The Green Wave

November 29, 2009

Is that the way you look?

Filed under: Music, People, Spirit — kate @ 4:30 pm

Home for the holidays this weekend, I was amused to hear my uncle describe, in disparaging tones, the wild hairstyles and pierced lifestyles of musicians. Pink hair came in for particular censure for some reason. I wondered just how many of these wild characters he has really encountered, and also why anyone would remember hair more than art. But c’est la vie, n’est-ce pas?

I had been telling my cousin Tom (a dear friend of mine and a passionate musician himself) about my recent show at Berklee, and how thrilling it had been for me to perform there. Tom spent some time at Berklee years ago, and I knew he’d be pleased because he knows what a vibrant and exciting place it is. But threaded through my excited description (“I got to sign my name on the wall in the Green Room!”) were my uncle’s comments about weirdo musicians and their outlandish appearances.

I wasn’t too fussed, to tell the truth. I’ve heard all of this before, and my main response has always been that people who focus on this stuff are missing the point. They have ignored art and energy and focused instead on the most superficial aspect of what’s on offer. I have sometimes felt a bit sorry for them because they seem untouched by the great invigorating gusts of life that blow through music and art.

But today, I am reconsidering my rather condescending view. Those people with pink hair and studs in their eye-brows do NOT look like my uncle, and so he draws attention to the difference. But what I think he is getting at – though not in so many words – is that they don’t FEEL like him, either. They belong to a different tribe with different ethos, expectations, desires, priorities. I think this baffles some people who find themselves squarely in the majority and who have never much experimented with new or different identities. Stepping outside that warm central place just seems odd, dangerous, and even willfully self-destructive. Why would you do it? Come inside with us where we know what life is all about – and we’ll tell you in no uncertain terms how to live it!

When I was in high school I took to drawing a black star under my left eye every morning. This garnered all kinds of responses, from the mocking to the admiring, from anger to acknowledgement. At the time, I wasn’t really sure why I did it. But now, many years later, I think it was a non-verbal way of announcing to the world AND to myself that I wanted something more than safety, that I prized the unexpected, that I was already enamored of symbols, and that I saw myself as a creature separate from that consensus way of life.

In short, I think that’s when I began to see myself as an artist.

Now, years later, the star is long gone, but it did its work. It has been replaced by certain quirky garments and habits of mind which, while invisible, nevertheless leave their traces on my appearance and bearing.

J.B. Priestley offers a lively, loving description of the actors he recalls from his youth in his book of essays, Delight. Apply the spirit of this description to artists, musicians, dancers, or anyone you like, and I think you get a sense of that different tribe in splendid motion:

“In those days, actors looked like actors and like nothing else on earth. There was no mistaking them for wool merchants, shipping clerks, and deacons of Baptist chapels, all those familiar figures of my boyhood. They wore suits of startling check pattern, outrageous ties, and preposterous overcoats reaching down to their ankles. They never seemed to remove all their make-up as actors do now, and always had a rim of blue-black around their eyelids. They did not belong to our world and never for a moment pretended to belong to it. They swept past us, fantastically overcoated, with trilbies perched raffishly on brilliantined curls, talking of incredible matters in high tones, merely casting a few sparkling glances – all the more sparkling because of that blue-black – in our direction; and then vanished through the stage door…”

What I love about this is the obvious delight these actors took in occupying a separate role in their society. There are no limp-hearted attempts to “fit in” with the uncles of the world, nor apologies for eccentricity. No, these gorgeous creatures let themselves enjoy what made them different, and in doing so, that enjoyment lent vitality and nourishment to their art.

If you see yourself here, if you have been chastised for your differences, or if someone has told you “for your own good” to take off those bizarre shoes or tame that pink hair, let me encourage you to keep faith with who you really are.

Let me link arms with you and sail up the alley in our billowing coats and huge dreams. And then, pleased with ourselves, let’s vanish through the stage door and get busy making art!

November 22, 2009

Your Musical Blood-type

Filed under: Music, People, Pleasures — kate @ 2:31 pm

On Friday night, my friend Bo Veaner and I played three hours of music for a wedding rehearsal dinner, though to me it seemed no more than 20 minutes or so. The time flew by in a happy blur of song after song, of listening and harmonizing, adding harp to Bo’s beautiful original songs, and in one moment of unexpected pleasure, belting out The Beatles’ song, “Oh, Darling!”

Our rehearsal for this three-hour extravaganza consisted mainly of conversation and a quick run-through of perhaps four or five songs. And then off we went to the gig, happy and curious about how it would all turn out. Brilliantly, as it happens, because we just had so much fun discovering what we could do together. We played and experimented and suited ourselves. The guests enjoyed it, and even danced at one point when we played “Goin’ to the Chapel” (a brilliant inspiration of Bo’s), and we emerged at the end of the evening in a daze of gratitude. Yes! Playing music all night is good for your health, for your wallet (nice to be paid), and for your belly, too, as we also ate a good fish supper as part of the deal.

And last night I joined my friends Ellen Schmidt, Debra Rocha, Cheryl Perrault and her daughter Abbie, and Michele Boule, for an evening of songs & poems at a local restaurant. Again, there was no rehearsal and the briefest e-mail exchange about the collaborative effort. And again, the evening was a delight – easy, natural, friendly, and completely stress-free.

I love working this way, but I recognize that not everyone does. Bo and I exchanged stories of other collaborations between people of different musical blood-types, by which I mean the Type A musicians who prefer to work out every detail beforehand, and the Type B musicians who love the seat-of-your-pants style of planning (which is to say, very little). Sometimes collaborations between these two types can be quite awkward and even unpleasant, as each strives to find comfort in the way most natural to him or herself. The planner sometimes resorts to control-fits or even to pulling out of the gig altogether. The seat-of-your-pants person resorts to casting gentle aspersions on the other person’s ability to just relax and play.

Mixing musical blood-types can feel like limping along, herky-jerky, in a three-legged race – hard to find a rhythm that works. There’s loads of good will, but loads of confusion, too.

Neither type is right, or better. It’s just the way we’re put together and the shape we’ve grown into.

But understanding this now, I deliberately look for musicians of my own blood-type and situations that support my natural inclinations. And if I get even a whiff of high-maintenance, stressy, or hyper-planning in the mix, I respectfully disentangle myself.

I do believe that each type can learn a lot from the other – a little more structure for my type, and a little more flexibility for the other type. But I also think that for musical transfusions – especially the three-hour variety – I’m best sticking with my own musical blood-type.

Popeye said it best: “I am what I am.”

Hey! What type do you suppose he’d be?

November 17, 2009

Two (or two million) Irelands

Filed under: Irish, People — kate @ 9:23 pm

For my birthday last week, my mother gave me a wonderful gift: a Kindle! If you haven’t seen or heard of the Kindle, it is Amazon.com’s electronic reading device which allows you to download and read books onto a little machine roughly the size of a paperback novel.

It sounds awful, I know – but I must say that my experience so far is something akin to the way new parents must feel. I can’t stop picking it up, marveling over it, and generally doting over its many beauties. Me – the queen of end papers and fonts and bindings and the smell of paper – a fan of an electronic reading device! Will wonders never cease?

One of the greatest pleasures since the Kindle came into my life is a trial subscription to “The Irish Times.” Every morning I eagerly leap out of bed and boot up the Kindle to find out what is going on in my beloved Ireland. But alas, friends, what I find there is not really MY beloved Ireland at all.

As you probably know or have guessed, my Ireland is the land of songs, of stories, of wit and warmth and connection. My Ireland stuns and soothes you with beauty, with rocky coasts and misty hills, with white horses standing beside solitary thorn trees and rags tied in the bush above the holy well. In my Ireland, you round a corner and see a rainbow. You enter a pub and hear the hum of Irish language. You meet a stranger and discover a friend. The inhabitants of my Ireland are novelists and poets, singers and players of tunes, players of tricks and brilliant practical jokes, and all of them cry when they encounter beauty in any form – be it an old, cracked voice singing of love, or the sight of storm clouds parted by a sunbeam.

The Ireland of “The Irish Times” is a foreign country to me. In that Ireland, times are terribly hard and people are not responding with twinkling eyes and hospitably opened doors. In that Ireland, this week Yusef (the artist formerly known as Cat Stevens) was jeered and roundly booed off the stage at his come-back concert. In that Ireland, a police force has become necessary in the town of Ennis to apprehend anyone who after a long night at the pub relieves himself against a shop door (during the time pundits are calling “the wee hours”). In that Ireland, old burial places are dug up to make way for new highways. In that Ireland, there are hot debates about the rights and status of immigrants and women. And in that Ireland, there are no easy answers to those questions or the ones about the economy, the environment, or the proper behavior of government.

I’ve decided I like my Ireland better.

But at the same time, I recognize that MY Ireland – the Ireland of Art & Beauty – is only one among a million Irelands. There is, of course, a Sport Ireland, a Fishing Ireland, a Church Ireland, a Scholar’s Ireland, a Troubles Ireland, a Shopping Ireland, a Food Ireland… The list is infinite. You name it, or rather – you experience it and name it according to your own experience.

So, that being the case – that there are millions of possible Irelands, as there are millions of possible anythings – why not pick the one that appeals most and keep that in your gaze? That doesn’t mean completely ignoring the others, but just seeing the one you like best most of the time.

And by extension, can’t we do that with just about anything? Can’t we look at the best qualities of our lives and make much of them?

If you like songs and turf fires, come on over to MY Ireland. The door is open and there’s always a welcome before you.

November 1, 2009

Birds & Branches

Filed under: Music, Poetry, Spirit — Tags: , — kate @ 1:38 pm

Last night’s fierce Halloween wind and rain ripped the last of the yellow and red flags from our trees.  Waking today and looking out at the stripped limbs of the maple – so lately this glorious golden torch – Shakespeare’s line floated into mind:

“Bare ruined choirs where late the sweet birds sang.”

That’s one of those lines of poetry which, as Seamus Heaney told us in a lecture a few years ago about the pleasures of memorizing even a little bit of poetry, act as nourishment and touch-stone throughout a lifetime.  I come back to it again and again.

Today, though, the line impressed me even more.  I had just been reading Stephen Nachmanovitch’s wonderful book on improvisation, Free Play, and his chapter called “The Power of Limits.”  Nachmanovitch is a violinist – and a cracker-jack writer, too, as it happens – and so many of his metaphors and examples come from the world of music.

Musing on limits that impose themselves in the lives of musicians, he proposes that far from hampering us, they actually spur us towards greater invention, playfulness, and creativity.  No one needs a Stradivarius in order to play soulful fiddle music.  No one needs a huge government grant in order to make their songs.  And even the limitations of our hands, our lungs, our mouths, and our stamina drive us to challenge ourselves into richer music.  Think of one-handed pianists who nevertheless play brilliant music, or even someone like Marilyn Monroe whose “small,” breathy voice caused knees to quake.

The point is to make something out of what you have to hand!

Shakespeare’s beautiful line is itself a perfect example of this principle. For what could be more limiting AND more creatively challenging than the sonnet form:  14 lines, 3 rhyming quatrains, and a rhyming couplet, and each line crafted in iambic pentameter?  But that, as you know, is not nearly enough.  It’s not enough to master the form and mechanics of the sonnet; that is merely the first step.

It’s never enough to master the form alone, any more than it is enough to merely possess the Stradivarius or the government grant (or even, to offer an example close to my own heart, the perfect writing shack.  Check out Dylan Thomas’ envy-inspiring writing shack on the banks of the River Taf in South-West Wales.  Weeks after peering through its window, and imagining myself sharing it with Dylan, I am still quaking with shack-lust…Oh, the poetry I could write in such a shack!).

No, even perfection of form is only the preliminary to real art.  Soul must be present, and genius, imagination, and desire.  Shakespeare’s line – and all of Sonnet 73 – is alive because imagination and spirit enter a dance with form and limitation.  He gives us the the branches AND the birds, and in so doing, he fashions a meditation on change and death that will itself never die.

In fact, his final couplet reminds us of the biggest limit we face, and our most powerful means to play with that limit:

“This thou perceivest which makes thy love more strong,

To love that well, which thou must leave ere long.”

Love, too, he tells us, is fed and inflamed by limitation.  Maybe it’s time to love the limits themselves?  We could be life-artists, riffing off our limitations, playing with void and emptiness and everything we don’t have to make greater art and deeper love. I think that really is how it works.  I see that today, and I am grateful as much for the no as for the yes.  Because even with a hundred no’s, I can make a powerful, resounding, artful YES.

Sonnet 73

That time of year thou mayst in me behold

When yellow leaves, or none, or few, do hang

Upon those boughs which shake against the cold,

Bare ruin’d choirs, where late the sweet birds sang.

In me thou see’st the twilight of such day

As after sunset fadeth in the west;

Which by and by black night doth take away,

Death’s second self, that seals up all in rest.

In me thou see’st the glowing of such fire,

That on the ashes of his youth doth lie,

As the death-bed, whereon it must expire,

Consum’d with that which it was nourish’d by.

This thou perceiv’st, which makes thy love more strong,

To love that well, which thou must leave ere long.

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