Nothing is certain, but it appears my debut as a lyricist will actually happen.
In January, I oozed with excitement when I told you about my new creative wrinkle. As background, in the fall of 2021 I teamed with David (another member of the Phoenix Gay Men’s Chorus) to create several original tunes for a Mosaic of Voices concert, scheduled for March 2022.
I wrote the lyrics. David composed the music. I was psyched for the debut of these pieces. Then, the concert was postponed. It was another Covid-related casualty.
Thankfully, the chorus has resurrected the program. On October 8 at the Kroc Center in Phoenix, we will perform the suite of pieces David and I created to capture the essence of original-and-triumphant stories submitted by members of the Phoenix LGBTQ community.
On Tuesday evening, as our chorus of seventy or so rehearsed two of the Mosaic of Voices pieces (Hope’s Trail and Our Second Act), I saw a few tears. As I sang in the back row of second tenors, I felt the gravity of emotion rise in the room with our voices.
I was reminded of the healing power of music and the important role that choral communities–first the Windy City Gay Chorus and now the Phoenix Gay Men’s Chorus–have played in my renaissance and in the lives of so many gay men.
Especially now in our chaotic country–divided, threatened, and deconstructed–we need this joyful music, this personal support, this hopeful oasis in the desert.
Without it, many of us would feel trapped and lost.
I’m still on a high, channeling ripples of joy from my musical weekend on stage with the Phoenix Gay Men’s Chorus.
It feels as if the decision to step out of my comfort zone and into the spotlight for a solo has dislodged something. I feel freer to explore new things. To be more open to possibilities in the world.
I’m not talking about an entirely new me that appeared in an instant. I believe this progression began when Tom and I left Illinois nearly five years ago. The act of living, writing, and singing in a vastly different landscape has spurred my creativity.
After having a heart attack in 2017, I’ve gotten better at living in the moment, rather than postponing my dreams. We may never get tomorrow.
In the words of Jim Seals, we may never pass this way again. Seals–the singer, songwriter and guitarist of the popular Seals and Crofts duo–died June 6. He was eighty years old.
The tunes of Seals and Crofts–Summer Breeze, Hummingbird, Diamond Girl, East of Ginger Trees, I’ll Play for You, Ruby Jean and Billie Lee, We May Pass This Way (Again)– were the mellow wallpaper of the 1970s. Their distinctive, ethereal sound filled the air and the hearts of young people with hope and possibilities.
When I close my eyes and listen to this CD (yes, Tom and I still listen–proudly–to CDs on an old boom box), I am transported to 1975.
It was my freshman year at the University of Missouri in Columbia. Walking around campus in cut-off jeans and tube socks. Playing tennis with John, my roommate. Feeling the late summer breeze rush through my long, straight blond hair, which trailed down over my face.
Released in October 1974, Seals and Crofts Greatest Hits has left an indelible imprint on my past and present. Whether I remember the young Mark Johnson who tossed a Frisbee with friends in the shade of Mizzou’s iconic columns or the older version who took a chance on a stage in Tempe, Arizona in June 2022, I’ll always be a hopeful dreamer.
Thank you, Jim Seals, for all the beautiful music you created and left us. I’ll keep listening to it … no matter what this crazy universe brings.
Life–so they say
Is but a game and they let it slip away
Love–like the Autumn sun
Should be dying but it’s only just begun
Like the twilight in the road up ahead
They don’t see just where we’re goin’
And all the secrets in the Universe
Whisper in our ears and all the years will come and go
And take us up, always up
We may never pass this way again, we may never pass this way again, we may never pass this way again.
Imagine a welcoming, intimate, theatrical space where people of various stripes, orientations and political persuasions gathered for a few hours — twice in one weekend — to celebrate, sing, dance, clap, laugh, and cry in cool comfort away from the desert heat.
How is that possible in 2022? Glee, Broadway, and Disney tunes — delivered spectacularly by the Phoenix Gay Men’s Chorus and a duo of delicious drag queens — were the musical culprits.
It happened June 4 and 5 at the gorgeous and resonant Tempe Center for the Arts before two raucous and appreciative audiences.
Of course, I’m biased. If you follow my blog or have read my latest book, you know I sing second tenor with the Phoenix Gay Men’s Chorus.
Over the past several months, about forty of us — led by artistic director Marc and principal accompanist Darlene — prepared diligently for our Homecoming performances, celebrating the chorus’ 30th anniversary.
In addition to rehearsing in person regularly and navigating the relentless physical and mental challenges of Covid, we listened to our audio files at home.
We practiced in our homes and in our cars. Then, we did it all over again. The final week of preparation is a bit hellish, but in the words of Gloria Gaynor, I Will Survive. I’ve learned to pace myself.
That’s what it takes to memorize a gleeful mash-up of music. Not to mention the choralography and costuming. (“There were costumes?” you ask. Please … we’re talking about a gay chorus!)
Standing on the stage Saturday night and Sunday afternoon, I felt a myriad of emotions as I channeled Madonna in my red choir robe. Exhilaration and relief reigned during my Like a Prayer solo ….
“I have no choice. I hear your voice. Feels like flying.”
Knowing my husband Tom, older son Nick, and an entourage of faithful friends were in the audience spurred me on. Plus, I didn’t want to disappoint my friends on stage. They’ve all become important to me.
I shudder when I think of what Tom and I endured nearly five years ago … surviving my heart attack and our move across country. What pulled us through?
It’s been our resiliency and the personal connections we’ve made. With those in the chorus, kind neighbors, gentle yoga with like-minded souls on Friday mornings, endless work out sessions with friends at Club SAR, and a fun collection of experiences with other Arizona writers, readers, artists, and film lovers. They all purchased tickets for the Homecoming concerts.
I feel so thankful. I feel so much love.
Occasionally, someone will ask me why I sing with a gay chorus. Certainly, it is about the music. But it goes much deeper for me and for many of the men of all ages who I perform with.
In this crazy world, we all need to feel safe. To find a place that feels like home. To be who we are. To share our gifts. To feel valued and loved. To push beyond our comfort zones. To go after that next solo or simply be content to be appreciated as one of many voices.
Whatever the case, the members of the Phoenix Gay Men’s Chorus provide that encouragement and support for each other. On that note, there is one behind-the-scenes moment I need to share from my concert weekend.
One of our five Like a Prayer soloists missed the entire weekend of performances due to his partner’s sudden illness. Naturally, he was deeply disappointed. We all missed him.
About ninety minutes before our Sunday concert, as we began to warm our voices, I captured this photo and sent it to him. This was my vantage point of the theatre from the top riser for most of the weekend.
It was my way of telling Brad …
“I have no choice. I hear your voice. Feels like flying.”
“I have no choice. I hear your voice. Feels like flying.”
If you love Madonna or remember who she is–please say you do–these eleven words from Like a Prayer, her 1989 pop hit, may prompt your musical heart to soar.
On June 4 and 5 at the Tempe Center for the Arts, these lyrics also will comprise my solo in the Homecoming concert with the Phoenix Gay Men’s Chorus.
I’m a lifelong lover of the St. Louis Cardinals baseball team and an ardent Arizona admirer of a majestic bald eagle that likes to pose atop a telephone pole along Hayden Road near Chapparal Park in Scottsdale every May.
Still, I don’t know what it feels like to actually fly without the aid of an aircraft.
No matter. Singing has always felt like flying–or what I imagine it to be–with the wind lifting me up as I spread my wings and raise my voice. Particularly the sensation of standing on a stage and harmonizing with a chorus of like-minded, artistic-and-musical souls.
The last time I sang a solo on stage was 1979. I was a senior at the University of Missouri and performed On and On (the way-too-precious-sounding Stephen Bishop tune) with a vocal jazz ensemble of fresh-scrubbed faces and silky-smooth voices. We called ourselves The Singsations. (I know. It was pretty corny.)
Anyway, if you’re a Baby Boomer, you know the lyrics from Bishop’s 1976 song …“Down in Jamaica, they got lots of pretty women. Steal your money, then they break your heart …”
At that point, pretending to be a straight man, I wasn’t in touch with my true orientation. It would be June 2010–long after the birth of my two sons and a failed first marriage–before I would discover the safe haven and friendship of the Windy City Gay Chorus in Chicago.
But from 2010 to 2017, I never auditioned for a solo with Windy City. I was content to be a voice among voices.
In 2022–in the autumn of my life a month before my sixty-fifth birthday, in a city where it feels like summer lasts forever–I will be singing my next solo. I’ll be surrounded by a community of about forty gay friends.
As you might imagine I’m excited and a little nervous … waiting to take the stage on June 4 and 5 with more than a dozen friends and family in the audience.
I know I will savor every note of the experience. No doubt, it will feel like flying.
Ruminating from the threshold of Medicare eligibility, this is how I choose to remember my parents in their later years: content and seated side-by-side, listening to jazz in St. Louis on the banks of the Mississippi River.
If you’ve read my first book, you know Helen and Walter had a complicated and volatile relationship. But by the mid-to-late-80s–after the heavy lifting of jobs, child rearing, and the daily swirl of Dad’s bipolar rants–they found a more peaceful coexistence.
Together they rediscovered a love of Dixieland jazz under the shadow of the Gateway Arch. They tossed their metal folding chairs (latticed with yellow and white nylon strips) into the trunk of their sensible sedan, drove downtown, and evidently walked to this shady spot.
It happened just steps away from the cobblestones that led to the now-defunct Admiral Boat and historic Eads Bridge that still connects Missouri and Illinois. (If you squint, you’ll see them both in the background.)
I remember the faint giddy-up in my fading father’s voice over the phone. He described what he and Mom experienced … together … rousing, organic music played by happy people. Trumpeters, saxophonists, trombonists blaring on a summer’s day.
Best of all, all that glorious music was FREE. Products of the Great Depression, Dad’s and Mom’s frugality was baked into their souls. Thankfully, it transferred magically into mine.
Years later, as I gathered coupons for a trip to the grocery store with her in northern Illinois, my mother would smile with pride at me from under her floppy hat and announce, “You’re a good shopper, honey.”
I imagine my sister Diane took this photo. At the time, she lived near them in the St. Louis suburbs. I had already moved to Chicago in 1980 to launch my communication career and create a life with Jean, then my wife.
Busy in my late twenties and early thirties, I was happy to know of a positive change in my parents’ relationship, but I think I dismissed their newfound glee and meeting of the minds. Digging deeper, maybe I felt sad that I missed this better chapter.
Now that I’ve arrived at the station in life depicted in this photo–greater leisure time, protective hats, contentment, wisdom, and personal vulnerability–I see more clearly how tragic it is that we Americans dismiss the trajectory of our older citizens in favor of youth and vitality.
It seems like it should be the exact opposite. Other cultures figured that out long ago. Why is it we are so hung up on viewing the activities and lives of young people as more valuable? The Kardashians? Please!
It boils down to money, marketing, and economics. Companies know that many seniors–then and now–live on fixed incomes. They don’t have the disposable income they once did. But what a shame to diminish their worth and assign it a dollar amount.
This story–part nostalgic reflection, part rant on agism–was prompted by rejection. No, I wasn’t job hunting. Five months ago, I entered my latest book in a contest with Memoir Magazine. I had high hopes I might at least get some sort of honorable mention.
On Sunday, I received a cordial, strategically written email thanking me for my submission. Then the other shoe dropped. Though my set of whimsical-and-serious Arizona stories and flights of fancy made it through the initial review, it didn’t land on the short list.
I have to admit. I was crestfallen. I think I’m a damn good writer. I also realize the competition was stiff. I lead a relatively ordinary life with my husband. At this point, my life isn’t filled with drama. It’s my calling to write stories about what it means to age, what it means to be gay, what it means to exist and survive in this crazy world.
Yes, as my husband reminds me, there will be other opportunities, other contests to consider. But especially now (three weeks after testing positive for Covid and fortunately recovering) none of us knows what tomorrow will bring.
All of this brings me back to Helen and Walter … and all that jazz they enjoyed under the Arch in the 1980s. I suppose I’m better off just enjoying the moments of life as they appear, singing when I want to sing (I have a brief solo in my June concert with the Phoenix Gay Men’s Chorus), writing what I want to write, and caring less about accolades and awards.
I guess I’m better off giving thanks for the perspective that comes with aging. No matter whether the literary world or the greater universe ever recognizes what I have to say, I have my life. I have my voice. I have my writing.
I have Georgia on my mind today. Not the Peach Tree state, but my peach-ice-cream-loving grandmother. April 7 would have been my maternal grandma’s 119th birthday.
Warm-hearted and hard-working, Georgia lived most of her seventy-one years in North Carolina.
In 1914, Georgia Evabell Miller met Sherrell Richardson (S.R.) Ferrell. Both attended a one-room school in Mecklenburg County. Six years later, they married at Georgia’s home in the same community. She was sixteen; he was nineteen.
A generation before I appeared, Georgia’s ordinary rural existence–tending to family, home, meals, and livestock–took an extraordinary toll on her body and emotional wellbeing. She bore four children: Helen (my mother) and Richard in the mid 1920s; James and Frances in the early 1930s.
In between, Georgia suffered a double whammy of grief and pain. Richard died of meningitis in 1926 one month before his first birthday. Not long after, cervical cancer compounded Georgia’s trauma. She was bedridden for an extended period. Helen grew up quickly and helped care for her mother.
Even with Georgia’s burden and her heavy body that contributed to arthritic knees and misshapen feet, my grandma maintained a girlish southern giggle into her late fifties and beyond.
In the summer of ’62, during one of our family visits to the farm, I absorbed the scene like a ready sponge as she prepared ham, grits, and biscuits for breakfast.
I loved Georgia and her jolly nature. As she toiled and told rambling stories over the sink, rolls of laughter shook her stout body. If she were here, she would describe it as the “gift of gab” handed down through her Irish descent.
Intermittently, she tossed table scraps and leftovers into a slop bucket for a trio of hungry hogs that waited impatiently in their pen.
On occasion, I accompanied her whenever the contents came close to sloshing over the sides of the dented metal pail. Together we squealed as the pigs poked their large snouts through wooden slats to explore what concoction was on the menu.
Like a southern-stitched patchwork quilt handed down through the generations to keep them warm, this moment remains cordoned off in my 1960s Carolina consciousness. It lives next door to Georgia’s humid hugs.
When I was a toddler, I begged for her to scoop me into the lap of her tattered periwinkle dress … churn butter or crank ice cream on the sagging back porch … venture into the earthen cellar where she stored pickled fruits and vegetables … or gather eggs from the chicken coup and cradle them in her apron on the return trip.
A victim of heart disease and decades of early mornings and long days working the farm, Georgia died nearly forty-eight years ago on July 4, 1974.
Two days later (after we drove through the night from St. Louis to attend her funeral), sprays of gladiolas surrounded her casket.
I can still envision the tacky floral arrangement–sent by a neighbor–with a plastic telephone teetering on top. Three words were written in ribbon: “God has called.” Ironically, my grieving grandpa loved it most.
Through our tears, Frances and I laughed about it. Georgia would have liked that and the image of my aunt and me consoling each other on my seventeenth birthday. We stood over her fresh grave in Huntersville, North Carolina, at a little cemetery outside Asbury United Methodist Church.
It was the center of the universe in “Ferrelltown”–where my southern family worshipped, married, gathered as a community, celebrated birthdays, consumed countless cakes and delectable pies, buried the beloved, and grieved for those who left early and stayed late.
Years later, it is the thought of Georgia’s gentility and kindness that endures. It is the love and laughter she planted in my heart that will never die.
As I began to write From Fertile Ground after my mother died–and later when I returned from North Carolina after another round of consoling with Frances and visit to my grandparents’ graves in the church yard–Annie Lennox’ soaring voice from her CD Nostalgia inspired me.
It was her stirring, melancholy rendition of the Ray Charles’ classic Georgia on My Mind that captivated me most. Listening to it, I channeled my grief and reconstructed my southern memories before they landed on the pages of my book.
Every child should be so lucky to spend a few weeks every other summer with a grandparent who simply smothers them with goodness and genuine love. That and the bucolic snippets of a farm populated with kittens, puppies, cows, chickens, pigs, and peacocks are forever stitched in my psyche.
When you add them all up, what do all these vivid memories mean? That in the course of any life, it is the collective music of a simple-but-extraordinary grandma’s unconditional love that keeps us hoping, that keeps us dreaming, that keeps us living, that keeps us singing.
Long after she is gone.
I said Georgia Georgia A song of you Comes as sweet and clear As moonlight through the pines.
Other arms reach out to me Other eyes smile tenderly Still in peaceful dreams I see The road leads back to you.
I said Georgia Oh Georgia, no peace I find Just an old sweet song Keeps Georgia on my mind.
Today, I’m lost in thought about screen-and-stage legend Judy Garland, a film she starred in that sparked my early imagination, a recent experience that renewed my love for live theater, and a song, Get Happy, she made famous.
Forget your troubles, come on get happy, you better chase all your cares away. Shout hallelujah, come on get happy, get ready for the judgement day.
Beginning in 1959, and throughout the 60s, it happened only once a year: CBS aired a special TV broadcast of The Wizard of Oz, the magical MGM film released in 1939.
Like thousands of Baby Boomers across the U.S., my sister Diane and I waited impatiently for the annual ritual. We sat cross-legged, mesmerized in front of our RCA console. We squealed with delight and fear when a ferocious cyclone swept Dorothy into the Kansas sky. In short order, she, Toto (her loyal dog) and their house landed with a thud somewhere over the rainbow.
For those precious hours, Diane and I absorbed and memorized every fanciful song, image and character–the Scarecrow, the Tin Man, the Cowardly Lion, the Munchkins, the Flying Monkeys–Dorothy encountered along the yellow brick road. Though our TV projected black-and-white images only, our imaginations manufactured the scenes in vivid color.
As the years passed, we recited every iconic line of dialogue–“I’ll get you, my pretty … and your little dog, too”–uttered by the Wicked Witch of the West. Whenever she appeared in a puff of smoke, it shook us to the core. But we always knew she would melt in the end, thanks to a handy bucket of water on a ledge and Dorothy’s resourceful decision to grab it in a crucial moment.
Knowing that delicious outcome, and that Dorothy and Toto would ultimately make it back home to Kansas safely, made watching the film one of the happiest and most enduring memories of my childhood.
Looking back, I think it was Judy Garland, playing Dorothy, who captivated me most. Her sense of wonder, innocence, tenacity, good citizenship, pizzazz, and beautiful voice filled the frame. I don’t think there is a more stirring, iconic moment in film than Judy singing Somewhere Over the Rainbow.
Of course, children and adults can watch The Wizard of Oz whenever they want now. But, in the 1960s, the film’s relative inaccessibility, imagination, and message … that it was possible to find happiness and peace “right in my own backyard” … was a shared experience and sense of idealism that no longer exists.
Isn’t it ironic that, in an age when virtually any film or music is available anytime, we are barraged with a mountain of images and problematic news–pandemics, politics, and Putin–that shock our sensibilities and clog our ability to bolster our happiness?
2022 marks the centennial celebration of Judy Garland’s life. (She was born June 10, 1922; died June 22, 1969, at age 47.)
To remember and relive her remarkable film, stage and song legacy–amassed in less than five decades–crooner Michael Feinstein has produced a masterful ninety-minute show, called Get Happy!
On Sunday, March 20, Tom and I were in the audience for Feinstein’s dazzling evening performance and multi-media program at the Scottsdale Center for the Performing Arts. It included renditions of many of Judy’s favorite tunes, along with seldom-seen-or-heard images and stories from her life.
About midway through Feinstein’s stellar performance, he paused to tell a story about Judy Garland in 1941. That year, at age nineteen, she bought her parents (who came from modest means in Grand Rapids, Minnesota) a home.
Judy recorded tapes of herself singing to her family in their home, but for years after her death mysteriously those recordings couldn’t be found. Remarkably, Feinstein had the opportunity to visit the home and discovered them in a hollow wall. He played one of those for us as a black-and-white image of a teenage Judy Garland, posing in a tailored suit, filled the screen above the stage.
The song Judy was singing, I’ll Be Seeing You, brought me to tears as I held Tom’s hand. We were seated on the aisle in row Q. Judy never recorded it professionally, but the tune was one of my mother’s favorites. So much so, that Diane and I chose a version of it to play at Mom’s memorial service in 2013.
As Judy Garland’s bright and soaring voice filled the auditorium Sunday night, I was transported back to the early 1960s and the happiness I felt watching The Wizard of Oz.
Mom was curled up on the couch. Diane and I were glued to the floor in front of our RCA. Together we followed Judy’s voice and steps stride for stride.
We were on our annual adventure somewhere over the rainbow.
It’s one of those days when my stream of consciousness is running in many directions. That has prompted this post about everything (or nothing depending on your point of view).
I call it January musings, because that’s the best thematic thread I can find in this ball of yarn and semi-related thoughts.
Morning, noon and night the fabric of our winding threads becomes a tapestry. That’s the opening lyrical line from Mighty Mosaic, one of four pieces I wrote for the March 12 Phoenix Gay Men’s Chorus concert.
The song is an LGBTQA anthem of sorts to capture the complicated–and often triumphant–journeys we take to discover who we are and what we believe.
Hearing my lyrics come to life in a room of familiar voices during Tuesday night’s rehearsal brought me personal joy in a month previously laced with grief.
I bristle whenever I hear film directors, writers or musicians say in an interview that they don’t ever step back to watch their films, read their books, or listen to their music.
I’ll admit it. I’m a writer, who learns by retracing literary steps. I find myself revisiting themes in my writing all the time (family, love, loss, the beauty of nature, the serendipity of life) or frequently pulling one of my books off the shelf and re-reading certain passages.
Why? Because it keeps the process of telling a particular story fresh in my mind. Each of my four books is a child I have loved and guided from infancy to adulthood. They will live on the page long after I’m gone, even if nobody reads them.
Revisiting my stories also allows me to remember the richness of life: the hows … how far I’ve traveled, how far I still have to go, how much the world has changed, how much I’ve learned, how much I’ve lost, how much I’ve gained, how fortunate I am to love and be loved.
The ninth anniversary of my mother’s passing is January 26. Earlier this week, I looked skyward and spotted a full moon. It transported me back to a frigid January morning right after I said goodbye to her–an indelible Illinois moment in 2013–when Tom and I sat with my sister and brother-in-law at a suburban McDonald’s (the only place open for coffee at 5 a.m.) to feel the warmth and close comfort of an enormous full moon illuminating the horizon and the snow-packed streets.
The grief I felt that morning is far less present now. But the welcome sight of a full moon will forever remind me of the journey after Helen Johnson’s passing, her wisdom and undaunted spirit, and the growth that followed. All of it inspired me to chart a new trajectory, write From Fertile Ground and three more books, and even discover a poet and lyricist lurking inside.
I am especially conscious of my age and vulnerability right now. There is nothing worrisome to report. I feel well. It’s just that–early in 2022–Tom and I are focusing on important administrative tasks to protect ourselves and our families.
Specifically, we will move to Medicare later this year, because we turn sixty-five in July. We have begun to do research. We’ve met with a third party. She explained how it works. She has helped to cut through the mystery. (By the way, I used to help organizations communicate about complicated health care and retirement programs, but that background doesn’t make this transition any easier.)
We also are updating our estate plans to make certain they reflect our Arizona status and latest wishes. The pandemic isn’t the driver, but it certainly has amplified our efforts to make sure our affairs are in order. As much as I hate dwelling on my mortality, it makes sense to plan ahead.
All of this technical and legal blather has clogged my brain lately, leaving me feeling a little dim. Is it a coincidence that the light in our refrigerator should go out yesterday? I don’t think so.
We tried replacing the old bulb with a new one, but it appears we have an electrical issue. Fortunately, the appliance is doing its job. It’s keeping our food cold (and frozen in the upper compartment). It’s just that we need a flashlight to find the yogurt, milk, eggs, fruits and vegetables.
I digress. That’s not what this story is about. Ironically, in the relative darkness of early 2022–the pandemic and our refrigerator–there’s a bright and new creative wrinkle to my writing that I want to talk about. One which changes the landscape of my past experience. One that goes beyond my blogging, memoir writing, poetry, and occasional forays into fiction.
About eight months ago, Marc–the artistic director of the Phoenix Gay Men’s Chorus–blindsided me with this question: “Would you be interested in writing lyrics for a suite of songs for one of our concerts in 2022? It will be a celebration of diverse voices.”
Hearing these words, I think my jaw may have dropped. Once I closed my mouth and opened it again, “of course!” was my immediate response.
I could feel my smile grow ten sizes. I never imagined having an opportunity of this sort, especially concerning a topic that is so important and personal … turning the painful, transformative, and triumphant stories of Phoenix-area LGBTQA citizens into something more. Into poetry and music.
Since that early, exploratory conversation with Marc, I’ve collaborated with David (another member of the chorus) who is composing the music. I’ve written lyrics for four songs, which will be performed on March 12, 2022, at the Tempe Center for the Arts. The concert will be part of Tempe’s Pride celebration.
On the evening of Tuesday, January 18, this will all become more real. Marc and David will pass out the music to members of the Phoenix Gay Men’s Chorus (including me sitting in the back row and singing second tenor).
For the first time, we will begin to rehearse the music David and I have created. I know I will feel a surge of pride and energy when I see the words “Lyrics by Mark Johnson” in the upper right corner of the score.
Sometimes life serves up happy surprises. It reminds us that our existence is more than needling administrative responsibilities, the darkness of a pandemic, or the frustrations of a burned-out light bulb.
Sometimes the outcome is brighter, more hopeful; we find ourselves exploring a new creative wrinkle, doing something we are passionate about, taking on a role we never saw coming.
Yes–remarkably at the age of sixty-four–I am a lyricist.
The title of this post is a shameless ripoff of the old Beatles song, When I’m Sixty-Four. But my bastardization of the lyrics is appropriate. Today I turn sixty-four and I’m a writer who wants you to read my books. When you do, you will feed my desire to stay relevant.
Ask Tom. He’ll tell you. At this stage of life, I’m generally contented and thankful for good health, a comfortable home, and a loving husband. It is remarkable that we share the same birthday … same year too.
In 1957, our mothers never imagined their newborn sons–delivered three hundred miles and thirteen hours apart–would meet one day and marry. It certainly feels like a miracle to me.
Back to my writing. Whenever I wear my literary hat–which is frequently–I find myself questioning why my book sales have dried up like a sun-drenched Arizona river bed.
Of course, I promote my books online and do a little advertising here and there. I also market my stories on a personal basis, but when you’re an independent writer it’s easy for your books to get lost in the stacks of Amazon’s metaphorical bookshelf.
This concern I have is not quite an obsession, though it borders on it. I put a lot of thought and creativity into my writing. I want to share it with a wider circle of readers.
Perhaps my advancing age and occasional forgetfulness–did I tell you I turned sixty-four on July 6?–is what drives me to keep writing, to keep sharing my impressions and reflections of the world, to keep checking progress (or lack there of) on book sales, to keep wondering if readers will still read me.
The good news is I feel spry most days. (Of course, I wouldn’t consider using the word spry unless I were at least six decades old.) Anyway, I still have a lot to say and plenty of energy. So, on my sixty-fourth birthday, I’m going to tell you why you should buy and read my latest book, I Think I’ll Prune the Lemon Tree.
As a kid in the 1960s and early 1970s, I observed how hard my mother worked to provide for our family and to prepare meals that we all liked … even after working long days in an office.
Frequently, Mom bought Sealtest Neopolitan ice cream and wedged it into the freezer portion of our avocado-colored refrigerator next to the Swanson’s TV dinners.
Why Neapolitan? Because she and Dad liked strawberry ice cream, while my sister and I preferred chocolate and vanilla. If you aren’t familiar with Neapolitan (I rarely see it in the supermarket these days), it included all three flavors in a carton stacked side-by-side. So, theoretically, Neopolitan offered something for everyone in our family in one container.
This ice cream recollection captures precisely the creative thrust I wanted to achieve as I wrote my Arizona-based essays. I must have been channeling my mother’s shopping sensibilities.
I wanted my book to include something for everyone … humor and sincerity, social relevance and frivolity, truth and fantasy … and to comment on the relevance of every personal and geographical chapter in my life: Missouri, North Carolina, Illinois, and Arizona.
Now that summer is upon us and the heat has arrived, I strongly encourage you to consume your favorite flavor of ice cream to cool off and to buy a paperback or Kindle version of my Neopolitan book.
In the thirty-nine essays that appear in the book, you will enjoy lapping up several flavors. For instance, there are stories about: citrus and lizards; a hummingbird and a boxer; time travel; an eavesdropping barrel cactus; a return to Tucson through the looking glass of an authentic gay life; reflections on an extended visit to that dreaded place we all lived–Coronaville; the musings of an incredible shrinking man; a wayward Viennese waiter/writer struggling to tell his heart-wrenching story; a mid-century St. Louis custodian who bonded with a famous scrub woman; alliterative observations of flickers and fedoras; the golden hours of living in the Sonoran Desert; and much more.
When you read my book (and I hope you’ll review it too), you’ll be feeding your own creativity and doing this sixty-four-year-old writer a big favor. Yes, even after writing this long-winded essay, I still need to feel needed.
Now, back to the musical portion of my post and the final verse of a pop song that feels especially personal today.
Send me a postcard, drop me a line Stating point of view Indicate precisely what you mean to say Yours sincerely, wasting away
Give me your answer, fill in a form Mine for evermore Will you still need me, will you still feed me When I’m sixty-four*
*The Beatles released When I’m Sixty-Four (lyrics by John Lennon and Paul McCartney) on their 1967 album Sgt. Pepper’s Lonely Hearts Club Band.