurances. americans are slicing away at their own cake…for most, never quite big enough to start with.

and then there’s business insurance…various insurance plans that companies, organizations, institutions purchase to cover costs associated with property damage or liability issues and to keep their employees safe and healthy – because companies and organizations and institutions care about their employees and want to look out for their best interests.

“your employees may be your business’ most valuable asset.” “… protect your employees …” (an insurance company)

yes.

ahh, but here’s the rest of that insurance company’s statement:

“your employees may be your business’ most valuable asset.” “… protect your employees – and your bottom line…”

hmmm.

though it may look like carrots, there are no carrots there. no nurturing. no nutritional value. just a bottom line.

just dried marsh grass and sticks.

*****

NURTURE ME ©️ 1995 kerri sherwood

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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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in the questions. [k.s. friday]

i cleaned my studio.

finally.

took everything off every surface. dusted everything. put some things away. moved things around. got rid of excess. hung a favorite print. and – with great care – gently vacuumed the inside of my really beautiful piano, for full-stick is an invitation to dust.

i stood back, stood in the doorway, looking in.

the room was breathing. deep breaths.

i was breathing. immersed.

there is still more to go through. there is more to file away. there is former work-trauma to discard and there are calendars of choir music and ukulele band books and handbell arrangements and contemporary solos to box up. the first pass didn’t get all those and now, two years later, i am still a little paralyzed by all of it. that’s why it all needs to go. this process is taking longer than i would have anticipated. “mind, body, spirit,” she said. “it’s not likely others will understand all the layers. they will expect you to just move on, to get over it. they will not grok the wounds; it is all fraught.”

but there were staff lines in the sky. and the universe prompt is haunting me a little.

it’s always had a purpose – my studio – a direct line from standing or sitting in there to actual work. i’ve not just noodled or played because i was just playing. i’ve stood in there to write – to flesh out an album, to practice, to plan – the arc of music for a concert or for a church calendar, to teach – so many students through the years. it hasn’t been a place i go to without purpose, without an end-product, without a result i could see. as an adult, my studio has represented the potential for income; it has been a professional place. now there are questions. many of them. like living in a blank staff, i live – lost – in the questions.

i played my piano. a few carols.

there is one more day this year. and then 2023.

and i won’t carry carols into the new year. it will be time for something else, something less dusty.

there’s some way to go. it’s not as simple as it sounds.

the staff lines in the sky hold no clues, have no notes.

maybe – instead of reading that as tacet – silent – i might – and “might” is the operative word here – read that as a composition without designated key, without predetermined time signature, without definitive expression markings, sans any direction or boundary.

vacuumed and breathing.

an empty notebook on the stand. pencils.

full-stick.

we’ll see.

*****

lost. in the questions. – kerri sherwood

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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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still standing. [two artists tuesday]

“yeah, yeah, yeah!”

the most powerful moment i felt at the elton john concert sunday night came when he sang “i’m still standing”. still standing! yes!

analysis of the lyrics aside, “still standing” elicited the gigantic reverberation of 50-60,000 people singing along, all of whom, i suspect, have a “still standing” story. it’s the kind of song that generalizes – it’s about relationship, but isn’t everything in life – our relationships with our beloved, with others, with ourselves, with our life’s work, with this universe? just the sheer still-standingness of being alive made singing along worthy, no, more, a necessity. the stadium roared.

his first hit – in 1969/70 – “your song” brought tears to my eyes. in the encore set, i knew we wouldn’t see him live-in-concert again and the experience was rich, under a beautiful open-air night sky hearing my husband, daughter and her boyfriend sing along in various songs.

but that i’m-still-standing … i wrote it down in a note in my phone.

because sometimes life teeters and you are delivered boulders while you – a tiny rock of ash in a huge galaxy – attempt to precariously balance it all. and last night – well – i knew i was still standing.

and i suddenly knew that i would do all i could to make sure that my tiny star is dancing inside and out, that all the notes count, that it’s all silently and roaring out-loud. yeah, yeah, yeah.

elton john somehow reminded me that i’ve been standing all along.

*****

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i am an artist. [two artists tuesday]

i read it on a thread. someone commented to an author i follow. “never be shy about your work,” she encouraged. i took a screenshot.

never be shy about your work.

humility is a virtue, we are taught. desiderata reminds us, “if you compare yourself with others, you may become vain or bitter, for always there will be greater and lesser persons than yourself.” always.

but somewhere in there – in the spectrum between meekness and arrogance – is the space to be proud of what you do, to stand in it, to share it.

“what do you do?” people ask. many people can answer that in a word. as artists, it often takes a paragraph, all run-on sentences with no breath so as not to get that lost-in-space glazed look on the asker’s face.

when i broke both of my wrists, the medical staff wrapped up both of them, casting and explaining the possible ramifications of the breaks “at my age”. when i fell the second time on a wet floor and re-injured my right wrist to the point of it having a frighteningly small amount of range of motion, the specialists asked questions and each politely said, “i heard you play the piano” as if i sat around noodling, surrounded by porcelain figurines and teacups, playing chopin-light or maybe little easy-piano-pop-hits. i was literally hesitant (!) to speak and qualified my statement-to-come by saying, “i’m not saying this to be self-aggrandizing, but….” and then i continued, “but because it’s a fact that i have 15 albums out in the world and piano is my major instrument and this could change my life work.”

those specialists had no qualms about saying they were specialists. none. i wondered why i hesitated, why i was apologetic.

never be shy about your work.

i have worked hard in my area of specialty. i have struggled like any artist, have written on scraps of paper and flimsy napkins, have squeezed out time in-between everything else that takes time, have stood in the rain playing and singing on flatbeds, have lugged boxes and boxes and boxes of cds. i have also sold thousands and thousands of albums and have millions of streams. it doesn’t equate to any kind of riches except the kind that is the deep satisfaction of doing something you love.

i used to be much more aggressive – and assertive – about “getting the word out” about my music. though i recognize that vocal styles come and go, instrumental piano is not irrelevant…it has no shelf life. it’s just as peaceful and evocative today as the days i composed it, the days i recorded it. so that would mean that 14 of these 15 albums still have some sales merit, not just the $.000079 cent so “generously” royaltied by online streaming.

never be shy about your work.

in the last church position i held, i was in a meeting with two of the leaders. they were streaming the services and i was commenting on the level of professionalism we needed to try to achieve. i wasn’t willing to link my personal and professional social media to this online streaming until the sound quality (in particular) was indeed much better. one of the leaders stared at me, clear disdain on his face, and told me he had no idea why i would say such a thing or hold such a stance. i explained that i am a yamaha artist and that only PART of my work in the world was the job (which he deliberately pointed out was part-time) i had at that place. for the umbrella of my life i was an artist and that i have always strived to bring the best quality to my work. i told him that it was important to me to make sure that nothing i did musically in the public arena was schlocky (including at that place) and that, as a yamaha artist with fifteen albums, i would hold to my position of not-sharing until there was something more professional to share. i would not undermine my own artistry because mediocrity was ok with him.

never be shy about your work.

he – eventually – found a way to fire me. in the deep dark cloak of covid. with no one really knowing why, including me. well, except, maybe, for retaliation. que sera.

never be shy about your work.

i am proud of the albums that will eventually find their way into antique stores around the country. i see them on resale sites now.

but i also know that – from time to time – someone writes to me. and in their writing they tell me that my music has meant something to them. my music has helped them, given them a sense of serenity, made them think, made them dance.

and that is what counts.

so before the vintage-store-influx i guess it’s my job now to not be shy.

i am a composer. i am a pianist. i am a singer-songwriter and recording artist. i am a writer. i love being on stage, telling stories, playing music. i love the feel of wood under my feet, a boom mic in front of me. i have fifteen albums and a few singles. i’m researching how to get more out of pandora and itunes and all the streaming devices out there. i’m 63 but i’m thinking i might still be relevant. i may need your help because no one gets anywhere in a tiny bubble; no one walks this path alone.

i’m pulling up my not-shy-boots.

*****

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edges and kaleidoscopes. [two artists tuesday]

the edges come fast. a blink and they’ve arrived.

i did a photo shoot with my cello. it’s a gorgeous instrument, elegant and full of tear-your-heart-out melodic possibility.

i am sitting at the edge.

i clutch onto it tightly, yearning to yo-yo-ma, yet knowing this edge is somewhat irrefutable. in my heart, my wrist, the tendons of my fingers ache to bow, to press string to fingerboard. the edge pushes back. i know that it is time and that no dream in the night – onstage with soaring, weep-worthy lines – will change that.

my edges – like conglomerate rock, a mixture of wishes and knowings and new – reorganize in the kaleidoscope of life. and, because life is like that, surprises will show up, lit by spotlights and sunlight.

and, once this stunning instrument has moved, as it should, from my studio to the embrace of someone else, i understand that, though my hands will not touch its graceful lines and resonant soul, there will be other learnings, other touches. and always, other edges.

“though i play at the edges of knowing, truly i know our part is not knowing, but looking and touching and loving.” (mary oliver)

*****

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thriving. [k.s. friday]

there was a jaguar suv parked in one of the bays when we went to pick up littlebabyscion at the shop. it was shiny black and had an aura of extravagance. i joked as we walked in that it was “practically identical” to our little xb. our beloved – and stellar – mechanic laughed and said, “nah! it’s just ridiculously expensive! fancy doesn’t make it better.” because this society assigns value to things that cost more, i probed a little further, comparing our very-basic vehicle to this one, and he answered, “the reason people buy these – and many other vehicles like it – is for other people to see them driving it. it says ‘i am successful’ to the world.” i laughed and rolled my eyes, joking about the level of success us driving our scion speaks to and he replied, “nope. doesn’t matter.”

“…only about 0.000002% of musicians become ‘successful’.” (one of many statistics found when googling the rate of success for musicians.)

now that is a bracing statistic. it would suggest that there are a heck of a lot of musicians out there – including me – driving un-fancy vehicles with odometers pushing 300,000 miles. it would suggest, too, that there are a lot of musicians out there whose egos are not benefitting from the sideshow and stroke of other people’s ‘that-person-is-successful’ thinking.

but we still keep on keeping on anyway.

successful (synonyms): prosperous. profitable. booming. fruitful. thriving.

the prosperous is evasive. the profitable is of-the-past now that streaming is the preferred mode of listening over purchasing cds or even paying for downloads. the booming has slumped. the fruitful is fallow, often barren, depending on levels of frustration over thinking you should have been a financial analyst, software engineer or investment broker. and the thriving? well, that’s another story.

thriving is growth and growth rays out from the center in an artist. up against a challenge, we seek a different route, a different way. it is not our nature to give up, though an independent artist’s odds of success are clearly stacked. we simply “cannot imagine leaving”. (todd skinner)

instead, we channel the creative energy that keeps stoking up, that keeps us going. we funnel it out into threads of let’s-try-this or let’s-learn-that. when we can’t perform, we play. when we can’t play, we compose. when we can’t compose, we write. we find rivers we can enter and we wade in. we take risks.

in recent days i have come to realize that i still have much to learn…much growing to embrace. there are always more questions than answers. creativity whispers, “do not limit your future by basing it on the past, projecting what you can do based on what you have done. your goal is to be not just better than you were, but as good as you can ultimately become.” (todd skinner)

true in every arena of life…artistry, physicality, emotional health, motherhood, in community. much to learn. always. thriving.

it’s a mystery how it all will turn out. how, in the end, we will be seen. whether we will be prosperous or have a profitable life. if we will have boomed or been fruitful. whether we will have driven a fancy-car, a workhorse old truck or a steadfast littlebabyscion and what that all means to the world watching.

what will really matter – to us artists, adapting in ever-changing light and in each season – is if we thrived.

*****

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hearts in kansas. [d.r. thursday]

we broke down just past hays, kansas. big red just didn’t want to go uphill or accelerate without some violent shuddering and, as i drove, i worried it – in the middle of nothing-around-this-part-of-kansas or nothing-around-this-part-of-colorado – would refuse to go on. we turned around and slowly went back to hays.

the ford dealer service department was swamped. the manager talked to us for a few minutes and then he pointed us onward – to a privately owned service center on the other end of town, the one to which he assured me he would send his mother (who he likes) or his sister.

we limped over there, middle-afternoon turning to later-afternoon, crossing fingers, and dallas and casey listened to us describe, naturally in purely automotively-correct-terms or maybe some jibberish with automotive sound effects, what was happening with our old truck. we told them our plight so they knew time was of the essence and we needed to be across their fine state and to denver by early thursday, the very next day.

a short diagnostic and dallas told us that a couple of the cylinders weren’t firing and that they were both on the same coil; he suspected that coil was the culprit. because hays, one of the few towns in that neck of the woods, is big enough to have a few auto part stores, they were able to get our new coil and install it right away. dallas said we should give it a go on the highway, though he wished he were able to do a more overall diagnostic to determine if there were other problems.

a few hours after it all started, we were back on the road, with every appendage crossed. we held hands on the first hill we encountered, climbing elevation not far from the hays exit. i literally held my breath. big red was a champ on that hill. we cheered – aloud – and waited for the next one and the next.

the first couple hours post-coil-replacement went like that. waiting and then climbing and then breathing. and repeat. big red accelerated with no problems across the rest of kansas, through a weather front with 50mph winds into colorado and in front of a threatening thunderstorm from the south. a few challenges today in roadtripland.

and so, though i would have suspected that this post would have been about something different because of the prompting photograph we had chosen, i have found that it actually prompted me to write that the people we encountered today in kansas had heart. i – no, we – really appreciated it. ever so much.

and so did big red.

***

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the bow. [k.s. friday]

the bow: sculpture – duke kruse **

at the very end of a concert, out on the apron of the wooden stage, as close up and personal as can be from a proscenium, head tucked down and adrenaline coursing through your body, the final bow is sheer gratitude. it is a humble thank-you. it is an exhilarating release. it is a moment when time dissipates into slow-motion and suddenly you realize that it is over. it is full of you-are-exactly-where-you-are-supposed-to-be. it never ceases to amaze me. and then, it is the moment to tuck back behind the curtain, head to the green room, breathe a prayer of thanks, and start the running review in your mind’s eye.

it matters not the size of the audience. a few people in folding chairs, a park filled with thirty-thousand, a few hundred seated in upholstered comfort. you bring the same program, the same dedication, the same commitment to your art, no matter how many people are there. the give and take of audience energy makes a difference, yes, but any performing artist can tell you that delivering the work is the same, regardless. one must actually work harder with a smaller audience.

you can feel it. the minutes your delivery resonates. you can feel it. the minutes you know you need to rapidly move on, change the course. you can feel it. in the perfect pause between lines of a story you tell, laughter waiting in the wings. you can feel it. the heart of a story falling into the hearts of those gathered to watch. it is a dialogue without dialogue and your bow at the end of the concert acknowledges their participation in it.

i would say that the things i miss most about the-job-i-no-longer-have are those moments of resonance, the moments that don’t find a place in a job description, the moments that cannot be measured. they are the moments birthed through expansive experience, through study, through empathy, through intuition, through gifts given to you that have no names, no deservedness; instead, just the compelling imperative to be used.

the times in the choir room when, in the middle of starting to rehearse a piece of music, a story surfaces and i must tell it. that laughter opens everyone; the piece of music has four-part heart. the times when i direct others performing together, joy on their faces, their breathing different because of that which they have created together, that which we have rehearsed together, the spirit which we have sown in the music. the times in the chancel, in the middle of a particularly poignant song, standing at the piano and singing into the boom mic, glancing at jim playing guitar and singing harmony and telling him with my eyes to make another go-round, looking out into the gathering, eye contact, and seeing the song fall upon them, touch them, engage them, speak to them, tug at them. those are moments when music connects faith-dots, moments of doing the work, moments of shaping a journey, moments in which i bow internally to that which guides me.

there have been many: many prosceniums, many aprons, many black boxes, many chancels, many flatbeds, the floors of wholesale, retail, television studios, the creaking floor under my piano, the patio out back. they each bid to the imperative. they each elicit my gratitude.

the stage echoes under my boots. as i walk to the center, take the bench at the piano, place my hands on the keys and my face up close to the mic, it is always with great anticipation. it is the culmination of planning, designing, writing, practicing, rehearsing. it is lighting and sound and balance. it is storytelling through song with lyrics, through song without lyrics, through song without music or lyrics, through narrative and through rests. it is the forerunner of a deep bow i will hold onto until the next time.

*****

read DAVID’s thoughts this K.S. FRIDAY

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** this stunning sculpture’s home is next to my piano in my studio