I posted this up on Facebook late Sunday. And, I confess, reaction was so strong I’ve been persuaded to repost it here so it sticks around.
I’m tired and more than ready to log off, but I wanted to at least acknowledge, and share a thought or two about Mother’s Day.
To those among my friends for whom this day remains a pure, happy celebration of love, my deep and sincere best wishes.
But, I’m keenly aware that there are a number of folks who, for various reasons, land somewhere between “mixed feelings” and “raw grief” this day.
And I send my heart’s desire for peace and comfort your way as well.
For the children who have lost a loving mother.
For those who feel they never knew a loving mother.
For the women who mourn the fact they were never able to have children.
For those who made a thoughtful, personal choice not to have children for good and valid reasons but who nevertheless feel left out, if not judged, on
days like this.
For the mothers who have had one or more children die or go missing, and are living their lives now carrying a gaping, invisible wound that never fully heals and will be with them all their days.
For the single fathers who find themselves trying to be mother as well.
For the grandparents who thought they were headed for retirement but instead are now raising a “second family.”
For the mothers and children separated by incarceration, war, or politics.
And for all the others who’s particular situation I have not called out here, but who found themselves feeling “out of step” with the dominant narrative today.
May you all love and be loved; may you feel peace, safety, and connection; may you all sleep tonight with full hearts.
Note: I found the artwork that accompanies this post a couple days later on a friend’s Facebook page. Seemed to drive the same message so well, I thought I’d include it here. It was created by Boston artist Megan J. Smith for their Repeal Hyde Art Project. You may want to check out the project’s web site here.
I was hunting for something on YouTube this morning that I never did find. But in that way that YouTube (well, all of the internet really) has, my search took me down a couple different rabbit holes, eventually landing me someplace that really got me thinking.
Among the body of film clips and audio files of The Beatles that float around out there in the wild these days (much of it material from the Anthology project, or bits and pieces that didn’t make the final cut for that compilation) there are a number of purported bits of “the boys at work in the studio.” Many of these informal scraps appear to be at least semi-staged, quite likely at the behest of some Under Assistant West Coast Promo Man (in his seersucker suit) who wanted something “special” to leverage.
But what I stumbled upon this morning seems to be authentic “fly on the wall” audio of the band sitting around in studio trying to find the pieces to fit a remarkable new song George Harrison had brought in. The tune eventually became the wonderful Something on the Abbey Road album, but it’s a long way from it at this point.
I listened in fascination for a good nine minutes as the boys stumbled and wandered around the fully formed melody line, searching for the lyrics. As I heard them chase down several false trails, then back up and restart, I silently thanked the studio gods that some assistant engineer in master control had the presence of mind to roll tape “just in case.” It’s a revealing glimpse at process.
I also realized, after a bit, I was getting a revealing look at myself as well. I’m pretty sure I’ve talked here before about my lifelong affinity for music, of all types. Really from the time I was old enough to begin generating fully formed* thoughts and feelings I was attracted to music wherever I could find it.
*hmmmm…”fully formed” may be overly generous, even now.
Whether it was strolling oompah combos at the County Fair, watching variety shows on the huge mahogany black and white Capehart, my folks’ old big band records, or afternoons spent peeking around the corner into our living room as the neighboring teenage girls brought their precious rock ‘n’ roll 78s over to play for my lonely and welcoming mother in the living room (they’d kick off their shoes and dance in their bobby sox all afternoon—nobody at home would permit them to turn up the volume on “that damned noise”), I was locked in by the time I was 6 or 7 years old.
Fast forward a half-decade or so. By the time the first stirrings of puberty were beginning to cloud my young mind, my horizons had expanded beyond pop deeper into the roots of blues, jazz, folk and more.
I even went through a brief phase when I was 14 or so when I saved up, bought myself a used acoustic guitar and some tab books, and worked on reinventing myself as a “folk singer.” But within a year or so, I had to confront the reality that I had absolutely no native talent as a musician.
You know how you hear stories about kids who pick up some cast-off junk instrument, teach themselves how to get a noise out of it, and within weeks are astounded the adults around them? And they then grow up to be famous players, in demand by audiences around the world? If there is a 180 degree opposite of that kid, I was him. I was never gonna “astound the guys and win the girls” with my guitar virtuosity. Eventually I came to terms with that truth and let it go.
But my hunger to find a way to be near the music, to be there for the transcendent moments I already understood it can bring, stayed with me. And it wasn’t long before I came to realize that for every lead guitarist and killer piano player up on stage there needed to be a significant number of “support troops” to make a space for the magic to happen.
And thus, as I came of age in the San Francisco Bay Area in the late ’60s and early ’70s, I found myself on stages and around clubs, dance halls, and bands. Not as a performer, but as one of those necessary crew people. It was in the intensified cauldron of that scene, in that moment, that I began my lifelong, still ongoing, admiration for and relationship with people I’ve come to call The Creatives.
I speak here about artists of all stripes, be they performers (musicians, actors, jugglers and dancers—even, to some degree, athletes and politicians) or practitioners of more solitary arts, such as writers, painters, and the like.
I found, almost subconsciously, that the role of “support” is a comfortable fit for who I’ve come to understand myself to be. I truly do not have that gift/curse of The Creative, whose mind and psyche contains the odd admixture of talent and inspiration that drives them to express something, and gives them access to the necessary skills to execute. But I do have skills, talent and intelligence. And I get great satisfaction in putting them to work in service of The Creative.
I did that for a number of years in and around music.
Also spent a good chunk of time in radio which, at first blush, might seem to run counter to what I just said. But really, in reflecting on my broadcasting career, I was always, again, able to make myself a useful and valuable “member of the team.”
And the nature of the medium means that still put my in front of a mic (and yes, I loved doing that work). But here too, I was never the most high profile personality on air. Most of the time I was “the news guy,” doing important work, but never putting myself in front of the story. And my stints as a music host were all relatively anonymous weekend shifts or fill in work for “the regular talent.”
Recently, I’ve had the opportunity to apply that “support staff” mindset in work with two different authors; one working on an important biography, the other producing fiction pieces after decades of focusing her talents in completely different arenas.
In one case, I served (by remote electronic connection—the internet is a remarkable tool sometimes) as essentially a combination proofreading editor and beta reader. Devising and implementing a system for making notes and communicating them to an author several thousand miles away was an interesting challenge.
For the other, I’ve been more directly involved in virtually all the “non-creative” aspects of producing, packaging and taking to market, two books now, with more to follow.
In the latter case, it’s been a pretty intense learning curve in which I’ve had to bring many aspects of my skill-set to bear in new areas where I have limited, if any experience. Fortunately for me it appears I am, among other things, an autodidactic polymath. Which is, I learned this afternoon, a $20 way of saying I am one adept at self-education “whose expertise spans a significant number of different subject areas.” Impressed? I was.
The thing I’m trying to say about this is that, once again, I find myself sliding easily into that “I’m the support guy” role for a new sub-category of Creative. And, once again, I’m deriving significant satisfaction and fulfillment from being the facilitator.
Look, I’ve come a long way ’round to get back home to this point: While initially motivated as a young person simply by a desire to be present and a part of what seemed to be important and exciting events, that yearning brought me to come to see myself as bringing value to life by applying my skills and talents in support of The Creative.
And, as a result of that, I’ve enjoyed more than my share of opportunities to stand close to the white hot energy of the Creative Crucible as much as anyone not endowed with the gift/curse themselves is likely to be able. Due to that, I believe I have come to have a certain familiarity, if not intimacy, with that process, and a number of people within whom it moves.
That close view has taught me some things over the years. Early on I absorbed the lessons, but did not yet have the life experience or perspective to put the education in context. With the more contemplative mind set this season of my life has brought comes, I think, a deepening understanding of it all.
In younger days, it was hard to get much beyond the basic transactional lessons. “I really love Xyz’s music, but geez he’s an asshole to deal with.” “What a delight it was to spend the evening with Abc. Supremely talented, and so easy to present. She just brings light to the entire building when she walks in.” Stuff like that.
Fairly quickly, because I did spend so much time “inside the bubble,” I also learned that, as a culture, we are damned hard on our artists. We bestow a certain celebrity upon them, but then make demands on their attention and activities that are, frankly, selfish and unreasonable. Then we resent them if they don’t accede to those demands, on our timetable.
But here’s the thing (and this is the piece I find myself coming to somewhat late in life). I feel terribly grateful for the trust Creatives place in me when we take our respective roles and do the things we must. And I have ever-deepening respect and sympathy for those among us who carry the Creative gift/curse.
To be the individual who brings the magic is truly a remarkable gift from the universe, and the gods of the arts. But that gift comes with a heavy, heavy cost to those upon whom it is bestowed. Beyond the often terrible weight of the relationship with “fans” that I touched on above, the very act of creating often generates a staggering vulnerability for the Creative.
And the more profound and moving the art, the greater the extent to which it leaves the one who puts it out there naked before the world. Also, I’ve never known a truly talented individual who wasn’t wracked from time to time with agonies of insecurity and self-doubt; what some call “impostor syndrome,” regardless the level of their accomplishments. It seems an inevitable byproduct of the work.
Different individuals deal with it in different ways. As noted above, some create a deeply loving and supportive “family” among those they work with and all who surround them while others grow prickly and withdrawn.
It breaks a lot of people. That, along with the basic raw talent, is why the ranks of the truly magical are so small. Many, for one reason or another, drop out along the way. It’s also why we have so many tales of alcoholism and addiction, failed relationships, and deaths at age 27.
What I know to be true is this: Being a Creative is a damned difficult job, harder and more challenging than anything most of us ever have to bear and sustain. Thus, today I have deep, deep respect for the courage (even if it’s courage born of desperation) of those who do the work.
The human condition is enriched by the presence of these gifted ones among us. And to whatever small degree I have been able to ease the yoke of the gift for a few of them here and there, it’s a life well lived and it has been my privilege to assist.
Plus, I got to be present for a hell of a lot of cool stuff.
Oh, I expect I owe it to you to show you the video that sparked this almost 2000 words of rumination. Here ’tis.
NOTE for regular readers: As you know, I avoid the overtly political here, reserving that sort of traffic for my Twitter and Facebook accounts. The avowed purpose of this blog is to honor my medical diagnosis and do what I can to “download” whatever experience and—dare I say?—wisdom I’ve accumulated before my run here is finished.
But here’s what happened. A young man from Rockford, illinois who calls himself Jimmy B.O.A. posted the following Tweet, which sparked an exceptionally interesting comment thread (Jimmy clearly has high quality followers). I wanted to join in, but quickly realized my remarks would extend too far beyond the 240 character limit to even build a thread. Thus, a post here which I can link in the comments.
And besides (he adds in his best self-justifying voice), this isn’t about a “news of the day” political issue. It does speak to a piece of who I am which, I submit, gets it past my self-imposed “no politics” rule.
First, Jimmy’s Tweet:
POC can fight against racism until the death of them. Shit will never change, until the minute good “White Folks” speak up, and condemn each and every person that commits “Racial acts” against people that doesn’t look like them.
You. Must. Not. Spare. A. Racists. Feelings.
Let’s set context first, OK? I’m an old white dude, a bleeding edge boomer specifically. And I’ve been speaking up and speaking out my entire life. Attended my first civil rights march when I was, not sure now, either 12 or 13 years old. Was involved in anti-war activities and efforts to support UFWOC (later UFW) by the time I was a freshman in high school. Et cetera, et cetera. So, I’ve “been to the barricades” many times, and I’ve never stopped advocating for what seems right to me.
And I’m grateful to Jimmy for launching this thread. It has kicked off some interesting and useful conversation (something that seems a rarity rather than the rule much of the time on Twitter).
I absolutely concur. Nothing changes unless and until those standing in the way of change are challenged and called out. One of the advantages of being my age is that I have seen this play out time and time again on any number of specific issues over the decades. Barack Obama and Dr. King were right about the arc bending toward justice, but it’s a long arc and it needs our help along the way.
Need to say though, that as I have continued to “do the right thing” as best I can, I have had to learn a lot of new stuff over the years. And a lot of that has to do with privilege. There was a time it all seemed pretty simple to me (if a little risky at times). When I saw something that seemed wrong, my job was to stand up and speak out. That remains my guiding policy, but in recent years something began to happen that confused and disturbed me at first.
And I’ve seen some folks post up about it in this thread. Other white folks whose feels got bruised when they tried to speak out and someone challenged them (sometimes caustically) on their standing to discuss the issue.
See, I’ve come to believe that confliction (a lot of it anyway) is all about privilege. And I’m realizing one of the most pernicious things about privilege is how difficult it can be to recognize when you’ve enjoyed it your entire life.
In today’s context, now that someone has invented and defined the term “ally,” it just won’t work any more for me to roll up and start white mansplaining to folks who are marginalized and disempowered in one way or another howIthink they “should” act to be most effective (let alone how they should feel).
Because I don’t know what I don’t know. Oh, yeah. I’ve spent periods of my life impoverished. I have more than a passing acquaintance with alcoholism and drug addiction. I’ve seen the inside of jail cells for less than noble reasons, lived in “the inner city,” and on and on. But when all is said and done, I remain a white male and therefore, by default, less vulnerable and exposed than many others.
When in discussions—especially discussions about “resistance” of one sort or another, but really discussions of any sort with POC, women, LGBTQ+, and other friends and associates I love, respect, and want to support, I’ve learned I have to listen before I speak. To stay open and receptive. To stop and carefully consider when someone tells me to “check my privilege.” Then, if I still can’t see it, to ask for help.
Yes, it can be uncomfortable at times. Especially when those challenges land in a way that feels like my intentions, motives, or sincerity are being questioned. But I’m finding that beyond the discomfort there is important stuff for me to learn and understand. About myself, and about the people I want to support.
Also, I believe it’s damned important that the conversation has been elevated to the place where privilege is on the table. The fact that certain members of that dwindling dominant white male culture feel so threatened and put-upon by voices for change (and are completely blind to the absurdity of claiming they are somehow “victims of discrimination”) speaks to that importance.
So, yeah. I will continue to speak up and call out my cis male white brethren whenever and wherever necessary. I’ll also participate and, if it seems appropriate, offer my input and opinions to my sisters and brothers in the struggle; but I will do my best to do so with humility, an open heart and mind, and the understanding that it’s not my job to be the lead sled dog.