OK maybe that’s going a bit overboard with the metaphor but you get the point.

In a recent discussion, someone told me that two teachers in a relationship with each other weren’t necessarily a good match because they were always “telling each other what/how to do___”…because that is how teachers teach.

The simple fact that it DID upset me spoke volumes.

As I thought about it I realized that the best teachers guide their students on a journey of self-discovery. They understand their subject and students so well that they can formulate questions to encourage them to find their own answers. While there are times that some details may be necessary to provide a foundation…that foundation is best laid when the subject is eager for knowledge.

Those teachers that feel pressed to deliver, unqualified or limited in their scope of knowledge may resort to an answer that includes some form of “that’s the way it is”.

Or there is the parental fall back of – “here let me do it for you”, because it’s faster and simpler in our push button world.

I’ve done both in my time. And I can recall the frustration…and guilt, when as a young parent or teacher – I would say or do these things because I felt a lack of choices.

Most often it would be with something that either came naturally to me and I didn’t know how I knew something or some time when I had neglected to plan my time well and everyone paid for my shortsightedness.

On the other hand, I’ve worked as a vocal and speech coach with adults who struggle with presenting themselves, speaking up or performing and seen the results when a well meaning but unskilled music teacher (stuck with being a choir teacher in addition to their regular classroom duties) or parent who told the child to “just mouth it” or “we just need you to sing more softly —- all the time” and that child grew up believing they “couldn’t or shouldn’t” sing or speak out.

I have been fortunate to be surrounded by people who loved what they did, my parents who read to me or let me listen for hours on end to talking books. Music teachers within and without my family who loved to sing as well as teach. I even remember in college when I solidified my love for history. There is little doubt that it was tied to my Western Civ Professor who, for 12 weeks, one short semester, spoke of places and times past from a personal relationship. She had traveled all over Europe and her eyes would light up when she talked about the Parthenon or the Coliseum. It’s been over 30 years and while I admit I don’t remember her name, I remember her passion and love of the subject.

I believe it is the same thing with children. When we share our love of reading, music, math, science, nature…whatever the subject NOT because we want them to love it but just because it flows out of our own love for it – they will pick up on it. We’re not telling them they have to learn something – we’re sharing with them our own enthusiasm. There is no need to force them…because we really love what we’re doing.

So the next time you want to help someone learn a concept, skill or craft, if it becomes a struggle – take a moment and ask yourself these questions:

1. Do I love what I’m talking about?
2. Am I trying to “tell” them what to do?
3. Do I feel like I have enough tools in my tool bag that I can help them discover their own answers?
4. Am I unattached to their results?

If you answered no to any of these – consider asking for outside help. And let me know how it goes.

In the meantime, thank someone today that has inspired you, share a smile with someone you love and find something to laugh about it’ll keep you young at heart.

Love,
Kira

We must begin with the understanding that the instrument itself is dynamic. The human voice is always changing and affected by a number of items that, in and of themselves, are also dynamic. These include such factors as:

• Overall health
• Age
• Emotions
• Environment
• The performing ensemble (the ability to interact, connect with and trust the other performers and audience)
• Innate skills (God given – may not know how or why they can do something)
• Acquired skills (through practice and education)

This constant dynamic state is the single most noticeable attribute that wears any singer down. Our expectation is that that once we get a handle on a particular skill we can move on. We are finished with “that” and we don’t want to work on “it” any more.

Nowhere is this dynamic change more evidenced than in the breathing skills. Yet, each successive skill is built with an ever-increasing awareness of the breath, which connects us to our bodies, our sound, our music and our soul.

From Novice to Expert, I believe a singer tends to fall within one OR MORE of the “Four Stages of Competency”. The singer may move backward or forward based upon what is going on in their lives. For example, a woman during pregnancy may find that breathing while singing takes on a completely new dimension, even though she had reached the point in her singing career where it required little thought due to her physical exercise routine during the “non-pregnant” state. Another example is seen in the process of recovering after any kind of vocal distress. This requires patience that the singer may or may not willingly accept.

Moreover, the idea that just because I KNOW how something is to be done, I can immediately integrate it has tripped more potential adult singers than any single perceived obstacle. The ability to deliver a performance that captivates an audience takes time and practice. As Aristotle said, “We are what we repeatedly do. Excellence then is not an act but a habit.” Therefore, contrary to the popular saying “practice makes perfect” any accomplished artist or sports aficionado knows that practice makes permanent, so the simple fact is, perfect practice creates a perfect performance.

Being one to have a firsthand relationship with the saying, “God grant me patience, but hurry”, it has taken years to find that place where “now” is filled with “joy”. I have fought with myself to own the concept that the joy is in the journey, not the destination. As singers, we will always be in a state of growth or decay – we choose. As Kim Hulbert once pointed out, a state of perfection is only achieved when you are six feet under.

So let us examine the necessary skills along with the four stages and their interaction. It is the one who masters the skills and acquires the gift to perform in the “now” of sharing their performance with their audience, that one finds an artist who uses their instrument as their brush and the universe as their canvas.

7 Skill Areas

Starting with the specific skill areas, the following list is a short version of an ensemble singer’s ideal skill areas.

1. Posture
   1. Total connection from head to toe with fluid, flexible freedom
2. Breath
   1. As the foundation for any sound, the breath carries with it the ability to deliver the sound. This sound will ride on a column of air that is free from tension both on the inhalation and exhalation
3. Pitch Accuracy
   1. The internal sense of “do” and the ability to produce sounds that enhance the ring and spin of the barbershop style of music
4. Articulation
   1. With a focus on the American English language, singing well-matched vowels and consonants that create a flowing vocal line and allows the listener to understand the story being told
      1. A visual chart as well as audio examples of several diphthongs can be seen / heard at http://www.paulmeier.com/ipa/diphthongs.html
5. Resonation
   1. The balanced combination of back space and “ping” within the voice creating overtones using the four resonators
      1. Nasopharynx – the nasal passages and sinus cavities
      2. Mouth
      3. Oropharynx – the back of the mouth
      4. Laryngopharynx – the area from the top of the larynx to the back of the mouth
6. Vocal Energy and Freedom
   1. Awareness and use of the singers “own” voice
   2. Appropriate Physical Tension
   3. Appropriate Emotional Tension
   4. The ability to focus and stay in the moment
   5. The ability to move with and within the music
7. Artistic Delivery
   1. The moment when the energy is fed and created by the interaction between the audience and the singer. The singer is able to be one with the message in the music and take the listener on a journey. During this journey, the listener is able to suspend belief being transported to another place and time.

And before we continue, I’d like to point out that it is true that we have all had the opportunity to hear one or more soul moving performances where at least one of the first 5 skill areas were demonstrated with something less than perfect command. Listening to Joe Cocker singing, With A Little Help From My Friends, the audience is moved both by the message and the messenger. His commitment to the performance is obvious – whether we like the style or not. In “barbershop style harmony”, (among other characteristics) the ringing chords set the music apart. Therefore, the unit approach within the ensemble is critical to creating a musical experience that has a hope of achieving that ultimate Artistic performance so each individual will contribute based on her mastery of each skill.

Unconscious Incompetence

With the overview of the skills behind us we continue on to the first stage of competency called “Unconscious Incompetence.” At this level, a Novice singer neither understands nor knows how to do something beyond singing the words and generally the right notes. Moreover, they are not even aware that they don’t know. In many cases, the Novice or Beginning singer will quickly move OUT of this stage in one or more skill area but still have the majority of skills fall within the stage. For example while many singers begin to get a handle on breathing as to move into stage two or even three, it will be sometime before they understand or even recognize Vocal Freedom. The preconceived idea of what is “good” or what the singer “should” sound like can take time to process. They may not recognize for some time that they are trying to sing in a style that isn’t their true voice (such as imitating another singer that they frequently listen to).

Conscious Incompetence

At the second stage of learning, known as “Conscious Incompetence”, the singer does recognize a specific skill, though she does not understand nor know how to execute it. The Advanced Beginner is seen primarily in this stage. Additionally, singers may even have a limited number of skills beginning to emerge in the third stage of competence (Conscious Competence), yet it is almost a toss of a coin as to their ability to execute any one of them.

The singer at this level may find themselves very frustrated because they know “what”, they may know “why”, but they can’t get a handle on the “how”. The singer as well as the ensemble will do well to encourage further study while AT THE SAME TIME treating themselves and others with TLC. That loving kindness, persistence and patience will help the artist emerge through the periods of doubt and–what sometimes feels like self-loathing. It takes time to create new habits, even longer to break old ones, and any one of the 7 Area Skills can be quite challenging to overcome. Repeating the mantra, “An Obstacle is Simply an Opportunity in Disguise” during this time may be quite helpful.

Conscious Competence

In the third stage known as “Conscious Competence”, the singer understands or knows how to execute a minimum of the first six skills necessary for a wonderful performance. However, demonstrating the skills requires a great deal of focus and concentration. This is where you will find many “good” singers—very proficient indeed—but, they require much presence of mind. We can easily fall into the trap of “good enough” at this stage because we are having fun, the audience enjoys the performance and we probably don’t have to spend a lot of our time outside of rehearsal maintaining this level of competency to varying degrees.

It is during this third stage the singer may have one remaining area that they have yet to relate to. This may be due to either a lack of opportunity to experience it, a belief that it is beyond their capabilities OR a fundamental resistance to allowing it to happen. This is the ability to experience a truly artistic moment of delivery. This experience, more than any other, will encourage the singer to progress and seek to own the final level of competency in all of the skill areas so that they are one with their voice.

Unconscious Competence

The fourth and final level, known as "Unconscious Competence", is achieved when the singer has had so much practice with a skill that it becomes “second nature” and performs easily and effortlessly, purely and unconsciously. The singer may or may not be able teach it to others, depending upon how and when it was learned. Someone considered an “Expert” singer exhibits the first six Skill Areas at this level to a high degree of consistency. Again, the important thing to remember here is that the human instrument is dynamic. Therefore, the Expert singer will revisit all of the skill areas during rehearsal / practice sessions. A singer who really believes that their instrument is a gift from a higher power will continue to practice these skills so that the performance is free of any effort to control the sound thereby allowing them to stay in touch and in tune with their audience.

A 5th Dimension?

Finally, I believe that there is a level beyond “Expert” where the singer is truly an Artist. The Artist exhibits all of the first six skill areas to a high degree and is blessed when they are one with the seventh. This experience is more of the exception than the rule. It is my personal belief that this is often because we are afraid to be laughed at, to make a mistake, yes even to fall on our face. We refuse to risk much – therefore our ability to experience much is elusive. It is important to remove all elements of doubt within any performance. Knowing that we can deliver (Conscious Competence) is only a single element of the Artistry, trusting that we have the ability to deliver (Unconscious Competence) is yet another key. However, it does not stop there. In an ensemble, there are other performers on the stage. This level of Artistry means that everyone trusts each other to deliver. That takes time, preparation and Belief. Or maybe—that’s where it all starts…

May your path include a journey to transcend and experience the magic of that artistic moment. My desire for you is that it will be yours at least once in your life.

In Harmony,

Kira Wagner

“A singers work is never done.” That is the first thing that comes to mind when asked to discuss the varying levels of proficiency for a singer.

To start with – the instrument itself is dynamic. It is always changing and affected by a number of items that, in and of themselves, are also dynamic. These include such factors as:

• Overall health
• Age
• Emotions
• Environment
• The performing ensemble (the ability to interact, connect with and trust the other performers and audience)
• Innate skills (God given – don’t know how or why they can do something)
• Acquired skills through practice and education

This dynamic state of flux is the single most noticeable attribute that wears any singer down. Our expectation is that that once we get a handle on a particular skill we can move on. We are finished with “that” and we don’t want to work on “it” any more. Nowhere is this more evidenced than in the breathing skills. Yet, each successive skill is built with an ever-increasing awareness of the breath, which connects us to our bodies, our sound and our music.

From Novice to Expert I believe that a singer tends to fall within one OR MORE of the “Four Stages of Competency”. The singer may move backward or forward based what is going on in their lives. For example, a woman during pregnancy may find that breathing while singing, takes on a completely new dimension, even though she had reached the point in her career where it required little thought due to her physical exercise routine during the “non-pregnant” state. Additional, recovering after any kind of vocal distress requires patience that the singer may or may not willingly accept.  

Moreover, the idea that just because I KNOW how something is to be done, I can immediately integrate it, has tripped more potential adult singers than any single perceived obstacle. As Aristotle said, “We are what we repeatedly do. Excellence then is not an act but a habit.” In addition, contrary to the popular saying “practice makes perfect” any accomplished artist or sportsman knows that practice makes permanent, therefore perfect practice make perfect performance.

Being one to have a firsthand relationship with the saying, “God grant me patience, but hurry”, it has taken years to find that place where “now” is filled with “joy”. I have fought with myself to own the concept that the joy is in the journey, not the destination. As singers, we will always be in a state of growth or decay – we choose. As Kim Hulbert once pointed out, a state of perfection is only achieved when you are six feet under.

So let’s briefly examine the four stages before we look at the myriad of skills, either innate or learned, that one finds in an artist who uses their instrument as their brush and the universe as their canvas.

Starting with the first stage, we have “Unconscious Incompetence.” At this level, a Novice singer neither understands nor knows how to do something beyond singing the words and generally the right notes. Moreover, they are not even aware that they don’t know. In many cases, the Novice or Beginning singer will quickly move OUT of this stage in one or more skill area1 but still have the majority of skills fall within the stage. For example while many singers begin to get a handle on breathing as to move into stage two or even three, it will be sometime before they understand or even recognize Vocal Freedom (see skill areas below) . The preconceived idea of what is “good” or what the singer “should” sound like can take time to process – let alone recognize that they are trying to sing in a style that isn’t their true voice.

Moving on to the second stage of learning known as “Conscious Incompetence”, though the singer does not understand or know how to do something, the singer does recognize it, even though they cannot execute it. The Advanced Beginner is seen primarily in this stage. They may have a limited number of these areas beginning to emerge in the third stage of competence yet it is almost a toss of a coin as to the ability to execute any of the skill (see below).

In the third stage known as “Conscious Competence”, the singer understands or knows how to do most of the skills necessary for a wonderful performance. However, demonstrating the skill or the execution requires a great deal of focus or concentration. This is where you will find many of the “good” singers – very proficient but much presence of mind is required on their part. We can easily fall into the trap of “good enough” at this stage because we are having fun, the audience enjoys the performance and we probably don’t have to spend a lot of our time outside of rehearsal maintaining this level of competency to variying degrees.

During this third stage the singer may even have one remaining skill that is still at level one due to either a lack of ability to experience it, never having had the opportunity to be a part of it, a belief that it is beyond their capabilities OR a fundamental resistance to allowing it to happen. I believe it is this ability to experience a truly Artistic moment of delivery. This experience, more than any other, will encourage the singer to progress and seek to own the final level of competency in all of the skills.

Unconscious Competence is achieved when the singer has had so much practice with a skill that it becomes “second nature” and is performed easily and effortlessly. The singer may or may not be able teach it to others, depending upon how and when it was learned. Someone considered an “Expert” singer exhibits the first six skill areas, as noted below, at this level to a high degree of consistency. Again, the important thing to remember here is that the human instrument is dynamic. Therefore, the Expert singer will revisit all of the skill areas during rehearsal / practice sessions. A singer who really believes that their instrument is a gift from a higher power will continue to practice these skills so that the performance is free of any effort to control the sound thereby allowing them to stay in touch and in tune with their audience.

Finally, I believe that there is a level beyond “Expert” where the singer is truly an Artist. The Artist owns all of the six skill areas and is blessed when they are one with the seventh (see #7 below). This experience is a rarity; I believe this rarity is often because we are afraid to be laughed at, to make a mistake, yes even to fall on our face. We refuse to risk much – therefore our ability to experience much is elusive. It is important to remove all elements of doubt within any performance. Knowing that we can deliver (Conscious Competence) is only a single element of the Artistry, trusting that we have the ability to deliver (Unconscious Competence) is yet another key. However, it does not stop there. In an ensemble, there are other performers on the stage. This level of Artistry means that everyone trusts each other to deliver. That takes time, preparation and Belief. Or maybe—that’s where it all starts…

The following list is a short version of an ensemble singer’s skill area.

• Breath
  • Breath Space (the sound will never be any better than the breath space that precedes it)
    • Singing in this same space
    • Ability to take personal breaths during ensemble singing
      • Breathe…while lip-syncing a word
  • Ability to use varying types of Breaths (which may include)
    • Catch—Used for emotional impact only and not in places that require air
    • Quick—Used within passages which are increasing in tempo and always preceded by an increase in volume
    • Tempo—Used in both Uptunes and Ballads, this breath has a measured space and time to be taken…within the tempo of the song.
    • Slow—Also used for emphasis and emotional impact. The entire space between previous phrase and new phrase is used for breathing.
    • Delay—Usually used at emotional high point of song and/or for setting it apart from chorus or verse. This breath offers a definitive white space…then…breath is taken in tempo of next passage.
• Posture
  • Total connection from Head to Toes
    • Head / Neck soft and flexible – almost a liquid buoyant feel
    • Shoulders – relaxed and back
    • Rib Space – lifted and expanded / free and floating
    • Chest / Sternum – lifted
    • Back – tall and in line with the body (avoiding sway-back)
    • Abdomen – free to support the sound with lift
    • Flexibility and connection in the lower body parts (particularly soft flexible knees and foot posturing that enhances the sound not adds to the body tension
    • Presence and awareness of the facial posturing (keeping it alive, lifted and involved)
• Accuracy
  • Tonal Center (always aware of key or “do”)
  • Pitch – Notes – singing the note not “in the area of”
  • Clean Intervals
  • Tuned Chords
• Articulation
  • Appropriate, well-matched vowels and consonants that enhance (don’t interrupt) the flow of the tone / a Flowing Vocal Line
  • Singing Word Sounds
    • Consonants
      • Space and Treatment: some that deserve consideration
        • M
        • N
        • L
        • R
        • TH
        • K
        • NG
        • H
        • B
    • Vowels
      • Single Vowel Sounds
        • AH
        • EH
        • EE
        • OO
        • IH
        • EH
        • UH
        • Ǽ (hat)
        • IR
        • ER
        • AW
      • Diphthongs
        • I or eye à AH-ee
        • OH à OH-oo
        • A as in say à EH-ee
        • Other word examples include;
          • You à ee-OO
          • Yet à ee-EH
          • Wet à oo-EH
      • Triphthongs
        • Y à oo-AH-ee
      • A visual chart as well as audio examples of several of these can be seen / heard at http://www.paulmeier.com/ipa/diphthongs.html
• Resonation – Backspace/Ring is where the warmth of your sound is developed
  • The back of the mouth and the throat are the resonators that are soft tissue and absorb the highs in the sound. Incorporating more backspace can lead to an overly dark sound. We want a well-balanced sound with equal parts backspace and ring.
  • Ring is developed in those resonators with hard surfaces, they put the “ping” in the sound and that is where the overtone lives. These resonators magnify the highs in the sound but too much will bring about an abrasive, less than beautiful sound.
    • An appropriate amount of backspace and ring is the balance desired.
  • There are four areas of resonation available to the singer:
    • The area from the top of the larynx to the back of the mouth – Laryngopharynx
    • The back of the mouth – Oropharynx
    • The mouth
    • The nasal passages and sinus cavities – Nasopharynx

Vocal Energy and Freedom aided not distracted by:

• Preconceived ideas of:
  • Appropriate sound
  • Your OWN sound
• Tension in the body – to be used or released
• Muscle use – is it working for the sound or against it
• Emotional state – in a state of distress or not
• Focus – are we in the moment, hanging on to something previous or anticipating something coming
• Ebb and Flow of Delivery – the ability to move with the sound

• Artistic Delivery2
  • Having all of the previous skills to a great degree of competency, the singer is able to be one with the message in the music and take the listener on a journey. During this journey, the listener is able to suspend belief transporting the audience to another place and time.
  • The artist is able to open their heart, their soul, and let the audience see beyond the mask
  • The energy is fed and created by the interaction between the audience and the artist

A thank you to the many wonderful teachers whose wisdom may be recognized throughout this writing – you see – we are a conglomeration of those in whose paths we follow. Here is a list of the ones I can recall in random order – Dr. Eve-Anne Wilkes, Dale Syverson, Jim Casey, Bonita Wall, Peggy Gram, Charla Esser, Darlene Rogers, Shirley Kout, Kim Hulbert, Betty Clipman, Jim Arns, Ron Black, Bobbette Gantz, Connie Noble, Travis Rogers, Paul Drummond, Greg Lyne, Joe Lyles, Jan Gervais, Freddie King, Judy Ashmore, Tony DeRosa, Joni Bescos, Jack Barnard, and finally of the students I’ve had as a teacher with the Napa Valley Unified School District and Sweet Adelines.

Love
Kira

Here are the lyrics:

Let go and let God use you
To praise His Holy name
He knows the light and the darkness
He knows and He loves you just the same.

Please trust that He will guide you
Let faith and love keep you strong
Hold fast the promise of His comfort,
Believe the promise of His song.

Let joy be with you each morning
At noon, may thanks fill your heart
With peace to close off the evening
Your life will be a work of art

So just let go and let God use you
Your life’s the praise that they see
He knows the road you’ve traveled
Take his hand, you’ll find all that you need
~ Kira Wagner

Let us start with the first concept that language is needed for communicating ideas. In The Inner Game, the concept of Self 1 and Self 2 are introduced as two different parts of our psyche. The first one is the “self” that has the ability to perform a given task at our peak potential.

The other is the “self” that keeps telling us, why we can’t, what we should have done, what we should be doing, what we did “wrong” – and the list goes on. Moreover, it is talking to us DURING the performance.

I was relieved when I read The Inner Game of Music because I have had that secondary dialogue running in my head for so many years that I thought it was normal! As I looked back I wondered how I could perform ANYTHING with that other voice telling me how I should have released that last phrase…sung that note…added more character…and so on.

After I read the book, I began to connect with my “best performances” and see how that “other voice” never came into the equation. The goal is to be so “in the moment” that nothing else exists but the NOW. As a performer, if I am totally in the present, the things that matter are the energy/message in the music and the interaction between the audience and me.

Barry Green also introduces the trio concept of Awareness, Will and Trust. This trio is like playing pixie sticks. The sum of the parts is greater than any individual element.

Awareness is being in touch with everything around me. This includes how I am feeling, what is happening in the “house” (which is what allows me to open up and interact with my audience), and what the music is saying. Awareness even allows me to improvise and deliver a message that someone may have needed to hear – that I did not know of ahead of time. 

Trust, also known as removing all reason for doubt, comes in the form of trusting my own skills and preparation. I will perform better if I am able to trust the rest of the ensemble (if this is a group), the adequacy of the venue, and even the sound system, This list of “trust” is as long as the different elements that you have in your performance…even dress or costuming can be a factor.

Will provides the focus or clarity. Do I know what my goals and objectives are for any given performance? My goal may be as simple as everyone having a good time…or it may be eliciting a certain response. The clarity alone may be enough that I will hit my mark simply by being present or it may require some additional preparation. However, unless I have thought through what my desire is – I will have chosen to open myself up to the possibility of missing my mark.

With the combination of Awareness, Will and Trust, I also put myself in a position to know when to ask for feedback or help. Without this combination, I may find myself having the “if only” dialogue, 5 minutes before curtain. This self-talk diminishes any performance…from theater to business. I can change the order if needed, because they work best simultaneously, but I would not experience the same success should I remove an element.

Until next time – remember, you have the choice to make it a GREAT DAY! The gratitude with which you greet the day may make all the difference so enjoy some laughter and have a wonderful one!

In Harmony,
Kira

On September 21, 1981, the United Nations declared an International Day of Peace. In 2002, the General Assembly officially declared September 21 as the permanent date for this momentous occasion.

As a habit then, I believe that peace starts within, within our own hearts and souls. World peace will only be a reality when we find ourselves at peace individually. We can make this happen one moment at a time. I don’t know anyone that rides the Love Train 24/7 – 365 days a year, but we can begin the journey together and find ways to embrace the peace and love. 

One morning a few days ago, I woke with two tunes going through my head. One was a line from the song by John Lennon – “all we are saying is give peace a chance”. It repeated incessantly. It was overlaid by another tune and the following poem, which I wrote and share with you today –

I feel love in every day; I feel love in every way

I feel love deep in my heart, in every day there’s a brand new start.

I feel the peace flowing through my soul I feel the love that makes me whole

I feel peace I know I’m free I feel that peace deep inside of me

I feel peace of ages past; I feel that peace – I’m home at last

I feel the peace flowing through my soul I feel the love that makes me whole

I feel peace I know I’m free I feel that peace deep inside of me

I feel peace of ages past I feel that peace – I’m home at last 

I won’t kid you and say that I always feel this way. In fact, I’ve really begun to understand that the more I think I know, the further there is to go.

Nevertheless, it is a start and it is part of what allows me to know moments of total freedom. Something so ingrained that I know no one can take it from me. That if I “lose” it – it’s because I’ve chosen to give it up.

Thank you all for being part of my journey to freedom!

Love,

Kira

For others – it may simply be a new day. A new opportunity to see God’s beauty.

Wherever you find yourself today – may God bless you.

Below is a poem I’ve written for today. Enjoy and — thanks for reading.

Love,
Kira

Is over the rainbow so far away – or is it here, now, today?
Are we fighting for something we already have inside?
Or will we stand in the light and no longer hide?

Words like freedom, peace, joy and love,
Are gifts deep within—gifts free from above.

Take a moment today and let love fill your heart
See the miracle you are—a true work of art

Share a smile with a child, see through their eyes
The beauty of now and the sheer joy we so prize

May blessings be yours—may they fill you with song.
Let your voice ring out clear—sing it loud, sing it strong.

The tune is “When Irish Eyes Are Smiling”

Those Irish eyes are smiling
for the sun is bright today.
In the presence of your laughter
you’ve brought love and smiles my way.

This day is full of friendship
and such promise from the start,
so may warmth and love surround you
as it flows from heart to heart!

In all of your tomorrows – should there come a time where you need a hand to lift your spirits – may you find it here. With the help of a few friends and some time I’ve compiled a list of songs that help me “get through” the tough times.

May 2008 be a GREAT year.

These songs are simply arranged in alphabetical order and if the embedding option didn’t exist I left the link so you just have to click on it to listen/watch.

With 33 selections you’ll find the selection fairly eclectic – just like I am – ranging from Opera to Broadway and Rock to Rap.

God Bless and Happy New Year.

Love,
Kira

Amazing Grace Leann Rimes http://youtube.com/watch?v=iT88jBAoVIM

Angels Among Us Alabama http://www.youtube.com/watch?v=jMB62g-A3Hk

Calling All Angels Train http://www.youtube.com/watch?v=pAKF3_hCSNs

Can You Feel the Love tonight Elton John  http://www.youtube.com/watch?v=PkGDrV_2ehI

Candle on the water (Pete’s Dragon) Annaliese Van Der Pol http://www.youtube.com/watch?v=NW5ZGLEiW1o

Don’t Rain On My Parade (Funny Girl) Barbara Strisand http://youtube.com/watch?v=JAVlk4F2qkw

Everybody Says Don’t Anyone Can Whistle http://youtube.com/watch?v=tJOwbrbswyc

For Good (Wicked)    Wicked    http://youtube.com/watch?v=05jdB1tGE_g

Friends    Michael W Smith    http://www.youtube.com/watch?v=oOCJAVlESEo

From a Distance    Bette Midler    http://youtube.com/watch?v=i5_YAj9lCQc

Hero    Mariah Carey    http://youtube.com/watch?v=PWlS8Oerx8o

He’s Got the Whole World in His Hands    Tanya Tucker    http://youtube.com/watch?v=guyrERfsCB8

High Hopes    Frank Sinatra (Flower Drum Song)    http://youtube.com/watch?v=mlsitMRQAdA

Hope    Twista    http://youtube.com/watch?v=Vv1sRFbsKDY 

I Believe    Elvis Presley    http://youtube.com/watch?v=YztqE6QzCww

I hope you dance    Lee Ann Womack    www.youtube.com/watch?v=hTQfERb9HVk

If You’re Reading This    Tim McGraw     http://www.youtube.com/watch?v=j7ixC-LYDGc

Imagine    John Lennon    http://www.youtube.com/watch?v=jEOkxRLzBf0

Impossible (Cinderella)    Lesley Ann Warren & Celeste Holm    http://youtube.com/watch?v=JKK_tq-VBk8

It’s My Life    Bon Jovi    http://youtube.com/watch?v=gi-c6USo8fQ

Live Like You Were Dying    Tim McGraw    http://www.youtube.com/watch?v=7mHaFMqde6A

One Moment in Time     Whitney Houston    http://youtube.com/watch?v=8EbYmMb4lR4

Somethings Coming    Westside Story    http://youtube.com/watch?v=xu7sRdRrm_w

Talk To Me    Angelix Listen to the audio on myspace

The Impossible Dream (Man of La Mancha)    Sung By Donna Summer     http://youtube.com/watch?v=yZvtcuTeJ4I

The Prayer   
Celine Dion & Andrea Bocelli http://youtube.com/watch?v=db1-IlnW2YY

The Rose    Bette Midler    http://youtube.com/watch?v=PIBUaMe37B8

This Little Light of Mine    Sydney Ellis Gospel Quartet    http://youtube.com/watch?v=6Vn6HJRiVyE

Waiting On The World To Change    John Mayer    http://youtube.com/watch?v=hKnF9CCYQPQ

When You Walk Through a Storm    Katherine Jenkins    http://youtube.com/watch?v=ffBIOTP5vtg

Wind Beneath My wings    Bette Midler    http://youtube.com/watch?v=9d9l8K7xOYM

Wonderful World    Louis Armstrong    http://youtube.com/watch?v=vnRqYMTpXHc

You Light Up My    Debbie Boone    http://youtube.com/watch?v=wxo0lsJnx-U

Zip-A-Dee-Doo-Dah    Song of the South    http://youtube.com/watch?v=LcxYwwIL5zQ

Keep in mind that all names have been changed …

4/1/06

Dream last night – something to do with PLA and talking about how it looks

Know that I have the power. See a button feel my way through it – what’s the mirror – process. Simple – not necessarily easy.

Back to the dream – not remembering the details – I’m waking up the last two mornings and going right into the day plus there’s an ego issue of how I can remember my dreams better than pw – I’m so good.

4/2/2006

Last night I had asked the question of whether I was on the right track or was I just spending money and kidding myself – doing things from a selfish place – and I had the following dream

I’m fixing an engine in a car that was loose and rattling and would fall apart if it kept going that way – as I pull it out (good thing it was a dream because I just picked it up with my hands and it looked more like something to do with electronics than mechanics) I find that the main thing wrong is the nuts and bolts are very loose and it takes me time as I examine it and tighten them all up – - – - and seeing the parallel of how I am really putting my life in order that it will be able to run smoothly and efficiently when I step on the gas.

Then there is something about a bunch of presents and friends in a car from TX and having to preserve these gifts in water –

4/5/06

Dreams last night were – about having a dog and a baby with me and flying through the universe and the only way to see what was happening was to get back to the source – the beginning of creation – so in the dream we’re speeding back through time until we see the creation

Interesting to note that I didn’t write it down right away and was able to go back to sleep and still remember as well as dream again

In this other dream there was something about a fireplace and p working on getting it going and it getting messed up and he burned his arm – like the burning wood fell on it – and I’m telling him to put ice water on it because I had to get the baby???

4/6/06

last night I asked myself and God what is it that is still in the way – what’s the things that are keeping me from “feeling” how perfect life is – the perfect joy – the perfect freedom – what are the key fears that I need to look at. It’s like nothing is really “wrong” in fact things are looking quite good. And maybe it’s that I’m not making all the money yet and I don’t feel like the speaking stuff can be that “easy” as well as I do get frustrated when I try to make it easy and the members don’t get it (more on that later)

So I had a dream that I’m going out for the evening with pw and I’m going to go get my hair done – I am first going to go to a store to get something for my hair – while I’m looking there’s a little girl that’s running around by herself and I know her – I can’t force her to go home of “control her” so I am going with her – kind of following along as she goes here and there looking at different things – we go into a store like Walmart and she’s kind of running between all of the adults and bumps into one – everyone is looking at her wondering where her parent’s are and who’s supposed to be watching out for her – she bumps into rg and he and I are talking about her and that I can’t impose what I think she should do – can’t force her to go home kind of thing – so I’m just trying to watch out for her – and she calls me to look at some clothes – so I say bye to him and go over to see what she is looking at and it’s lingerie and there are a lot of really beautiful pieces but I’m telling her that these can’t be worn out side to dinner and dancing and explaining that it’s because you can see through them and we’re talking about how beautiful they are –

About that time I wake up – I’m not sure what the dream was saying but as I write it out there’s a sense that the message that I thought was so obscure is right there in front of my face…

4/12/2006

Last nights dream. Call to have a person come to work at my house and tell them that the way to get there is to come to the web site for the exclusive forms, and when he gets there he looks like Steve Martin, then I cut off his head in a kind of wheel cog – with a blade kind of thing – and we have the meat for dinner – then it’s a party and I have a glass giraffe that is on a table and he belongs to dan – his leg gets broken off (giraffe) and I eat it – and the next thing is that the giraffe is standing up again and it has a cast / bandage on the leg – then it’s back to the day and the Steve Martin look alike is back working and I call his office to let him know – and have to tell them he’s at the same address and they are kind of like – oh it’s you again huh? – and then we go through the same routine of cutting off his head. But this time I know that he’s going to come back to life ……………… ok so this one has me a bit stumped – unless it is that what I do that I THINK will hurt or damage something / someone if it does affect the thing can be mended and with respect to the person – it’s only an illusion.

4/13/2006  

I had a dream last night and I didn’t remember it – I didn’t write it down right away and then I was awake for at least 2 hours last night. … dream something about AIDS and being covered with sores…

I really think that when I use my dreams I help myself – heal myself if you will – and when I don’t I choose to let things fester and I am the worse for it.

4/18/2006

Dream last night – playing with fish – playing with dolphins – playing with a whale – I was the only ne that knew that it was a whale – everyone else thought that it was a building and path.

But I left the park and had to get tickets to get back in – didn’t have enough cash the first time – got a few tickets and needed to get more – ran it through some validation machine and the first tickets came out with mirrors so they couldn’t be used anymore. It’s like I would keep them but they wouldn’t apply.

I know that it’s about looking at mirrors there is something about out of sight out of mind – forgetting my dad

4/22/2006

Dream about singing with Louis Armstrong climbing up a REALLY tall ladder/tower and sitting on some chair in heaven doing Hello Dolly then I’m talking with an actress/singer that I know and yet this is before she has reached the pinacle of her career. She is worried about being able to make it – she’s very young – I just look at her and smile and tell her that I know she will succeed – just keep moving and it will come together – I know – I’ve seen it.

another dream – working with 4 boys on a stage – they are a quartet – and there is a circus of junk going on – people interrupting, making noise – little kids playing on a piano – just a cacophony and we can’t get to the rehearsal with so many distractions and so much noise so finally I tell everyone to clear out – we have work to do and if they can’t or won’t I will remove them by force if necessary, – interesting note that I have 4 boys all of them have challenges that are more notable. Then I’m standing on a sidewalk looking at down the street watching a young kid – I think it’s a boy – riding their bike really fast and they loose control of the bike and fall of – I’m thinking that they are really hurt and so I start to go over to them and then I see that they have lost both their arms and legs in the fall and I screamed and woke myself up. In this section I know that there is something about being helpless to “do” now that they have no arms and legs – there’s also more about “who they are” … time will tell

From the meditation between the two dreams – I will never know the joy of the music that I seek until I am one with it, that I know I will achieve the things I seek – just be at peace with the process/journey – that I need to see the whole man not the fairy tale version in order to … move forward / see more clearly … that I choose to let all the awareness, consciousness, knowledge from my total journey come to the forefront to be used, sourced and made manifest in my life, that the ability to see is also a choice