Showing posts with label my dad. Show all posts
Showing posts with label my dad. Show all posts

28 June 2025

The Unborn Baby That Changed History

Content warning: death, child loss, abandonment, family trauma, mention of abuse
 
I have long wondered why I can be so angry, bitter, and distant. After 2015, that makes sense, but why was I already walking with an emotional limp before that phone call saying my uncle had cancer?
 
The other day, while cleaning the kitchen, I got thinking about my first experience with loss -- so long ago and at such a young age that until this week I had not categorized it as such.
 
In 2000, not long after the birth of my brother, my parents announced they were having another baby. I was delighted. I loved my baby brother, and I wanted very badly to have a baby sister as well.
 
In the fall of 2000, my mother went for a routine doctor's appointment. The doctor could not hear the baby's heartbeat, so she was sent -- with some urgency -- to the local hospital for an ultrasound. In that in-between time, I was told the truth -- that they could not hear a heartbeat -- but I was also told it was possible that something was blocking the stethoscope, hence the ultrasound. This was explained so calmly and in such a matter-of-fact way that while I do remember praying that the baby was okay, I was mostly convinced that everything would be fine -- the ultrasound would find the baby safe and sound.

Someone took me to dance class, I don't remember if my mother snuck me over between appointments, or if my dad or grandma took me.
 
An hour later, I left dance class and headed to the parking lot. Dad was waiting for me -- Dad never picked me up from dance. Even though I thought it was perfectly logical that Mom was still in her appointment, I knew somewhere in my soul that the baby was not okay.
 
I don't remember when or how it was explained to me -- probably on the car ride. But there was no sugarcoating (even as a child, I hated it when people danced around an issue, and my parents largely respected that). The baby, at 17 weeks, was dead. When I asked if the baby was going to stay in my mother's 'tummy,' Dad explained she would have the baby like normal (I was familiar with the concept from my brother's birth), only it wouldn't be alive when it came out. He also told me that would probably happen that night or the next morning, not in the springtime like it was supposed to.
 
I saw my mother only for a few seconds when we got home. She looked terrible (she usually did when she was pregnant -- she never had a single easy pregnancy, and it was only another year or so before I started to wonder why she kept putting herself through all that awfulness). She retreated quickly back to my parents' bedroom, and Dad put us kids to bed.
 
I don't remember much of the next morning. Dad told us (or at least me) that the baby had been delivered the night before. I don't remember if Mom was there at all.
 
I do remember over the following weeks how Dad would occasionally check in with me about it, to see how I was feeling about it. While I was old enough to understand death and emotionally connected enough to know I was sad, I didn't have the vocabulary or emotional awareness to go much deeper than that. He shared with me that he was sad and upset too. He also told us how his mother had also lost a pregnancy when he was young. He invited my grandparents over for coffee one night to talk about it. My grandmother shared that she had actually lost two -- news that surprised even my dad. She told the stories of both losses. Knowing her, she probably offered a lot of comfort and cried with my parents, but I don't actually remember that.
 
A few months later, my parents announced that they were expecting again. The doctors kept a much closer eye on her this time, but things progressed well.

At her 16 week checkup, the baby had a strong heartbeat and was moving well. At 17 weeks, my mother went to her doctor's appointment. The details in my memory aren't nearly as clear. But I remember her saying she hadn't felt the baby move in a couple of days, and then somehow I heard that this baby, too, had died.
 
In retrospect, this was the one that altered my mother forever.
 
I didn't realise that till this week, in 2025. I had wondered for years what had happened to the fun, kind, gentle woman who raised my sister and me, who took us to the library and baked cookies with us and showed us which blades of grass made the best whistles, why suddenly she was replaced by this screaming ball of rage with an absolutely hair-trigger temper. I'm shocked I didn't make this connection before.
 
The next few months were a whirlwind of specialists appointments as the doctors tried to figure out how my mother lost two pregnancies at 17 weeks within six months of each other after having three perfectly healthy children -- the youngest of whom was barely a year old. We, the living children, spent more time at my grandparents' and my aunt's house than we did at home, and as the oldest, I was in charge of my two younger siblings. My parents became strangers to me. After the first loss, my parents had held space for our emotions even while they were openly processing their own. After the second one, they disappeared. I lost them too when that second baby died.
 
By the time my mother's violent morning sickness started again, she was broken and terrified. She tried to hide it, but there was no hiding her symptoms. At eight years old, I was already a veteran of spotting morning sickness. I called her out, and she swore me to secrecy until she was past the 17-week mark. I kept that secret, and it worked... that baby is my little sister, and she is entering her third year of college.
 
It was around this time, I realise now, that the rage set in. She had always been opinionated and a bit fiery (I had to get it from somewhere), but after my rainbow-baby sister was born, my mother would scream bloody murder at anything that moved. In a house of four children under ten, there were a lot of things that moved. I remember writing in my diary many, many times how she would scream at us if we breathed too loudly. I spent the remainder of my childhood trying to figure out the triggers that would set off her screaming rages, but never succeeded in cataloguing them all. Seven months after my sister was born, I developed depression.
 
It's obvious now that that depression came as a direct result of the loss, abandonment, and verbal abuse from those three years. I still suffer with depression today. It has impacted my education, my friendships, my decision-making, my career (both of the ones that I straddle independently), my faith, my hobbies, and my marriage. If the depression doesn't kill me directly in the end, it will still be etched on my heart when it stops.
 
My mother's rages continued until I left for college at age twenty. My youngest sibling at that time was three years old. That was the longest my mother had ever not been pregnant since before she was pregnant with my brother, the one before the miscarriages. My entire teen years had been a cycle of violent morning sickness; long, dramatic, difficult deliveries, and white-hot rage -- all of it hers. I raised all the post-miscarriage siblings because my mother was either too sick or too angry to do it herself and I couldn't bring myself to let those helpless babies suffer for something that wasn't their fault. I'm still not convinced it's a coincidence that the baby factory stopped when I left home.
 
Thinking back on all of this, it's not as much of a surprise why I all but stopped being human after my cousin died. Something in my soul remembered the deaths of those young babies all those years before and remembered how I was left alone, overburdened, and screamed at for every. single. misstep for a full decade in the wake of those losses, and it knew I could not go through that again.
 
This fall is will be 25 years since that first baby died and my life was irrevocably changed for the worse. I don't know what I can do at this point. Knowing why my mother's behaviour shifted so suddenly is helpful, but it doesn't take away the pain of having to choose which of my siblings to shield with my own body and which ones to leave exposed to my mother's rage -- whose cries I had to listen to helplessly as I was only so big and couldn't protect them all at the same time. It doesn't change the fact that my sister and I have basically no relationship because I prioritised the younger, weaker siblings over her and had to harden my heart against her pain because I couldn't handle being helpless in the face of it. It doesn't change how I've spent decades feeling like I wasn't wanted and that my parents were desperate to replace me with the next new baby rather than be content with the ones they already had. It doesn't change the fact that I dissolve into wild, uncontrollable, suffocating sobs the second anybody raises their voice at me or speaks with the very slightest of harsh tones because all my hear is my mother screaming at us that we're all failures and how she didn't want us.
 
It's nice to have a starting point, I guess, but I still don't know where to go from here. 

25 September 2024

Reflections On Stories From The Incandescent Years

I miss this place and I want to write something here, but I'm not sure what.

I've been scrolling Facebook for two hours and am mostly writing this in an attempt to get myself to just stop and do something productive. Supper is in the oven already, but the dishes haven't been done in three days. I had dental surgery yesterday and they told me not to exercise, but what else is there to do?

I want to listen to music, but I want to buy more, as I'm getting bored with the variety I have (which sounds ridiculous even as I type that; I have over five thousand songs in my iTunes, which apparently equals over fifteen days).

Recently I've gotten into vapourwave, specifically climatewave (which is to say I've gotten into early '90s smooth jazz). It's the only thing besides dance that calms (or at least drowns out) the scream of static coursing through my brain every second of every day. That music transports me to when I was a child and everything was predictable and safe -- Mom was always in the kitchen making supper around 5pm, Dad would spin records well into the evening and then put on an instrumental CD for us after we were tucked in for the night, Grandma always had cartoons and 'coffee and cookies' for us whenever we went to visit, and we'd watch Grandpa slice apples in his chair with his little paring knife against his thumb while he watched the news. Church was on Sundays, and we'd go to Kosmos or Zambelli's afterwards. Incandescent light still cast a warm glow over everything (maybe the phasing out of incandescent has contributed to the phasing out of human warmth and connection). We were poor, but we were comfortable. We lived out on the exposed fields of the vast prairie, but we were safe.

When they say 'music is my drug,' maybe this is what they mean. I have always felt more comfortable thinking about the past than the future, but now I'm using the music of the past to actively block out the present. The present is filled with angry people and the AI takeover and 'we're moving forward with another candidate' emails and fluorescent lights and grey fast food restaurants and my brain screaming but not in words and the persistent feeling of time moving too fast. If black holes really do slow down time, somebody should install one by the moon so we can all catch our breath once in a while.

Maybe then I could see the stories again.

I used to write mundane little stories here, whole blog posts about computers crashing and construction delays and moments with friends. Stories that took maybe five minutes to live through, and would have been forgotten in a few weeks if I hadn't put them here.

That's what life is, isn't it? A thousand tiny stories that make up who we are.

My parents, though not artists, are both born storytellers. My dad is the unofficial keeper of the generational stories, the ones that he heard at his grandfather's knee and has passed on to us (and all the neighbours). I got my comedic timing from my mom, who has a one-liner for every occasion. Buying gas while running errands can become a hilarious encounter by the time she gets back home to tell us about it. To not be able to see the stories in my life the way I used to feels like losing myself as a person. Have I lost the stories because my memory doesn't work? or does my memory not work anymore because I lost the stories?

Maybe all I have to do is re-cultivate my eye for story. The only thing is I'm not sure how to do that.

26 June 2023

Follow Where?

I'm starting to get restless.

I'm almost three years deep into a 'normal' job. And while I'm good at it and enjoy the actual work... I'm tired. It's that bone-deep exhaustion that I've learned should not be ignored. I only work one day this week because it's tech week for the show I'm in (we open Friday!), and I'm so excited to just... not wake up at 6am. I would turn in my notice this week if I could -- despite the fact that they just announced all employees would be making one extra dollar per hour during the summer.

Maybe it's because I'm in a show -- a rare occasion here in the desert. I know I'm not star material and maybe I never will be, but I am now more happy being a one-line character than I would have been five years ago. I keep thinking of Jesus' words, "Follow Me."

I want to. But where is He, that I might follow? And what must I leave behind -- my job that's paying our bills or the dream I've been clinging to for nearly three decades? Of course my bias/special interests say to leave my job and follow the dream, but is it too soon? I want to follow God's timing, but I don't know what that is. How can I follow a guide that I can't see or hear? He says things like 'love your enemies,' and 'bear witness to the kingdom of God' and 'repent,' but that doesn't tell me whether or not I should be leaving my job or if I should be pursuing this dream of mine.

I want to be self-employed somehow. I miss being able to set my own hours. Even at college, I had control over when I did things as long as I attended classes. Classes were only an hour and fifteen mintues. They were just a part of my day, not the whole entire day like a day job is.

My husband is self-employed now (though it's commission, and he's not 'big' enough yet to maintain a reliably sustaining paycheque), and I'm really kind of jealous. Kyrie is so close to done, so hopefully publishing (read: maybe a small income) is in the not-too-distant future, plus I have two dance film ideas that can hopefully happen by the end of this year, but I can't assume both of those will sustain us. There's no money in dance films unless those films bring in choreographer contracts.

The other day, I remembered for the first time in a long time how my dad, a self-employed contractor, has never lacked for work. Whenever he started getting to the end of his bookings, the phone would start ringing again and he'd suddenly be back to booking six to eight months in advance again. He did no advertising, but he never ran out of work. God always brought more contracts. And I wonder if that's what I -- what we -- need to do. I never realised till now how frightening it must have been at times to know how completely our family's lives were in God's hands, how the only reason my dad ever had work was because God brought it to him. It's completely possible -- I lived it. Everything I ever had as a child -- food, lodging, clothing, lessons -- were as a direct result of God's provision. But my dad is also a much more righteous person than I am. God has blessed him, a righteous man. But I -- I am not the good Christian I used to be. My mid-to-late twenties were a very dark time and I made some very poor choices in those years when I thought God had abandoned me and nothing mattered anymore.

I am less than a decade away from the age my dad was when he started his business. It's not too late. Maybe it's the perfect time. I am in a more calm place now than I was in 2019 when my mindset was 'theatre professional or bust'... and I almost quite literally busted. I pulled myself up by my own bootstraps for every audition, every gig, every piece of choreography, every show, and I almost literally died. The only thing that stopped the madness was the pandemic and even then it was years before I properly acknowledged that I was burnt out and that I needed to breathe in for a while without pressuring myself to create -- at least not at the level I had been.

Or maybe it's too soon. Knowing I have a neurological condition that sets me up to do things before thinking them through is making me paranoid that I'm missing something vitally important and I'd be rushing into things if I quit my day job now. There's also the fact that every time I even think about coming close to broaching this topic with my husband (because isn't a good wife supposed to discuss these kinds of things with her significant other?), he suddenly relapses back into the angry person who rages at me for hours over literally nothing and of course I have to put my life on pause and sideline all my exhaustion and all my needs until I can talk him into being a reasonable human being again.

Again... how on earth am I supposed to know? How am I supposed to follow a leader I can't see? How can I follow the timing of a clock that doesn't exist?

12 December 2022

In Memoriam: Armond Morales (1932-2022)

 I only found out yesterday that Armond Morales of the Imperials passed away on the 5th at age ninety.

Armond Morales' deep bass is a thread that has run through my entire life. I am by no means an Imperials aficionado, but my dad is. One of my earliest childhood memories is of my dad playing the Imperials' Big God (the only song I'm aware of in which Morales actually sang more than one solo line) so loudly that the dust literally fell from the ceiling.

My dad loved that song and he loved the band that made it. Albums like Let The Wind Blow (1985), Sail On (1980), Stir It Up (1992), One More Song For You (1979), ...This Year's Model (1987), and of course Big God (1991), were all in heavy rotation on my dad's hi-fi system when I was a child. ...This Year's Model comes up often on this blog as it has become one of my favourite albums too (the opening track is absolutely killer). My mother once told me a story from their dating years when Dad took her to an Imperials concert and during a medley proceeded to predict every song before it started. My mom thought he was psychic. She later learned that the exact same medley had been released on their 1990 album Love's Still Changing Hearts and my dad had it memorised word-for-word.

The Imperials have been a large part of the soundtrack of our family's life. For Armond Morales to be gone is truly the end of an era, both for the Christian music industry and for our family. The great tragedy is that nobody who listens to Christian music today realises what they have lost.

Morales managed the Imperials from the 1950s until 2017. Most bands don't even last a quarter of that time, let alone with the same manager. Even Bob Hartman's rock giant Petra is several decades behind such a milestone. The Imperials put out one solid, catchy album after another, year after year after year, from the Elvis era till the years of Hillsong's radio dominance. They shifted with the musical styles enough to sound current, but not enough to sound dated today. They navigated lead vocal changes with ease and grace and always managed to bring four-part harmonies about simple faith into whatever era they found themselves in. They were always, unfailingly, the Imperials, but they never sounded 'old,' like many gospel quartets do today. They gently guided old fundamental Christians into the current sound by staying unflinchingly true to their faith roots and as a result are a big part of why there even is such a thing as 'Christian radio' today.

Armond Morales was a quiet giant in the history of Christian music. We would do well to reflect on what he achieved and what mantle he has left behind for us, the faith-based artists of today.

24 September 2021

Music Day - Song In My Soul

Here's another song I inherited from my dad's music library. As far as I know, this is the only not-Christmas album he had from this band.

They were an a cappella band, but without the pretentiousness of Pentatonix. These are clean, simple, refreshing songs with no unnecessary virtuosity. There's nothing in this track that doesn't directly contribute to the pure richness of the song. These guys also write their own songs, so if you love a cappella music but you're tired of Pentatonix butchering perfectly good hymns and Christmas songs with overdone, overdramatic flourishes, this is the artist for you.

My dad listened to this song all the time when I was a kid, and now all it takes is that ascending bass intro to put a smile on my face. I still have a hard time believing that this is all done with the human voice. There's even some beatboxing in other songs on this album (keep in mind, this is 1989 in CCM -- we still don't have beatboxing in mainstream Christian music in 2021). The songs are so rich and full of backing harmonies that one doesn't even miss the band.

This song in particular is a song of unabashed joy, something I don't think any of us has seen in a good long time. It's a worship song that you'll never hear in a church. Parts of the lyric hearken back to the Psalms themselves. It's a pure, simple declaration of joy in God's handiwork. It all clips along at a very danceable, grooveable pace, and they make their point and get out of the way in less than three and a half minutes. It's cheerful and energetic and fun. If you need a quick little pick-me-up, here's a song that'll keep a spring in your step for the rest of the day.

The smile on my face comes from the smile in my heart
You put a song in my soul when You made me

You put a song in my soul and I want to let it out
Your Spirit in my life, well it makes me want to shout
I'm moved to sing with every beat in my heart
You put a song in my soul when You made me

Title: Song In My Soul
Artist: AVB
Album: Song In My Soul
Year: 1989
Label: Clifty Records
iTunes here; YouTube here (live version here -- caution, mullets abound).

31 May 2021

An Ode To OG Girlpop

Yesterday my husband and I got talking about the first-ever cassettes we bought, and it unlocked a memory that I hadn't even thought to recall in probably ten years.

I was seven years old and it was ZOEgirl's self-titled album. I was such a music nerd even then that I remember my sister purchasing Raze's Power on the same day (she always had cooler taste than me at that age -- I definitely listen to Raze far more than ZOEgirl today). Young as I was, I already owned several cassettes -- mixtapes that my dad and I had collaborated on in front of his big stereo system that occupied a more central place in our living room than the television. To own my own real, honest-to-goodness cassette album was a special thing indeed. I remember sitting in the parking lot of the hardware store (my parents had wisely taken us to buy music first and then gone to spend 45 minutes at the hardware store after we had a distraction in our hands -- and yes, music was a sufficient distraction for both my sister and me), and reading the liner notes -- all the lyrics, the credits, everything. I read the copyright year on the spine, the way my dad had showed me on his own albums at home. I was only just beginning to understand the concept of years (as in, we are currently living in the year 2021), but I knew the year 2000 meant it was a new album (I did not yet know that this would be one of maybe a dozen albums that I would actually buy new over the course of my life -- the overwhelming majority of the music I've bought since then has had copyright years beginning with the number '19').

Naturally, I played that ZOEgirl album a lot. When I ventured into that dusty section of my iTunes this morning following my husband's question, I found that not one word escaped my memory despite the 'last played' date being May 2017 (exactly four years and one day earlier, in fact).

Was ZOEgirl great? No. If you don't have memories attached to them, they're probably pretty forgettable. But to us Christian girls of the early 2000s, they expressed the faith we were being raised in in a way we could relate to (and, most importantly for some of us, dance to). Even listening to them today was a breath of fresh air in the current collective spritual climate of doubt, anger, and cynicism. The songs, especially on this debut album, describe life as a Christian with a simplicity and joy that I have not seen or felt in Christiandom in a very long time. Every song points to Christ alone -- not works, not 'goodness,' not pedigree, not strength. Every. Song. And every song speaks of God with joy, adoration, and complete trust. There were mainstream CCM bands at the time with far worse theology than this flash-in-the-pan girl-pop band aimed at teenyboppers (back when 'teenybopper' was a serious designation for a specific subculture). Perhaps I should have been less surprised to see singer/songwriter Alisa Childers on the front lines of contemporary Biblically-sound theology twenty years after the release of this album.

Is the music dated? Definitely. In terms of production and instrumentation, this fits in squarely with acts like Aqua or Jump5. Is this a bad thing? Not to me. It takes me right back to the simplicity and joy of my childhood before my mom's depression got bad -- back in the very early days when she was able to be properly present with us. The light, sparkling music also accentuates the purity of the message ZOEgirl was presenting. It's also still very definitely danceable (which, along with 'do the lyrics assume I actually own a brain?' is my personal litmus test).

ZOEgirl is a product of their time, for certain, but it's hard to find an act so pure, even in that era. For that, they deserve a second look. They're still not even in my top 100 favourite artists of all time (although they might have a chance at number 100 if Terry Scott Taylor didn't have so many bands loading up the top of the list). But they will remain firmly entrenched in my memory and in my iPod for what they were able to give a mature-for-her-age girly-girl music-nerd seven-year-old.

17 June 2018

A Father's Advice

My dad has taught me a lot -- mostly by simply living life. I've grown up watching him run a business with integrity and hard work. I've watched him and worked alongside him as he strives for quality workmanship on every jobsite. I've watched him demonstrate humility and love (to his fellow man, to my mother, to us kids) and leadership and a constant dependence on God to lead and provide.

A story that sticks out is recently, I was shopping for new stage shoes. I needed a very specific style of shoe for my purposes (that is, for the show that weekend), and I found two -- one new, by a quality brand, for $95; and the other for $10 at a thrift store. Ordinarily I would have jumped for the higher-quality shoes without question, but this was at a time when my finances were at an absolute low, so the price tag gave me pause. Should I just take the cheaper shoes for now and replace them in a couple months when I wasn't scraping to pay rent?

I usually would call my mother in this situation but I couldn't get a hold of her, so I called my dad at work and explained the dilemma. He doesn't know the first thing about dance or dance shoes or really anything in this world of mine filled with tights and makeup and hairspray, but I figured any outside opinion would help clarify my own at this point. I was truly torn.

Normally he makes decisions slowly, weighing the pros and cons of each option (now you know where I get it from). But once I'd explained it, he said without hesitation, "You know that I always spend the extra money for a better quality tool. It lasts longer and it's easier to use. To me, this is the same thing -- these are your tools. I would spend the extra money for better shoes that will last longer and be better for you in the long run."

So I did. I got the $95 shoes. So far, I have no regrets (except maybe the fact that I broke them in during opening weekend). But something about the moment struck me... how this advice from a contractor with no performance background or training whatsoever so perfectly applied to my situation. My parents have often said they struggle with how to guide me as I pursue a world so foreign to them, but this guideline he'd developed from years in his own vastly different work was exactly what I needed.

Not only that -- for the first time in my life I felt that someone outside the arts saw my work as legitimate. And not because they were 'trying' (code for 'saying the right things and not meaning them')... they just did. There are no words to describe that feeling, especially coming after years of striving and straining for years for people to see me as a human with needs and wants and strengths as well as weaknesses -- instead of as God's failure. A weight lifted in that moment. My dad saw my work as serious and treated it accordingly. That was one of the best feelings in the world.

30 June 2017

Five Inches

30 June 2010. Seven years ago today.

I had just gotten my driver's license a month and a half earlier. My parents had graciously bought me a (used) car, and on the 30th, my sister and I were on our way to our friends' house.

To get to their house, we had to make a left turn onto a bi-directional secondary highway. We had the stop sign, so I stopped. We were in prairie Alberta -- the land is flat and fairly clear as far as the eye can see. We were about a five-minute drive from the nearest town, and you can almost see that town from that intersection.

I was still a fairly cautious new driver, so I looked both ways twice. It had just been raining. My sister had been keeping the passenger window clear of fog with her sleeve so I could see out her window just fine, but I had to actually open my window to see down the road. Seeing no one in either direction, I began to make my turn.

Then I saw headlights coming from the opposite direction.

At first I wasn't too concerned. If I was quick enough I could continue into my lane and the truck would pass by me. I would be cutting it much closer than I would have liked, but it was doable...

As I pressed the accelerator to complete the turn more quickly, I suddenly realised that the truck was on the wrong side of the centre line. If I continued into the lane, I would hit it head on.

Something from the driving manual flashed through my head: If you must hit something and the ditch or something stationary isn't an option, try to hit something going the same direction as you are rather than head-on. I wrenched the wheel to the right, hoping I was still far enough back from the truck's path to get away with a sideswipe going the same direction. I kept my foot on the gas to accelerate my attempt to swing around. There was a flash of red in my windshield... a tremendous whoosh... the car whipped around...

We stopped moving. Without thinking, I told my sister to get out of the car and I turned to do the same. My lungs were burning. There was something in between me and the door. I pulled at it blindly, trying to get at the door handle. As I did so I realised my obstacle was the air bag.

Crap.

I knew from an accident my mother had been in years before that the air bag meant the car was totalled.

Finally I managed to get out. I didn't have the heart to even look back at the car as I ran to the side of the road where some of the witnesses were beckoning. A few seconds later I realised I had left my cell phone and ran back to the car to get it.

The car was filled with smoke and dust, but somehow I knew it wasn't on fire. I dug around between the front seats looking for the phone before finally finding it on the floor on the passenger side. The dust was irritating my eyes and it was getting harder and harder to breathe... The dust was like chalk -- thick and dry, but sticky when breathed in. After a failed attempt at getting the key out of the ignition, I merely grabbed my water bottle and went back to the side of the road.

I began to dial my dad's number, but one of the witnesses saw me with a phone in my hand and told me to call 9-1-1. I initially refused: "I have to call my dad." The witness insisted that I call 9-1-1 first. Lacking the presence of mind to formulate an argument, I punched in 9-1-1 and then handed my phone to the witness -- I had no earthly idea what I would say to the operator. From the moment I had realised that the air bag had gone off, every conscious thought had disappeared from my mind. I saw things and heard things and I reacted to them and remember them clearly even now, seven years later, but I could not formulate my own thoughts. And I was aware of that. It was one of the strangest experiences I've ever had. I remember trying to get myself to think a conscious thought, but I couldn't. Even the idea of calling my dad was coming from some internal unconscious autopilot.

I borrowed a phone from a bystander and dictated my dad's cell number to her. Years of hearing my mother quote it to customers over the phone had internalised it to such a point that even in a state of shock I could rattle it off. The witness sent the call and handed the phone to me.

He picked up, but there was a long pause before he spoke. Somewhere in my subconscious I realised that he wouldn't recognise this number on his caller ID. "Dad, it's Kate," I said as quickly as possible to prevent him hanging up. "I've been in an accident."

There was a reason I called my dad. My mother would have absolutely lost her mind -- she had just filled the car up with gas the previous night. She would have lectured me about the money I'd just wasted by totalling the car -- not to mention the inevitable increase in insurance costs.

My dad, however, is a little more able to focus on important things in an emergency. "Where are you?" he asked.

...And I couldn't remember.

I still remember sitting on the passenger seat in the witnesses' car (she had insisted my sister and I sit because we were both clearly rattled), staring straight at the highway sign, knowing it contained the information I needed, but not able to read the numbers. I struggled in vain to translate the shapes on the sign into words that my dad would be able to understand.

Finally I said, "The turn Mom told me to take." I hadn't wanted to say it like that -- it would only awaken even more of her ire because then she would think I was blaming her for this and she's HIGHLY sensitive about being blamed for anything -- but it was all I could come up with that he would understand.

"I'll be there in ten minutes," he said, and hung up. I handed the phone back to the witness and told my sister he was coming. She was freaking completely out and it was all that the witness could do to keep her seated and wait for the police. Meanwhile, the dust I'd inhaled from the air bag was beginning to burn in the back of my throat and my lungs began to feel sticky inside. I was coughing more and more in a vain effort to try and clear it, and no amount of water would take the burning away. (To this day, I suffer from a chronic cough and breathing issues.)

At some point, somebody had pushed my car to the side of the road not far from where I sat in the witness' car. It was the first proper look I'd gotten of it and I gasped.

When you draw a car, you draw the hood, then go up a bit for the cab, then down a bit for the trunk. Now imagine erasing the entire hood, or imagine cutting off the hood of the car in line with the windshield. That was what I saw. The entire front of my car was gone.

"Where's the engine?" I asked the witness.

"It's in pieces in the intersection," she said.

I half-stood and looked over the roof of the witness' car. I expected to see semi-recognisable car parts -- you know, part of a fluid tank here, hoses there, maybe jagged chunks of plastic or a few gears.

Instead, I saw shards.

Millions of shards, like shattered glass, catching the light and throwing it across the damp pavement. That was all that was left of the engine.

My dad and the police arrived around the same time. The ambulance arrived shortly afterward and checked the occupants of the truck (there had been a baby in the truck, who was the higher priority) (the baby survived -- actually they all did), then came over to my sister and me. My sister outright refused to let the paramedics check her, but my breathing was so laboured by now that I insisted they check me. I felt like I was suffocating.

They took me to the ambulance and began checking me all over: "Does this hurt?" they asked, pressing on various parts of my body. Nothing did, until they got to my throat.

"Does this hurt?" the paramedic asked, touching his fingertips lightly on my throat. It was the lightest of brushes, but with my breathing restricted already, he may as well have closed his fist around my windpipe. I recoiled instinctively, with a gasp for good measure as I tried to keep breathing.

Without another word they had me lie down and strapped me down on a back board.

"Are you taking me to the hospital?" I asked.

"Yes, for x-rays."

"Can you tell my dad where I'm going?" I asked.

"Sure." They swung the ambulance around and opened the back door. I heard them talking...

"Do you want to talk to him?" one of the paramedics called to me.

"I just want him to know where I'll be," I said.

They drove me to the hospital, no sirens, asking me questions the whole way. Name, address, date of birth, contact information, next-of-kin... then at the end of all this, they asked me what province I was in and what year it was, to establish that everything they'd just spent ten minutes taking detailed notes on had a reasonable chance of being accurate.

They took me to the hospital, but the x-ray room was in use, so they wheeled me into a room in the emergency department and left me there for the better part of two hours, with oxygen because I had been complaining this entire time that I couldn't breathe (though their instruments showed I was at 98% saturation). Strapped to a back board, completely immoblised, with the events of the previous half-hour playing on an infinite loop through my head, I had no choice but to consider what might have been -- what I'd just escaped. My dad and sister arrived and talked quietly with each other as they waited. My sister was still freaking out and my dad and the nursing staff were both trying to assure her that I was not actually dying, that these x-rays were only a precaution.

I, meanwhile, was being shocked by the brevity and frailty of my own life. Even as I lay immobile on a hospital bed, feeling whiplash set into my neck muscles, I was acutely aware that I had been given a second chance. Every second I was experiencing now was a bonus second -- one that I may not have had. I pictured what it would have been like if I had died: seeing the truck's headlights and maybe the flash of red -- and then immediately seeing the 'lights of Glory.' I realised, suddenly, that I was not done on earth. I still had a purpose to fulfil here. And there on a hospital bed, staring at the pocked ceiling because I had no other choice, I vowed I would find that purpose and pursue it with every ounce of drive I possessed. Time was short, and a long life was not guaranteed.

They took x-rays of my neck, then, as there were no fractures, let me go. My dad actually dropped us off at our friends' house anyway. Life continued. I was sore and stiff and coughing violently nearly 24/7, but otherwise it was as if nothing had happened.

Several days -- perhaps a week -- later, my parents and I went to the impound lot to look at the car and retrieve the cassettes from it (because priorities). With a few days distance from the event and now able to think in clear sentences again, I was still shocked at the state of it. One detail that particularly caught my attention was the driver's side -- the side of the initial impact.

One of the witnesses had told my dad after I had left in the ambulance that day, "At the last second, she tried to swing the other way -- that probably saved her."

This was borne out by the car itself. There were five inches between the sheared-off edge of where the front of the car had been and the hinge of the driver's door, and gradually more of the car remained the further one looked toward the passenger side. I remember thinking, my legs would have been in that space -- the space that had been torn open by the truck. Yet my legs were preserved. It was not lost on me that I might never have walked again, yet here I was, still able to walk and dance as if nothing had happened.

For a long time that catalysed my fire to keep dancing. To me it was a sign that dance was still in my future. If God had wanted me to stop dancing, He would likely have taken my legs away right there -- if not my life. But I had remained. There was still something more for me. And I determined to devote my life to finding what it was and doing it.

16 August 2015

The Story Of How I Did Not Lose My Arms

In the spirit of a kinder, gentler, happier time (back when this blog had a name very obviously thought up by a fourteen-year-old), I shall now relate a probably-mundane story from my day.

Friday we were hanging trusses (that's 'roof parts' for you big-city pencil pushers). So I'm on the absolute top of a rickety scaffolding (on wheels -- blocked wheels, but wheels nonetheless) some two, two and a half storeys high. Below this rig is six inches of concrete. My dad is on the top of the wall to my right, and my uncle is on the wall to my left. On the ground in front of me is the telehandler ('crane,' pencil pushers). Attached to one of the forks of the telehandler is a chain -- wrapped around the carriage and hooked back on itself so the other end dangles free.

The process is as follows: a truss is carried over the ground to the telehandler and positioned so that the centre, the peak, is under the chain. The free end of the chain is looped around the centre post and hooked back on itself so the telehandler can raise it up to us.

These trusses are forty feet wide, and since they're made of 2x6s, they're kind of floppy. Hence three of us up at roof height -- to control the thing. Because I'm in the centre, I'm responsible for the tallest and heaviest point of the truss (a really smart place to put the 5'3" 150-pound college kid -- the centre of the truss is twice my height). The chain and I are the only things holding it upright until my dad and my uncle get some nails in (and even the chain has to be a bit slack so my dad and my uncle can make sure it's seated properly).

We developed a pretty good rhythm over the first ten trusses. So on the last one, the eleventh one, the telehandler brought the truss up to us, my dad got his end set in place but not yet nailed down, I grabbed one of the 2x6 'webs' near the centre to steady it, my uncle stretched out to grab his end. Something happened -- I'm not sure what, but my dad said later that the telehandler dropped the truss on the walls a bit abruptly, enough to bump it -- but I saw the chain on the top post of the truss come undone. The hook just jumped right off the chain. I saw blue sky where the grey chain link should have been.

Suddenly I'm the only thing preventing a 250-pound truss from falling several storeys to crush the telehandler and the operator as well as destroying the truss itself -- oh, and we're already two and a half weeks behind on this job. Every muscle begins to tighten, begins to brace for that terrifying few seconds when the truss will be pulling against me, trying to fall, before my dad or my uncle will be able to wrench it back -- if they even can, being twenty feet away from the balance point.

All this flew through my head in a split second as I watched the hook drop back into place on the same link of the chain that it had just left.

Those muscles that had begun to tense had not yet finished tightening as commanded. It all happened that fast.

The telehandler operator's response when we told him what happened? "Oh yeah, I totally planned that."

19 February 2015

Of Children, Death, and Healing

A little boy died in Ontario today.

He had wandered out of his grandparents' apartment in the middle of the night into a twenty-below-Celsius night in a t-shirt and boots. They found him six hours later, still alive but not in good shape. And tonight he died. A little three-year-old boy died. It's heartbreaking to think that twenty-four hours ago, his parents and grandparents thought he had another seventy or eighty years left in his life -- his whole life stretching out before him -- and now it's gone. And he died alone, lost, probably frightened, freezing in the snow in a minus-thirty windchill. No-one to hug him and tell him they loved him and he was safe. And yet he had two loving parents and two loving grandparents. How awful this must be for them. How truly horrible. Twenty-four hours ago they were a normal family with a normal little boy.

Tonight I was at a voice recital at the college and as much as I tried to focus on the singers, my attention kept drifting to the director of my program sitting across the seating area from me, holding his little girl on his lap. He had his arms around her, rocking her in time to the music, dropping kisses on her blond head at regular intervals. She was resting her head on his shoulder and I tried to remember when I was her age and size, sitting on my own dad's lap like that and suddenly I thought, Enjoy it while you can; don't forget this moment, and I almost burst into tears right there. I could not remember specifically ever sitting on my dad's lap. I was never really a sit-on-a-lap kind of kid. I was too busy doing something -- playing a story or dancing. I don't remember being little enough for that and I don't actually remember the feel of my head on my dad's shoulder and his arms around me, rocking me. I'm sure all those things happened. I've seen it with my younger siblings. But I don't remember it for me.

They provide translations for the songs in the program. There was one, some German piece from Brahms, and the translation talked about names fading on old gravestones. The gravestones read 'we were.' So final, so dismal, so full of sadness and regret for things that could not be regained or recaptured or relived. We were, but we are no longer. It is over. It is gone. And then something poetic happened and then the gravestones read 'we were healed' and I could only think of my friend Brittney.

Grieving her death is a funny thing. I miss her. I hate knowing I will never see her or talk to her again before I myself die. But I know her breathing was tortured here -- to what extent I don't know, but I do know it was labourious -- and now for the first time she can breathe easily. She died, but it was death that finally healed her. Yet that healing came at the expense of furthering our collective relationships with her as her friends and family. I'm glad that she is healed, but I miss her so much.

22 December 2014

The Quiet Miracle


Trigger warning -- suicide.


The twenty-second of December, 2009.

I was at my grandmother's house. They are trying to induce labour in my mother... again. Six times they've tried this. Six times she's been at least two weeks overdue no matter how many drugs they pump into her system. The fourth time, when I was only nine, they started inducing her over a full week before her due date. She went in for induction on 26 December that year, and I didn't see her or my dad again till 15 January, the day after my sister was born. In the meantime, my siblings and I were shuffled between extended family members with great abandon. And I, being the oldest, was expected to mind my similarly traumatised siblings, even as my own world seemed as if it was falling to pieces around me without my parents there to stabilise it.

Now, six years later, in 2009, here I am at my grandma's again, waiting for a 'successful' induction that will never be and well we all know it. But by now, the next-oldest sister has taken over some babysitting capabilities, and I am alone in my grandma's basement in the 1970s-orange spinning armchair.

The Christmas lights shine all around me -- the basement is the grandkids' Christmas decoration bonanza, where all Christmas heck breaks loose -- and the gas fireplace runs at regular intervals. This has been my place of solace for years. If the people get too much for me, I retreat here. This is my thinking space, this room, this chair, these warm-coloured surroundings. Some might find 1970s orange shag ugly, but I find it reassuring. (Thinking back, I'm surprised my looks-conscious grandmother lived with that carpet for twelve years.)

I stare at the TV cabinet, thinking, sinking deeply into the bleeding gash across my soul, the bleeding no-one will acknowledge, never mind attempt to stop. I stare at the TV cabinet, at the reflection of the Christmas lights making a plastic smile in the glass door, and I search my mind for the reasons I should live.

On the other end of the basement, in the kitchenette, in the first drawer on the right, are knives. Sharp, turkey-carving knives. I don't know how I know that's where they are, but somehow I do.

But suicide is not something to be taken lightly -- I know that much. So before doing anything, I must be sure this is what I want. To that end I'm sitting here thinking, making sure I really truly have nothing left to live for.

After at least an hour of contemplation, I come to the conclusion -- no. There is nothing.

I am convinced that no-one loves me. That no-one would notice I was gone. Or, that if I was gone, they could finally be happy because then -- finally -- I would have done something 'right.' Then I would be out of their hair and they wouldn't have to deal with needy, annoying me anymore. Perhaps my death would be the only way I could please them, and I so wanted to do well -- to please them, so then they would finally be able to love me. The irony was not lost on me -- that if I was dead, therefore they would finally be able to be happy with me and to love me, I wouldn't actually be able to experience that love and appreciation. But no matter -- at least I could be at peace knowing they would be pleased with me for sensing when I wasn't wanted and removing myself from their lives so they could live in peace, without having to deal with me.

Yes... yes. This was the only way. I didn't want it to be, but there was no reason for me to stay. They wouldn't love me as long as I was here, and all I wanted to do was to make them happy for once.

I sat there in that chair for a good hour (maybe more, I don't know -- time doesn't matter much when you're going to die), thinking it through, every angle, trying to foresee any potential hitch.

No. There was none. All I had to do was get up, cross the room to the kitchenette, and get out a knife. And that would be it. And then they -- that is, everyone -- could finally live in peace, knowing that I would never bother them again.

I sat there. And sat there. Visualising everything, how it would play out. My arms rested, fully and utterly relaxed, on the overstuffed arms of the orange chair. I sank deep into the cushion, my weight, my head, pressing against the back. Comfy. Too tired, too spent, to get up. I wasn't so much sitting in the chair as the chair was holding me. My body was totally relaxed for once. I had surrendered to the chair's sturdy padding.

I stared blankly into the fireplace, still thinking through my decision. Letting my mind wander a little, for the last time. Thinking... would there be anything I would miss? I was crying, inexplicably. But the tears meant nothing. It was only the bleeding, gaping soul wound doing a little housecleaning.

My body sank deeper and deeper into the chair. It wasn't particularly warm, but it was my grandma's and that was enough. I let my head fall back, still thinking, still feeling numb pain, waiting for the decisive moment. Giving someone, anyone, one last chance to call me up and tell me how much they loved me and how much I meant to them, like in all the stories... you know the ones, where someone's decided to kill themselves, and just before they take the pills/fire the gun/whatever, someone they know randomly calls or shows up and says, 'I don't know why, but I really felt like I needed to tell you how much I love you...'

Well, God. Give me one reason.

I waited. I waited.

No-one did.

Time passed, and the wound stretched bigger. So even God wouldn't send someone to stop me? Even God was just going to apathetically let me die?

My grandma came down and told me to come upstairs for supper. I did without a fuss. I had no reason to disobey.

The rest of the evening is lost to me. I don't remember what I did after supper. I don't remember if we stayed the night or if my dad picked us up so we could spend the night at home. He must have because on the morning of the twenty-third I was at home, ironing my mother's present before wrapping it.



Four days later, 26 December 2009.

I was at a family gathering -- the extended-extended family (my great-grandmother's descendants) Christmas celebration. Sitting at the table next to my (predictably still-pregnant) mother and my aunt, I suddenly felt horribly sick -- faint and hot.

I remember my mother calling my dad over and then everything began to shift and I closed my eyes. I heard voices around me, voices I knew, but it was too much effort to discern what they were saying. My heart felt like it was racing. I was only vaguely aware of someone taking my right arm.

"What's her normal heart rate?"

"I don't know. We've never really paid attention."

"Either way, it's too fast."

"Do you trust me?"

It took a moment for me to register the words were directed at me.

"Do you trust me?"

I couldn't breathe. My head felt like it would explode.

"I guess."

"I'm going to carry you to your vehicle and your dad's going to take you to the hospital. Okay?"

I nodded and was carried, without a coat, into the sharp December air, into the rattletrap (the family vehicle at the time). I lay limp in the seat as my dad drove the two blocks to the hospital. I don't recall if I even had the strength to buckle my seat belt.

My dad stopped outside Admitting and brought out a wheelchair for me, then wheeled me into the emergency room and went back to park the van.

The emergency room was full -- my dad took the last empty seat -- but my ashen face and irregular racing heartbeat got me in within five minutes. I realised years later that they had honestly thought I was dying.

I was given an IV -- to this day I have no idea what it was for or what was in it -- and tests were taken. An hour later the doctor came back with a verdict and a prescription. The former was a dangerously low hemoglobin count, and the latter was for the most disgusting substance on the face of the Earth. I swear they scrape the stuff out of the murky depths of Hell and bottle it and give it to the innocent populace with the wide-eyed promise that it'll restore their iron levels (which it never does, at least not enough that you can stop taking it).

Anemia. A curse that never goes away. It causes not only prescriptions for the nastiest substance in the galaxy, but it causes lightheadedness/dizziness, extreme weakness, and a complete inability on the part of the doctors to diagnose you with anything but anemia ("Fractured leg? It's because you're anemic. Take more iron. You'll be fine"). And based on the fact that I was only six points away from getting a blood transfusion, I had been crashing for a while.

At least four days.

I didn't make the connection until November 2012, when I inserted the experience as backstory in a novel (nothing is sacred). Only then did I see the miracle that happened that day, 22 December 2009.

God didn't send anyone to stop me. He Himself, who formed my body, reached down and stopped me.

That 'curse' -- that curse saved my life that day. I was already crashing, too weak to get up. And that saved my life. Because I can tell you if I had gotten as far as the knife in my hand I would not be writing this now.

24 December 2013

(Belated) Music Day - The Birth

We are now delving deep into the darker recesses of my music library -- my guilty pleasures, if you will. (Actually, I just rediscovered this song this past summer and then forgot about it again till the other day.)

This is a moment in history on this blog -- I am actually featuring an artist commonly known as 'country.' (Daniel Amos doesn't count because they came to their senses, burnt the cowboy hats, and became awesome.)

I wouldn't say this is a country song, though... I would classify it as rock (though I'm not, shall we say, an expert on the difference between music genres). I didn't actually know this was a country artist (this is the only album of his that I know) until my mother pointed it out. I would think it's more of a stretch to call it country than it is to call it rock.

Enough self-justifying.

So how did I know this song existed? Well, the word 'rediscovered' in that first paragraph will probably have tipped off the longtime readers (all two of them)... this is a gem from my dad's music library. Oddly enough, I don't have any specific memories attached to it, but I think before this summer the last time I'd heard this song was when I was four or five.

It is glorious. This is what praising God should be -- a big freaking celebration! Sure, the track starts out very mildly, with Mr Daniels reading a passage of Scripture (Luke 2) in a deep down-home southern twang. Soft. Quiet. Peaceful.

But then the choir bursts on the scene! crying out Hallelujah and it echoes back, several times, then adding Hosanna and it builds... builds into an explosion of joy. The choir filling the air, the bass with its infectious groove, the acoustic guitar sparkling over the top, the electric organ chords rounding out the high rich sound...

Plus, you just know a song is awesome when it has two guitar solos and an organ solo. Party on, man.

Title: The Birth
Artist: Charlie Daniels
Album: The Door
Year: 1994
Label: Sparrow Records
iTunes here; YouTube here.

To get the full effect of this song, do what my dad does: crank it until the walls dance along.


Merry Christmas to you all!

25 January 2013

National Choreography Month Recap, Days 21 - 25

Crazy couple of days around here. Last night the Oilers played the craziest hockey game I've heard in a while. Down 1-0 with just over a minute to go in the game and Nugent-Hopkins scores -- and then it gets called back due to a totally ridiculous 'goaltender interference' call.

And then with 4.7 seconds left, Yakupov scores. The game goes to overtime. (Or, as Jack Michaels called it: 'ooooooooooo-ver-time!')

And then Sam Ganger (remember him?) scores the winner.

Stick that in your pipe and smoke it, Oilers-hating-referees. Way to almost cause a riot.

Anyway.

Last post, I had a just-barely-attainable goal on the National Choreography Month side of things: Finish Fly Eagle Fly.

So Monday morning (Day 21) I woke up, ate breakfast, then sat down and began composing. I worked more or less until six pm, then had dinner and went for Bible study in town. At this point I had five measures (phrases, bars, whatever... I'm a choreographer, not a musician) left in the song. Assuming I got back home at about ten or ten-thirty, I should easily be able to finish by midnight, giving me a full nine days to devote to The Dance.

So I went to Bible study, got to see a friend who'd kind of dropped off the face of the earth for nearly a year, witnessed a heck of a discussion on the work of the Holy Spirit within His people, accidentally threw a wrench into the 'college and career' program plans they've been working on for two months (because I'm just that talented), and got back into the rattletrap to listen to my RDA of White Heart as I drove the twenty minutes back home.

Two minutes out of town, the rattletrap overheats.

It's happened before, so almost on autopilot, I pulled over into the next driveway (thank you for the use of your driveway every three months when this happens, person with two driveways and the old country-style cottage surrounded by trees), shut the van off, and called my longsuffering dad to bring me some coolant (because for some reason the jug that had been in the back of the rattletrap was no longer there).

I hung up the phone and settled back into the still-cold seat in the strangely quiet van surrounded by the vast Alberta night sky. Literally thirty seconds later it hit me.

Fly Eagle Fly.

Oh crap.

It was already ten o'clock. By the time my dad got there it would be pushing 10.30. Then it was a twenty-minute drive back. I would have an hour to finish the dance.

Five measures (phrases, bars...) doesn't sound like much, but I had absolutely no ideas at all for them yet (and usually I have some vague vision in my head). It was the most difficult part of the dance -- I wasn't quite sure what I wanted out of this one little section, and thus had no idea where to even start.

But still... I had accomplished quite a bit earlier that day... maybe... maybe...

My dramatic self was on the verge of hypothermia by the time my dad arrived (why is it that when the rattletrap 'overheats' it's never actually anything close to warm?). The rattletrap behaved better with more coolant in it and we went home. I rushed down to my room and hunched over my little table with my iPod and my pencil, willing my brain to come up with something brilliant in the next hour... please...

And it did -- but only after it came up with something else first that I wasted half an hour writing and then had to erase. By the time I finished the dance and looked up at the clock it was 12.45. In the morning.

I had failed.

I had fallen short of my goal.

There aren't a lot of words to describe how crushing that was.

I had set a goal, and I had missed meeting it. I think the only thing that could have made it worse was if it had been the 31st of January.

But it was not and after much ranting about the rattletrap on Facebook and a few hours' sleep, I began working on The Dance.

It's going beautifully -- I'm quite surprised. I think it might be because last time I wrote a piece with more than three people it was the middle of December. After microanalysing every little thing that two people are doing for the past month and a half (to make sure they're complimenting each other but not doing the exact same thing), giving my brain six dancers to play with was like hearing your favourite band is getting back together. Or at least how I imagine it would be (*cough cough* notthatI'mtryingtotellyouanythingWhiteHeart *cough*). Add to that the ridiculously easy counting structure of the song (eights, all the way through), rather than the gorgeous-but-slightly-epileptic tendencies of Mark Gersmehl's synthesizer, and my brain is doing absolute cartwheels of delight. My problem now is keeping up with the notating, not getting ideas. And that is definitely a good problem to have in this line of creativity...

17 February 2012

Music Day

It's Friday already?

...Friday's almost over already?

Crap. I guess I need to find a song. (*starts scrolling through iTunes frantically*)

So, um... how have you all been? What's been going on in your world?

Me, well lately I've been (ooh, maybe Sheila Walsh? Oh wait, the iTunes Store doesn't carry her stuff yet) working on choreography, like I think I've probably mentioned lately.

It's been going pretty well. I picked a song I've had an intro to for like months and have determined that I will not work on any other choreography until that piece is done. At least in rough draft form. Also I decided I'd work on it every single day until it's done. Even if that work just means transcribing my hastily-scrawled English-language notes about it into Benesh notation without actually coming up with new steps. Because making sure it's understandable six months from now still counts, if you ask me.

And believe it or not, I've already choreographed the entire seventeen-second intro, the first verse and the first chorus. I've transcribed about halfway through the verse.

Also, speaking of choreography, my dance friend and I have decided that we're going to do a NaNoWriMo-esque choreography month in May. There is already a similar challenge in January, but it was the last week of January before we found out about it and anyway, they don't have a minimum accomplishment threshold like NaNoWriMo does. And without a definite goal to push toward, neither of us gets anything accomplished (well, I don't anyway).

We're still trying to figure out what kind of goal to set (a certain number of minutes' worth in a month? a certain number of pages in a month?), but we've already set aside the first of June to get together and share May's output with each other.

So I've found a song!

This is another one from my childhood, from my father's collection. This is one of his favourite artists -- he has this song on vinyl (probably twice) and at least twice on CD. This is probably my favourite song from this artist... there's this moment, about four and a half minutes into it, after the lyric Not to speak a word... there's a pause and then a tremble of excitement in his voice in the next line that gets into the depths of your mind and sends itself down your spine because you know the celebration is coming and the excitement begins to build and it makes your hands flutter in anticipation.

And then with triumph the celebration starts! and it makes your heart beat faster and it makes you get up out of your chair and jump around, reaching higher with every leap, and it makes you sing along at the top of your lungs and by the time the song ends you're completely spent from the previous two minutes but you're totally exhilarated.

It feels dramatic, but it's also so real. And to top it all, this features some of his best lyric crafting (in my opinion).

Title: Gotta Tell Somebody
Artist: Don Francisco
Album: Got To Tell Somebody
Year: 1979
Label: Newpax Records
iTunes here; YouTube here.
(Based on the miracle documented in Mark chapter 5 verses 21-24 and 35-43. It's also covered in Luke chapter 8 verses 41, 42, and 49 through 56.)

And doesn't the analogue mixing/mastering just make that celebration? This song wouldn't be nearly as big a part of my memory as it is now if it weren't for the sound of the celebration pushing the volume limits of late-1970s recording equipment.


But with authority I'd never heard from the lips of any man
He spoke and every sound rolled out with the thunder of command...

He gave me life when all hope was dead
Where there was grief He brought joy instead...

06 January 2012

Music Day

Just in time for a new year of Music Day posts, I've acquired a considerable amount of music in the past few weeks.

It started with the discovery of classicchristian247.com this past November. Not only have I discovered songs from my childhood that I had previously not known the names of, I have also discovered other music I've come to enjoy. (I would have said 'new music' except it's mostly from the eighties.)

However, the music they play on the station that I tend to like usually exceeds the iTunes Store's repertoire. So I turned to eBay.

In the past month or so, I've rounded out my entire White Heart collection (save Don't Wait For The Movie), gotten that one last Petra album that iTunes steadfastly refuses to carry, and bought at least one album from a flash-in-the-pan because I kept hearing songs from that artist on the radio.

Then, just before Christmas, I stopped at the second-hand store. I needed one last component for my little sister's gift and my mother suggested looking at the second-hand shop.

What I needed conveniently happened to be right next to the music section. So while I waited for my mother to return (she had dropped me off and taken the rattletrap to get groceries), I browsed through the music.

There I found Jars Of Clay's debut album on cassette, plus Steven Curtis Chapman's Signs Of Life, Newsboys' Take Me To Your Leader, and Petra's Petra Praise 2 on CD. All told it was less than five dollars. All of the CDs are in good condition and at least side one of the cassette is good (I haven't gotten around to the second side yet).

For Christmas my parents got me two Newsboys albums I didn't yet have and a friend got me an iTunes gift card, which, when added to the store credit I already had, yielded nearly fifty dollars. I'm still chipping away at that.

And now... I've talked about getting a USB record player for years now. My father has quite a collection of 1980s Christian records, most of which I'd also fallen in love with back when I was four or five years old and he would play DJ in our living room in the evenings, spinning his favourite songs on vinyl and CD for our enjoyment. Even now, hearing the songs he played most often brings me back to those evenings when I would sit by the stereo with him on our brand-new white carpet and look at all the album covers and -- perhaps most importantly -- look for the copyright year of each one (because even back then I was nerdy enough to care about this).

Anyway, back to the story.

So the other day I needed something at the electronics store. My father came with me, saying he wanted to look at something.

We left the store with the cable I needed... plus a shiny new record player. I think it was a purchase for him more than it was for me -- I've never seen him so excited.

Long story short I've spent the better part of the past two or three days importing vinyl. I intend to convert a few of his favourite albums to CD for his birthday next week, but right now I'm high on all his DeGarmo & Key and David Meece albums. (Though I'm sure he would enjoy having those on CD too -- after all, he evidently liked their music if he kept buying their records.)

So today, after much deliberation, I have decided to feature this:

Title: You Are The One
Artist: Keith Green
Album: Songs For The Shepherd
Year: 1982
Label: Pretty Good Records
iTunes here; YouTube here.

(Note this is Keith Green, not to be confused with Steve Green (this confused me to no end as a child). Keith Green was the guy with the really thick curly hair who died in a plane crash. Steve Green, as far as I know, is still around (in fact, I think he's still recording).)

When I first heard a Keith Green song, about a year or so ago, I wasn't particularly impressed. I don't remember which song it was, but I remember thinking it was rather boring.

However, after a couple of months of hearing his work on the radio, it's started to grow on me. I think he composed with the piano rather than the guitar, a rarity in Christian music to say the least (David Meece is the only other Christian artist I can think of right this second who also composes on the piano). In fact, I read a review of a Keith Green album once that said simply, 'Keith Green makes the piano keys sing.' The more I listen to his songs, the more I'm inclined to agree. The rock feel of some of his other material (not so much in this song) has a sort of 'class' that isn't easily found elsewhere. I like electric-guitar-based rock as much as the next person, but piano-based rock is a nice burst of fresh air.

Another thing I've grown like about his music is the passion, the love he had for God. You hear it especially in the song I just posted... you can hear the smile in his voice, like he's almost about to laugh just from joy. It's such a simple song, but he has so much fun singing it you can't help singing along.

I was dying
But You gave Your life for me
Oh...

09 September 2011

Music Day

I think this song will forever remind me of eating sunflower seeds in my father's old Toyota. How, I don't know, as we owned this album on CD and the Toyota in question was far too old for CDs (although I'm fairly certain it had a cassette player).
I don't know exactly what year or model that Toyota was, but I do know it lasted basically forever. It had a line of rust spots all along each side of the pickup box and the spots never seemed to get any larger.
In order to house his tools, my father had built a cover for the box, added some hinged doors (which may have been padlocked, I don't recall), and painted it silver.
My sister and I loved to go with him to town on Saturdays in that truck. Usually he had to go look at a potential job or measure something and get supplies for Monday morning. He almost always stopped at a gas station and got us each either a bottle of pop or a treat of some kind. If we went to the Building Centre (which was a common occurrence), we got popcorn... a nice reward for those seemingly interminable hours we would spend there as Dad visited with everyone in the store.
There were always sunflower seeds in his truck though, and often I would sit in the truck and eat them until he made me stop before I ate the whole bag. I liked the salt mostly. I would suck the salt of the outside of the seed, then carefully bite the tip off and pry it apart to get the actual seed inside. My parents never seemed to understand why I would put the whole thing in my mouth if was was just going to spit it back out but it seemed perfectly logical to me...

Anyway, this song is far too steeped in nostalgia for me to give you an objective description or anything, but I can tell you this -- if you don't like the eighties' sound, don't listen. This is the song that still defines 'eighties music' for me.

Title: Dancin My Heart Away
Artist: Kim Boyce
Album: Love Is You To Me
Year: 1989
Label: Myrrh Records
iTunes here. I couldn't find it on YouTube.

19 June 2011

Our Script

My father and I have this little script we like to rehearse every two weeks or so. We could probably do it in our sleep.
It goes something like this:

EXT. -- A ROAD SOMEWHERE -- DAY
KATE sits in her MINIVAN on the side of the road, holding a phone to her ear. After three rings, the party on the other end answers.


                         KATE'S DAD
                    Hello?


                         KATE
                    Hi Dad. It's Kate.


                         KATE'S DAD
                    (apprehensive)
                    Hi...


                         KATE
                    Um, there's something wrong with the van.


                         KATE'S DAD
                    What do you mean?


                         KATE
                    (gives brief explanation of problem and unsuccessful measures taken to solve it)


                         KATE'S DAD
                     Did you try (such-and-such)?


                         KATE
                     Yes. It didn't help.


                         KATE'S DAD
                     What about (this)?


                         KATE
                     No, not yet. Just a minute.


Kate attempts remedy her father suggested. The problem remains unsolved.


                         KATE
                     That didn't work either.


                         KATE'S DAD
                     (resigned sigh)
                     Where you at?


                         KATE
                     (describes location twenty minutes drive away)


                         KATE'S DAD
                     All right. I just have to finish this up here and I'll probably be out there in half an hour or so.


Thank you Dad for continuing to come to my rescue on the side of the road without complaining. I love you.