Declare

Declare: (v) to make known or state clearly

Rolling up to the border crossing in Detroit, between Canada and the United States, the agent behind the glass window said:

“Anything to declare?”

I didn’t know what he meant.

I was twenty-one years old, driving a beat-up brown van, with long hair laying on my shoulders. I felt completely normal. I think he feared I was less-than-average.

I said, “What do you mean?”

The simple asking of that question caused him to leave his booth, come out and demand that I open the rear end of my van.

I did.

I innocently thought, “What’s the big deal?”

But what he saw, as a Canadian official, were two young girls, resting in sleeping bags, some electronic equipment, and brown boxes. He was suspicious.

I think he thought I was hauling the trifecta: kidnapping women, stealing stereos, and shipping drugs.

We were required to open everything.

When it was discovered there was nothing of interest, he found a reason to object. You see, in the boxes were the record albums we sold at our gigs. I was ignorant of the fact that Canada wanted to put a surcharge on any record album coming across their border, that was going to be sold at a live concert.

Worse was the fact that the surcharge for each album was $2.85.

Not only did we not have the money for the surcharge, but none of us had seen that sum of money for a long time.

I begged.

I gave my full lineage and testimony.

I even tried to declare things he didn’t ask me to declare.

He was not interested.

We were rejected at the Canadian border.

Yet we were supposed to do a Canadian tour.

Leaving that station, we stopped at a coffee shop about two miles down the road, still itchy and bitchy from our encounter. Our waiter explained that the Detroit crossing was very difficult—asking you to declare every little thing. But if we drove up the road about eighty miles, there was a crossing that was much easier.

I thanked him.

We got in the van and decided to take the chance that our food-getter knew what he was talking about.

Arriving at the gate, we pulled up slowly. There was nobody around. It was just a little building—big enough to hold ten toy soldiers.

When we stopped the van, though, a man came running up from a nearby grove of trees with his dog in tow.

“Ay!” he said. “Sorry I wasn’t at my post. Had to go take a piss.”

He looked at me. I looked at him.

I was waiting for him to ask me to declare.

He didn’t.

I got out, petted his dog, told him I was a musician—and he said he was a budding songwriter himself.

He patted me on the shoulder, I got back in the van, he waved his hand, and said, “Go on through—hope you enjoy us.”

Now, I have two thoughts about this story:

Sometimes a music group is just a music group and you should leave them the hell alone.

But sometimes people in vans in the middle of the night need to do more than just pet your dog.

 

Accelerando

by J. R. Practix

dictionary with letter A

Accelerando: (adj. & adv.): with a gradual increase of speed (used chiefly as a musical direction)

It was another example of one of those times when I overstepped my boundaries and in the process, slipped on my own crap.

I wrote a musical piece for the piano and was blessed that a small symphony orchestra agreed to play it in one of their concerts. It helped that I was good friends with the conductor. She thought it would be excellent if I performed the piano part with the symphony, giving it more focus.

Never considering my limitations on the magical eighty-eight keys, I quickly agreed, and gave a passive effort of rehearsal.  It was passive because I had enough arrogance to believe that I was a fairly decent pianist, and also regarded myself as being acquainted with this particular music since I had written it.

When I arrived at the first rehearsal with the orchestra, it became quickly obvious that I was ill-prepared to be anywhere NEAR the musical instrument  provided to make the melody, especially when I came to the end of the concerto. Because I was unable to the play music in the correct timing, I slowed them up, which prompted a flutist near the conductor to raise his hand and ask, “Is this passage going to be rubato?”

My conductor friend shook her head without verbally responding.

He persisted. “So — should we anticipate an accelerando?”

She frowned and once again shook her head.

It was very embarrassing–similar to being in a foreign country, and in a clumsy way ordering off the menu, only to notice that the waiter has gone back to the cook to chat in their common language and laugh at your selection.

Later on, my conductor friend explained that the flute player was asking if my playing was going to be rubato, which meant purposely slowed up by my own choice, or if there was some way she could build a fire under me to create an accelerando ( in other words, play it right).

I discovered that day that even in the world of classical music, there is still language available that says, Hustle up your butt!”

The fact that it’s being said in Italian only makes it a bit more elegant.

It also makes it a trifle more aggravating.