Tag: music

Knowing

Photo By Gina Easley

By Rebecca Stetson Werner

By the time she had grown sharper,…, she found in her mind a collection of images and echoes to which meanings were attachable—images and echoes kept for her in the childish dusk, the dim closet, the high drawers, like games she wasn’t big enough to play.

from What Maisie Knew, by Henry James

There was an antique chest in my childhood room at the foot of my bed. I used to sit on this chest—attending to posture, hand positioning, and embouchure—two feet planted on the wood floor, while I practiced my flute, the symphony orchestra pieces, the descant parts for the piccolo, the classical pieces I worked on for solos and auditions.

I also sat there, cross legged and folded onto myself, one elbow on my knee, when I pulled the beige trimline phone on the longest extension cord available into my room, the receiver propped on my pillow. While I riffed the flute part to Duran Duran, my best friend did the same, but in awesome harmony, on her end of the line crackling with the exertion of extending our across town connection through that twenty-foot cord.

A few years ago, my bedroom became an office, as happens to the smallest room in the house when children grow up, and I spent time sorting through that chest. Lifting the lid for the first time in years, I smelled my grandparent’s house, from whom this chest had been inherited wafting from it. On top of the chest’s contents were a collection of ziplocked bags that surprised me; my mother had placed them there, saved and labeled as she cleaned out closets and drawers and nooks in their home. One bag held my Brownie uniform, pressed, the badge sash showcased. Below that, the prairie dress my mother and I had made together, during my Laura Ingalls Wilder phase. Then, the snazzy orange and gold asymmetrically off-one-shoulder leotard, with, well, a diagonal stripe of yellow fringe, with not quite matching, spray painted orange ballet shoes, my costume the year my jazz dance class danced to the Eye of the Tiger. Also, the felt hand puppets I crafted as a visual aid for my middle school book report on Jane Eyre. Yes, I do realize middle school is not the appropriate time to present your book report as a hand puppet soliloquy, but then, middle school is also not the time to be reading Jane Eyre, so apparently I was just letting my freak flag fly. The black felt glasses dangled from Mr. Rochester’s chin.

Once I’d excavated below this perfect collection of my seventies’ childhood, I came to the items that I’d placed in the trunk myself over the years I lived at home, before I left for college. The first item was my trusty, and in some places, now rusty, folding metal music stand, the kind with a telescopic pole and a music holder that collapses like an umbrella, the legs folding up and snugging against the pole. I used this stand to practice in my room, but I also carried it with me to rehearsals, to music camps, and overseas when I travelled with my music groups. Wrapped around the pole was a carefully wound piece of narrow white adhesive tape, the kind with the almost lacey edge, the adhesive still strong, but oozy and gooey in its age. On the tape, in my younger-self handwriting, was my childhood name, now replaced with Rebecca: Becky Stetson.

Below that stand, I came to what I was looking for, my mementos: dried prom flowers, ticket stubs to concerts, fragments of poems, a pair of bright blue lightning bolt earrings I bought at Hampton Beach, some pictures from photo booths with friends, all of us permed, hair sprayed, lip glossed and fabulous, the strips of photo paper now curling and yellowing. A smooshed penny a friend had handed me, asking, Can you keep a secret? The penny that revealed she was freshly back from breaking school rules by sneaking away during recess to retrieve the coins she had laid on the railroad tracks that ran behind our school. I could, and despite my concern, I had. Inside my royal blue bedazzled and bestickered Trapper Keeper, I found a torn page, the early draft of a poem I wrote late one night while listening to Peter Cetera on repeat through my giant face squishing headphones, about a boy who had broken my teenage heart, a poem that later inspired the Shakespearian-ish love sonnet assignment I had in college, when he and I were still entangled, back then the best model I had for love. And under them, a small stack of letters, each one written in the same small handwriting, folded carefully as though to contain the words they held that were never spoken aloud.

Dear Rebecca, they all began. These letters to me, about places and events and feelings that happened so many years ago, are written to a girl I no longer am, but using a name that I have now claimed. Jarred by the mixing of past and present, this small stack of letters sent me immediately to a certain place in the woods, down a long unpaved road.

•••

We were often running late and driving fast in our borrowed and beaten family cars when we bounced, squeaked, and scraped down an unmaintained dirt road, taking curves we knew by muscle memory. Our real lives were in various public schools. A cloud of dust billowed behind us in the growing darkness, trying to keep up, until we lurched to a stop, that dust now having the advantage of movement, enveloping the car in a dry unfocusing haze. The road ended in a large parking lot bordered by a river on one side and a steeply graded and heavily wooded hill on the other. Cut into that hill were crooked stairs made of railroad ties leading to a low one-story building. The double doors to a large gathering room in that building opened wide, light spilling into the woods; a curtained window in a door to the small office beside it glowed but dimly.

Pulling into a parking spot as others skidded into theirs, emergency brakes screeched, and after a quick check of our hair and a glance into our own eyes for reassurance in the rearview mirror, doors flew open, and we unfolded lengthening legs and planted our feet on the dirt. We stretched, assessed, and observed each other for a few brief moments before we reengaged in chaotic movement, calling to a friend across the parking lot, teasing, and laughing. We rushed to the backs of our cars, grabbed for the worn leather wrapped handles of black cases of various shapes and sizes and hauled them out, then reached back in for our uniform black vinyl music folders with our free hands. Adjusting ourselves to the familiar weight of our instruments, whether they were flutes or french horns or drum sticks, we slammed the trunk shut and lugged our instruments and tardy selves breathlessly up those stairs. All to pause in the doorway from woods to inside, blinking as darkness became light.

The room teemed with movement and sound, a low breathy murmur of voices, chatting, flirting, and a steady pulse of blushes, glances, turning of knees and widening of eyes toward and away. The sudden jarring sound of furniture being slid across the concrete floor percussed the din, brass instruments making blatting approximations of body functions, cases being slammed shut and music stands toppling over, the rising and falling of warm-up scales. Jolted back into forward motion by a smile from a friend I found in the crowd, my assigned seat beside her, I entered the shimmering blob of happy energetic teenagers in all their oafish pimply hormonally gorgeous glory.

There remained a few empty seats in our arch of chairs, those of the officers of the symphony, still in a meeting together behind the closed door between us and the small adjacent office. That office, I knew, was stuffed with files and a desk belonging to the one adult out there in the woods each night. Once a week, eight folding chairs were carried by eight teenagers, many of whom were my friends, and stuffed amongst the clutter of that office for a weekly meeting before the rest of us arrived. The officers, the symphony’s version of the popular crowd, who dated other first chairs, were selected for solos—my stomach fluttered and a blush rose when I squeezed past them in the black narrow halls of the concert hall dressing rooms—were rumored to have outside gatherings and special events with our director. I was never a part of that small group, despite moving from last chair in the flute section to first during my years there, and I was envious of them.

A few minutes before the hour, the door to the office opened, and out spilled the small group of officers. As they moved through the door from the cramped quiet space to the large noisy room, mid-sentence with each other, a private joke or whispered comment passing between them followed by a look over their shoulder back into the office, their eyes and attention passed from each other to the synchronized rumpus before them, to us, the until now unsupervised and unruly crowd.

In moments, their tense composure, edgy reserve, and self-conscious swagger morphed as they grabbed their instruments and music and slid into their own places, cast grins and quick words to those nearby, and an easy loosening and perfectly teenagery slouch returned to their bodies. We non-officers made biting envious comments to each other about the injustice and unfairness of who was chosen by the director, typically boys, to be officers. But friends nonetheless, we swallowed them up, and we swirled and pulsed and giggled and sagged and bleated until at the same time each rehearsal, two minutes past the hour, when a long sustained floating A became discernible amongst all the other noise. Slowly, as though filing into line, we placed our folders on our music stands and swung them open, pushed cases under our chairs, straightened our posture, and phrases and warm-ups and noise faded as each musician began to tune themselves to that note. The director emerged from the office as the last of us made our pitch adjustments and walked to his position in the center of our half circle configuration, pulled his baton from his pocket, opened his own black music folder, and then, and only then, looked up at us. He could expect to see all of us, quiet now, looking right back at him. We were ready to play.

It was a flawed place, competitive, stressful, and it operated on favoritism and unspoken rules. But we were thankful for this place nonetheless and for the music we could skillfully make together. We came from public schools where the music programs were underfunded, nonexistent, troubled by difficult behaviors or missing brass sections, where clarinets squeaked when phrases were technical, trumpet players blatted and lost their embouchures mid solo, and cymbals clanged grandly and unintentionally comically, just after the final beat. More importantly, we all loved this place for what it held for us beyond music.

For that teeming rhythmic mass that we entered each rehearsal, in a place in the woods far away from where we spent the rest of our days, and for some of us, far away from our other selves. Where we could interact with each other without much adult supervision, play around with our growing independence and competence and desire to be connected, seen, and feel close to one another. In this place I worked out the art and power of careful attention, of observation, and how to wield it, watching sideways as I put together my flute what was new in the room each rehearsal, a new flirtatious coupling perhaps, someone who seemed a bit off—I was figuring out where I wanted to be in all that. Where we could imagine or act out our antics within a small and safe group, and experience all the earth-shuddering boiling waves of happiness, anticipation, hope, failure, and pain that is the music of the teenage years.

•••

There is in every child at every stage a new miracle of vigorous unfolding, which constitutes a new hope and a new responsibility for all.

Erik Erikson

I’m struck by just how much detail I remember about this place from so many years ago, the distance of time, place, and who I was then seeming so vast. There’s a well known phenomenon in memory studies, referred to as the reminiscence bump, in which we remember more from our adolescent years than from any other time in our lives. Much has been learned in the past few decades about brain functioning and development, and particularly about the unique changes and processes that are characteristic of the adolescent brain, developmental changes occuring in levels of arousal, reactivity, and emotionality. During these years, the influence of experience on the brain is particularly strong, and teenagers remember more, both the thrilling first encounters and the mundane moments. The adolescent brain becomes more sensitive to and aware of social information, more interested and responsive to reward, and less responsive to perceived risk, likely controlled by changes in the the brain’s reward system, specifically the dopamine system. Adolescents are more attuned to the world, more likely to be influenced in enduring ways.

I’m able to call up the smell of those woods, the feeling of navigating those strangely spaced stairs, too short and shallow to be able to run up using my normal stride, too far apart to skip a step in between, the flutter of my stomach in those seconds between turning my car’s engine off and pulling on the car’s door handle, caused by both excitement and anxiety.

I’m made anxious all over again remembering the rehearsals when the director imposed unannounced practicing inspections, during which, after obvious wrong notes came a few too many times from a particular instrument section, our director became calmly enraged, a combination I found terrifying, slowly placed his baton on the music stand, and left the room. A few seconds later, we heard a slow motion scratch, as he dragged a chair from his office and returned to his conductor’s stand. And then, he pointed that baton at each member of an instrument section, one after another, and had you play that section alone. If you flubbed, whether due to lack of practicing or for me, the sudden onset of full bodied prickling of nerves, uncontrollable sweat, and fingers that refused to move, our director gestured with his baton a shameful half do-si-do with the person beside you, moving down in moments the ranks you had slowly, arduously, intentionally toiled to move up for years.

There was a brief period when I eagerly waited for a boy to pick me up and drive me to those rehearsals. I waited for him in the large picture window of our house in a cul de sac, and upon his appearance round the turn at the end of our street, I dashed out of my house and down the hill to his car, as he hopped out and flung open his roof for our drive. As we zipped down the street, my hair blew in my mouth and flicked into my eyes, though I could still see my parents’ panicked faces watching from that same picture window, scanning for a seat belt, tires that were all inflated, two teenage boy hands on the wheel.

Those days we flew down that long dirt road hitting every pothole squarely, spinning out on the sharp turns. For that brief time, I had someone to run up those steps toward the bright spilling light and enter the noise with, together. Where the regular beat of the room was augmented by sensorial spikes from the stomach fluttering thrill of finding him across the room watching me, sensing his eyes on my back, sitting two rows behind me, the thrill when he jogged over during breaks, saxophone around his neck, and skillfully slinked around the music stand and into the empty chair beside me for a quick chat and a brushing of our hands against each other.

And it was in that room that I lost that first boyfriend to the first clarinet player. The girl who sat straight across from me for a year, just the director’s music stand between us, that stand disappointingly unreliable in helping me hide from her adoring eyes for my now ex-boyfriend who still sat straight behind me. During breaks I practiced controlling eye gaze and facial expression, whispering animatedly to my friend on my right and neglecting anything to my left to avoid taking in their lusty canoodling against the line of folded chairs in the corner.

There are so many parts I can pull out of the auditory stew of that room and the world it opened to me. I’ve drawn on this place, this time, and all of the experiences and feelings and firsts I had as a result of it. These experiences are uniquely mine, and I pull them out at different moments for different purposes. As a parent, I use the pain, loss, awkwardness, and simmering yuck to remind myself of how huge this all feels to my children as well. I sometimes completely ham up the band nerd part of my past, when I am trying to amuse them. What I know from back then: that no lost love ever chooses to move on with someone you do not run into often. I think of the trips where we traveled and performed in other countries. The pictures I found online of the cool kids, including that boy, obviously in his after me state, which was curiously much cooler, longhaired, arguably hot, and not mine, playing hacky sack, while in the periphery, I found me, permed and not so fabulous, sitting with my kind but nerdy friends snort laughing at jokes in the shadows of the Alps.

I had my narrative I had woven about this place, in the woods, at the end of a long road, where we went and left our parents behind and felt things more strongly than we ever would again. About what it held for me, the opening of myself, the growth, the feeling of belonging, of being seen and held and let go. Now, it also holds explanations for both who I have become, and who I have chosen not to be. It holds the people and things that I no longer have in my life, like the smell of hairspray and burning hair, a childhood nickname. Observing it across these years and from afar, my own teenage children standing at my side, I feel the strength a place like this gave me, but also the power it held over me.

•••

The developing brain is sculpted both by passive exposure and by active experience. That means that before your brain has fully matured, we can be affected, in potentially permanent ways, by every experience, whether it’s positive or negative, whether we understand it or not—in fact, whether or not we are even aware of it.

from Age of Opportunity, by Laurence Steinberg, Ph.D.

Dear Rebecca,

It’s an email from him, but as I read it, the text changes into his small tight handwriting in that stack of folded letters, the convertible driving lanky armed saxophone playing boy from thirty years ago. His character has been re-sorted multiple times over the years, from love to villain, friend to past. That boy, his car, his attention to me. He was the one I chose to stand beside in those years of growth, caring and hurting and being changed by each other. Who wrote to Rebecca back when I was still Becky, somehow knowing enough, more than I did then, of who I would become.

Have you heard about our band director? he writes one day, after we’ve exchanged a few emails, reading in each other’s messages who we have both become, as well as tentative glimpses at who we were to each other back then.

No. What? That’s all I write, but in my mind I am instantly and unwittingly thrust through a door of yet unrealized possibility. I know what he is going to tell me, his question enough to allow what was passive to become active, to open my eyes to other details in that room that had been there and encoded, but never in my full awareness. And soon, from across the country, this man writes to me of what he has learned, of allegations of our director’s sexual misconduct toward children, of secrets, of hurt, charges made but never proven. He’s reaching out, pulling me to stand beside him, a person from his past who saw what he saw, who needed this place as much as he did, to re-sort and discard and insert this new possible truth. We stand together, on opposite sides of the country, knowing very little about who each of us has become, and look back. I think back on gossip, glances, and silence, and I realize that what I interpreted as favoritism, or sexism, was potentially something far worse.

As we re-enter that room of adolescent haze and first experiences together, walking through it now as adults, adults with teenage children, suddenly it’s the light behind the office door that’s more in focus than the dizzying whirl of the larger space we shared and stirred. I turn to this man, holding the echo of that boy for him and he the echo of that girl for me, with whom I had my first intense relationship, a relationship I am beginning to realize formed amidst darkness and confusion, oozing between us and within us and around us in that room, a part of our own growth. And I realize. This place that we protected as uniquely our own, when we were there, and after. It did not protect us.

I wonder what I knew and didn’t know. What my limited experience and exposure kept me from understanding. What I attended to, as I was developing my own control of attention, observation, and influence. I grew up, married a different boy, became a parent, and watched my own children be whisked away while I observed from my own windows. And still. It was not until the question was raised by a boy from my past that I ever connected the things I learned and experienced later to what was happening beyond my awareness back then. That boy who knew a bit of my future pulled me back to better know, to attach meaning to, my past.

•••

What do you do when your story gets refocused and rearranged? What do you do with the telling of something that you feel shame, sadness, remorse, guilt, and yes, relief, about? How do you accept that a place, a person, a decision, a time, can allow such vigorous unfolding and potentially cause such debilitating harm?

Only now, as an adult, can I begin to fully realize the awful possibilities of things that can happen when vulnerability and power collide. By protecting this place as ours, as a refuge to grow and to change, in this messy, reactive, encircling, feral world we lived in at that age, we interpreted what we saw with the capacities of a child’s mind, through the lens of our self focus and experience. We held back information that might have allowed other adults, with their more mature understanding and experience of darker truths, with their awareness of things outside of that room, as less egocentrically and hormonally motivated people, to have sensed or realized that something was very wrong.

These days, there’s much discussion in the world about how these things happen, how a culture of abuse, of misused power, imbalance, physicality, and need, creates conditions in which so many small offices with closed doors can exist. As growing numbers of these rooms, rooms framed by walls and rooms framed by access, information, and privilege, come into focus. I’m beginning to understand the forces that keep these doors closed. And I am realizing that we all have the power to, and a role in, hurting others. By such simple acts as what we attend to. And what we do not.

I’m turning my awareness now to that door to a small office of my childhood and filtering out normative adolescent developmental noise, focusing, listening now to the vulnerabilities and losses and hurt that can be within that amalgamated sound as well. When back then it was all about the sound, the reward, the responsive movement between people, now I’m hearing more in the silence, the pauses, the turning away, the action that was out of step with the overall mass. I’m holding that all, adjusting, trying to learn to listen better.

We have a lot to learn from our own adolescent selves as adults caring for children in the grip of adolescence. We have a lot to learn from our children about who we are, and what we are capable of, as well. My daughter is reading the Book Thief by Markus Zusak, about a family in Nazi Germany during WWII. I’m editing her term paper, and she has chosen the following quote to write about:

I wanted to explain that I am constantly overestimating and underestimating the human race—that rarely do I ever estimate it. I wanted to ask her how the same thing could be so ugly and so glorious, and its words and stories so damning and brilliant.

from The Book Thief, by Markus Zusak

She’s now the age I was when I first noticed that boy across the room. She’s grappling with this quote and the ideas it holds, thinking about the coupling of ugly and glorious. She has the words, the exposure, the concept that these are parts of one another. But I still think, that when placed in a room of brilliant noise, she wouldn’t recognize the darkness. For this, for so much, I am grateful. Do we have a right to ask our teenage selves, or our own teenagers, to be hyper vigilant? To open their eyes to potential evil and danger? Do they lose something if we do?

•••

REBECCA STETSON WERNER lives in Portland, Maine, with her husband and three children. Her essays have been published by Full Grown People, Taproot Magazine, Mamalode, and Maine the Way.

Read more FGP essays by Rebecca Stetson Werner.

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I, The Jury

Photo By YoLaGringo/Flickr

By Israela Margalit

I walked down the long hallway to the jury room. Aspiring pianists tried to read their fate in my face. Did she smile? Did she frown?

We’d just heard the twenty-four quarter-finalists, and in a few minutes we’d weed out half of them and announce the dozen semi-finalists. The failure to make it to the semis can mean the loss of a scholarship, the erosion of family support, a devastating blow to self-confidence. The jury’s decision is final, its power absolute. There are no appeals.

I savor the opportunity to discover new talent, but I don’t relish playing God in other people’s lives. Most of all, I dread the chats with the losers. They say they want the truth no matter how painful—“Tell me why I was eliminated and how I can improve” —but what they really want is validation, something to assure them their talent has been recognized. I could say I enjoyed their performance and was surprised when we tallied the votes and I saw their names at the bottom. That would give them hope but wouldn’t help them grow. I could say they played beautifully but that the level was just too high. That would be cruel. We educate our children to work hard, we praise them for putting in effort, we assure them that if they apply themselves they’ll be rewarded. Then they go into the world and get crushed by rejection for not being as good as the next guy.

What can I say to sustain their self-esteem without hyping futile expectations? I remember well my younger years when harsh criticism could pierce my heart. Who are we, the judges? What gives us the right to destroy someone’s dream?

•••

The first jury I served on, I was determined that only the best would win. I suggested to my fellow jurors that we select somebody who could shine at Carnegie Hall rather than play like a well-schooled student. Everybody agreed. We all ranked each pianist and tabulated the results not once, but twice. The pianist who got the most points won. Nevertheless the outcome was disheartening. I thought the silver medalist was outstanding. After the award winners’ gala, I remarked that the second prizewinner would probably become world famous while the recipient of the jury prize might be forgotten. I glanced at my fellow judges—all seasoned musicians—hoping to provoke strong reactions that would betray the culprits who’d propelled the winner to the top. Instead, everybody laughed, and some said, “We’ll see.” And, “Don’t be so sure.”

•••

The voting system is carefully structured to prevent bias and undue influence. The highest and the lowest marks are thrown out. No deliberation is allowed until the votes have been cast. And yet, mediocrity often wins. Here is how it can happen: I’m a judge from the fictitious state of Transatlantica. My government has sent me to the competition and paid for my airfare. I give the Transatlantic contestant high marks, but not so high as to stick out and get discarded. Then I identify the pianist who poses the biggest threat to the Transatlantic contestant’s standing, and I give him consistently low marks. Multiply me by five, and his chances of winning are null, while my guy may just sneak up to the podium.

There are also unimpeachable motives that propel judges to vote for average performers. What’s pedestrian to my ear may be enthralling to another’s. One judge may disapprove of an interpretation he deems unfaithful to the composer’s intentions, while I may view it as original and fresh. I once served as an observer at a famous competition. Six of the jury members rejected flair, preferring a strict adherence to tradition, while the other six celebrated virtuosity, imagination, and personality. In the end the scores of each group offset those of the other, and the most lackluster pianist, who hadn’t offended either camp, was declared the winner.

•••

Competitions came and went, and my preferred pianists sometimes won and sometimes lost. In one competition, the organizers campaigned for their favorite contestant, a rather ordinary performer who hadn’t distinguished himself either technically or artistically. Their actions were an affront to fair process, quashed only when some of us in the jury threatened to go to the press. Those of us who’d led the revolt were not invited back.

In another competition, a Russian judge told me on day one that he had been on a hundred fifty-nine international juries—only to add on the last day that a hundred fifty-nine of his students had won awards. One of them got the third prize in our competition. There was nothing remotely remarkable in his performance and I gave him very low marks. Somebody must have liked him a great deal to counterbalance my score.

•••

My favorite first-prize winner was an American male pianist of boundless sensitivity, who could turn a musical phrase into magic and lose himself in the indefinable. I looked forward to his New York debut recital, a decisive first introduction to the music world’s opinion makers, and an indicator of things to come. Even I, who had championed him throughout the competition, could not be certain that he had the chops for a successful international career until I saw him handle the pressure of a make-or-break concert.

A few weeks after he won he called me in despair: after graduation, he no longer qualified for a scholarship. His family was unable to pay for his lessons, and his teacher wasn’t willing to work with him for free. I assured him he was ready to do it on his own. He had to be, if he planned to embark on an international career. I knew all too well what could happen to a performer who failed in New York. Two of my friends, both excellent pianists, had been relegated to regional careers because they choked on the stage of Lincoln Center. Why a totally in-command pianist, capable of playing to perfection with his eyes closed, would fail to deliver at a crucial moment is a subject of endless analysis.

Think of Andy Roddick. He would have been placed on a pedestal had he won the fifth set in his last Wimbledon final with Federer. I watched that match like a laser, willing him to take that one extra daring shot. Close-up, I could see his eyes spelling caution, and I knew he wouldn’t make it. The line separating the champions from the runners-up is the thinnest of all lines known to man.

•••

However, the brilliant young pianist I so appreciated withstood the pressure. His prizewinner New York recital was nerve-free and inspiring, the hall was full, the applause enthusiastic. He was on his way to stardom but for the wrinkle of a mixed review in the Times. The reviewer—just like his teacher—failed to recognize his exceptionalism, or he was not in the mood to use big words like “phenomenal” or “one of a kind” that can propel a career into the stratosphere. Some people cry for a few days, then move on. Not the young pianist in question. He viewed the review as the ultimate verdict of his chances, became overcome with doubt, and took a teaching job somewhere far away. Soon after that I lost track of him.

Years later he befriended me on Facebook. His timeline was filled with links to his performances on iTunes. I listened to some of them. Magnificent. He never lost that unique ability to arrest your attention with phrasing that came straight from the depth of the soul. It made me think of Paula Fox, the writer no one talked about until, when she was already over sixty, Jonathan Franzen stumbled on one of her books while browsing at the Yaddo library. You’d think such poignant elegance as, “I often thought of killing myself but then I wanted lunch,” would have caught attention, but no. Her prose was either ignored or unappreciated until the famous Franzen said the word.

•••

One can resurrect the career of an older writer, but classical music performers must make it at an early age of boundless potential, before the muscles begin to atrophy, the body resists the stress of globetrotting, and promoters turn their attention to the new kids on the block. My beloved pianist has missed the moment, and there was nothing I could do to rejuvenate his career. We, the jury, can only hand a young talent an Andy Warhol fifteen minutes of fame, and the rest is history. That’s what my first agent said.

“What do you mean, history?” I asked.

He laughed. “You’re a huge success and we make history together, or you’re history.”

•••

ISRAELA MARGALIT is a critically-acclaimed playwright, television writer, concert pianist, recording artist, and recently a published author of short fiction and creative nonfiction, with awards or honors in all categories, including the Gold Medal, New York Film & TV Festival, an Emmy Nomination, and Best CD the British Music Industry Awards. Visit her website at http://www.israelamargalit.com/

 

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Loz in an Elevator

By Gina Easley www.GinaEasley.com
By Gina Easley www.GinaEasley.com

By Sara Bir

It starts with a song. Maybe it’s on the radio, maybe on TV. It could even be the artwork on the cover of an album. Or it could be an interview.

Initially I’d not even liked the band, and the first time I saw them play, I left the all-ages music hall early—it was a sparsely attended weeknight lobby show—and fled with a friend to a scuzzy bar a few blocks away. I’d moved to Sonoma County because I wanted to be a wine writer, but that all went out the door when I discovered the area’s extensive indie band scene, complete with its own tabloid-sized free magazine published cheaply on newsprint with ink that left telltale smudges all over readers’ hands. Something about it all resonated with me, this hidden but vital world of scrappy bands thriving among the vineyards and bucolic golden hills.

Later, I shoehorned myself into working as the magazine’s managing editor for free. The editor gave me a copy of the band’s demo and after listening to it once out of duty, I was surprised to find I couldn’t stop. I played it every morning, usually twice in a row. The songs were soundscapes, heavy with blissed-out distortion, and I liked how they set the tone of the day I wanted to have. At one of the magazine’s weekly editorial meetings at a mediocre coffeehouse that also served beer and sandwiches, we decided to run a short profile of the band in the next issue, and they dispatched me to interview them.

The house where the band rehearsed was on a poorly lit rural road, easy to miss. Like many dumpy rental houses that play host to various band members over the years, it had a name: The 116 House. Inside, it was dim and there were about five old couches in the living room. They guys welcomed me in and we all sat on the couches and did the interview. I recall little else about it, though I still have the microcassette recording.

It was the night I met my husband. Joe was the band’s drummer, and he’d said just a few words that evening. He still has a drummer’s predilection for staying in the background.

•••

We liked a lot of the same bands, as it turned out. Joe and each I had Ride CDs separately before we coupled, and our devotion to Ride is still such that we can’t bear to part with the duplicates. I shelve our CDs alphabetically by artist, and the Rs—I also love The Ramones—are disproportionately gnarly. In its purest sense music does not take a tactile from, but in a practical sense I adore the plastic and vinyl flotsam of albums and their colorful sleeves and inserts. Even if the music isn’t on the stereo, I like knowing it’s there twice.

Some of the guys in Ride were still teenagers when (to deploy a trite phrase of music journalism) their band exploded onto the British music scene. It’s almost criminal how fully realized their sound was at such a young age. Listen to Nowhere, their first album proper, and it’s still fresh and epic. Their music was noisy and angelic and gorgeous but always had a solid pop sensibility at its core. Unimportant to Joe but very notable to me, they were also really fit. That, my friend, is arty chick bait. I was an easy mark.

Even so, there was little evidence of Ride’s physical deliciousness on Nowhere, the cover of which is a blurry image of a cresting ice-blue wave, so the songs themselves had to be the heartthrobs. I got into Nowhere my freshman year of college, hijacking my roommate’s copy and eventually listening to it every single morning twice in a row, blissfully existing inside of it the same way I would with Joe’s band’s demo years later. On an opposite coast, a world away, Joe was nowhere, too.

•••

Music was everything to me in my teens and early adulthood. School, jobs, responsibility: these things made no sense. Music did, and by first channeling a real-life situation through the glorious prism of a band, it came out as something I got.

I saw a lot of rock bands back then. They spiritually realigned me, helping me function the rest of the week. Everything else was planned around their shows. At a release show for a compilation CD Joe’s band was on, I got drunk and gave Joe my business card. A few days later he actually called me, instantly distinguishing himself from all of the other guys I kept tabs on at shows. We had our first date. And then we kept on dating.

I liked Joe because he was sincere, and I liked his friends and the other guys in the band because they were fun and not mopey, self-obsessed weirdos. Joe and I liked a lot of the same bands, too. We saw bands together, plus I tagged along to almost every one of his shows. For a four-piece, they had an insane amount of gear: a Farfisa, a Moog, two drum kits, assorted amps and amp heads, a few suitcases full of pedals and cables, and a film projector (I know, I know). It took a long time for them to load in, but it took forever for them to load out. Joe may be sincere, but he had no hustle. I grew adept at lugging bursting-at-the-seams drum hardware bags up and down narrow club steps and onto filthy San Francisco curbs. All those dingy clubs, all those pints of Lagunitas IPA, the residue of the stamp on the back of my hand giving away the cause of my next-day grogginess at work. I lived for it.

•••

One of the most disappointing things about being married to a drummer is that, no matter how mind-blowing their playing might be, it gets to a point where the person practicing on the kit in the garage is just making an unbearably loud racket. At least I appreciate Joe’s drum kit. It’s a set of vintage Ludwigs in a coppery sparkle wrap called Champagne. I see them glimmer every time I bring in the groceries. Those drums have traveled quite a bit, in the backs of vans and then in moving trucks. They’ve spent years in their drum bags, and then in the basements of friends, and then, finally, in our basement. Now that we have space for them, Joe does not have anyone nearby who jives on the kind of music he’d most like to play, and at best he sometimes does shuffle beats at casual jam sessions with friends. But he never gets to really wail.

We have a Ride poster that’s the cover of their 1991 EP, Today Forever. The poster was Joe’s initially, and for some reason he got it laminated when he bought it, and that’s probably why it’s still around now. I love that EP; the cover is a photo of a shark baring its teeth and RIDE is superimposed in capital letters and it’s cryptic and badass. I tried to put the poster up in the basement to remind me that we used to be cool, but no matter what kind of tape I used, the combination of cinder block walls and humidity conspired to make the poster fall down. It bummed me out. I think I was hoping it would spur Joe to play his drums more often.

I’m still plotting ways to hang that poster. Loving a band is like having a crush. Simply saying their name out loud feels gratifying, almost illicit. This is perhaps why music journalism has decayed into an endless stream of lists: assembling and deconstructing them allows you to handle the names, the bands, to build them up into a gigantic consolidated tower, an epic hypothetical luxury condo of rock and roll exclusivity that’s just to your liking. Even just typing certain band names now gives me a rush: The Charlatans. Sonic Youth. Dinosaur Jr. The people from these bands are officially old dudes now but not to me. Rock music is commonly thought of the music of youth, perhaps because only in youth do we have such an abundance of potent feelings in need of a vessel.

You’d think music would take energy from you, but that’s not how it works at all. It only gives. What a privilege to have that in your life, a special thing that’s all yours to obsess over.

•••

When my appetite for new bands took a nose dive about a decade ago, it disarmed me. Who was I if I didn’t care about current music? I wound up getting into really square stuff like Henri Mancini and Dionne Warwick and Johnny Mathis—the kind of music I used to make fun of. The albums were plentiful and affordable; I could get a whole box of crappy vinyl at the Goodwill for a dollar, pick out the good stuff, and turn right back to re-donate the rejects.

I missed leaving a club feeling both spent and entirely filled up. Live shows stopped doing it for me. I was tired of standing in a crowd on dirty floors in my impractical rocker-girl black vinyl boots, tired of sitting at a cocktail table in a sparsely populated club, tired of scoping out a spot to pee in an alley off San Pablo Avenue because the toilet got clogged at the artists’ loft party. The toilets at loft shows always got clogged.

Going musically frigid changed me, or I changed and then I went frigid. To care so much seems petty, but the emotional significance of a single song can run so deep, like a fissure in the ocean floor. Some people find God. Others find bands, and their music fills a void. Listening to a song is at once completely universal and profoundly individual, and the people who made that song you come to carry in your heart because they created something that lifts up your life and articulates this roiling feeling you either have or yearn to have.

•••

“Ride’s getting back together!” Joe said right when he came home from work. “They’re touring and will be in Cleveland.”

This was huge. “When?” I asked. “Did you get tickets? This will sell out. We need tickets.”

“But what if your mom can’t watch Frances?”

“THIS IS RIDE. Get the tickets.”

He got the tickets. I arranged for Mom to watch Frances, and we booked a hotel not far from the venue, because Cleveland is a bit of a trip for us, and I’d done enough drowsy post-show drives in my life to know how stupid it is to get in a car with your ears ringing and a body full of adrenaline and blood tinged with alcohol, only to later doze off going 75 on the interstate with still over an hour left to go, thinking, “Crap, am I going to make it home alive?”

Neither of had ever seen Ride, who broke up in the mid-1990s. They hadn’t played together formally in over twenty years. Joe and I left for Cleveland in the afternoon, and when we got downtown, the traffic was outrageous and Joe nearly had a panic attack. It turns out there was an Indians game that night, and our hotel was blocks from the stadium, so by the time we checked into our room, we’d weathered a nightmarish hour of gridlocked rerouting and impossible parking.

Key cards in hand, we got in the elevator. Joe was surly, swearing under his breath, and I had to give him the kind of wifely “get your shit together, man” look reserved for public situations.

But something quickly drew my attention away from my irate husband. Right before the elevator doors closed, a man rushed in and stared intently at his black rolly suitcase. In the understated dark clothing of a traveler, he didn’t look like any of the garishly dressed Indians fans we’d just seen by the bucketload, and he was giving off a powerful vibe I recognized but couldn’t quite place. The doors slid closed, and the typical awkwardness of a crowded elevator ensued. I thought about asking the intense guy which floor he needed—he was cute, a good excuse to be polite—but opted not to because he was actually closer to the buttons than I was.

I spent the following impossibly long elevator seconds mulling this over, and then bing! the doors opened to our floor. The intense dude quickly scooted out before us to the opposite wing. Once we got down our end hallway, Joe turned to me. “I think that was Loz.”

“What?” I said. Loz is Ride’s drummer. It’s short for Lawrence. I think there’s a rule that all British rock band percussionists need to have nicknames with a Z. Joe’s always admired Loz musically. He’s not the kind to idolize people, but he’s told me a few times how the song “Leave Them All Behind,” which is crazy-full of drum fills, had been one of the things that motivated him to start playing drums in the first place.

“Yeah—in the elevator. His suitcase had a luggage tag that said OXF.” Ride is from Oxford.

I was dubious, because Ride was a distant thing from a mythical realm, one that did not include blasé, overpriced rooms at the Radisson. “Let’s just figure out where we’re having dinner and relax a bit,” I said. But I was not relaxed. I’d suddenly slipped back into the old Sara, a person who was impulsive and excitable. We headed out and kept our eyes peeled.

Dinner was awful. Ride was fantastic. The reunion was not at all a pandering or opportunistic. I always wonder about this, the motivation bands have to reunite. Every person has events that define their lives, but for a band who achieves renown in their youth, that becomes—to the public, at least—the defining thing in their lives. Joe had certainly not spent the ten years of our marriage being nothing but the former drummer for his band, though they never exploded onto any music scene.

We go through the years, and ideally become more sorted-out and mature. There are jobs that don’t involve musical instruments or amp heads or tour vans that stink of farts and t-shirts in bad need of laundering. There are relationships and families and prosaic things of incredible, meaningful depth: homework on the refrigerator, walks with the dog, lopsided birthday cakes spattered with droplets of pink and blue wax. But there are also the lingering fumes of four guys who were on a stage together and did this incredible, transformative thing, and while other life events can eclipse that in significance, nothing can duplicate it.

•••

Pop culture holds such a mighty sway over our society that we tend to define ourselves by what we like, not what we do. Those filters—favorite bands, favorite books, favorite movies—are handy, but they’re not airtight. I might meet a person who agrees with me that Ejector Seat Reservation is Swervedriver’s best album start to finish, because duh, it is. But you can love Swervedriver and be an asshole. Joe and I can relate to each other over somewhat obscure music, but that’s not what makes a relationship endure. I’m not sure what does, actually. Maybe not knowing is the key.

After the concert, Joe and I agreed it was for sure Loz in our elevator that night. While the show itself had been the main attraction, this one fleeting non-encounter gave the whole weekend a symbolic significance. The Pope had just concluded his North American junket, but screw that. Loz stayed on the same floor of our hotel.

That following week I spent electrified, floating in a heady altered state. Joe and I dug up a documentary about Creation, Ride’s record label, and it included this offhand home move footage of Ride from back in the day—they couldn’t have been any older than twenty-one—and they were just these totally hot little shoegaze babies peering out from a lost window of time that held so much promise. What was I doing when that was filmed? What was Joe? I couldn’t even fathom it. I wanted to go back and re-watch that snippet about fifty times, which is exactly what I would have done in 1991.

My body surged with my own teenage fervor, churning with pheromones long unused. The intimacy and immediacy of all the music I’d ever loved came rushing back, and my ears were receptive in a way they hadn’t been in years. I daydreamed a lot and was not terribly productive with work, instead going on runs more frequently, the pace brisker and the route longer. Joe sat at his drum kit in the basement and played it hard, like he used to before we learned to automatically default to common respect for our neighbors.

The world nostalgia comes from the Greek words nostos and algos—“pain” and “return home,” respectively. The pain isn’t from the past itself, but the impossibility of fully experiencing that home again. I was afraid I’d feel pained from what I’d see up there onstage, that the reality of a middle-aged Ride today would maybe squelch a vision of the past I cherished, a time of dewy skin and dreamy faces. But I didn’t. (It certainly helped that the band’s members have aged well—hiya, Loz!)

I could listen to the interview I recorded at the 116 House in 2001, but do I even need to? Part of the 116 House lives here. Home is dynamic. At its kernel is the eternal awe of youth, embers that you can’t let die. We move artlessly though time, as dumb today as the day we were born, and the day we skipped class to go flip through the bargain bin at the record store, and the day we drunkenly handed a drummer a business card after that show at Bottom of the Hill, and they day we put our kid to bed for the thousandth time. Every morning we wake up again, and it is today forever.

•••

SARA BIR is a chef and writer living in Ohio. Her book Foraged, Forgotten, Found: Rediscovering America’s Abundant Wild and Unusual Fruits is forthcoming from Chelsea Green Publishing.

Read more FGP essays by Sara Bir.

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Learning to Live as the Last of Five in Four/Four Time

alive
By Gina Easley www.GinaEasley.com

By Jessica Handler

Last winter, my friend Pete gave me a pair of Vic Firth 5A drumsticks. They were beginner’s sticks, but this would be my first drum lesson: he the teacher, me the novice. I was ready: I’d diligently watched You Tube videos demonstrating Ringo Starr’s and Stevie Wonder’s drumming and listened closely to the drum parts on my favorite CDs. The sticks were surprisingly light, awkward to hold, and pleasantly dinged up. They made me nervous.

I’d agreed to spend a weekend participating in a rock camp for women, a fundraiser for national group empowering teen girls through playing music. I’ve always been a music lover: my very first concert was The Beatles at Shea, even though I was five and the frustratingly sonically obscured objects of my adoration sang from my parents’ portable black and white Zenith television. My younger sister Susie and I listened to our recording of “Peter and The Wolf” on the turntable and acted out the roles. At six, I was the bassoon grandfather, and she, not quite two years younger, the clarinet cat. As I grew, I learned to lose myself in vocals; first John and Paul’s tricky harmonies and later, Mick Jagger’s sneering whine.

My youngest sister Sarah played Satie gymnopedies and Bach for four hands on the piano with Mom. Dad bellowed Dylan as he drove. As a teen, I played guitar reasonably well, piano terribly. I learned all the words to “Stairway to Heaven.” In my thirties, I auditioned once as a singer for a local band; I wiped out not because I couldn’t sing, but because I can’t read music.

And all along, I secretly banged on things. Hard. Usually myself. In elementary school, I beat my head on my bedroom floor until I was dizzy. I tore out handfuls of my hair to distract myself from the way my skin felt, rippling in anger. Enraged and inconsolable in my teens, I punched plaster walls and slammed car doors. In high school, I quietly broke my own finger in an effort to suppress boiling rage and brokenhearted sorrow. And no one ever knew.

My sisters were dying and then dead; first Susie, at eight from leukemia, and then, Sarah twenty-three years later, from an illness related to the rare blood disorder she’d been born with. Our father muted his sorrow with anger, drugs, and alcohol before he left for a job in another country and then a new life. Mom remained determined, loving, and honestly joyful about the best moments of our lives.

When I checked the box beside “drums” on the camp registration form, forty-four years had passed since Susie died, and twenty-two since Sarah’s death. Dad died in 2002, and Mom two years ago. That frantic and sudden need for a physical outlet for my pain and sorrow still lurked close to my surface. I know that self-harm, like hitting or, for others, cutting, is an attempt to seek relief for emotional pain: simple reading tells me that, but I sensed as much when I was ten. Now that I’m grown, reasonably competent, and happily married, my hitting myself until I bruised, or once, driving so fast that I pinned the red on my Honda’s speedometer, freaked my husband out. I didn’t blame him. My periods of desolation were awful for me to live with, too. But banging on drums in a band scared me almost as much. I worried about what I might unleash.

Mickey and I met and fell in love shortly after my sister Sarah died. I was working as a production manager for television programs, and he wrote and produced promos. We didn’t work together, so he only heard from me about the time I blew up and threw a stapler at an assistant. (I missed, thank heavens.) He already knew my reputation on the job as a screamer and a yeller. With him, I was never those things. He calmed me and made me feel safe and loved enough. Music mattered to him, too, even though he never remembered lyrics.

The camp took place over three days on a Valentine’s weekend. The schedule would be full, leaving no time for flowers or chocolates (neither of which I wanted) or a good dinner out (which I did.) My husband and I like Valentine’s Day, and I felt that I’d cheated us a little by the commitment I’d made to occupy myself without him that weekend.

In an empty middle school classroom, five other grown women and I met our loaner drum kits; bass drum and kick pedal, high-hats, snares, floor tom and rack toms, and our own sets of sticks. After running us through the basics of our grips, keeping time on pancake-sized practice pads, the instructor—a rock drummer with indie cred—put on a recording of Queen’s “We Will Rock You.” We had to follow along in four/four time. The first two beats came from the bass drum. I stepped on the kick pedal, and the drum responded timidly. This irritated me, too, and the child who flailed in anger and sorrow rose up in me. With her foot, I stepped down hard twice, making two deep, satisfying thuds. With her hands, I snapped my right-hand stick onto the rack tom.

Some rhythms are as simple as breathing, but others require perception far beyond the usual. Children dying before their parents is a peculiar rhythm called reverse order of death. The terror and grief of the surviving sibling was rarely addressed when I was a child. As an adult, behind my first drum kit, I created a basic, steady pulse. Hitting the toms, the snare, stepping on the kick pedal, I pounded out a steady groove. I heard no sorrow; just myself, playing in time.

Camp ended with a raucous showcase at a neighborhood coffee house. While bands played, I slipped my arm through Mickey’s, and we drank our beer and bobbed along to the music. When the time came for my makeshift band to take the stage, I kissed my husband and clutched my drumsticks, fighting the urge to careen alone into the night. I’m ridiculous, I thought. I can’t really channel my thumping anger outward, make music with it, or learn to maintain an even pace on which I can rely. But I took the stage with my bandmates, and in the blinding candy-yellow of the spotlight, held my loaner sticks over my head and counted us in. The bass player responded in time, then the singer, then the two guitarists, just as we’d rehearsed. For about two and a half minutes, I hit and I kicked objects built for striking, and as terrible as I’m sure I sounded, I didn’t feel the way I usually did at a moment of impact. I didn’t feel like weeping. I wanted, instead, to shout with glee.

When we finished, the applause was loud and not unexpected—everyone there was friends or family with someone in a band—and from behind the drum kit, I searched the audience for Mickey. He was at the lip of the stage, his hands raised in victory.

Six months have gone by, with me occasionally practicing to videos, my loaner drum sticks beating couch cushions. This year, I turn fifty-five, and I’ve promised myself to keep my hands and heart away from my own skin during my dissonant outbursts of grief. Mickey bought me a birthday present. I’m starting drum lessons. With Pete, who says it’s time for me to keep those drumsticks he loaned me last winter.

•••

JESSICA HANDLER is the author of Braving the Fire: A Guide to Writing About Grief and Loss (St. Martins Press, December 2013.) Her first book, Invisible Sisters: A Memoir (Public Affairs, 2009) was named by the Georgia Center for the Book one of the “Twenty Five Books All Georgians Should Read.” Atlanta Magazine called it the “Best Memoir of 2009.” Her nonfiction has appeared on NPR, in Tin House, Brevity.com, Newsweek, The Washington Post, More Magazine, and elsewhere. Honors include a 2011 and 2012 residency at the Josef and Anni Albers Foundation, a 2010 Emerging Writer Fellowship from The Writers Center, the 2009 Peter Taylor Nonfiction Fellowship for the Kenyon Review Writers’ Workshop, and special mention for a 2008 Pushcart Prize. www.jessicahandler.com.

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Nothing Gold Can Stay

girlinwindow
By Gina Easley www.ginakelly.com

By Kim Kankiewicz

With the first lilting chords of the piano, we take the floor. The snare drum eases into a 6/8 shuffle. We melt into one another as the strings sigh the opening notes of the melody line. The horns respond with a glissando in the second verse, and we are afloat on liquid gold. We are bodies swaying in a collective embrace, in love with every-other-body in this place.

My dress is buttercup yellow, strapless with a sweetheart neckline. The chiffon skirt cascades over a crinoline of nylon netting. My hair is combed into a sleek bouffant, its curled-up ends grazing my bare shoulders. My dance partner wears a white sport coat and a crew cut. His face is indistinct, but no matter; he is not the point of this imagined memory.

The point is the convergence, the enfolding of each of us into all of us. The song, to which I have never really danced, is “Theme from A Summer Place.” In my reverie, we sway to the familiar instrumental recording, Percy Faith’s 1960 orchestral arrangement. But other artists—my favorite being The Lettermen in 1965—have recorded “Summer Place” with vocals. Listen and you will hear a song less about romance than about sanctuary:

There’s a summer place

Where it may rain or storm

Yet I’m safe and warm

For within that summer place

Your arms reach out to me

And my heart is free from all care…

•••

Since childhood, I have cast myself in fantasies with soundtracks from my parents’ youth. I was six years old in 1980, when my family moved to Nebraska and settled into the Craftsman house where my parents still live. The formal living room, unfurnished for nearly a year, was the theater where my brother and I performed “Rock Around the Clock,” “At the Hop,” and other teen anthems from the American Graffiti soundtrack.

In fifth grade, I pictured my sixth grade crush pining for me as I listened to Frankie Valli crooning “My Eyes Adored You.” Carried your books from school, playing make-believe you’re married to me. You were fifth grade, I was sixth, when we came to be. I knew no sixth grade boy would carry my school books—not least because I was the kind of kid who listened to the Four Seasons in 1985—but envisioning such a scenario made the unfamiliar territory of adolescence feel navigable. The same was true in the final months of my eighth grade year, when I sweet talked my dad into deejaying a sock hop at my middle school. With high school on the horizon, I imagined joining the letter jacket crowd, the clean-cut kids with social status. (That the sock hop itself was not imaginary is equal parts mortifying and miraculous.)

At no time were my retrospective daydreams more persistent than during my first year of college. Living in Kansas I was homesick, so homesick. Studying to the oldies and wearing vintage clothing bolstered my spirits, but the image that sustained me emerged from a trashcan in the bathroom of my residence hall. On my nineteenth birthday, I discovered a date stamp on the trashcan’s raised lid: October 10, 1967—the month and day of my birth and the year my mom entered college. Never mind that she had attended a different college; it seemed profoundly significant that this trashcan was installed when my mother was a freshman, seven years to the day before my birth.

The date stamp became my talisman. Glimpsing it as I left the shower each morning, I would borrow my mother’s courage for the day ahead. She too was homesick, so homesick, when she arrived on campus, but she came to regard her college years with fondness. In her footsteps, I would do the same. I was into The Ventures that fall, and as I ascended the stairs between my residence hall and the main campus, a mental guitar loop from their 1960 hit “Walk, Don’t Run” propelled my steps. In my sophomore year, my confidence as a returning student was affirmed when Pulp Fiction made Ventures-style surf rock popular again.

I more or less maintained that confidence through the transitions of marriage and motherhood, relocations to Colorado and Minnesota and corresponding career changes. I believed homesickness was for kids and for people who moved internationally or under duress. Even as a college student, homesickness seemed to place me in an immature minority. As an adult, I did not expect to come unmoored when my husband’s career took our family from Minnesota to the Pacific Northwest.

•••

Here is a partial catalog of things that have made me cry since we moved to a suburb of Seattle last year: a parking structure where all the spaces are compact, because I miss the ample welcome of a Midwestern parking lot; the opening page of a novel dedicated to “the great state of Minnesota”; an area car show, because it was to St. Paul’s annual vintage car show as “Rock Around the Clock” is to the entire American Graffiti soundtrack; a photo of John C. Reilly, because I once noticed that Minnesota’s eastern border looks like his face in profile.

I am ashamed of my emotions, ashamed that I am not content to live in a comfortable house in a safe neighborhood between the Puget Sound and the Cascades. Our new hometown has good schools, a downtown with an art gallery and a live theater, hiking and biking trails, a farmers market. Our new neighbors build community in many ways—educating and caring for children, volunteering at the food bank and soup kitchen, protecting natural resources, creating art—and they have welcomed our participation in these activities. We’re surrounded by beauty: trees, lakes, mountains, and a creek where the salmon run every fall. My husband says he is still astonished that we get to live here.

I know how he feels. When we moved to Minnesota, I was overwhelmed with gratitude. We arrived in autumn, my favorite season. I basked in the low-angled sunlight reflecting off St. Paul’s Como Lake, the red and gold leaves crunching beneath my feet as I circled the water. Our family picked apples at a local orchard, watched squirrels and birds at an urban nature center, and met other families at a park where my son learned to ride his bike. In winter, the season that defines Minnesota for people who have never been there, we discovered sledding hills and indoor playgrounds, and the tropical plant room at the free-admission conservatory, where anyone could find warmth and color on a bleak day. We found that we lived among neighbors who would clear our driveway with their snow blowers without being asked.

But I loved Minnesota before I experienced those things. I loved it before I lived there because my grandparents had called it home. I had spent Christmases and summer vacations with them, and with the aunts and uncles and cousins still living throughout the state. I knew something of Minnesota’s history and its coalescence with my family’s history, and so moving there felt like a homecoming. Moving away felt like an evacuation, like being emptied from a vessel made from parts of myself.

I assumed that these feelings would fade after a brief adjustment period. Months after moving, I wrote off my ongoing melancholy as stress or Vitamin D deficiency. When it occurred to me that I might be homesick, this self-diagnosis seemed so implausible that I Googled “adult homesickness” to verify its existence. My search turned up several recent articles on the subject, including an op-ed in The New York Times by a writer named Susan Matt. Based on a decade of research, Matt concluded that feelings of displacement and depression are common among adults who relocate. Yet we are reluctant to acknowledge “the substantial pain of leaving home” in an era that regards mobility as a virtue.

Matt’s byline referred me to her book, Homesickness: An American History, in which I read about homesick colonists and nineteenth-century immigrants. I learned that homesickness became taboo in the twentieth century, when embracing progress meant surrendering ties to the past. What most interested me was the connection between homesickness and nostalgia, which are literally synonymous. The word nostalgia was coined in the seventeenth century as a diagnostic term describing a painful longing for home. It combines the Greek words nostos (“return home”) and algia (“pain”) and remained in use as a medical term through the Civil War. It was only during the rapidly changing twentieth century that nostalgia gained distinction from homesickness—longing for a lost time as opposed to a lost place.

I recognize these desires as twins, but how do I understand twins born years apart? What does it mean that I am nostalgic for a time before my own birth? It’s notable that when I cry for Minnesota, I am moved by my sense of its shape, of a history that predates my life by decades. Like the homesick freshman I was, I am again sustained by popular music of the past. I recently bought a turntable and have acquired on vinyl the greatest hits of Bobby Vinton, Herb Alpert, The Brothers Four—artists who were on the charts the year my dad graduated from high school. My most common earworm, the song that both rouses and soothes my sentiments, is “Theme from A Summer Place.”

•••

In 1960, when Percy Faith recorded “Summer Place,” my grandparents owned a creamery in Fingal, North Dakota. My dad was fourteen years old. His parents had purchased the creamery when he was four and would operate it until 1968, when my dad was in college.

My grandfather was a butter man. He bought cream from farmers, pasteurized the cream in a heated vat, and churned it by the ton. By hand, he scooped butter from the churn into 64-pound boxes that were trucked to school cafeterias and military bases. He kept two boxes from each churning and parceled that butter into one-pound cartons sold locally. The town was proud of its butter, deeming it the best around. Fingal butter was served in restaurants and at the Woolworth counter in Valley City. Fingal natives who had moved to Fargo or Grand Forks filled shopping bags with Grandpa’s butter on return visits. At a reunion just months ago, a former classmate showed my dad a yellow carton with a Fingal Creamery label that she has saved for almost fifty years.

Butter unifies. It absorbs and concentrates flavor. It creates texture and emulsifies, blending ingredients that would not otherwise mix. A man who makes butter connects farmers with townspeople, towns with cities, schoolchildren with soldiers. The butter maker’s family is embraced. His wife is esteemed, his children golden boys and girls.

This is the refuge I seek in my father’s past. I want to know the butter maker. I want to break bread with the butter maker’s family. I want my children to walk to school with the butter maker’s children. I want to be the butter maker, and the butter, melting into the place where I belong.

•••

I have become a broken record. At some point the longing to be absorbed becomes self-absorption. I must reconcile my butter-gold narrative with reality. In 1960, Fingal was homogenous as milk. I imagine it was possible there to feel separate from the world, from the civil unrest churning the nation, from the state’s native population. Even so, I hear whispers of Fingal residents who did not find sanctuary in small-town North Dakota.

Nostalgia is too easy. It saddens me that the Fingal Creamery ceased operations in 1970, two years after my grandparents sold it and returned to Minnesota. But to romanticize an era when mom-and-pops outnumbered franchises is to overlook disenfranchisement. My own comfort and safety are not enough, after all. I am out of my element where I live now, like frozen butter unevenly spackled on toast, and maybe that is the point. Maybe I am here, in this place and time, to be uncomfortable in a culture consumed by comfort. Frozen butter will keep safe indefinitely, but safety is not its purpose. Butter is for flavor and texture, qualities that are lost after too long in the freezer.

In other words, it is time to expand my soundtrack. I’ll always have a soft spot for golden oldies. But there are living voices singing songs I want to hear, street musicians and symphony members I want to know. I want to feel the pulsing of every drum in the beating of my heart. If the asynchrony is jarring, I am ready to be shaken.

•••

This is KIM KANKIEWICZ’s second essay for Full Grown People. While writing it, she discovered that The Brothers Four are from Seattle and are still performing. She has tickets to attend a Brothers Four concert the next time her parents are in town and hopes to hear a live performance of her dad’s favorite road trip song, “Blue Water Line.”

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I’m with the Band

[This is kind of art you get when your editor is a former band geek. —ed.]

By Rebecca Stetson Werner

In the enormous domed metal building—a cavernous space dominated by three regulation size basketball courts where adults coach the kids’ teams, shouting to be heard above the din—I find the court for Nicholas’s game and quickly sit down on the bleachers. Every once in a while, a dissonant buzzer shrieks, so awful a sound, so jarring it makes my scalp tingle, and I curl in on myself in anticipation of the next blast.

Nicholas’s good friend passes him the ball. He catches it, sort of, but his grip is not quite firm enough, and it barrels on through his hands and down onto his shoe, bouncing out of bounds. I hear a groan and a snicker from somewhere to my left. I fight the desire to turn and glare at the person. Nicholas smiles, forcedly, and I see him apologize to his friend.

Then he throws me a pained look. Hoping to communicate with him as the one person in the crowd who knows and holds his vulnerability, I try to return my best version of what proves to be an impossible expression: a blend of a smirk moving into a softening around the eyes and then a goofy grin, with a bit of a shoulder shrug.

But I am not sure I get the expression right, and I may have missed my chance to connect and communicate with him. Because today, from the moment I entered the arena, I have retreated to the sidelines, taken a stance as an outsider. I am tense, self-conscious, distracted, and frustrated with those around me.

While all the other parents on the bleachers chat and yell and gesture and growl, I am caught up in my own head, spinning through a series of questions. When did this happen? How did we get here? When did we stop wanting our children to play nicely together, stop insisting on apologies when they hurt one another, stop valuing kindness and social skills above competitiveness and drive? And when did it become a good play to foul someone on purpose? When did we stop calling careful with that stick across the playground and start shouting check him?

“Out of the paint!” one parent bellows. Another shouts, “Boards!” every time a player shoots. I have no idea what they mean and wonder if I may be eavesdropping on a bizarre carpentry-focused reality show. I amuse myself for a bit by trying to overlay this crowd’s behavior onto a playground scene from when our children were younger. I imagine what it would have been like to sit on the benches next to the swings with coffee cups in our hands, interrupting one friend’s narration of her clogged mammary gland to shout to one of our kids: Swing harder! Pump those legs! Come on, work those monkey bars! Share those Cheerios!

I’m tempted to turn to the parents beside me on these bleachers and offer an explanation for myself: I was in the band.

•••

In high school, I was a band geek, although there were lots of other, less kind names for members of this motley gang of musicians. On Friday nights, when the popular kids would sit in the bleachers with their French fries and sodas and cheer for their friends on the football team, I was there, too. But off to the side, clad in a royal-blue polyester men’s uniform, helmet perched atop my head, its plumes long ago snapped in half, yellowed, or simply lost.

On school days, I stood when the intercom called for the pep rally participants to go to the gym, and I left the room with all the Blue Knights in team jerseys and school colors. In the gymnasium, however, I was absent from the groupings of chairs in the center of the polished wood floors. Instead, I sat First Chair, adjusting my piccolo to a well-tuned B flat and offering it to each member of the pep band. Then I’d sit down again and await our turn to accompany the cheerleaders and play our school’s fight song.

And it wasn’t just pep band. I could also be counted on to maintain the spacing and pace of the most complex marching band formations, my whole row guiding left toward me, peering across the music holders affixed to their bent elbows. In the two-person pit orchestra, I routinely covered three woodwind instruments during school musicals, and would lean across the flute, piccolo, and oboe that lay in my lap so that I could reach the keys of the synthesizer. I must admit: I am a bit embarrassed for myself right now as I write this. Total nerd. But these musical talents did help me pass a bit socially, counterbalancing my polyester uniform and allowing me to relate to the jocks and popular kids. Sadly, these impressive skills were not sufficient to produce a flurry of prom invitations.

At some point during high school, I began singing, a sensible extension of my musical activities. Although some of my most important relationships were formed through singing groups, I never felt completely at ease in the choirs I joined. So I wasn’t surprised when, after her school choir concert, our daughter Julia unintentionally voiced what I also struggled with when singing. I asked her what it had felt like to be on stage, to stand before an audience.

“Well, I liked it when I played the xylophone,” she said. “I knew what to do with my hands. I didn’t know what to do with them when I was singing.”

Like me, it seems, Julia may be an instrumentalist at heart. I was accustomed to holding and playing instruments on stage, to having something protective between me and the audience. I often carried my black cases with me to keep my instruments warm enough, or because they didn’t fit in my locker, also conveniently giving my hands purpose as I moved through my school’s crowded hallways. I used to practice fingerings for scales on my desktop. It gave me something to do while I chatted with the more gregarious kids before classes began. Even now, when I am feeling nervous, my adult fingers long for the feeling of my oboe’s cold wood and silver. I can still call forth the smell of cedar and beeswax and saliva wafting up into my face as I open the case. I can even hear the creaking of the hinge as it opened and the snapping shut of the lid to my reed box. I mentally run my finger down the turkey feather I used to swab my oboe dry after I played.

But singing? As Julia said, it’s just you and your voice on the stage. But I pushed through this unease, this vulnerability, for whatever reason, and it led to something, someone, for me.

•••

My husband, Jonathan, and I met in our college’s choir. He was a dancer and a singer in high school. He tells me of an awkward stage involving leg warmers and acne medication and asking a friend when football rehearsal was over. When we met on his first day of college, I was his assigned greeter, or what we called a hand holder, sitting with him while he waited to audition for the choir that I had already joined. What I noticed about Jonathan—after overcoming my fascination with his strange fashion choices, including a do rag, white t-shirt, tightly cinched pants and shirt cuffs—was that, though I was there to make him feel less nervous as he waited, he was not nervous at all.

The next time we met was in the basement storage room of the performing arts center. I, in my role as choir manager, was responsible for fitting the newly selected men for their tuxedos. This was my first time measuring inseams for men’s attire, and Jonathan, third in line, intervened. Clearly I looked as confused and mortified as I felt, awkwardly holding a measuring tape, trying to figure out how I was going to determine pant lengths for all these young men I did not yet know. “Have him hold the top, and you hold the bottom down by his ankle,” he suggested.

Ah. Ankle. That’s good. I can handle ankles.

But I think the night that our relationship moved from friendship to more than that was at the famed a cappella karaoke night. That evening, we sang each other’s songs. Which is not a euphemism. We actually sang each other’s solos from our respective a cappella groups. There were a lot of red plastic Solo cups in people’s hands that night, though not in his or mine.

He actually volunteered to sing my song, confidently and in full voice, which was a folky Tuck and Patty love song. Jonathan knows how to work a room. But I was then involuntarily pushed up to the front of the crowd as his group began the accompaniment to his signature song, “The Reflex” by Duran Duran. He typically performed with full choreography, and there was clearly some expectation that I would shimmy along with his group as they boogied down. I was completely terrified and uncomfortable and breathless and uncool and not at all uninhibited by the contents of a Solo cup. Yet he stood in the middle of the crowd and mouthed the words for me, smiling warmly the whole time.

In that moment of my vulnerability and his strength, my discomfort and his ease, and during many other moments in the next few years in which we flipped and flopped roles of lending support and revealing weaknesses, our friendship grew into understanding of and love for each other. We were able to give each other what we needed when working through our most difficult, most vulnerable moments.

There was the night, sitting in the middle of our college’s clay tennis courts, in which he—overwhelmed by his work and the high expectations and his exhaustion—confessed, “I’m not going to be able to do this.” And I told him he could, and we did. Together. We created our us and, eventually, our family. We sang Tuck and Patty while rocking our babies years later. And our kids still think we are so weird when we lapse into the fle-fle-fle-fle-flex refrain on road trips.

Back then, we didn’t think about selecting someone who had skills that complemented the other’s. We didn’t anticipate the need to tackle our own home improvements or the requirement that we support all of the different homework subjects. Or that one person’s musicality should be rounded out by the other’s athleticism. And therefore, given our poorly planned love, our house is repaired with duct tape and the kitchen faucet drips. Yet we have inadvertently managed to rock the homework subject coverage at the kitchen counter. And, although our three children each fall in their own unique place on the continuum between gregarious and introverted, luckily, between Jonathan and I, we truly understand them.

Yet without question, our weakest collective skill set is athleticism. Jonathan is a self-described great blue heron with sore knees when asked to assume an athletic stance. And I am awkward and clumsy and often find it difficult to walk across a room without tripping. Of course, as with home improvement and homework coverage, engineering well-rounded genetic loading for one’s potential offspring is not typically how one goes about choosing a mate. One is much more likely to be drawn to another who likes the same things, someone who also shows up to the same a cappella karaoke event.

•••

This us, Jonathan and I. What we know from experience, despite our lack of sports expertise, is the importance of allowing oneself to feel and express one’s vulnerability. And we know the importance of where you place yourself in a crowd. As a couple, we are the result of the push and pull of social dynamics playing out while two people connected amidst a crowd’s pulse and noise. And we know how coming together—finding each other through an extended moment across the room—can evolve into a life together. A dance in which two people stop synchronizing themselves with those around them and fall into their own rhythm. Jonathan and I? We wish for nothing more than these moments, these connections, for our children.

Lately, I have been returning to that nervous, uncertain glance Nicholas shot me across the basketball court. About who I was, or perhaps wasn’t, for him in that moment. And about how Nicholas saw me, sitting among the spectators as well, caught up in my wonder at how our children are getting older and at how parenting requirements change with time. I lost sight of how this is all still about the connections, about forming the closest and strongest relationships we can with each other, relationships during our childhood serving as a springboard for embracing and moving out into the rest of the world. I want to change how I receive his searching look when it next comes my way. Though I know this will not always be the case, our children are still young enough that their raw and vulnerable glances are still directed at me.

Nicholas’s glance has also sent me back into my memory of that moment, albeit a more grown-up moment, between Jonathan and me so many years ago. Of the feeling of finding Jonathan across the crowd. And how that look moved us forward, shored us up, and helped us live. And the desire for connection with Jonathan is still there. I still hope for our eyes not to pass over each other, searching through the mess of parenting and work and distraction and stress. For our eyes to meet and linger, for this look to make the noise around us quiet. Once these intense and precious few days of parenting these beings has shifted and they move outward, that Jonathan and I will still be us, still finding each other, as the crowd thins and moves on. And for our growing children to see this, to know we are in the crowd for them now and for each other, available and strong. And for them to someday find this for themselves with another.

•••

REBECCA STETSON WERNER lives in Portland, Maine, with her husband and three children. She has contributed to Taproot and Grounded Magazine; this is her second essay for Full Grown People. She writes about parenting, children’s books, and life in their very old home at treetoriver.com.

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Karaoke Tips for People Seeking Joy

mic
By p_a_h/ Flickr

By Jennifer Niesslein

The main thing to remember is that it doesn’t matter if you can sing. Karaoke isn’t a talent show. The trick is having confidence.

That said, do yourself a favor and start with something easy. Everyone can sing Billy Joel, say, or Huey Lewis and the News. REM’s not too tough. I once worked at a bar that held karaoke night on Tuesdays and Thursdays. I looked forward to it, if only to escape the monotony of the manager’s Bonnie Raitt tape played on a loop. (“Something to Talk About” still triggers in me an olfactory memory of fajita grease and spilled beer.) There were some regulars who did rousing versions of “Friends in Low Places” and Patsy Cline’s “Crazy.” However, it was the summer of “Love Shack,” a little old song that young, drunk women believed could transform them into Kate Pierson. It was painful. For now, you should probably leave The B-52s alone.

Singing louder makes it easier, weirdly. Also, you can’t sing karaoke ironically. You can use a silly voice all you want, but you’ve chosen your song because something about it speaks to you. A stray lyric, the particular beat, a memory you associate with the song. When it’s just you and the microphone, you can be anything—younger, older, freer, tragic, more bad-ass, more soulful, more successful, unspeakably sexy—for the length of the song. When I sing, I feel something akin to joy.

•••

Even if the n-word is in a song you choose, you still may not use the n-word. Substitute “ninja.”

•••

I have a karaoke machine at home, and that’s normally how I sing karaoke. We’ve amassed a pretty nice selection of karaoke CDs that has nearly overgrown the drawer where we store them. If our collection were a radio station, it might have the tagline, “The best of the ‘60s, ‘70s, ‘80s, ‘90s, 2000s, and today!” A little something for everyone.

Public karaoke can be hit or miss. The best public karaoke experience I had was seven years ago in Ocracoke, North Carolina. My friend Sundae is a local, and she took my husband and me out to a karaoke bar one night. The place was a huge, windowless building on a two-lane road leading out of town, away from the tourist traffic. We got there early; a small crowd gathered in the back, drinking. By the time the karaoke DJ got set up, I was one of the first to sing. I chose “The Deadbeat Club” by The B-52s, ignoring my own advice. I pulled it off okay, although I sensed that the crowd didn’t know the song and didn’t care about my rendition. An hour and a half later into the night, it was time for my second turn. At this point, the place was packed. Smoky, wiggle-your-way-to-the-bar, wait-in-line-to-pee packed. The DJ called my name, and I took the mic.

Ba-ba-ba-bada-dun-dun.

That’s right. Vanilla Ice’s “Ice, Ice, Baby.” The crowd went insane. I was loaning the rock star experience, listening to scores of people singing along with me, watching the room bounce to my voice. For the first time, I understood the allure of public performance, the high that you get from knowing you created this mass of energy.

The next day, a woman stopped me as I was leaving a restaurant restroom. She congratulated me on my performance.

The worst public karaoke experience I had happened in San Francisco at a small Mexican restaurant located on one of those steep streets on which it’s impossible to maintain any sort dignity while walking down. Brandon and I had already been out with some writers I knew, had already eaten dinner and had cocktails, but by the time we got near the hotel, we weren’t ready to end the night. The place had one raucous group when we got there, and it seemed like good times. I chose a song; Brandon chose a song.

But by the time our turns came around, the fun group had left. I had chosen an Alanis Morissette song. I will just say this: There is nothing more humbling than scream-singing about oral sex at the movies, in a room populated by only your husband and the stooped older man running the establishment’s karaoke equipment.

•••

Don’t try to put your own stamp on it by changing the phrasing or some such.

•••

Lyrics can throw you, even if you think you know the song. One holiday, at a family gathering, my mom requested that my nephew sing Third Eye Blind’s “Semi-Charmed Life.” Brit did, and we watched Mom’s face slowly register the meaning of the song’s lyrics. We refer to it now as “Grandma’s Favorite Methamphetamine Addiction Song.”

At one of our neighborhood parties, a friend volunteered to kick off the night with the first song. We were two drinks in—FYI, three is kind of the optimum place to be—and I suggested he try “Tainted Love,” a song on the not-challenging level. We were all having a good time, until he started in with the “touch me” part and happened to look around the room. Most of the adults were in the kitchen, noshing. In the room where the karaoke was, we were surrounded by children, all eager to get a turn at amplifying their own small voices.

It could have been worse. He could have been singing “My Sharona,” with its surprisingly creepy lyrics. Ick! Ick! Ick! Ick! Run, Sharona!

•••

I sprung for the nice microphones from Radio Shack, so don’t swing them from their cords, like you’re some sort of David Lee Roth.

•••

I grew up Presbyterian. Although as an adult, I consider myself a superstitious agnostic, I sometimes miss the ritual of a community gathering in song.

Brandon and I used to host an annual karaoke party on New Year’s Eve in our neighborhood before some of our friends moved and the new neighbors didn’t seem as interested in singing. It was one of the highlights of my year. We’d lay out some snacks and drinks, and we’d catch up. Eventually someone would start the singing.

We’d been hosting this long enough that I knew what people would gravitate toward. Ed and Lucy would do a Rocky Horror Picture Show song. Steve would sing Def Leppard’s “Photograph” with touching earnestness. Because Trisha is Canadian, she got first dibs on Alanis Morissette and the Barenaked Ladies. She also got “Me and Bobby McGee,” slapping her own thigh to keep time. Brandon and Dan would duet on some ’90s songs, and Sara would sing “Son of a Preacher Man” because she’s the daughter of a preacher woman. I’d go heavy on the hip-hop, the kids Top 40 songs, and then at some point Melissa would bust out the Grease soundtrack, and we’d all gather round and shout it out together.

At midnight, those of us left at the party would gather on the back porch with our glasses of champagne or sparkling cider to watch the city’s fireworks. Sometimes there would be a straggler, and in the first moments of the new year, we’d hear melody from inside the house.

I really need you tonight!

Forever’s gonna start tonight.

Forever’s gonna start tonight.

And then, year after year, it would.

•••

JENNIFER NIESSLEIN is the founder and editor of Full Grown People. Her website is jenniferniesslein.com.

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