GOODBYE PIPER

It was obvious that a new, possibly final phase had been entered when Mother got lost walking home from the shops, a journey undertaken every second day for many years. Closer examination—forensic, domestic—suggested her weight loss was not illness but forgetting to eat.

A few weeks of regular meals in the new accommodation and she was looking fuller and healthier. Happy pottering around the paths of the facility and stopping for a cigarette on her favourite bench. Then she started wandering further. Down the street, across a main road. Traffic sense intact yet, with so little language now available, not exactly safe.

She always liked walking. As long as she was walking she was happy.

Happy? An assumption, but one borne out by seeing the negative contact prints. The police got a bit grumpy about picking her up and depositing her back at the facility. The facility got grumpy about having to interact with the police (who were invariably kind to Mother, it was the business they were exasperated with). What can be done with this old lady who walks? Ah, they said, we’ll have to put her in the lock down ward. With all the shuffling dead, yelling and pissing themselves and raving and shitting their pants and my mother, speechless and horrified, locked in with the demented zombies because she followed the paths. You see, the Aged Care home had no fences.

An aged care facility without fences or gates. Couldn’t believe it. Still can’t. A building full of old folk beyond the end of their tether and there is no perimeter boundary. Rage sits in my gut like a flaming cannon ball. And I did not even see her in bedlam, that interstate hell hole ward. My sister told me of her edging to the walls, eyes glazed with terror, saying ‘Shit, shit, shit…’ under her breath. One of few words she had left. We have to act, said sister. We did, decisively.

A new home in a different state. Not just my city, but around the corner in the same suburb.  Different surroundings. Shit shit shit, she muttered. You’re feeling a bit scared, it’s new, but it’s OK. You’re safe here. The muttering subsides. Soon there’s a regular seat in the tiny walled garden where she can have a ciggie. Does so, until she forgets that she smokes.

Could have seen her every other day, easily, little bother. But didn’t. The shame curls my lip and brims my eye. I so wanted to be the kind of man who could leave behind the solitary confinement of each inmate in our family of origin prison; share the autumn garden. Or at least peer over the fence and say, how ya going? And I did, but not often. Not often enough to take satisfaction from the entries on the Family Compassion Ledger just inside the number-coded front door. Frequently enough to feel a chill portent; what if my child will not sit with me either? But no way I could think about losing language myself. A nightmare too far. Her, not me.

This year, as Mother slowly lost the ability to move even within the confines of her room, as the compacting process of an organic life-form shutting down for good claimed one capacity after another, I wondered to myself to my partner to my therapist to myself, what I could do. Time is getting short, the wizened carcass with eyes now glazed, now dreaming, now anguished, said. Time, intoned this collapsed suitcase, emptied of communication, has almost run.

Read to her.

Take a book, and read to her just as she read to you.

Forget the sadness, the transferred trauma, the inability to understand who you are. These did matter, but no longer.

The choice was simple, instant. The Wind In The Willows by Kenneth Grahame.

Given to this grandchild by Nana, inscribed by her daughter. I looked at the pictures by Ernest Shepard and Mother read the words.

Unsure if she can move at all, sat positioned so her face was pointed towards me. Started at the beginning, a very good place to start. Do Re Me with Mole and the beginning of his journey to a bigger self in a larger world. Over a couple of weeks we got through a few chapters, through the Wild Wood, meeting Badger, a role model for the son in grumpiness if not valour.

Not eating, not really drinking. Not long to go.

This day I jumped forward to Chapter VII, The Piper At The Gates Of Dawn. Unarguably my favourite part of the book and perhaps my favourite chapter in all children’s literature. Mystical, deeply spiritual, touching and mythic. Rat and Mole search for the missing baby otter, Portly, through the summer night and luminous dawn of the River Bank.

And then, in that utter clearness of the imminent dawn, while Nature, flushed with fullness of incredible colour, seemed to hold her breath for the event, he looked in the very eyes of the Friend and Helper; saw the backward sweep of the curved horns, gleaming in the growing daylight; saw the stern, hooked nose between the kindly eyes that were looking down on them humorously, while the bearded mouth broke into a half-smile at the corners; saw the rippling muscles on the arm that lay across the broad chest, the long supple hand still holding the pan-pipes only just fallen away from the parted lips; saw the splendid curves of the shaggy limbs disposed in majestic ease on the sward; saw, last of all, nestling between his very hooves, sleeping soundly in entire peace and contentment, the little, round, podgy, childish form of the baby otter.

I cannot say the reader remained dry-eyed to the end of the chapter. Your greatest gift to me was a love of reading, I said. Words have enriched my life. Thank you.

Maybe it was the position of my chair, but she seemed to be staring at my face with piercing, ravenous intensity. I held that energetic link as long as I could manage, then kissed her forehead and said goodbye.

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Illustration: Ernest H Shepard

 

MORE FANDOM THAN EKPHRASIS

I’ve just completed a long, wandering, engrossing journey with a man I’ve never met. Might never meet.

At the end and during, he writes about creativity, suicide, nature, work, self-absorption and music. Every post there was something I wanted to riff off; grab the baton and run (or at least trot) a few metres on my own, see if it took me somewhere else, somewhere different to where I am with my own writing.

The cage of music. That’s what it’s become. It’s a huge enclosure, none of your two-paces then reverse, bars in your face, shit on the floor penitentiary. No, this is a massive wildlife zone where you can ramble and explore and never quite know what is coming next. Like the Hunger Games dome, but with less teen deathporn and more prog rock.

But still, I have been feeling constrained; there are only so many memoir stories directly relating to albums. Without the personal, Vinyl Connection is just another music blog, jostling for space with a thousand others, frowning as it tries to find a unique voice. A voice about others’ work, others’ creativity. A bottom feeder. The music is made, recorded, it sells, gets played, gets shelved. Hundreds of albums a year, thousands of songs. It’s overwhelming. We carve out niches of expertise; passion becomes a castle. It’s impossible to keep up, so put your head down. Explore the contiguous unknown, buttress enjoyment with opinion, plug gaps with arcane knowledge. Collect.

One of my music pals, Michael PH, loves much of the same progressive music I do.

I remember Michael as a diffident young man in his early twenties, burrowing through my crates at a long distant record fair. I kind of recognised him from previous fairs, maybe he’d bought some of the records I stupidly sold when I bought the CDs. The gif I remember relates to an amazing album by Dave Greenslade and Patrick Woodroffe. The package is amazing, not the music. The music sucks.  Taste the disappointment, if you wish.

I was selling a spare copy (the old record collector ‘upgrade’ idea) and because it is kind of rare, punters kept taking it out of the protective plastic cover to look at the pictures. The pictures are amazing, I shouldn’t have judged them. Most would only have heard about the book/record, never seen it. But I did blame them, got grumpier and grumpier with the tyre kickers, the tight-fisted voyeurs. When young Michael repeated the same moves, I said testily, look, this isn’t a library. He looked taken aback. I want to buy it, he said. And did.

Michael didn’t deserve my grumpiness. Not his fault that I couldn’t spot the difference between genuine dedication to the music and idle curiosity. That was maybe twenty years ago. Michael has gone on to be one of the Progarchives website’s most significant contributors. The student has long surpassed the master in knowledge and appreciation of the music. Still, he occasionally messages me, like last Sunday, to ask what I know about an obscure New Age electronic artist from Germany. (Nothing, but that’s OK). And he added the recent Tangerine Dream record to Progarchives just so I could post my review. Not sure I deserve the respect he offers me. He has grown up, I’ve grown older.

Success—no matter what the field of endeavour, performing or reviewing—is a kind of power. And power separates us, when there is too great a differential.

Quite a few years ago I went to see Steve Winwood perform in Melbourne at the tennis centre. Good seats about half-way back, with two mates both slightly older than I. They wanted “Dear Mr Fantasy”, I wanted “Low Spark of High Heeled Boys”.

About half-way through some audience members left their seats to move to the front of the stage. As the heat didn’t immediately attack them with stun grenades and night sticks, I deemed it safe to get closer to this long-time idol. Excused myself, apologetically, I have to do this, do you see? Went down and wriggled forwards to within a few metres of the singer, him up above, me below. Close enough to see the sweat, close enough to feel the chasm that separates performer from fan. Always and forever.

Wrote that in response to a William Pearse piece, The ‘kill your idols’ concept. I’ve become a big fan of Bill. The way he works little philosophical quandaries into his tales, his deft use of circularity, his honesty about his own flaws. And his output. You could say his recent journey has charged my batteries. Michael tells me it’s called a bromance. Hm. Could we call it inspiration?

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LITTLE BOY BLUE AND THE MAN ON THE MOON

Over recent days I’ve read a number of dad-related posts and wondered about the huge range of father experiences out there. It got me thinking about one of my favourite songs on fatherhood, Harry Chapin’s “Cats in the Cradle”.

When you coming home Dad I don’t know when, but we’ll get together then.

Playing the song again just now, I cry at the end. Again. It occurred to me, my son was just like me. An emotional surge part loss, part relief. Half my life has been spent trying to un-knot the smokey ropes of paternal control, with mixed success. Half a life spent in therapy, seeking a space to unpack, the trust to grow, the acceptance to heal… with mixed success. If development can be measured in dollar terms, this journeyman has spent a small fortune trying to avoid the conclusion the son is just like the father, only to reach a point of middle-aged resignation. I’ll always be part him, part me. More of the latter is the goal, now. Less furious demands for total eradication of the paternal legacy, the ‘him’.

“My son turned ten just the other day.

He said “Thanks for the ball, dad, come on let’s play.

Can you teach me to throw?” I said “Not today

I got a lot to do.” He said “That’s OK”

And he walked away, but his smile never dimmed, 

And said “I’m gonna be like him, yeah,

You know I’m gonna be like him.”

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And what would my son say of his father? What will he say to his friends, his lover, his own child? He was born, child of older parents, four years after my father died. Does it seem strange to him that there are so few stories of his unknown grandpa? Maybe you don’t miss what you never had. Like affection, trust, warmth. Yeah, right.

Well he came from college just the other day

So much like a man I just had to say

“Son, I’m proud of you can you sit for a while?”

He shook his head and said with a smile

“What I’d really like dad is to borrow the car keys

See you later. Can I have them please?”

I miss it. Or what I imagine it is. Warmth, trust, connection. And when Harry Chapin reminds me in four verses how brief the parenting lifetime really is, it focuses my attention very sharply indeed on enjoying each hour I have to observe, hug, play with and occasionally admonish this child, this individual, this precious human I’ve been gifted. Not given to keep, but to nurture as best I can with my clumsy insights and wrinkled heart.

When I lived in Germany for a year, I painstakingly translated a poster in the train carriage of my daily commute.

“When they’re young, give them roots

As they grow, give them wings”

Neatly put; wonderfully true, in an aspirational way. But as my boy bounds towards teenage-hood I want to shout, Slow down! What’s the rush? The anticipated grief of his launching into his own life fills me with such wonder and pain it feels as if my chest is being wrenched open with a pneumatic jack.

We went to a giant hardware store on the weekend, just for light globes and gardening gloves, this boy’s Daddy doesn’t do DIY. While I was trying to work out which globes were dimmable (dim being the operative word), he wandered to the next aisle to look at the signs. I went on to grab something else from another part of the store and was gone longer than anticipated, by me and by him. When I went back he looked scared. The big twelve-year-old was a little boy again, where’s my Daddy? I checked: are you OK? He nodded, I felt guilty. As we walked towards the checkout I thought, a good parent would check the child has a plan for such circumstances; what would you do? Where would you go if you were uncertain? But then he reached out and took my hand, and all my words vanished.

So did at least one heart-wrinkle.

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This is the first new content at Lonely Keyboards. Hope you can join me for what is sure to be a varied journey. The above post connects to my other blog, Vinyl Connection, via a simultaneous post on the album Verities and Balderdash by Harry Chapin.

 

SEA OF JOY

My friend over the back fence invited me to come and hear his latest LP. Greg was two days older than me and we’d been playmates since our Mums met on the maternity ward. But in terms of musical sophistication, Greg was years, worlds, away from me.

Not in terms of understanding how music worked; having learned the piano for years I could follow the construction of classical music just like piecing together objects from the Meccano set under my bed. But in our house, popular music was simply excluded. Meanwhile, Greg’s parents not only tolerated his bringing ‘dreadful noise’ into the home, they even paid for the records. It was a bizarre and unreal indulgence and, due to my almost complete ignorance of what was current, rather intimidating… but I went anyway.

And I was a little bit excited, too. How different from tinny snatches of tunes captured from passing transistors, like smells drifting from strangers’ kitchens; this time I would actually hear an album on a real stereo. Well, his parents radiogram anyway. Although it was much the same as the polished veneer box in our lounge room the vital difference was that while ours played only Gilbert And Sullivan, theirs embraced the exotic sounds of Creedence Clearwater Revival, Jimi Hendrix and —of course —The Beatles.

So over the fence I clambered, said ‘Hello’ to Mrs Lee at the back door and headed for their lounge room. Greg was waiting impatiently. “You’ve gotta hear this,” he gasped, “a TEN MINUTE drum solo”. Even in my profound state of rock ignorance I felt my heart sink slightly. But putting on a brave face I dropped to the carpet as he dropped the stylus onto the vinyl.

No percussive assault streamed out of the cabinet but a wonderfully melancholic voice singing with soul-stretching longing that somehow bathed me in light and simultaneously broke my heart … Waiting in our boats to set sail… The sea of joy. Straining for the high notes like a hand reaching for a soaring seagull; the hessian tones of a violin providing a surprisingly reflective interlude before the riff returned with rolling tidal toms and the song faded over the horizon much too soon.

Later, much later, I learned what transported me that Thursday afternoon was ‘Sea Of Joy’, the opening song on side two of a flawed yet sometimes sublime album simply called Blind Faith.

I learned that this first supergroup consisted of guitar supremo Eric Clapton, multi-instrumentalist and vocalist Steve Winwood, Ginger Baker on drums and bass player Rick Grech, all of whom had colourful histories even before they made this one album together. That the bass player also contributed the violin.

That the cover I clutched in my hands and read thirstily while Rick then Ginger meandered through their interminable solos in ‘Do What You Like’ was not the startling one originally issued by their UK record company in August 1969 but a special ‘uncontroversial’ version for the colonies. Both versions would one day nestle next to each other in a music room cluttered with more records and compact discs than any sane person could possibly need.

On that day I knew only that Gilbert And Sullivan was as dead as Queen Victoria.

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[This is an edited version of an early post from Vinyl Connection]