it made me cry. it was all i could do not to down-and-out messy cry. had i lost control it would have been ugly. i grieved for every single american child as i struggled and hiccuped my way back to some semblance of calm. phil vassar’s lyrics were poignant and profound and deeply troubling.
the concert was amazing. phil vassar is a prolific songwriter, a consummate performer, his voice strong, his ballads clear. i’ve seen him in concert several times and was thrilled to see him again. he is now 63 and, having had both a heart attack and a stroke, he is making his way back – to the attention of the public – for the public forgets quickly.
there are artists you hold onto, particularly when you are an artist yourself. you know when there is something absolutely special about someone – you can feel it. every song, every note, every sung lyric – this man is a master singer-songwriter. there’s nothing really fancy about him…he plays a painted acoustic yamaha piano, often standing (which i can totally relate to). his band is extraordinary and tight, the perfect backup for him.
“cause 419 lakewood had no silver spoons/just an old beat up upright that played out of tune/now i’m singing and living the life that i love/and when i count my blessings i thank god i was an american child/an american child/’cause dreams can grow wild born inside an american child.” (american child – phil vassar)
every american child.
and that’s why i cried. because it’s no longer the same. i cried for my adult children. i cried for my friends’ grandchildren. i cried for the children i don’t know. i cried for what this country has lost, the dreams that have been violently stolen, the hope that has dissolved, the democracy that hangs by tiny filaments.
at the end of the concert, phil vassar – in seemingly no hurry at all – sat on the edge of the stage and chatted with people, took selfies with his fans, signed shirts and hats and cds.
i stood at our seats and watched, both proud of him and a little bit stunned at how very gracious he was – his obvious, deep gratitude to a concert hall that should have been filled.
i knew he couldn’t hear me – and i didn’t go up to tell him – but as i stood there i whispered, “you’re relevant, phil vassar. you’re so relevant.” deep down, he already knows. he’s always been relevant.
an american child. the american dream.
“there is no trust more sacred than the one the world holds with children. there is no duty more important than ensuring that their rights are respected, that their welfare is protected, that their lives are free from fear and want and that they can grow up in peace.” (kofi annan)
“a promise once made/will it shine, will it fade/will we rise with the vision or fall?” (american child – john denver)
it’s the last two. the very last two jalapeño peppers. today or tomorrow we’ll make ann’s jalapeño poppers recipe and celebrate the crazy-abundant harvest of these two relatively small plants. their season is clearly over; there are no tiny flowers left, there are no miniature peppers. these plants are done producing. but, in a new discovery, i have found that we can overwinter these perennials (more easily sustained in warm climes) – if we bring them indoors before the first frost we can give them a headstart for next year.
last year we only had one plant. its harvest is what convinced us to have two this year. maybe next year it’ll be three. in these last years, we have discovered the equation of this garden – what we get out of this garden is a direct result of what we put into it. it – and the experience of it – remain part of us, for we have paid attention to it.
like artistry – if you follow the imperative – being true to who you are – and who you’ve been and who you are becoming – and not beholden to societal expectations or fiscal returns – its produce potential is crazy-abundant. amorphous, ethereal, it will shape and re-shape, build and break down, condense and stretch – you are feeding it always. in the quiet and in the noisy, in season and out-of-season, overwintering. it’s all fluid, continuous.
i wonder when i will compose again. sometimes i can feel it building – the tension of the imperative. on those days i walk into my studio and touch my piano. it’s just a gesture, an acknowledgement. but it counts. it connects me back and forward, both. it is perennial.
and i can see – they are one and the same – these jalapeños and my music.
“not even the tiniest perennial grows only to die. it comes back again and again when the season and the time is right.” (kate mcgahan)
we pulled up to the recycling tent to drop off the computer-type equipment we had – several old printers and associated cables and plugs. we had been looking forward to this event – an earth day event held locally – in order to continue the purge of stuff, but in the most environmentally-friendly ways.
there were a few people in the tent waiting to help and we really appreciated their work volunteering. they immediately moved forward to our vehicle to help us unload.
i got back into littlebabyscion and glanced over through my fully-open window to repeat our thanks. that’s when i saw one guy glaring at littlebabyscion and saying something to someone next to him. the focus of his gaze was undeniable.
i decided instantly.
“looking at our wheels, eh?” i addressed the guy.
he looked at me, surprised to be caught in the moment, “uhhh….yeah.”
“well, they may not be fancy but this little xb has faithfully driven 280,000 miles,” i bragged.
he stammered. “wow, that’s really cool,” he managed.
“yup,” i said. and then, pretty emphatically, “you can’t judge a book by its cover!”
i’m hoping he felt a little bit sheepish after we drove away. it is not likely, but i still hope he did.
now, to be fair, littlebabyscion’s wheels are the stuff of grimace-potential. the outer layer of aluminum alloy is both peeling and rusting – but, hey, so are we – after a few hundred thousand miles. we have plans to take a steel brush to these wheels – on a non-windy day – to clean them up a bit, make them less shoddy-looking, but it hasn’t been a top priority. glimmering, shiny wheels are not as important as some other tasks or chores, so babyscion’s rims just need to get in line. besides, LBS had really shiny rims back in the day – almost 300,000 miles ago. heck, even 100,000 miles ago there was still a bit of sheen. shiny is part of who LBS has been. so, i, for one, am not going to judge this absolutely amazing little vehicle for a bit of wear or a few wrinkles in the middle of dedicated and extended mechanical life. LBS has a really good heart.
we are relatively used to just being us – in a world of people trying to be more. we are artists, remember.
and so, we are people who have walked this walk – the one of being the book judged by the cover. we have also repurposed with fervor, made-do with less, driven with not-so-perfect rims. and we stick to the be-you mantra. we are not going to participate in the judging of books by their covers. we are going to seek heart. no matter the difference, no matter the sameness – we believe that being you – the best and most filled-with-goodness you – is all you can or should be. and we are here to lift you up in that. we are not going to grimace or glare or make snide comments at you in your pursuit of goodness. our job – as humans – with kindness and generosity and acceptance and grace our north stars – is to be us and to let you be you.
hopefully hearts are more important to you than shiny rims.
and nature hung chandeliers all over the woods. shooting star chandeliers in celebration of warm spring days – tucked next to majestic oaks, stars flying across the meadow. but not for long. as summer heats up these will fade. everything has its time.
aging is a funny thing. but it is not in the way of the enchanting shooting star – for those will come back the next spring, ever-resilient, perennial.
instead, aging is a bit more like an annual. periods of growth followed by fallow. uncertainty. we struggle with what is ours to do – we struggle with how that changes – we recognize endings and, thankfully, beginnings. but our time as chandeliers is not limitless. and, as we process that, we are less devoted to the zealous striding of our younger selves and more to the mission of the expression of ourselves.
i have thousands of cds in the basement. all cds with my name on them, ready to be shipped. smack-dab in the heyday of my career-with-a-much-delayed-start, writeable cds became a thing and streaming became rampant. it changed everything. dramatically. suddenly, the tens and tens of thousands of cds i was selling – which merited the thousands in waiting stock – dropped in numbers. streaming and download reports showed hundreds of thousands of hits but merely tiny slices of a penny for each one. it is stunningly gut-wrenching to look back at the shooting stars as they burned out.
people ask me if i am still “doing music” when they see me. because it is who i am i always say yes. and then i think about the boxes of cd stock in the basement and any latent desire to record more. it is hard to justify. very.
but the call of a piano and a boom mic on a stage or in a studio is ever-present. they are part of my chandeliering. and – like wishes on a shooting star – i wonder if one day pale purple flowers might bloom out of the fallow and i might give myself to the astonishing and to the illusion of the standstill of time.
“you are a child of the universe. no less than the trees and the stars, you have a right to be here.” (desiderata)
i don’t suppose i ever really fit in. i was the youngest in my family – separated by a decade – while most of my friends had siblings their own age. i grew up in a neighborhood where the kids were somehow athletically gifted, while i took organ and piano lessons and sat in my tree writing poetry. an early entrepreneur, i pulled a wagon around our neighborhood selling baby cactus cuttings and candles i had made. i didn’t go to – or get invited to – wild parties or cut class or skip my homework. i took bike-hikes and walked on the beach in the winter while everyone was at the mall or the bowling alley or the movies. i didn’t listen to the stones or grateful dead or led zeppelin (with the exception, of course, of stairway to heaven – everyone’s prom theme). i listened to john denver and gordon lightfoot and the carpenters. i wore off-brand clothing and didn’t keep up with fashion trends. my momma bought me less expensive boy-pants and found the offbeat stores for shoes-that-look-like-trendy-shoes-but-are-not, like my cherished construction boots. my first car was my dad’s vw beetle, nothing fancy but beloved. i had numerous part-time jobs through high school and then in college and knew the joy of serving corn flakes to both me and my dog missi for dinner. i never thought of myself as weird. but i suppose – if one considers the definition “may have unusual habits, interests or ways of thinking that set them apart” it could be true. i don’t see that as negative, though i also suppose that – depending on the way you see yourself fitting into the world – one might consider it such.
so the sticker “stay weird” hung upside down and backwards made me laugh aloud. somehow my laughter summoned mary oliver and she and i enjoyed a good chuckle about the infinite extraordinary of the insignificant and the everyday, the value of seeing the usual through a filter of unusual.
weird took a very long hiatus – it was safer, less vulnerable, and kept me out of trauma i had shelved. i pursued the inevitability of having to make money, to help support a household in a more meaningful way than the way of an artist. for this society – though its love for the arts is profound, its support of the arts is less so.
it was after my children were born, after the imperative was too loud to ignore, after the perils shushed a bit – when it was time to start releasing music. writing, practicing, recording, performing, marketing, booking, hawking – none of this is necessarily standard-work fare – it is unusual, it is tenuous, it requires a bit of courage. it doesn’t have the same parameters as a workday in corporate or structured america. it has no guarantees of reward, no regular paycheck. it is steeped in personal challenges, the need to be scrappy and the sisu to put it out there.
in the time that was the heyday of my recording career i would call absolutely anyone, regardless of their position. as the owner/artist of my label i have talked directly to vice presidents of sales of barnes and noble and borders books and music, owners of publishing houses, the personal managers of ridiculously successful recording/performing artists. i’ve sat in j. peterman’s messy office chatting (of the j.peterman catalog and seinfeld fame) and in the spare chair of radio program directors. i’ve danced across the stage at qvc-tv under a disco ball and played songs live over phone conferences with oncological pharma higher-ups. i’ve stood in the rain on flatbeds playing, embraced boom mics over my piano on theatre stages of all sizes, sang in front of 35000 people in support of cancer survivorship in central park. pushing the boundaries, carrying a little chutzpah along with belief in my own artistry was everyday life – and necessary. and i’d remind myself each time i picked up the phone or stepped into the unknown the very fact that we all breathe in and out the same way. this thing we have in common, i would tell myself – breathing. surely i could connect on that most basic of levels.
as outside the conventional box as it all seems, i didn’t feel weird. i felt in my skin.
and so, apparently, the weird continues. we know we are different than others. we have a certain run-and-jump into vulnerability that others do not. we have a certain pull towards creating, experimenting, learning – all in the public eye. we share because we have to, not because anyone has to receive it.
so, yes, the “stay weird” sticker really spoke to me.
though my life – and our life – is quite a bit different than the traditional lives or retirements of lovely people we know and care about, it is somehow just right for us. i never forget the corn flakes and he never forgets the sleeping bag in his studio space. every everything counts and we are reflexively careful about not being frivolous. for us, weird has granted us a certain appreciation of the littlest things, honoring simplicity and leftover pasta, redundant black thermal shirts and a shared bin of socks, used notebooks and repurposing taken to a new level.
what one does with one’s “wild and precious life”*…
they unfurled from their tiny seahorse stage into real-live ferns in what seemed like moments. all of a sudden, there they were – a whole corner garden of ferns. so incredibly green. lush.
but – even in their zealous and prolific growth – they are fragile. their fronds fall victim to the wind or the dogga’s curiosity, and they are knocked over, with – seemingly – no chance of revival. it seems – perhaps – safer to be in the middle of the bunch of ferns in the garden, rather than on the outskirts.
and i find myself nodding my head, as any artist might nod her head. yes. indeed. safer to be in the middle than on the outskirts, than life as an outlier.
when i finally felt safe enough – when the imperative was too much to ignore any longer – for me to pursue my own artistry – to leave the middle – i knew it was a different route. it would not be the interstate to success. instead, it would be a challenge to stay upright – to keep reaching – when the perils of the outskirts were plentiful.
i knew i should have kept on the road earlier, but there were things that precluded me – that hushed me – and i largely put aside that desperate voice inside of me begging to come back out – the one i had quashed so many years – decades – prior.
but the tiny seahorse fern in me didn’t give up. it kept nagging me until it was finally ok to face the perils.
and i began to write – with the fervency of the ferns in our back garden. my piano was never silent. i kept unfurling, reaching to the sun – an artist coming out of fallow.
and there was music. and more music. the compositions, the songs, the albums populated the garden rapidly – there was much time for which to make up. stages and boom mics and product boxes were the accoutrements of my life. and i could only imagine – and still wonder – what might have happened had it all started earlier, had i fronded in earlier life.
it remains a mystery.
even now – in which the unsuspected and life have mown down some of the outer fronds – there is a core, a center of gravity that holds the fern-muse.
though fragile on the exterior, we are never really broken to the core. there is still time – there is healing, there is a new spring.
“your hand opens and closes, opens and closes…your deepest presence is in every small contracting and expanding.” (rumi)
brave thistle plant – even in the bitter cold – open. this star in the meadow reminds me to stay open…fluid in breath…in and out.
i sometimes wonder about my music. my grand sits in my studio, waiting. it is patient, although i can sometimes hear it in hushed tones, calling me. there has been much between the last time and now, much that has left me closed to it.
i’ve touched it a few times in a few years. i don’t want it – or anyone, including me – to overreact to that. it is beautiful and full-stick and keys-open and – like the thistle – it bravely stays starlit even in the fallow times. and so, it is – every now and then – inviting. but it is complex – complicated – and it’s obvious I haven’t sorted through all the layers yet.
it is an artist’s imperative to create. but there are no rules that state the medium must remain the same. and so…in these inbetween times…i write. to be open to something different is to dance with that imperative.
the heavy old mic stand tucks right outside the doorway to the studio. it’s holding a vessel for candlelight right now but – at the end of our hallway – it reminds me of microphones and wood stages, simple lighting and boom stands. and then i wonder again – about all that.
the real answer is that i don’t know. i don’t know what will happen in these nexts. i don’t know if i’ll compose more, record more, perform more. there are a lot of ifs between here and there, a lot of details, a lot of stars that must align.
but the little thistle plant in the meadow reminded me that even with all that – all in the galaxy that must cluster – constellations in the cold are possible.
it was this morning – while i was nibbling on gluten-free cinnamon toast. it was while i was dishing out dogga’s dinner. it was while we sat at the kitchen table, darkness quickly falling outside. it was while i was sending a picture-of-the-day to my children, while i was texting with my dear friend. it was while i listened to george winston’s thanksgiving. it was on the trail. it was at the matinee of the movie here. it was leaving the theatre, tears in our eyes, grateful it was still a little light out.
it is right now. and this is where we are.
there are boundaries to be drawn, plans to be made, worries to be worried, griefs to be grieved.
there is shock and outrage. there is absolute horror.
there is no humor in what will come – and there is disgust at those who laugh with the sadistic glee of getting their way.
there is knowing and not-knowing. there is lostness.
there is uncertainty in the insanity of these moments.
but it is right now. and this is where we are. still.
so i will take stock wherever i find goodness, wherever i find community, wherever i find even a bit of joy, wherever i find love.
and i will dance in the kitchen, make homemade tomato soup, grow parsley in the winter. i will hold tighter to his hand and hug on our dogga. i will be frugal and i will be frivolous.
and i will sit on the wire with the other birds, watching the sky turn from night to day and night again. grateful for the tiniest things – that sky, the birds who love me and who i love, the wire and the still of still being here.
i realize i feel tattered. one moment the figurative holes in my heart will still allow me to continue on – unencumbered by the accompanying pain. the next moment those same holes are debilitating. i feel lost and like a balloon slowly losing air, like it is all surreal.
she said, “remember…you have a limited vision. you do not see the good that is also happening…“. that which is separate from the devastating. that which is like the sliver of light that plays on the floor when you crack the door open.
no…it is hard to see the good when the horrible is so much bigger, when hideous is shooting holes in your heart.
on our way to walk in the woods – to have some semblance of peaceful air – we passed by many houses with the flag flying yesterday. one flag, in particular, was frayed and shabby.
it made me think about the american flag, its symbolism of freedom, pride, respect. i researched a bit further. “red symbolizes bravery and valor, white symbolizes purity and innocence, blue represents vigilance, perseverance, justice.” (pbs.org & usa.gov)
our flag – an emblem of our values as a nation. this election has made a farce of those values, of that very flag.
and when that flag is tattered – as it surely is right now: “the flag, when it is in such condition that it is no longer a fitting emblem for display, should be destroyed in a dignified way…”(u.s. flag code)
no longer a fitting emblem.
that the majority of flag-flying voters have chosen to destroy all those values in the unparalleled cruel and undignified manner that is looming in this country is unconscionable.
it’s not good enough for a tattered flag.
it’s definitely not good enough for this tattered country.
if we had looked only at the sky, it would have reinforced the black-and-white-photograph world we felt we were in. the sky was so november. but the photo was in color and, despite feeling differently to our core, the world was in technicolor.
the trail was mostly empty, which was a good thing. we needed to be there – our lack of hiking through interminable covid was taking a toll. exhausted from covid, exhausted from doing nothing, exhausted after doing anything.
and so the sky heightened our feeling – of walking in the black and white of this past week.
by now you know i am horrified by the election, by its results, by the actual people voting for these results. it cannot be clearer to me that there is a dividing line between me and those people who voted against my own family. it is black and white…that clear.
i’d like to go all maya/mlk jr./gandhi, heck, i’d like to go all jesus christ (“love one another; as i have loved you.” john 13:34). i suspect they would be just as horrified. quoting any of them as any kind of justification in or support of this horror story is hypocrisy.
because you have knowingly undermined the safety, security, the rights of my family, of people dear to me – and that’s pretty black and white to me. and i realize i can maybe love you, but not respect you, not want to be around you, not trust you or feel safe with you. your heart is different than i thought i knew. and i can’t pretend i don’t know or that it doesn’t matter. this – this – is becoming black and white to me.
love is a two-way street. turning your back on humanity is not love. the cruelty and immense intentional hardship you intentionally voted in for other people – yes PEOPLE – no better or lesser than you – is not love. hate, misogyny, racism, xenophobia, homophobia, transphobia are not love. fascism is not based on love – you have fallen prey to cultish, narrow, extreme, bullying, propaganda-laden thinking that is not – despite the whipped-up and warped misinformed disdain you express at the price of eggs, individual gender identification, compassionate social programs – definitely not – based on love.
i’m pretty sure that many are struggling with this right now. we are all out here, internally trying to figure out the unthinkable – how our families or friends have betrayed basic rights – values – upon which we thought we agreed. it’s unimaginably brutal and painful and hard to wrap our heads around. it is so very, very sad. but it is pretty black and white.
it’s november. i drag my eyes from the november sky – where i was beseeching the universe for answers. and i look beside the trail, where leaves are still turning and the deer wait as we approach.
reverse threading 