“Beautiful Crazy” … written by Cece DuBois, Jillian Farrar, Michael Peterson, and Brett Westgrove …
When I was five or six I was drawn to the microphone at the Knights of Columbus spaghetti dinners. My Uncle John would step up on that stage and use it when he introduced Monsignor Fletcher to say the blessing. And when he announced the three piece band, made up of parishioners. Ladies with blue hair played the stand up bass, the accordion, and the saxophone. Their pearls and ear bobs swayed or bounced to the rhythms while the grownups danced.
But it was when they took their break, and the microphone stood up there all alone that I felt the pull. I wandered up. I sat on that stage, just a low riser from the floor. I pivoted and suddenly, I was there. I wandered over. I looked out at the people seated at long tables, talking and laughing. The microphone was about a head and a half taller than I was. No way could I reach it. So I stood.
Years later I would actually use microphones, in the studio and on stage. For years I worked in an industry where people think if you haven’t “sold” a song or gotten famous, you’re just a wannabe who didn’t quite have the stuff.
But the truth is, the fame part was never an issue. Never a goal. It was always about the music. And music is its own thing. Fame is about politics, and strategy, and not just a little bit about the dark side of our nature. There are those who squeak through to the main keylight unscathed, but it’s not a huge percentage.
Looking back on my years in the “microphone” business, I know that every prayer I ever prayed about it was answered. But the picture looked quite different than I had imagined. The clarity I have, and the perspective given by years of experience, make me grateful for being blessed to do what I’ve done, and am doing, without ever having sold or being driven by anything but the music.
In high school I was told to choose. And each of the tellers told me to chose the thing that was theirs:
Sister Mary Judith said to choose writing
Sister Mary Thomas said to choose music
Sister Mary Dominica said to choose fine art
Sister Josephine said to choose fashion design
You MUST choose this one, each said. This is your gift, each said.
I said no. Was it the best answer? I guess I’ll never know, but I knew in my gut it’s the only answer I could give.
I saw each as one of my children. How do I choose one, and leave the others, orphaned?
How do I nurture one, and leave the others fallow? It was the craziest idea I’d ever heard. But I was just a kid, what did I know? These were brides of Christ telling me to do this. But I couldn’t.
First of all, as I now know, what the creative well is filled with is beyond my control. It is a central space whose energy flows through me. I cannot dictate to the well how it is to express itself. I can only say “yes” to whatever shows up.
I am not the boss of it. I am the steward; the guardian. It is up to me to facilitate, not to dictate.
In my adult life, there are creative threads that have expanded; writing grew to — not only prose or poetry, but a career in songwriting. Design grew to — not just fashion design — but a career in interior design. Music grew to a career as a vocalist. I guess you could say my ‘children’ had ‘children’ of their own.
I sometimes wonder if this is just me, not wanting to “settle down” with something that could organize my life in a way that some would call “adult.” But when that thought comes to mind, the counter argument is always there to ask me, which of your creative ‘children’ would you have abandoned in favor of others?
The answer is, I cannot choose. I have not chosen. They choose me. Even now, in my dotage, I do not regret saying “YES” to all of them.
Blue Velvet, Blue on Blue, Blue Horizon. Blue is the color of my true love’s eyes. Am I Blue; blue bloods, blue stones, blue sky, blue sea.
I dream of the seashore, with its blue lapping waves. The Caribbean shore is my birthstone, aquamarine blue. Tanzanite is lavender blue, dilly dilly, deep and true. Blue satin ribbons, tying up my hair. Take them loose and let it fall.
The blues rock me and roll me, clear to my soul. Muddy Waters, Bessie Smith, Blind Lemon Jefferson, Skip James, they run blue in my veins, sing my truth from sea to shining sea.
Blue eyes cryin’ in the Rain. Blue Monday; call it Stormy Monday, but Tuesday’s just as bad.
Baby’s blue lips in the wintertime, get her inside, swaddled in the blue blanket.
Blue is the feeling when the loss is real.
Blue is the laminin cross, in every cell. Blue is the glue, holding us all together.
Holding us together.
We are held and connected by the blue.
We are blue.
The other evening, I was on the internet at my desk. To be specific, I was on YouTube. To be even more specific, I had been there for about an hour, watching video after video of singers auditioning before Simon Cowell and friends.
It’s easy to get pulled in by these clips. They’re inspiring; sometimes the performers have overcome incredible odds to be standing in front of that panel of judges. So I watched, and cried, and cheered, pumped my fist in the air. But the last woman woman who sang that night has stuck with me. I can’t stop thinking about her. When she told her story, it was as if I was listening to myself.
She was in her thirties, and Simon asked why she’d waited till now to give it a try. She said, “I was born loving music. I have sung my whole life, but all along, people told me I couldn’t. That I shouldn’t. And then,” she paused. “I was in an abusive marriage. He was cruel, and destroyed my belief in myself. So, for many years, I didn’t have music at all. But,” she smiled … “I am single; I am free now. I’m free to sing whenever I want to.” And then she did. She blew the roof off. I cried.
I shut down the computer and tucked in for the night. And that night, I had a dream. I dreamt that I approached a male friend who had a band, and told him I wanted to be their female singer. Even when I was dreaming, the “lucid” me shrunk back from that idea. Was not sure that I could. If I should.
In these later years I’ve had to make peace with the fact that my hopes/wishes/dreams regarding music have not materialized like I thought they would. I’ve also had to give myself a break in the ‘lack of determination’ department. And part of that is embracing the truth that God’s plan is at work in me, regardless of the path I’m on.
As far as my past, it’s one thing to be a cute little baby who sings before she talks; whose first words were “Ickle ickle ickle.” That’s something that new parents think is cute, and smart.
It’s something, in fourth grade, to be singled out to sing a solo in the school music program, with no clue that how you sang was unusual. It was just you. Singing.
Then again, it’s something else entirely to sing while washing dishes as a teenager, and have your dad walk into the kitchen and hiss in your ear that if you’re going to make that racket, go to the back of the lot to do it. Singing — me singing — was suddenly not cute. Not okay. Stop.
My folks were very strict, which I guess may have helped drive my love of music. It was my salvation; my only escape. I could go into my room, tune my little Philco radio to KAKC, make the volume barely audible, and sleep with my ear against it.
During the divorce from my husband of twenty five years, one of his complaints was that I was always singing. We were both in the music business, but he was determined to keep me as far out on the fringes as possible. He was fairly successful at that. But not as successful as I thought at the time. Many years later I’ve had conversations with music industry people who make it clear they were aware of the gifts I brought. Of what my contributions were, and can still be.
At first, that was hard to wrap my brain around. I’m still learning to be okay with people who acknowledge my talents, what I’ve done, and what I do. I’m getting better at that.
Like the woman standing in front of Simon, I am single; I am free now. I’m free to sing whenever I want to.
I am a vocal coach. I just read that sentence, and it sounds a little strange to me. Coach vocal. Voice. Coach voice. The definitions of “coach” are all over the place, from a “four wheeled, horse drawn carriage,” to coach as: “developing a person’s skills and knowledge so that their job performance improves, hopefully leading to the achievement of organizational objectives.”
Voice is defined as: “the sound or sounds uttered through the mouth of living creatures, especially of human beings in speaking, shouting, singing, etc.”
I’m sure Miriam or Webster or whoever it was that determined those definitions … I’m sure they were a sharp couple of guys. I mean, they know the definitions of EVERYthing, and actually put it in a book called a dictionary. But neither one of these guys has shown up to observe what happens when an individual is standing in front of me, aching to sing, but scared shitless to do it.
“I need you to sing something.”
“You mean, NOW?”
“Yes. Now. You can sing the alphabet, you can sing Happy Birthday, I really don’t care. I just need to hear your voice.”
And so it begins. Without exception, every . one . can . sing. I didn’t say everyone is a singing star, but singing is as natural a part of us as breathing. Yet so many tend to be paralyzed at the thought of letting their sound out for the world – or, for that matter, themselves – to hear.
Singing, “being of music,” is natural for us all; we speak the language of angels. So the fear is of speaking in the angel tongue. There resides in many a sense of unworthiness (untrue), of not measuring up (the big lie), born of a lifetime of people telling them they can’t do it well enough, and to stop (defamatorily inaccurate) . So I guess, woven into this work I do, is the psychology of gently leading people back to their own truth, and creating a space where they – when they’re ready – will step into it.
The body is a reed instrument. As with any reed instrument, playing it requires breath.
I tell every student that at the moment they popped out of their mama, with that first breath they gulped in Spirit; they have been doing it every moment ever since. Ironically, when they first start working with me, people often find it difficult to breathe. They become “breathless.” So we work on the process of permissions … to breathe (doing it already), to have a voice (has always been there), to raise that voice, to speak in tongue … angel tongue … the native language of the universe.
I just think Miriam and, for that matter, Webster, should sit in on a couple of my students’ sessions. I think they’d be surprised. Maybe they’d even sing.
This road it’s
To ride the dream
But in the in between
The blacktop seems to go forever
The days come
The days go
But it’s the nights I live for
Sometimes there’s a
Who makes it even better
Now the band’s kickin’ off
I’m walkin’ on
Crowd’s goin crazy
We’re killin’ this song
There’s a girl in the second row
She’s holdin’ a big old sign
Says I heart you
Baby don’t you know that I heart you too
Cause I know Oooooh
I couldn’t do what I do without you
This song is a shout out to
The girl in the second row
She’s on her feet
She’s dancing reaching out her hands
And I can almost touch her
Then some nights
Like this night
The whole room disappears
And we’re alone and singing only to each other
I know it’s a gift
Moments like this
They keep me lovin’ this life I live
I know it’s a gift
Moments like this
They keep me lovin’ this life that I live
This song is an I love you to
The girl in the second row