it continues to peel back. each rainstorm, each gust of wind, the ice and snow of winter, the baking hot sun…they all have impact. and the layers of barney keep peeling back. every iteration of this piano reveals its soul, a soul that never changes. despite disappearing obvious visual cues that say “piano” it is still a piano. the keys are virtually gone now, but remain, nevertheless, in essence. the stand that held music way earlier in this past century of its life has broken down. the sheen of lacquered varnish highlighting the grain of the wood has faded, melting into rays and raindrops. changed, barney is unchanged.
i wonder at the tenacity of such a soul. i wonder at the steadfastness of spirit. i wonder at how much more beautiful it continues to get – each and every day – despite all it has endured, all it endures.
there is a piano in our basement. it is my growing-up piano. it is a spinet, completely out of tune, even with itself. we had it moved down there and then built walls around the stairwell that turns and turns again, 90 degree angles making a complete 180. that piano may never be able to be moved back up those stairs. but if it could, i would bring it outside. the journey that barney has taken – with flowers and plants and chippies and squirrels – has only enhanced its real presence in the world. if i could, i would honor this old piano – this relic of my growing-up – with this same weathering of time.
though currently exponential, like most generations before us, we are living in a strange and scary time. the facade of our country is being peeled back. yet, what we are finding beneath this shiny well-lacquered veneer is not wholesome or all-american. as the soul of constitutional goodness is stripped – layer by layer, right by right, freedom by freedom – there is an ugly that is revealing itself.
when the keys are gone and the music stand is gone and the sheen is gone and the wood is splintering, falling into the garden to turn to mush, what will we find at the center of this country?
i fear it is not stalwart like barney. it is not getting more beautiful. its endurance is limited. changed, it will be changed.
it was while i was waiting for the person to arrive to pick up the desk that i started. it wasn’t really on purpose. it was simply a way to keep an eye out the window at the front of the house. i opened the small chifforobe cabinet and began to pull things out and stack them on the floor of the studio. then i went over to the small desk and did the same thing. before i knew it, it was chaos on the floor of the studio, piles on the padded artist bench, even small piles on top of my piano.
in the unearthing of space, i am finding notebooks of lyrics, slices of songs, chord progressions jotted on scraps of paper. there are piles of process cds – from demos of songs to recording studio takes, edits, production in all its phases, final products of albums released into the world. there are radio charts and encouraging cards, pencils and erasers and staff paper.
i think of my son – at the other end of the journey – the closer-to-beginning part of his artistry. though he is waaay past just-beginning, his heartbeat is quickened by his own growth in his music and by the outer reaction to and support of his EDM. i remember those days and i celebrate for him and with him. they are the days that feed artists when we are depleted, when we are in the midst of hunger, when we are pondering our place in our art form, when – if we are feeling disoriented – we are trying to see where it was – discern how it was – we got lost so that we might find our way, when it’s a little bit agonizing, when we are a lot a bit tender, when we are wondering.
later on – much after the computer desk was gone – after the frenzied muse had left the building – i groaned looking at the mess.
but there is no going back now. it’s time to keep going, to keep going through, eliminating, filing, re-designing the spaces and space in my studio. time to bring in new light, time to give it a chance.
in more than a bit of vulnerability, i must say that i don’t really know if that will change anything. i know that the studio will look more spacious, it will be slightly less muddled in there, more austere, more piano-focused. i feel like that could definitely be a good thing…a tiny step toward actually playing, actually composing. cleaning out will remove some of the tangible tokens of feeling remote, or of hurtful, harmful things that have undermined my artistry, that have waylaid me. it might remove some of the visible and invisible layers between me and my music. i guess that’s all to be seen. as overwhelmed as i am – thinking about all the work in front of me – i do see some magical bits of light in the dark, even amid the squall of chaos.
when my grand first arrived – over 25 years ago – it was the only thing in the room. just a big C5 on bare wood floors with high ceilings and freshly painted white walls of plaster and beadboard. it was pure and glorious.
since then – for various reasons – i added a chifforobe, a writing/reading chair, a desk, music stands and mic stands, other instruments.
maybe sorting through, reorganizing, removing the desk, minimalizing stuff, clearing the space will surface the essential reason for this studio, will distill the paralyzing fog that has settled over the space and in my heart, give light to a dimmed imperative. maybe a tiny bit of balance will return. maybe it’s all still relevant.
i stand in the doorway and acknowledge that i don’t know.
i wondered if it was too predictable. each spring, now, a dandelion. each spring, now, the song “fistful of dandelions”.
yet the lyrics – “you remind me of the simple things” – they still count. maybe even more than before.
singer-songwriter: a musician who writes, composes, and performs their own musical material, including lyrics and melodies. (wikipedia)
composer: a person who writes music, especially as a professional occupation. (dictionary)
pianist: a person who plays piano, especially professionally. (dictionary)
i have not written, composed or performed my own musical material in quite some time now. does that change who i am?
when i wrote “i haven’t been playing” a dear friend asked me, “what’s that about?” i didn’t answer. i wasn’t trying to be rude. i just didn’t have an answer. i still don’t.
we, d and i, decided – in a pillow moment one night – to call all the stuff that has happened (to me) since i broke both of my wrists “the burtons” (naming every-single-weird-thing after the brand of snowboard i was on when i fell.) it matters not – the broken wrists, the scapholunate ligament tear, the firing, the oddball itinerant tendonitis, two broken toes, other strange and disturbing body stuff – we are choosing to call it all “the burtons”.
so, i guess i blame the burtons. i wrote, “i’m not sure of much that isn’t different these days.”
i am learning – ever so slowly – that different is ok.
and as i clear out, clean out, declutter, put away all that is no longer useful – i am beginning – again – to see the simplest things that are left. gratitude for those things is starting to overtake any yearning for more. “all the riches i will need today.”
each day now i write. not lyrics. not music. but words. it is part of the natural rhythm of my day and not something i could sacrifice without great regret.
writer: you’re a writer because of the things you notice in the world, and the joy you feel stringing the right words together so they sound like music. (writer’s digest)
“…so they sound like music.”
and one day, maybe soon – maybe after my studio has been cleared out, cleaned out, decluttered and all that is no longer useful is put away – i will put down whatever my resistance is and place my hands back on the keys.
the mallards are back. a male and a female. they were hanging out across the street on the corner in the grass next to the sidewalk by the bus stop sign. i couldn’t help but smile; they are a welcome sight.
the robins have been gently waking us before dawn – their birdcalls, wafting through an always-partially-opened-window, a soft entry into a new day. i wake, listening to them and other early birds, then slip back to sleep for a few-more-minutes.
after what feels like a long winter, accentuated by the pandemic’s limitations, the mallards, the robins, the tiny flowers poking out of the grass and alongside the trail, all harbingers that spring is actually coming to wisconsin. really, really.
there is a temptation to clean out the gardens, to neaten and tidy up. but rule of thumb – wait until the daytime is at least 50 degrees for 7-10 days – puts the nix on this. wisconsin is not 50 degrees even two days in a row yet. the robins and the mallards roll their eyes.
so, the spring cleaning juju goes inside and we spend any extra energy readying our home for throwing open the windows, allowing the sun to stream in, cleaning out the cobwebs and the (ahem!) dust of the past seasons.
we changed our sitting room last weekend. we put up fresh paintings, moved things around, pared down. the sitting room is between the hallway and the master bedroom and, though with a comfy couch and chair, has often felt merely like a walk-through. we pause now. it feels peaceful and inviting. a little re-arranging, a little re-decorating and it is a space luring me to curl up, read a book, write poetry, sit and ponder.
we are moving around the house now, doing the same as last weekend. the dining room has bags and bins and boxes filling up – things to donate. the basement, also. it will take some time. this is not the first time i have written about this lengthy process, nor will it, likely, be the last. it is a journey. i’m taking it bird by bird. (anne lamott)
the next room up is my studio. it has too many remnants of past workplaces, too many packages of stuff, too much in it to feel inviting or peaceful. i stand in the doorway and wonder if the mallards would turn away, grimacing, were this to be where their homing instinct returned them.
i know that the sitting room’s new persona, so to speak, has encouraged me to sit, to stay there a while.
i wonder if the studio will do the same. cleaned out, tidied, pared down. bird by bird.
full stick and an empty piano bench are a powerful invitation.
we moved the sunflower. it was on the deck for a few years now, rusting behind the aging wooden glider, tucked between the kitchen window and the bedroom window. it greeted us each day we left and came home. it watched over my girl as she house-sat during the summer, a couple ago now, when we were on island. she didn’t know it, but i had asked it to keep her comings and goings safe and each time she left and came back to smile good days upon her. it came home from a cedarburg festival with us, having called us over to ponder its purchase. we walked the length of the festival and talked about the sunflower. then we went back, after more debate than most probably make about purchases, and bought it. about two weeks ago we moved it. now its place is next to barney, surrounded by peonies and wild geranium and daylilies and snow on the mountain. it is happy there.
when you’ve lived somewhere for quite some time there are naturally places that you go that feel better than others. for me, there are places in this town that have immediate warm responses for me, places that have held me, places that are part of my cairns, places where i have dreamed and imagined, places where a community has meant the world to me. there are other places that conjure up memories i would rather forget with visceral responses i can actually feel; i generally stay away from those spots not wanting to relive moments of grief or poor judgement or anger or betrayal or grand disappointment. i have learned, though, that sometimes the best way to process those is to drive past, to acknowledge, to breathe deeply, to maybe weep. in the same way that actual places remind us, mementos from places we hold dear make it into our special boxes or find their way into our home like sticks accumulating in the walking stick vessel in our sitting room or rocks added to the stones around the pond. some mementos are bigger than others, like the sunflower from a gloriously sunny festival-going day in a town we adore browsing or the 5′ long driftwood from a long island beach that graces the mantel or the high mountain aspen branch wrapped in lights in the dining room. and then there’s barney. there’s no escaping this beautiful piano in our backyard, aging with us.
i’ve shared barney’s story before…how he escaped the junk man’s junkyard destination and, for a small price, came here to share life with us. from a basement boiler room to a place of honor near the pond in our tiny yard he sits and invites the company of beautiful plants, munching squirrels and cutie-pie chipmunks. yet he is a memento. and the place he came from is no longer a favorite place. instead, it is a place i now avoid, with emotions that elicit a physical response and a little vibration i can feel in my chest when i think about it. and so how do i avoid attaching these feelings to barney, i have wondered.
my growing-up piano is in our basement. movers moved it there many years ago, before there were walls in the stairwell. i wonder what will become of it if we ever move. it proudly holds art books and a small stereo and sits in david’s painting studio with a couple rocking chairs and his gorgeous old easel. i have thought about ways to repurpose it. and yet, it is so dear that it will, for right now, stay there just as it is, with music in its bench and the little index card on which is carefully printed in eight-year-old font “practice makes perfect”.
there is a piano of size in my studio. it sits at full stick, waiting patiently. i was in there yesterday and it whispered to me, but, for right then, i was consumed with the finishing of putting things away. there is still music to file, organ music still to go back into cabinets. i must decide what to do with the poster that hung on the choir room wall that reads, “if you ask me what i came into this world to do, i will tell you i came to live out loud” or the metal cut-out words “it’s all about music” or the white strands of happy lights that were woven around the blackboard that listed rehearsals and demonstrated strum patterns and had dates of parties for that well-loved community held at our house.
maybe once i decide what to do with all of it – including the emotional wreckage part – i will again sit at my piano. drive past, acknowledge, breathe deeply, weep. my piano is full of empathy i can feel and some day, soon i hope, i will be able to sit and play – in a studio cleaned and inviting with mementos of goodness and intentions of evolution. then i will walk out of the studio and down the hall, through the kitchen and the sunroom and outside onto the deck. and i will sit on the old settee and listen to the pond and the birds and watch the chipmunks scurry across the top of the old piano that shares space with the sunflower and a couple green-eyed metal birds.
in answers that have come with a few months of time, i have found that the piano-ness of barney has overcome the where-it’s-from-ness. the peeling back, the wrinkles, the embrace of its tiny community in our yard…these things have usurped the rest.
instead, barney and the sunflower together greet us upon leaving and greet us upon returning home. together, they both bring joy and reassurance to our backyard and they both smile good days upon us.
an ice field, this river. devoid of color, devoid of life. but below, it is teeming with fish, perhaps turtles, swimming, swimming, waiting for a thaw.
it is much like my studio. it, right now, is devoid of color, devoid of life. i suppose, like the river, it is teeming underneath. but, for the moment, it is an ice field.
i pass by my studio every day. some days i walk in to open the blinds, to allow the southern sun to fill the corners. i walk in later to close them, to keep out the cold and the dark. especially the dark.
my piano waits, swimming silently like the fish and the turtles; it is waiting for a thaw. mine.
i don’t know what’s next. the notes – scraps and notebooks – for the decades of composing and recording and songwriting i’ve done that used to pile all over the top of the keyboard, spilling into the body, slipping onto the strings under the full-stick lid-up, stacked on the bench – have been put away.
i don’t know what’s next. the music – for the decades of work i’ve done that used to pile all over the top of the keyboard, spilling into the body, slipping onto the strings under the full-stick lid-up, stacked on the bench – has been put away.
i don’t know what’s next. there’s a blank journal. a notebook. paper and a clipboard. pencils. an aspen leaf, a few high mountain rocks. there’s a peg from one of elton john’s pianos and a tiny sign that says “i came to live out loud”. waiting. the sun is gathering in the nooks and crannies and diligently pushes the dark cold away, waiting.
my footprints will fill in like these tracks on the river. the work i’ve done, the work i used to do, will fill in, will look less and less like footprints. little by little the wind will blow snow into the tracks and they will eventually dissolve into the rest.
and next will keep waiting. up the river. in the sun.
no instructions. no gps. no map. no paint-by-number numbers. no light-up-the-keys guidance. nothing.
from here to there. blank to image. silence to sound. from nothing to color, timbre, tone.
we begin with maybe a wisp of an idea, maybe something dancing in our mind’s eye, something teasing us, encouraging us, perhaps goading us, “start it.” artists choose whether or not to follow the spur.
i know there are times i don’t listen. i ignore the sweet pining of the piano, a soft, nagging voice from the studio. sometimes it is just impossible. impossible to answer. instead, scoffing at the mere suggestion, i walk the other way. i find something that seems more constructive, that has a tangible reward, that doesn’t necessarily feed my heart but where i can actually see what effect finishing “it” has. it’s a product of a culture that does not financially reward artistry. despite an immediate synchronized turn to the arts for comfort in times of struggle and need, when you google “how hard is it to make a living as an artist?” this is what you find:
“Making a living as an artist is hard to do. Making art is hard to do. There are lots of limitations. But limitation is an important tool in the creative process so you can use the fact that it’s hard to your advantage.”
riiiight.
i have a very few experiences painting. the times i chose to paint were absolute – a call and a response. i had no second guesses, no real concern for the finished product, no worry about how these pieces of art – outside of my own medium – would support me.
i suspect my piano was insanely jealous…there i was, in the basement, wildly throwing paint, when all it asked me to do was stand by its side and “start”. there i was, in the basement, feeling, when all it asked me to do was breathe all i felt through it once again. there i was, in the basement making art, while it sat silently imploring me to make art.
i can hear it calling. i know i’ll someday listen. but first. first i must see the wisp of meaning.
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.
it broke more than both my wrists, that snowboarding fall last monday.
it broke my ability to do many things for myself. it fractured my independence.
it exploded my previous gratitude of those around me, loving and caring for me. it expanded a dependence on others, particularly david.
it broke through my vulnerability threshold. it made me acknowledge my modesty and encouraged me to try to stand tall in my new temporary disability.
it broke what i knew about others around me. it both surprised me in all the best ways and surprised me in all the worst.
it broke my assumption that all things – all my relationships – all my work – would stay the same. it shattered any sense of security.
it further broke my trust in our country’s healthcare coverage. it pointedly drove home that point.
it broke through any calm-in-the-storm-around-us i had found. it exacerbated a profound sense of worry.
it broke my muse. it scared me, really scared me, and it made me wonder if i would play again, write again, perform again.
day 5. my quiet piano welcomed me into the studio. i stood in front of it. determined. and i played. nine fingers, not ten. not the hand-span of all other days, but never mind.
day 12. eleven days after breaking them i still wake up, after night’s elusive sleep, surprised to see my wrists, well, more accurately, my cast and hard splint.
i think, “here we go,” and i set out to see what’s beyond two broken wrists.
yesterday david wrote these words about his palette. as i read his words, i realized he was conveying many of my own sentiments. with his permission, i have only slightly modified his words this morning to express my own artist palette – my piano. the re-posting of this, and even using the same verbiage, reminds me of the intertwining of all soulful expression. bear with me as i experiment, my words in red, an exploration of two artistic planes running parallel.
true confessions: i never rarely clean my palette the music stand on top of my piano. i like the messy build up of color. color is found in many forms but mostly notebooks and pa-pads, scraps of paper, snippets of tracks recorded on an iriver or an iphone. i like the chunky texture pile. it serves as a gunky history of my work, a genealogy of paintings compositions past and future. and then, over time, it becomes a tactile work of art in its own right. unfettered by any of the mental gymnastics or over-ponderous considerations that plague my “real” work, it is the closest to child-mind that i will achieve. it is accidental. it is free. it is idea, melodic gesture, poetry waiting for notes, phrase waiting for the rest of the lyrics. ready. waiting. free.
this might be a stretch but it is, for me, nevertheless true. i love my palette because it is the place of alchemy in my artist process. it is the true liminal space. long before the space spanning the route taken from introduction to coda. i begin with pure color. i begin with the rest, silence inbetween the notes, the place for breath so you can hear the vibrations of sound. i smash the pure color together with another color and transform it into a third color, the hue i intend. note upon note i build a melody, smashing note upon note i build a small unaccompanied orchestra of harmony, the hue i intend. on a palette, color becomes intention. sound becomes intention. and then, once transformed, with a brush or knife i lift the color-intention from my palette and in an action that is often more responsive than creative, i place it onto a canvas. i play, i listen, i play again. i lift it from the keys of my palette and place it onto the canvas of paper, attempting to capture the fleeting moment it has created and etch it into a piece of music that can be repeated, played again. it transforms yet again relative to all the color it touches. it transforms yet again relative to the air in the room, the echo of an intention, the listening ear it touches. an image emerges. more color is called for. it emerges, this composition of music, and more color is called for.
and, somewhere in this call and response of color, i become like the palette. the pass-through of alchemy, the door that color passes through en route to something beautiful. and somewhere in this call and response of color, i become like the palette. the pass-through of alchemy, the door that color passes through en route to something beautiful. this! can there be a more pure statement of artistry? and, in the process, perhaps i, too, in my messy build up of life/color, grow closer to that child mind. unfettered. accidentally interesting. free. and in the process, perhaps i, too, in my messy build up of life/color, grow closer to that child mind. unfettered. accidentally interesting. free. the rest between the notes. the breath of music on the air.
“You never know what is enough until you know what is more than enough” ~ William Blake i paint. i write. i compose. i don’t know what is enough until i know what is more than enough. truth.
reverse threading 