Monday, October 31, 2016

Finding The Thompsons

I've been doing genealogy since 1999 with the thought that it would be easy. Create an account on Ancestry.com, enter a few names, a few locations, and wa-lah! Instant answers! HA.

My core family was small to begin with: two sisters, a set of parents, one maternal grandmother and two great aunts. My parents were only children, which means there were no aunts or uncles. Simple, right? But my parents are tough. I can't find my dad's mom, Eva D. Marquette. I can't find my mom's dad, Emil V. Johnson. (You try finding a Johnson in Chisholm, Minnesota.) My dad's dad had died long ago and he didn't talk about him much. But my mom's mom was right there with us. She either lived with us, or we lived with her, or she and I worked side-by-side in her restaurant, which was attached to my parents' business. This meant she and I spent a lot of time together. I was her favorite grandchild, and she was like a second mother to me. I adored that woman.

Her name was Gram Florence. Well, we called her Gram. Everyone else called her Florence. Florence Thompson, from Marengo, WI (AKA a wide place in the road up by Lake Superior). Her parents immigrated from Finland, bought a farm and had 12 kids. Twelve! (Gram said there were 15, but I've only found 12.) Either way, can you imagine? Well maybe some of you can, but I sure couldn't. That was like having all your classmates from school living in your house! Or at least it seemed that way to a pipsqueak with two siblings. Gram used to tell me stories about her brothers and sisters, her parents and life on the farm in general. This usually occurred while she was cooking (she was always cooking) (and if she wasn't cooking, she was cleaning, knitting, crocheting or volunteering). I was fascinated by the idea of all those siblings. I was entranced by the idea of a huge farm, out in the middle of nowhere, and with animals! I peppered her with questions like, "how on earth did you manage with seven sisters and only one bathroom?" "You really had to help your mom make breakfast, lunch and dinner every day for all those people?" "How could you bake bread in an oven that had no thermostat? How could you tell it was at 350 degrees?" "Your mother didn't speak English? How could she talk to anybody?" "What do you mean you butchered your own meat? EW."

She'd answer my questions and off I'd go, into a corner and write stories about Millie, Bertha, Irene, Hilma, the twins John and Jalmer, her mother Sophie, her father Matt. I'd illustrate 'em too. The girls were always princesses with tall cone hats and veils swirling everywhere; the boys were invariably riding prancing ponies that had enormous hooves. Everybody had arching eyebrows and buck teeth. I had a thing about arched eyebrows (this is called too much TV) and being obsessed with drawing every single tooth in a person's head, along with all the lines and shadows of hooves. It was important for some reason and all that attention to detail made them larger. (The word 'perspective' wouldn't arrive in my vocabulary until later.) It also never occurred to me that veils would be a hindrance while kneading dough, scrubbing floors and killing chickens. It didn't register that her brothers would have a hard time baling hay or milking cows if they never got off their trusty steeds. But Gram never said anything. I read her all the stories, showed her my drawings and she'd smile and laugh and tell me how great it all was. Grandmothers are wonderful, aren't they? I still have some of those stories tucked away in a box.

But I still didn't ask enough questions. Or at least not the right ones. I never asked, for example, what is your mother's full name? Or, where ARE all these brothers and sisters? I only knew two siblings. One sister was funny and adventurous, unmarried, no kids and lived far far away in California. The other was married, had four kids, lived five miles down the road and was a regular Miss Fussbudget. She didn't approve of me because I climbed trees, got dirty and sat on the floor in a dress, cross-legged. I should've been sitting properly, with my ankles together and doing 'girl things', not playing with live ants and plastic army men. Her sister, the fun one, would've just laughed, tossed her shoes into the weeds and climbed the tree with me. In a dress. And then laugh like a loon when Gram, holding her sides trying to keep her own merriment in, would whisper-shout "Girls girls, I can see your undies!"

They're all gone now; Mom, Dad, Gram, both great-aunts. There's no one left to ask. But I know there has to be more of us Finlander Thompsons out there. So I'm going to try again. Only this time, I'm going to start by tracking down living relatives. I've run into a wall tracking down the dead ones.

With age comes wisdom.

Wednesday, September 12, 2012

A Song To Melt Your Heart, A Voice To Stir Your Soul

La Vie En Rose. If you want to melt her heart and convince the girl to slow dance with you, play this song. Rachael Leahcar. If you want said girl to melt in your arms, remember this name.

Hubby and I love "golden oldies", and especially those romantic tunes that make one weak in the knees and foggy in the brain. For example, when we got married in 2010, we started off our music playlist with a little fun (Going To The Chapel by The Dixie Cups). When my sons walked me down the aisle, romance wafted through the air: namely the incomparable Johnny Mathis's Misty.

The lyrics:

Look at me
I'm as helpless as a kitten up a tree,
And I feel like I'm
Clinging to a cloud
I can't understand,
I get misty just holding your hand. 
Walk my way,
And a thousand violins
Begin to play.
Or it might be the sound of your hello,
That music I hear
I get misty
The moment you're near.
:dreamy, glazed over look: Mmmmmmm.

Where was I? Oh yeah [ahem], sorry. If you haven't heard these songs before, click and listen. This is music that isn't anymore . . . and that's just sad. Most people think hubby and I like this stuff just because we're middle-aged. Au contraire. We've always liked it, from the time we were toddlers. Even many of these songs were older than we were. It didn't matter. The music spoke to our souls. But our childhood friends thought we were weird. Our first spouses rolled their eyes. But we listened anyway; in the middle of the night, alone in the car, or with headphones stuck to our ears. And then we found each other. Now we listen with abandon, with glee, walking around inside a happy fog.

Second marriages are wonderful, aren't they? We know exactly what we want.

And more importantly, what we don't.

Now this isn't to say we don't like some newer music, too. White Horse by Taylor Swift and You Don't Even Know Who I Am by Patty Loveless come to mind. But in this current rappin', rockin', angry, female-butt-swingin' musical desert, these are more the exception than the rule. But perhaps there's hope. The other night honey and I watched the 1954 version of Sabrina and suddenly realized we didn't have a copy of La Vie En Rose on our iPod. In case you're not familiar, let me introduce you to some samples first. The song is heard twice in the movie; the first time is an instrumental in the background while Sabrina (Audrey Hepburn) is writing a letter to her father back in the states.


Dearest Father,

We shall be graduating next week and I shall be getting my diploma. I want to thank you now for the two most wonderful years of my life. I shall always love you for sending me here. It is late at night and someone across the way is playing “La Vie En Rose”. It is the French way of saying, I am looking at the world through rose-coloured glasses. It says everything I feel. I have learnt so many things, Father. Not just how to make vichyssoise or calf’s head with sauce vinaigrette, but a much more important recipe. I have learned how to live, to be in the world and of the world…and not just to stand aside and watch. And I will never, never again run away from life, or from love, either.

(La Vie En Rose can be translated as "Life in Rosy Hues" or "Life Through Rose-Colored Glasses". The song title's literal translation is "Life in Pink".)

The second time, Audrey is singing snatches of the song to Bogie (that's Humphrey Bogart for you youngin's).



So, to remedy the situation, we go off in search of the song. Good heavens, I never knew there WERE so many versions! Apparently, the most popular rendition is by Edith Piaf. We'd never heard it before. (And even more honestly, we didn't like the way she sang it.) The version I'd always heard in my head was by Louis Armstrong. It's played in the movie Wall-E. This is one cute clip. (Wall-E's watching a romantic scene from Hello, Dolly! on the tv, in case you can't place the movie.)




After many listens and rejections, we tripped over what has to be the most amazing, utterly heartstopping version of La Vie En Rose ever sung. It was a clip from YouTube, from the Australian version of The Voice. The singer is Rachael Leahcar, a legally blind teenager. Listening to her, it's hard to believe this voice, this range, this sheer emotion belongs to an 18 year old. From the first note, we were stunned. Mesmerized. Enraptured.



I immediately went out to buy a copy, but the only place I could find it is on iTunes.au. When I tried to purchase it, the site told me I couldn't -- and sent me back to the iTunes USA -- which doesn't carry it! What's up with that?

After an extensive search, I finally found Rachael's full (minus audience and cheering noises) professionally recorded version on YouTube. Have a listen. Better yet, share it with someone you love.