Island Blog 140 Larks and Kate

 

dna

 

 

Singing is a lark don’t you think?

I feel like singing a lot of the time and sometimes in the wrong places such as the dentist’s waiting room or in a queue at the airport.  In my imagination I play out what would happen if I did sing.  That old lady over there would probably smile.  The kids would gawp and wonder if they had stepped into a movie and all the rest would study me from top to toe and think me bonkers.  None of that would matter if I could guarantee sounding good, which is never a given.  I would have to be travelling alone because being with someone else puts me in a situation of being One of Two, giving Two the right to an opinion and to take preventative action, neither of which boost conifdence.  I can feel very sure about a spontaneous decision and very unsure indeed about that same decision in the flip of one second when I am One of Two.  No, I need to be One of One if I plan to orchestrate my own flashmob without the mob.  I suspect this leaves me ‘flash’ and all my minders will roll their eyes and nod their heads at that association.

What, I wonder, is so wrong about bursting into song all alone whilst completely sober just because other people are around?  Other people are always around.  I would have to wander a desert or fly to the moon to find no people around.  It isn’t the same singing in the shower, or the car or when the house is empty and I don’t know why but it just isn’t.  There’s a sudden joy that pre-empts a desire to sing which I just don’t feel in the shower or the car or when the house is empty.  There is something about being out in the world, being among fellow humans, being alone among the crowds;  a sort of devilment, a pixie sense of fun, a frisson of excitement at absolutely nothing.  This is when I want to jump over the railings or tightrope walk a garden wall; when pavement squares threaten bears and, in their less dangerous moments, hopscotch.  I like sitting on the pavement and I do if I feel tired of the concrete seeping into my legs but rarely, if ever, has anyone joined me.  Why do we hate to stand out in a crowd when we so long to be individual and recognised as such?  It’s about looking foolish isn’t it. (not a question)

The thing is this.  We are a long time dead.  A boarding school best friend, lost over the years and found again quite recently has just contracted a wasting disease and died within months.  She was the same age as me.  When we unwillingly schooled together, we recognised a fellow scallywag immediately.  She didn’t want to knuckle down to ancient scratchy-knickered traditions any more than I did.  We found many ways to make life fun, and to make fun of everyone else.  She was wiry and fizzing with energy and always up for a lark.  And now she’s gone. But I did know her and I am remembering her and that time we hooked up in London and shared lunch and memories.  Our lives had been different and neither one a merry breeze but we were resilient, strong, feisty women who ‘sung’ our hearts out at every opportunity whether it sounded good or not.  If I had Kate behind me as my foolish imagination began to propel me into a flashmob without the mob, she would have joined me, not having a clue what to do but looking all enthusiastic about it anyway.  Perhaps we are born bonkers and perhaps this bonkerness is so deep within us that no man nor beast nor disaster nor catastrophe can even dent, never mind eradicate.  Well YAHOOO! to that is what I say.

When we talked, Kate and I about the other girls there, we discovered she had kept up with them whereas I had not.  She knew bits and pieces about each girl’s life and had met up with a few of them, even returning once to an old school reunion which I most definitely didn’t, not least because by that time I had 65 children and lived on the moon.  I wonder about their lives lived – what they really dreamed of.  We never talked that way at boarding school.  We talked about netball and ghastly cheese pie and who had fallen out with who, and why.  Most girls kept in line. The risk of being punished was way too great for any out-of-line-stepping.  It was all about the ‘Team spirit gels!’ – a team spirit structured by Them for Us, regardless of allergies or differences of opinion on the ‘how and why’ of such a structure.  Clomping to church in galoshes on a dry morning did little to encourage this team spirit and a whole lot for my inventive imagination.  In fact, I think it may well be precisely because I was grown in Boot Camp and then, at my most difficult stage, packaged off to Corntonvale au Sud, that I learned singing at all.  I don’t mean this literally, although I was a choir member and I did take my pianoforte exams, but more the sort of singing that comes from a deep place, one that won’t be stopped, one that doesn’t mind how it sounds when allowed to escape;  that singing that lifts and separates better than any playtex living bra; when one of two is suddenly one in a million and forever fixed in 999999999 minds, with adjectives various affixed; that singing you meet in another’s eyes, the one that tells you it’s ok now. There are two scallywags in this convent.

Singing is a lark.  Kate was a lark.  Therefore Kate was Singing.

Island Blog 68 – Songs for the Girls

Island Blog 68 (futureengagedeliver.com)

fig via: futureengagedeliver.com

I wrote a song for Jenny and one day I will sing it out, perhaps after the funeral.  And then I wrote another for my little grand-daughter, the youngest thus far whose naming ceremony is being celebrated the weekend after.

How life organises these things I cannot say, but she always does and it makes a sort of sense.  It’s not about one life replacing another, but more that the sharp-edged void created in a heart, when someone dies can be softened by a new life.  These two girls will never know each other; will never come together except in my heart, and that is something rather wonderful and quite uniquely precious.

When I write my songs, or create my paintings, or lampshades or cushions or whatever, I work for one person.  I think of who they are and what colours they wear and what stories lie in their eyes, and I work to honour and recognise them all.  This is why I won’t create a production line, nor paint the same, but in blue, to match the furnishings.  Every single piece of work is a one-off.

Much like a life.

The song for Jenny celebrates her as a woman of the sea, of the world and now, of the beyond, wherever that is.  The words are taken from a well-known poem and personalised, and I don’t suppose anyone will mind, because they will hear what they want to hear and think what they want to think about Jenny as they take it all in.  The music will lift them and pull on their heart strings and someone may well recognise parts of other melodies and other phrasing from a different song for there is nothing new under the sun.

And yet, everything is always new when someone catches a thing and forges it again in the fires of their heart.

The song for my granddaughter is different in that the words are all mine, and the melody pinched from a couple of other musicians who won’t know and wouldn’t mind anyway.  We are not talking chart topper here.  The words had to be bespoke, just for her, and with respect paid to her mum and her dad and the fabulous crazy wild people they are, and all those attributes now handed on to one little girl.  It’s light-hearted and fun and will bring smiles to all the faces watching me stand and deliver.

We are all unique, but it is a rare bird that can fly alone into a busy sky, with its own song to sing, certain that just by singing it, everything is new.

Island Blog 57 – A New Song

Island Blog 57

 

There’s a young man that I know……

Well THAT’S bad grammar for a start!  It should read…….There’s a young man whom I know……..no…that sounds heavy and requires too much lip puckering. It also sounds like the plural of hummus.

I know why the songwriter chose to forfeit the English Prize – some words are really hard to sing in certain combinations, and it sounds different again when you listen back to it through a fancy recording thingummyjig.

We were writing songs, me and two professionals from Wild Biscuit, in a lovely farmhouse in the middle of nowhere.  There was a beautiful dog called Blossom, a bonkers horse with wild eyes that dashed by every now and then in a tartan blanket, ignoring any wheedles to come in for the night, and a loudly colourful pheasant from a hot country who (or is it whom?) appeared outside the kitchen door one morning and who now resides in the yard, fed on porage oats and leftovers. Swallows busied themselves with nest building and chattered me awake in the early mornings.  I watched a dipper on the pond and heard the Bark Chorus from the kennels across the valley.

Everyone knew this place already, but I didn’t.  My bed had soft white cotton coverings, and there were daffs from the garden in a little vase.  I sat down with my writings and John said Pick a line, so I did.  ‘Hey did I get here early?  I see you’re packing up the car.’  and we were off, me with my pencil and he with his guitar and recording thingummyjig.  When Mags came in to see if we wanted coffee, we already had the bones of a song in shape and my sore throat had quite forgotten itself in the excitement.

It was the same the next morning.  Only this line was ‘Sometimes I feel beautiful, easy in my skin,’ because I do sometimes, and I did that day looking out this time on sunshine and promise and that bonkers horse shooting by to interrupt my reverie.   By mid-afternoon we had two songs down, and harmonies and different instruments that rose into place with the push of a button.  I loved losing myself in the music, singing into a microphone for the first time in years, hearing the reverb and the feedback and remembering to free one ear so I could hear my voice in real time as well as the enhanced one, that sang me like a boy in a cathedral, with those high ceilings and big echoes and time standing still. There was even  Photographer Bill to capture the magic of all this creativity.  I gave him a copy of Island Wife and he said he would write his own story one day.  Shame, I said, you can’t photograph sound as I scrambled through another verse sounding like a donkey.  The next day I would be horse.

It’s a beginning, which is why we call it the ‘Imagine Sessions’. I am already writing a third song in my head and listening back to the cd I brought home of the first two, to think more on rhythm, beat, musicality, harmonies and lyrics; to practise, to lift a word clean away, or shift it, or lay down a new one altogether.  And the cough has nearly gone, for on mental tiptoe I can reach the high notes again.

A new door opens and I am stepping through.