06 February 2015

Music Day - Hold Me Jesus

To all of those whose lives have changed irrevocably.
To those who have been shell-shocked by a sudden death.
To those who look at the future and see only fog.
To those who lie awake at night, heart racing.

Title: Hold Me Jesus
Artist: Rich Mullins
Album: A Liturgy, A Legacy, And A Ragamuffin Band
Year: 1993
iTunes here; YouTube here.

23 January 2015

Music Day - Rift

This song was recorded in 1993. But in terms of mood (and genre), it could be mistaken for something from Skillet. Screaming, thrashing, rage, sickened disgust.

Title: Rift
Artist: Mortal
Album: Fathom
Year: 1993
Label: Frontline Records
Before I get to the links, PLEASE NOTE: (they say this at the beginning of the concept video, but I'm going to say it again here) The official music/concept video is pretty intense and a bit graphic. It deals with the subject of child abuse (in its many different manifestations). It's tactful about it and overall the video is quite well done, but it is rather intense and could also be a trigger for some people. (It's six minutes long and within the first minute there's a suicide by gun.) Please be aware of this before you watch the video.
The song itself does not make any actual mention of abuse. It is more concerned with the anger and forgiveness process in the victim, but does not get specific about how exactly the hurt has been inflicted.
iTunes here; YouTube (song only, no video) here. Official music video here (viewer discretion strongly advised).

All that said, the music video is very well done. It's quite a tour de force, skilfully weaving multiple angles of multiple stories, different perspectives, multiple concepts into one cohesive whole. I've read bestselling novels that had choppier plots than this music video. From an artistic standpoint, this is phenomenal. The scenes with the adults playing like children and the scenes with the adults 'frozen' -- they've never grown up -- and the children walking around them are chilling. I can't quite put it into words, but that's exactly what it is -- the adults frozen, caught in their ruts, and the children simply walking around, just waiting... waiting... waiting for something to change.

Ordinarily I would be appalled at the violence and dark undertones in the video, but in this case it absolutely serves the point they were making. It's meant to be a wake-up call, to force us to confront the issue and quit pretending it doesn't exist. The 'Christian community' would likely watch this video (if they even made it past the gun part) and whine, 'Why do you have to be so graphic? Why did you make it so sickening?'

Answer: Because you won't step in. You won't be a friend to the adults (and children) who need a loving, caring person in their lives. And this -- these horrific scenes -- are the consequences of your inaction.

You said you'd lift me up
You said you'd cover me
You said you'd nurse my cuts
You stare and watch me bleed...


***

All of the above was written about two years ago.

Yesterday, after having pretty much forgotten this song existed, I suddenly remembered and subsequently revisited it. Twice. And a different phrase arrested my attention this time.

Sometimes our broken hearts are healed
The moment we believe again...

And it was apparently important enough that they repeated it. I wondered when I first heard it why they repeated it. It seemed odd to me, especially coming after so much anger. But now I think they repeat it so that the words could properly sink in.

Sometimes our broken hearts are healed
The moment we believe again...

In the past six months, people very close to me -- people I love dearly -- have been involved in separation/divorce, developed serious cancer, been emotionally hurt, and some have lied to me. Two of the deepest, hardest-hitting incidents were within two days of each other. And I gave up. I had been praying for months about these things, and finally, when those two particular incidents came up back-to-back, I threw my hands in the air and said, "Why am I still praying to a God who doesn't care?" The fact that I was thinking this terrified me, but there it was. And I've been in a weird in-between state since. I want to believe God cares, but on the other hand I think, 'yeah, well, if He did care, He would at least show me He could fix this.'

In a nutshell, I have become jaded and bitter, and I can almost feel my heart hardening inside me. It is terrifying. And throughout the past couple of days there has been the question of trust -- you're bitter at this person for not trusting you. Are you really any better than them? You're mad at this person for having a heart of stone. Is yours really any softer? But still I fight -- "but You don't care that my family is falling apart and You won't let me help the ones here who are hurting!"

And then this song came, those lyrics. Did they fix everything? Heck no. But it offered a challenge, a burr on the slope of polished slate that I'm sliding down... will you believe again? Will you trust Me one more time with your heart so I can fix it? It made me stop and think. That's one thing that I like in music -- a lyric profound enough to stop me in my tracks. And it was perfectly hidden in a loud, raging industrial song that I was only listening to because it sounded angry and I needed to listen to something angry to match how I felt. If it had been in a Silverwind song I would not have heard it yesterday when I needed it. I was so upset over the whole state of affairs that slow, happy music was making me even angrier. Props to Mortal for tucking that observation in an angry song where it's probably needed most.

16 January 2015

Music Day - Backyard Changes

This is how I like my pop songs -- fun musically, but not insipid lyrically.

Musically: well, come on, it's Crumbächer. What do you expect besides keyboard? And I, for one, wouldn't have it any other way. The sax is a bit overdone at the end, but aside from that it's Crumbächer pop goodness as you've always known it.

Lyrically: This is easily as hard-hitting as anything with Steve Taylor's name on it. But while Taylor tends to look at societal ills, here Crumbächer takes a slightly more introspective view.

It starts out as your general older-teenage-angst song, sympathising with the frustrations of every sixteen or seventeen year old:
Nothing ever changes
In your own backyard
So you wanna get out when you can
You say your folks don't understand
You wanna make a difference...

Oh, I know. I've been there. I've felt trapped in my own home. I've raged against the four walls of my bedroom, feeling like my parents didn't care that I wanted a break from the pressure of being the perfect oldest.

But while Stephen Crumbacher offers sympathy, he also brings up a good point:
You wanna make a difference
But you'd better start
Closer to the heart
With some backyard changes...

That is, if you can't (or won't) make a difference in your own neighbourhood/school/workplace, what makes you think you'll make a difference anywhere else? If you leave your backyard, you'll still be the same person, just in a different place.

Title: Backyard Changes
Artist: Crumbächer
Album: Thunder Beach
Year: 1987
Label: Frontline Records
iTunes here; YouTube here (live version here).

09 January 2015

Music Day - Glory Battle

We've had this album since it came out, but it was only over July that I really listened to this song (or the whole album, really). This song in particular appeals to my classical ballet mind. It's the dance of a fight between good and evil, between angels and demons, both clawing for the same soul.

Last March, while recovering from strep throat, I read Frank Peretti's This Present Darkness, and that book has stuck in my head, both as a reader and as a writer. As a reader, I enjoyed the story -- the soft-spoken unrelenting faith of the pastor, the confusion and determination of the newspaper manager, the spunk and pluck of the reporter, the self-righteousness of the church deacons, the rebellious attitude of the daughter, the strategising between the demons and the angels... it was one of the most engaging things I've ever read. I literally read the entire thing cover to cover in one night. As a writer, I appreciated the colourful detail in every scene -- rich without being overdone -- as well as the subtle humour employed throughout. Even in very serious scenes, one careful turn of phrase, one character's well-timed glance could send me into a fit of laughter. Peretti has a gift -- I've never seen anything like that anywhere else, and I used to read quite a bit of this genre (back when I had time to read for pleasure).

Shortly after I read that book, I began thinking: what it would be like to stage that story, as a dance? You would need music for that, of course, but provided I could find a composer... could I do it? Could I portray the characters without speech and wearing ballet slippers? I haven't answered that question yet, but now that the germ of the idea is in my head, I sometimes find a little something that might fit in the dance version of the story... this song is one of those.

(Trivia: This same artist has actually written an instrumental song based on This Present Darkness (source: album liner notes) in 1988. The song, Ashton, is on the album i 2 (EYE). Music Day post here.)

Title: Glory Battle
Artist: Michael W. Smith
Album: Glory
Year: 2011
Label: Provident
iTunes here; YouTube here.

Besides the music of David Meece (and Pachelbel's Canon In D), this is probably the closest I get to classical music. It's not that I don't like it, it's just that it always seems so stuffy and elitist (kind of like some of us 'Jesus Music' fans, come to think of it...), and I can never keep track of all the composers and the names and variations of their works. But this piece is amazing. It's sweeping, majestic, strong, rushing -- it sounds exactly like a battle. There's the start, and then the initial battle, and then someone retreats and the music turns mournful... then clear and a little hopeful. The sides regroup, and suddenly there's a thunderous second assault. It's enough to make me want to get into more classical music. (Feel free to make suggestions in the comments!)

I love the string parts in this song. They contribute so much tension to the piece.

02 January 2015

Music Day - You Are Loved

Cheesy? Perhaps. Passionate? Absolutely. The Altar Boys have been especially noted for their passion. There's a sincerity in their voices that you don't hear in a lot of other music. And it has a tremendous effect with lyrics like these that so many need to hear...

Title: You Are Loved
Artist: Altar Boys
Album: Gut Level Music
Year: 1986
Label: Frontline Records
iTunes here; YouTube here.

I often find myself setting this as my alarm in the morning. To wake up to words like this actually does put a brighter spin on my day. Never underestimate the power of passion and a sincere lyric (and punk rock). The harmony in the chorus is rather pretty too.

To all the hearts that have been broken
To all the dreamers with abandoned dreams
To everybody in need of a friend now
You are loved
You are loved
To all the rebels wounded in battle
To all the rockers that have lost that beat
To all the users all used up now
You are loved
You are loved...

30 December 2014

The Glory And The Flame

Originally written 27 December 2014. See this post for a fuller explanation of my apprehension.


This has never happened before. I have never had a performance actually bring me to call into question my ability and calling. Even this spring when I danced entirely the wrong section in the middle of the Waltz of the Snowflakes in Nutcracker, I did not doubt my calling or ability (my memory, maybe...). But tonight, on the eve of my second-ever solo performance I am actually ready to quit. To just drop everything related to dance -- performing, choreography, everything. I can't do this. What made me think that I could? What insanity made me think that dance was my calling? Was it just me playing God? Because, when I think about it, how do I actually know God called me?

And the stupid part is, I can't even articulate why this one impending performance has me in such a state. It's a five-minute solo piece in front of an audience that, by and large, doesn't know the first thing about dance. Like at all. Most of them probably don't even know the stereotypes. Anything I do, whether technically correct or not, will be a novelty to them. They will honestly have no clue whether my dancing is good or bad other than from their own aesthetic perspective which I can't help anyway.

It's a solo. I can (theoretically) improvise if I forget or screw up, and nobody will have a clue. I don't even care about that. All the articles say that as long as you perform with confidence, you could make a thousand mistakes and people won't notice. And if there's one thing I've learnt at college, it's that. I would never have survived my voice finals (or my theatrical audition) if it wasn't for that. You just put on the mask. You lie. You smile and pretend it's all right.

So I guess tomorrow I'm going to church to lie.

I want instant gratification. I want to know in advance that I won't fall over in the balance in attitude devant. I want to know, right now, that I won't blank at the easiest part of the choreography. I want to know in advance I will actually have the physical strength to get through this. I want to know, now, that I won't bore the crap out of my audience with some kind of self-centered, self-serving, made-up crap for five irretrievable minutes of their lives. I want to respect my audience. And that means giving them something good to watch -- something well-prepared and well-executed and pregnant with meaning.

But on the other hand, we who claim to serve God also have to toss in that whole 'Soli Deo gloria' thing. Am I doing only for the glory of God? Or for the glory of God and the pleasure of man? And if it's the latter, does that not cheapen the glory of God? But then where does respecting the audience -- His creation -- come in?

26 December 2014

Music Day - O Come O Come Immanuel

My Christmas gift to you: this song, and the re-instation of Music Day, beginning the first Friday in January.

Merry Christmas.

Title: O Come O Come Immanuel
Artist: Gene Eugene, Riki Michele, and Ojo
Album: The Broken Christmas
Year: 1988
Label: Frontline Records
iTunes here; listen on SoundCloud here.

One of the more beautiful, soothing, peaceful, lovely and yearning versions of this song that I've heard.

23 December 2014

Stage Fright

I perform (dance) again in less than a week. It's my own choreography. Theoretically I should be excited and I am, but I'm sick with worry over the performer -- namely, me.

I've always considered myself rather an average performer, as that seems to be the general attitude towards my performing. I'm all right with that. I'm much better at and more excited about composing choreography anyway. The problem is that I have all this great choreography that I want to see on a stage, if only for purposes of critique, and I have no performers except myself. And, as noted, I'm not exactly Anna Pavlova.

The line between performing and composing is not even thought about in Canada, never mind among my typical audience of Baptists and farmers. Therefore, if the performer is terrible, the entire dance is criticised -- even though the choreography itself may have been stellar. Therefore, if I am the only performer of my choreography, and I as a performer am only a sub-par vehicle for what may very well be excellent choreography, I will not get good, clear, honest feedback about either the choreography or the execution of it. By extension, folks will be reluctant to see any more of my choreography -- even if I'm not performing it -- because a sub-par performance will have sullied its merits.

The nature of my audience magnifies the pressure. Baptist churches are not exactly known for their kind-heartedness, grace, or mercy. They know me, yes, but that means they expect me to be utterly perfect -- by their idiosyncratic definition of perfect. I'm already toeing the line by dancing in the first place. If I screw this up, if it turns out this choreography is poorly represented by the relatively out-of-practice performer, there is a very real chance of living the rest of my life as a punch line: "Remember that time Kate tried to dance back in '14? I thought Hell had broken its banks."

There is only one chance in the Baptist church. Do it flawlessly (their definition) the first time or stop being a Christian. There is no room for trailblazing, for learning, for refinement and development of a craft. Add to this that I'm not entirely happy with the choreography itself, and I'm seriously wondering if I should pull out rather than risk submitting five minutes of random potentially-self-serving crap to an audience that never asked for it. Most of them wouldn't know the difference between bad dance and good dance, which makes me want even more badly to show them a shining example of good dance lest they see one example of the bad and subsequently write off all dance everywhere. At the moment, I can't guarantee that I can show them an example of good dance.

But then, if not now, when? I've been chomping at the bit to get my choreography staged, and now it's finally starting to happen a bit. Logic says I should just take the chance and run. But am I really ready? Is this just normal pre-show nerves? I wouldn't know, I've never really had issues with stage fright.

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.

17 December 2014

Childlike Wonder

Something clicked for me the other day. Why I do this. Why I want to do this -- this art thing. Creating things.

I was listening to Michael W. Smith's brilliant orchestral piece Glory Battle. I have wanted to choreograph this since I first heard it this past summer. I have blocking and theme all figured out -- all I'm lacking is time to flesh out the actual steps. But that day I was listening to it, trying to wake myself up so I could study. I never realised before how consistently that piece gives me chills. I swear I listened to it twenty times. I sat there on my bed for literally forty-five minutes and just kept hitting the back button every time it finished. I couldn't stop. I kept thinking, Okay, one more time. Okay now, last time. Now this really is the last time. But I kept hitting that button like an addict. I wanted to hear it again, see the dance in my mind's eye again, feel that orchestra again. Like a little kid watching his favourite film or playing his favourite song over and over and over again because it's so captivating and big and can't be experienced all in one go.

Once that little kid was me. And the song was David Meece's This Time. I could not get enough of it. It wasn't a 'kids' song,' but it absolutely captured my four-year-old mind. Perhaps it was because it wasn't a kids' song, deliberately dumbed down to pander to a younger mind. It made me feel happy and sad all the same time, and one listen could not sort through it all. I distinctly remember even as a child trying to articulate why I liked it so much, what exactly it made me feel -- but I couldn't. In a way I still can't. You can analyse the song structure and the theory and production all you like, but it doesn't explain why my soul seems to get bigger and simultaneously smaller when I hear it. It doesn't explain why the world shrinks and expands before me, why snowflakes seem to glitter brighter and yet so do the stars.

This is why -- or at least part of it. I want to give a little kid that moment -- that moment where the soul is simultaneously crushed and flying. Even if the old people don't care, if there can be a little kid that will watch this choreography on YouTube obsessively not because it's my work, but because it awakes in him a wonder and awe he can't explain away, that will be satisfactory. Emotionally, at least. (I do still need to put food on the table somehow. I don't know how that works yet.) I want to give them the same experience I had -- that sense of awe and wonder, as I build on the foundation of those who gave me that same experience. And then may the child go out and do the same for the next little child.

But is it art for art's sake? Wonder does fade. But that path back to the great artists of history that started with David Meece turned out to be a good one. From there I ended up largely in the hands of artists who knew that the wonder they create is elusive and fleeting and that it fades. They had already found -- and directed me to -- the source of the awe and the wonder that never fades. May I build on their foundation and direct the next generation of artists the way that those before have guided me.