Lazy and Talented hr666

 

I started taking piano lessons at the age of four and had continued on and off until I was fourteen years old. Yet, not a single classical piece exists that I can play properly. There are several clear reasons for that.

Photo by Do The Lan on Pexels.com

To begin with, the motive for the lesson was wrong. My vain mother bought the piano as a symbol of wealth not to play it but to show it to visitors although she really hated music. Then she assumed she would be ashamed if someone noticed the piano in our house stood exclusively for a decorative purpose and she decided to make me play it well. I took lessons at my mother’s order, not from my own passion. At first, a neighbor woman who had played the piano when she was young came to my house regularly to teach me. With an introduction from her, I got into Kuribayashi Piano School before long.

The school held a recital once a year at the big hall in downtown. My mother would invite her parents to show the pretty dress in which she clothed me. She would make me practice so earnestly for this once because her vain couldn’t allow me to fail on the stage in front of a large audience. It used to be a big night for my family. The piece for each student was picked up according to their skill by Mr. Kuribayashi every year. Gradually, year after year, the students who were much younger than I was were assigned to much more difficult pieces than mine because I had developed my skill too slowly due to lack of practice. The spot of the students in a recital was decided in ascending order of difficulty of the piece, from the easiest to the most difficult. Consequently the best student of the school played last in the recital. In this order, I had become next to a small boy by the time I was a junior high student. The rehearsal was taken place in the large living room of Mr. Kuribayashi’s home. When my turn came and I sat in front of the piano, I found the chair was too high as the player before me was a small boy. I tried to adjust the chair but didn’t know how. I struggled for some time while other students were quietly waiting and staring. I became panicky with embarrassment. I was all of a sweat jiggling the chair for the time I felt eternally. I glanced at Mr. Kurubayashi for help. He was just watching without a word. At that moment, I suddenly realized. I had long been not his favorite any more. How could I have not known for such a long time, about such an  apparent fact like this, I wondered. Amid terrible embarrassment, horrible disappointment gripped me. A girl who was about my age became unable to just watch my embarrassing fight with the chair and came up to me. She adjusted the chair for me in a flash. That girl was assigned to the last spot of the recital that year, which meant she was the best student. She beautifully played her piece, Chopin’s ‘Fantaisie-Impromptu’ that I believe is the most difficult piece for the piano in the world. When I listened to her play, I felt embarrassed further for my low skill and my longtime self-conceit. And I was clearly convinced that she was the favorite of Mr. Kuribayashi. Immediately after the recital, I left the school.

While I liked music so much that I wanted to become a professional singer someday, I loathed practicing the piano. My older cousin who was good at the piano visited our house one day and asked me to show how much progress I had made so far in playing the piano. I couldn’t understand why she tried to ruin her visit that I had been looking forward to. As I had imagined, she pointed out flaws in my play and began to teach me by which the day was ruined for me. Before I knew it, the keys went blurred because I was crying. She was shocked to see it and apologized repeatedly, but seemed puzzled why practice gave me so much pain. I shared her wonder for that matter.

As I hated practice that much, lessons at Kuribayashi Piano School became a torture. I took a lesson once a week, but I often didn’t touch the piano for the whole week until my next lesson. I was such a lazy student who was always short of practice. Nevertheless, I was somehow the favorite of my teacher, Mr. Kuribayashi. He liked my playing that was stumbled almost constantly, and kept admiring me by saying “You’re talented.” While I was playing, he often hummed along and danced to it. He hadn’t been in good spirits like that with other students. He instructed them strictly and sometimes scolded them. My younger sister started taking lessons a few years later and going to the school with me. Unlike me, my sister was a diligent student and practiced playing every day at home. In one lesson, after Mr. Kuribayashi danced to my usual bad playing and uttered his ‘You’re talented’, in my sister’s turn he slapped my sister’s hand and yelled at her, “No, no, no! It’s not like that! Not at all!”, which drove her to quit the piano for good. On the other hand, he had never scolded me. He was pleased with my play no matter how badly I played. He just showed his frustration saying, “If only you would practice…” Even when I was lazy enough to come to his lesson without cutting my nails, he would quietly hand me a clipper and tell me to be ready while he taught another student. Since I was too dependent on his ‘You’re talented’ and fully conceited, sometimes it took months to finish one piece and move on to another. In those cases, Mr. Kuribayashi would say, “Let’s change the mood, shall we?” and introduce me to a different composer’s piece for lessons, but would never scold me even then.

Ironically, I have never hated playing the piano. On the contrary, I’m fond of it after decades have passed since I quit lessons. While I still don’t practice, being able to play Chopin’s ‘Fantaisie-Impromptu’ remains one of my far-fetched dreams to this day.

Crowned in Dreams hr633

 

On the morning of a day off, I had a long, relaxed breakfast with my partner at home. He told me that he had just seen an interesting dream the previous night. His “interesting” dreams usually bore me, but I reluctantly agreed to hear it out of habit.
In his dream, it was my birthday. We had a party by ourselves in a fictional shabby apartment with half-price deli foods from the clearance shelves of a supermarket. A leftover of three-day-old dessert was converted into my birthday cake and waiting on the kitchen counter. A door bell rang although we didn’t invite anyone and nobody was supposed to come.
My partner opened the door and two Japanese couples showed up. Each couple was fictional, rich old friends of mine in the dream. They were prim in luxury brand clothes and bringing expensive sweets as gifts. They had apparently expected a glamorous home party in a gorgeous apartment. At the sight of them, I shouted to my partner, “Let them in and keep company!” and stormed into my room for a change and makeup because I was wearing worn-out clothes and no makeup. My characteristic wasn’t fictional and I was a vain person even in his dream. He showed them into the living room. They looked disappointed and regretful that they came to where they didn’t belong while he hurriedly cleared the table and fixed drinks for them. Then, there was the second door bell.
This time, a modest woman was standing at the foot of the stairs that led to the outside of the building. She had something handmade as a gift and looked up nervously. “Another guest showed up!” my partner yelled toward me. I rushed out, ran down the stairs, tripped, and dived into a big puddle beside the woman. He saw me sprawling in mud, with my best dress ruined and red and blue from my makeup spread on the surface of muddy water. This part of his dream was familiar to me. In reality, about a month ago, I was walking with my partner looking upward somehow and fell over a big rock. I landed onto hard asphalt and hit my cheek. My palms got grazed badly and covered with blood. That clumsily shocking sight must have remained in his brain.
At this point of his dream, he was resigned to a ruined birthday and his motivation gave out. He went back inside and said to the couples of preceding visitors, “Hidemi dived into a puddle. Would you mind leaving now?” They seemed relieved to be released from a wretched place like this and hurried away.

Photo by Jeffrey Czum on Pexels.com

Just after they had left, strangers appeared one after another. An American man with a camera, a Chinese family and a group of Southeast Asian women came in, all asking “Is this Hidemi’s apartment?” They were looking around curiously and taking photographs. Other people of various races kept coming and the apartment that began to expand was packed with them. He saw more people from the world heading toward my apartment. He became worried that everyone would be disappointed at this place that had nothing to see, nothing interesting. On the contrary, all of those who came seemed content, talking each other at ease or just sitting in a relaxed mood. Looking at them, he realized that what people seek was healing. And he woke up.
Little by little, the number of people around the world who visit my website has been growing since last year. Some visitors leave a comment or a like, some follow me. Those kind actions may have contributed to his dream.
In the meantime, I also had a dream on the same night. I was with Will Smith and a world-famous dancer in my apartment. A box was delivered for me, that was a secret award for the most distinguished person of each fields. Both Will and the dancer had received it before. “You got it!”, they exclaimed. I opened the box excitedly, and there came out a pink hippopotamus headgear. I put it onto my head with profound reverence, felt a sense of achievement, and woke up. In Japanese, ‘hippopotamus’ means ‘Kaba’. If you read it backwards, it is pronounced ‘Baka’, which means ‘fool’ in English.

A Picture-Card Show hr586

I was absorbed in one kind of play when I was about seven years old. It was paper play called ‘kamishibai’ in Japan. It’s a picture-card show in which a performer tells a story while showing a picture that corresponds to it. A performer impersonates the characters to say their lines and flips a picture to the next one when the scene changes. It’s a sort of street performance that is hardly seen these days. But when I was little, an old picture-card showman came to the small park near my house every two weeks or so. He would walk around my neighborhood while ringing a bell to let children know the show was coming. When I heard the bell, I would spring toward the park clenching small change in my hand. The show was free, but the performer sold cheap snacks and candies before the show. His theater was his bicycle. On the back of the bicycle, a big wooden box was fixed that contained both the pictures and candies. Once the show started, the box transformed into the picture holder. By tacit agreement, children who had bought candies stood in the front and those who hadn’t stood on their toes in the back to get a view. Although the story itself didn’t interest me so much, I loved the experience that I saw a live performance while eating delicious snacks. It was a luxury to me. Probably because I liked it too much, I asked my parents and got a picture-card show play set. The play set was available at a bookstore and came with a sono-sheet. A sono-sheet was a very thin flexible vinyl record on which the story, the lines of the characters and the sound effects all that corresponded to the picture cards were recorded. The instruction for the timing to flip the pictures was also recorded. The story and the pictures were from a popular TV animation program for kids. Unlike the picture-card show at the park, with this play set, I was a performer. Since there was a vinyl to be played along with it, I could sit in front of the picture holder and watch it as a lone audience while listening to the record. Only, I wasn’t interested in being the audience. I’d rather stood behind the picture holder and flipped the pictures according to the instruction played on the record. The characters’ lines were printed on the back of each picture and I read them along with the record. The number of the picture cards were over twenty and I practiced flipping each one of them in the perfect timing and reading the lines with emotions by imitating the voice actors on the record. That was my favorite play of my childhood and I spent a lot of time and energy every day. The funny part was, I didn’t need any audience. I practiced intently not to show the play but to perform perfectly. And I performed exclusively for myself. This play couldn’t be accomplished without the record player that sat in the guestroom of my house. I would sneak in there to play with the set because I couldn’t concentrate on my performance if someone heard or saw it. In case my younger sister asked me to play it to her, I drove her away. Not to be bothered by anyone, I didn’t even turn on the light of the room. I would play the show along with the record alone in the dark, and relish satisfaction and joy when I thought the performance went perfectly. Recalling my favorite childhood play now, it awfully looks similar to the way I engage in my work of music. I guess I make my songs strenuously for perfection not for audience’s reception. I always thought I pursued people’s attention and stardom, but it wasn’t true as long as I remembered how I felt happy in my childhood. That explains why my songs don’t ever sell. I perform to no audience. It seems that’s the way I liked, and the way I’m destined for…