Ypsilanti

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I know now that one of the things they are known for is their teacher training programs for those of us intrepid enough to take up teaching art and music.

I didn’t know that when I was 16.

What I knew, sitting in that small practice room at Eastern with my scholarship evaluator, was that I was determined to get out of my hometown and away from my family.

I knew that I could play —

“I don’t know about the techical aspect of things,” my mother reminisced to me this summer. “But girl, you hit those keys with emotion.”

— and I thought at the time that playing would – possibly, perhaps – be a way to accomplish that.

I did not think anything would come of this particular excursion except, perhaps, a chance to see what someone else thought of my abilities. (And to take that knowledge to better myself.)

So when the evaluator finished her notes, I expected her to hand them to me and off I would go.

Instead, I was handed an offer.

“We would love to have you in our program here when you graduate [from high school]. You may consider this your audition,” she said.

At my stunned ” . . . ” she smiled and elaborated with: You’re in.

I’d always known there would be forks in my life’s road. I had already, by the time I reached 16, been subject to multiple hairpin turns and more than one {avoidable} fiery car crash due to the ineptitude of those at the wheel.

But now, for the first time, I saw a potential route I hadn’t previously known existed.

Looking back now, I think…

How appropriate that Ypsilanti starts with Y.

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X-roads

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album cover for Raising Sand by Alison Krauss and Robert Plant

When Alison Krauss and Robert Plant collaborated on their album Raising Sand (produced by T-Bone Burnett, hello), they made history. A bluegrass musician and a rock ‘n’ roller? Together??? What?!?

And you know…

It worked.

Taking two artists — even from the same genre — and throwing them together for a duet (which, apparently, is not even a thing anymore in pop music; everything is So-and-So ‘featuring’ This Other Person — why?) has occasionally created a hit song. (Particularly when the song is part of a movie, a la Almost Paradise from Footloose or Somewhere Out There from the animated An American Tail.)

More rarely have two artists from different genres come together with any amount of commercial success. Run-DMC recorded Walk This Way with Aerosmith. And Amy Grant – who had a long history as a Christian artist – partnered with Vince Gill, a country artist, to create the song House of Love in 1994 — which then went on to land a spot on the pop charts. (They later went on to get married to each other, by the way.)

Enter Krauss and Plant.

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What a Wonderful World

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I see them bloom

close-up of tulip stamen

For me and for you

photo of yellow tulip opening

And I think to myself

striped fuschia tulip

What a wonderful world

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[SNF] Vivaldi

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spring tide on rocky beach

It is a calm, steady approach — fingertips sure-stroking lute strings — that gambols along, enjoying simple pleasures

(much like I, with fingertips stroking, steadily move {you} forward, catch-breathed and quiet, your skin singing quietly under the simple pleasure)

without the need for announcement or trumpeting forth of Change;

it is relaxed,
(relax, breathe…)
comfortable,

(my head on your shoulder, body curled into yours)

familiar.

It is a soft call to attention,

hard

(so achingly hard)

to forget, but remembering — the muscle memory returning along with the familiar awkward soreness of muscles long-un-used now put to use again — now

(the way your quiver, trying to hold back, now)

just as the spring tide remembers, after its long pull out to sea, to flow forth once more over the bared rock it had undressed and left naked – shimmering –

(silky, rough, wet)

in the light of the sun,
(warm)
we listen.
Adjust.
Attune.

The orchestra need not shout SPRING!

(ssshhhh…)

to be an effective welcome to listen.

The tide flows out.

Largo…

It’s un-rushed return

(me, to you)

is quietly accompanied by the knowledge of change

(we are back)

in season.

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