Listening to the astonishingly spirited Claudia Schmidt perform a house concert in Old West Lawrence last night, despite the sauna-esque glow of where I was sitting, I felt tapped on the shoulder to turn around and change. For the last few months, alternately freaking out, napping on the porch, guzzling caffeinated beverages, hugging good friends, complaining, breaking open my heart, talking with Ken while we lie in bed exhausted and overwhelmed, eating too many cookies and other new normals of Deathwatch 2016, I’ve tended to forget that every living moment is not consumed by intensity and crisis. Thankfully, somewhere in the middle of one of Claudia’s songs, reality broke through and said, “Snap out of it, Caryn! It’s just right now.”
Right now varies of course, and lately, it can especially seesaw from a F4 tornado to light-breezed blue-skied views. But right then at the concert, it become abundantly clear that I could drop the 62-pound backpack of grief singing at the speed of emergency, and sit happily on a small folding chair, letting Claudia’s high and low-pitches woos, scatting, and shimmering voice, guitar or dulcimer, and presence of tenderness, freedom, friendship, justice, awareness and welcome shine through me. Each note, each breath, helped me tilt just enough to catch the present and remember how much I love this life, this music, these people, this place, this time even.
Music also holds memories and holds us. When Claudia sang “Hard Love,” I followed the river of the last 35-something years from when I first heard this song, concentrating then as I did last night on the words, “the only kind of miracle that’s worthy of its names/ because the love that heals our lives is mostly hard love.” I also got to talk about that song with Daniel, now 27, but probably a baby when he first heard it, about what hard love can mean. Another song, “These Stairs,” brought me back and forward as I thought about what it means to die at home. “The Strong Women’s Polka,” a newer song she wrote and sang, brought us together in laughter, recognition and singing along with the chorus, “Whatever doesn’t kill you makes me you wish you were dead.” It also reminded me of the power of music to knock us into hysterics, the happy kind, and make community out of audiences and performers.
Music has saved me all my life, from the first songs my mother sang me that made me feel less fear and more beauty, to what I’m listening to right now, “When the Deal Came Down,” a song I co-wrote with Kelley Hunt sung by Kelley right here. This morning in the bath, I listened to Mary Chapin Carpenter’s gorgeous rendition of “10,000 Miles,” which imbued the movie “Fly Away Home” with deep waves of healing and homecoming. I cycle through long stretches of the guys too: Bruce Springsteen, Greg Greenway, Leonard Cohen as well as more show tunes than perhaps a person should ingest in a day. On the way to town today, I was thrilled to hear Leonard Bernstein’s “Symphonic Dances” from “West Side Story,” music that picks me up and puts me back down as a more coherent human. Altogether, music reminds me that I’m a buzzing, changing, churning and rhythmic body held in the larger body of community and the earth.
Music — just as the song Kelley and I wrote, “Music Was the Thread” — has held together my story and held me together continually, a heartbeat sounding in the background and center of life as I know it. Here is a poem I wrote in the last year about that thread:
My mother singing “Tora Lora Lora,”
the Irish lullaby even though we were Brooklyn Jews.
The vacuum on the shag carpet. The singular birch
shaking over the hapless window sill. The humming refrigerator.
The chants encasing me in each swayed note as I wrapped
my thin arms around my cold chest in the cavernous synagogue.
The creak of the swing as I turn horizontal, defying gravity
in the static of the transistor radio. The loud slap on the bass notes
of the body that make bruises, then the slow breath
of forgiveness, pacing until the danger is gone.
All the possibilities in each library novel about a girl,
afraid at the start, but about to do something
to swirl the calm pond of her life. The first kiss in the back
of the school bus broken by applause. The sound of thunder,
an interior roar like hunger. The old staccato of my father’s anger
before it dissolved into the tenderness of defeat.
The way some mornings rev up like motorcycles
coming point blank toward us. The exhaling speed
of rivers, starving for new ground, or betrayed
by sudden shorelines that break the water into remembering
willows. Bike tires on wet pavement, downhill,
at dawn. The happy rhythm of the subway rocking my spine
in and out of alignment with the dark as we tunneled
through water back to air, the miracle of one rushing animal
carrying us all. This buzzing body ferrying millions of cells into sound.
For the Claudia Schmidt concert, big thanks to Burdett and Michel Loomis for hosing us in their beautiful home, Bruce and Peggy Kelly for bringing Claudia (and bringing her back to Kansas!), Kat for all the home-made goodies, and for hauling in and out many chairs and a big sound system, Forest, Daniel, Thomas, Bruce, Burdett and others. Bouquets of gratitude to Claudia too!