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Thursday
Mar282013

THIS BLOG HAS MOVED.

Hello all,

Sorry to shout with my headline but I need everyone to know that this blog has moved to a new site. The new URL is www.cerebellumblues.com, which is the former URL of this site (confusing, I know.). Anyway, I'm trying to make the new site more visual and to present photos and music better so please check it out. Also, I will not be posting here anymore. Hope to see you all at the new site! Again, it's www.cerebellumblues.com

Jeff

Friday
Jan112013

• Notes on Cerebellum Blues, Playlists One and Two: the accident.


Welcome to my series of posts about how I got into music and songwriting and the events that ultimately led to the 2012 release of my first album. Here are the posts, so far:

9. Europe, part one.
10. Europe, part two.

11. my life in advertising begins.

If you read anything that strikes a chord please let me know in the comments section or via email. As always, thank you for reading.

For those of you who know me or have been following this blog for awhile, you already know all about my severe traumatic brain injury and how I think it somehow made songwriting easier for me. For those who are new to my tale, here’s a brief re-cap:

The accident happened in late January of 2006. I wish I could say that I was performing deep cover recon for a Navy SEAL operation or drinking Keith Richards under the table but, no, I simply fell. In the bathroom. Without a helmet. The medical reports described my injury as having been precipitated by vasovagal syncope, which caused me to lose consciousness and collapse against the bathroom wall hard enough to shatter a small part of my skull, driving bits of bone into the back of my brain, and flinging my head forward fast enough to cause whiplash. I awoke with my head wedged between the toilet and a wall and promptly threw up. Catherine and I had been to a questionable culinary event that night so I thought I had food poisoning, and once I was pretty sure I was done being sick, I tried to stand up, but I was surprised and mystified at how hard it was. I felt as though I were made of metal and the floor a magnet. But I finally made it to my feet and thought that if I could just get back to bed I would wake up in the morning and all would be well. Of course, I fell again, a fast spinning fall, and I hit the ground on my back and my head bounced off the floor, which, luckily, was carpeted. Catherine awoke with a start and though I explained to her with calm, perfect clarity what was going on, she looked at me with fear in her eyes and called 911.

I spent the next six days in the hospital and then six months at home recuperating. My injury was small, but complex. The bits of shattered skull had been driven through the dura, which is the membrane surrounding the brain, and into my cerebellum, causing a hematoma (which simply means blood on the brain). The biggest risk in the days right after my fall was that my brain would swell, but it did not. In fact, one doctor even said I’d be able to make the ski trip I was planning, although in hindsight I think he was just trying to make me feel better. Little did I know I would feel positively awful for about a year and suffer constant sensations of dizziness and lightheadedness to this day.

I hate hospitals. I hate the smell, the harsh light, the tension of worrying about seeing something truly awful or hearing a scream or both. Being a patient makes hospitals even worse, but also somehow better. You feel safe, you’ve made it, you’re going to be okay. And they’re going to give you drugs to make you comfortable, right? Not in my case. From the moment I entered the hospital I kept thinking I would be given a shot or a pill to make me sleep or, at least, to no longer feel so sick and dizzy but hours passed before I got anything. Ultimately the drug the hospital settled on was Ativan which, I admit, worked wonders. But nothing made me feel better than Catherine’s presence.

From the moment she called 911, Catherine was with me. She did her best to help me answer the barrage of questions from the paramedics, road shotgun in the ambulance, walked alongside my gurney as I was transported from the ambulance to the emergency room and then to some kind of special room that wasn’t quite the ICU but certainly for higher risk patients, stayed up all night that first night as I was shuttled between CAT scanners and other devices. In my room she made a home out of a corner chair and monitored the nurses and me and my meds and everything else. In all the days I was in the hospital, nearly a solid week, she left only to run the few blocks to our apartment to shower, but only when my parents were present for a bit to look after me, which was mostly every day. If she slept at all, I was barely aware of it and whenever I awoke there she was.

Waking up. I did that a lot because I slept so much, probably 20 hours a day, punctuated by brief periods of wakefulness. I dreamed a lot, too; strange, vivid dreams. I only remember one. I was catapulted to an island that was a mashup of Las Vegas, a Maldives resort and a Thomas Kinkade painting (for the light). It was so real and fantastic I remember trying in vain to get a newspaper before I was catapulted back so I would have proof I had been there. But sleeping never felt good, I could never get comfortable, every change in position triggered dizziness and even when I lay absolutely still I “moved”. It was awful.

Depression is a very real worry for anyone who has had a traumatic injury and I was certainly depressed but far less so than if Catherine had not been there. I can’t imagine the strength she had to have to put on a bright encouraging face for me no matter the news, which careened from “you’re going to be fine” to “we’re concerned you might go into cardiac arrest”.

After six days, I was finally allowed to leave the hospital but only after Catherine assured the staff she would be with me 24/7. They did not doubt her for a minute, how could they have after all she had done? I left the hospital in a wheel chair and climbed into my parents’ car and headed home where I went straight to bed and stayed there for several more days, weeks really. Catherine placed a trash can by the bed because I was sick so often and tended to my every need, even giving my sponge baths, since I could not shower on my own. No food stayed down long, save for yogurt and oranges and Ensure drinks, and nothing tasted good. And there were so many doctor appointments, none of them encouraging, a few heartbreaking (and wrong, thankfully), and there were therapy appointments (physical and mental) and Catherine drove me to all them, plastic bags at the ready. My parents helped a lot, too, driving me places and staying with me to give Catherine an occasional break. After a few months, Catherine’s parents flew all the way from the East Coast to visit, several friends came by, but mostly it was Catherine and me just getting through each day. As I got a bit better, we started to go to movies and for walks and even out lunch at the local Johnny Rockets, where the staff was unfailingly tolerant of my odd twitches and tendency to have to leave unexpectedly. As I got better still I would go to my local coffee shop and read the paper. After six months I went back to work part-time, but even though my creative abilities seemed heightened I was mostly unable to work effectively and after six months I chose to go on full-time disability.

There’s so much more to tell about that year of 2006 but the only story that really matters is how Catherine helped me, which is a story I could write 10,000 pages about and still not do justice. I did write a song about her and and of all the songs I’ve written it’s the one that means the most to me. The song is called Coming Together (By Falling Apart) and I tried very hard to write it so that it would be as beautiful as Catherine and, though I didn’t achieve that, not even close, that’s okay because it was an impossible task and all I could do was try impossibly hard, which I did.


Wednesday
Nov282012

• Notes on Cerebellum Blues, Playlists One and Two: my life in advertising begins.

Welcome to my series of posts about how I got into music and songwriting and the events that ultimately led to the 2012 release of my first album. Here are the posts, so far:

9. Europe, part one.
10. Europe, part two.


If you read anything that strikes a chord please let me know in the comments section or via email. As always, thank you for reading.

Late in 1994 I had been back from Europe for nearly a year. I was living in Palo Alto in a converted servants quarters behind a large, shingled mansion and one evening I grabbed one of the two Cuban cigars I had brought back with me from Germany and a small glass of bourbon and I headed outside into a foggy night and walked down the street to where there was a flat, no-back wooden bench under a redwood tree. I lit the cigar, took a sip of my bourbon, laid down on the bench and blew smoke up into the wet air and into the branches of the tree. Was this what I wanted? Had it all been worth it, leaving Munich and Michelle to come back to the States and get a job in advertising and get some experience so that I could return to Munich and live and work there? Because that’s what had happened. I was working in an agency now and building that portfolio and plotting and planning — and doubting. What had I done?

When I walked back to my apartment I was dizzy. It wasn’t the bourbon, it was the cigar and just like that Cuban cigar, my first and so full of promise, my new life was a letdown. I missed Munich. I missed Michelle and the people I’d met there, the way they treated me and talked to me and listened to me and engaged with me. I missed the schnecke rolls at the Marienplatz subway station, the coffee made with an espresso machine, Bavarian butter. I missed walking along the Isar river and watching the ducks. I missed having to pinch myself that I was indeed living in Europe.

Back inside my tiny apartment, there it all was, just as it had been before my years in Munich, my music gear. Since high school, my room/apartment has always been cluttered with guitars and amps and multitrack tape recorders and my place in Palo Alto was no different. There was a multitrack, my SansAmp, a mic, guitars, and cables, cables, cables — all gathering dust yet making me believe that I would dust them off any day now. I never did. After getting back from Europe, I recorded just a couple of songs, none of which were any good, save for maybe People Change, and I never again played in a band. No, I had a career now, aspirations, focus. I was through with the hobbies of youth.

I kept telling myself I was going to stick to my original plan, which was to stay committed to Michelle and to work for a few years and build up a portfolio that would be strong enough to allow me to get me a job back in Europe. But this plan exacted a high price because it forced me to live in two places at once and to be unable to call either home. Every social occasion was tinged with loneliness as I would wish Michelle could be there with me and then my mind would drift from wherever I was and I would not be there anymore and eventually I would return to my apartment where I would sit alone and doubt would eat at me. And then there was the work, always the work. Advertising is like that, you get a project and you just can’t stop thinking about it until you are out of time and then another project starts and sometimes, most of the time really, you’re juggling multiple projects with overlapping deadlines and you never get a break. It was all too much — the loneliness, the job, my waning optimism — and I became desperate for a change, but I could not bring myself to simply go back to Europe. Looking back, I can’t say for sure why but part of my plight had to do with the fact that advertising was the first job I’d ever had that I felt I could turn into a career and I was convinced that my one shot was happening now and I could not pause even for a second, no matter the consequences because nothing could be worse than letting this opportunity slip through my hands. And I was 30. Time was running out! The follies of youth.

In 1997, Michelle and I finally acknowledged that I wasn’t coming back to Europe. We were both visiting New York, she to organize a shoot (her journalism career was taking off) and me to... well, I don’t even remember why, maybe there was only the hard business of parting, I cannot recall. We said our last goodbye as a couple under a grey, early morning sky as she rushed off to catch a flight. After that moment, I don’t remember anything else about that trip.

Back home in SF, I was now at McCann Erickson and finally had the freedom to think only about advertising for every waking moment—and that’s exactly what I did. I still noodled on my guitars here and there, still started a short story every now and then, but never for long because to leave my advertising muse unattended for even a minute was unthinkable. Now, I’ve never been the smartest guy in the room but even I could see I was on a road to ruin, of sorts. But how to get off of it?

I kept telling myself I would rise in my career quickly and soon reach a point where I would have enough money and security to take a step back, to stop, reassess, find something new. Well, I did rise fairly quickly. Within a few years of starting my career, I got into McCann, which was one of SF’s better agencies, and then into another where I rose to become the co-head of the creative department. But my big title and solid paycheck got me no closer to my goal of being financially set for life. Worse, I was getting farther from the fun work of creating ads and I was getting sucked into office politics and other swampish muck. Should I quit and go work somewhere else in a lower position? Should I ask to be demoted? Should I look for a different career? Would life as a homeless person be that bad? I truly asked myself all these questions but I could not bring myself to act. I was frozen. And so on it went. As for music, its siren song gone faint but still audible, it was only something I thought about in the way people think about winning the lottery.

About midway through my upward fall, I met Catherine and though I did not know it at the time and did not appreciate her for what she truly meant to me, I knew I felt happy again when I was with her and hope and optimism dared to show their faces. When we were together life was good but even during our best times, there, sitting on my shoulder, was the Ad Devil, who was always whispering things into my ear like, “Why are you out with her having a nice dinner when you could be home in front of your computer staring at a blank page? What about the brief? There’s a meeting tomorrow you know, you really sure your ideas don’t SUCK?” And fear, well, the Ad Devil is an expert at making fear a constant fact of life. Though I was doing well and producing good work, advertising is a “what have you done for me lately” business and one misstep and all your triumphs are forgotten. But in a perverse, masochistic way, I liked that about the business and still do. There’s real risk. Like music, you’re either producing hits or you’re a has-been. And you’re paid to think, even if your thinking isn’t always appreciated. Best of all (to borrow an adland phrase), those hits, if you can come up with one, can be life-changing. Advertising truly is like music in that if you can come up with one, bonafide, no ifs-ands-or-buts GREAT idea, just like the rock band that reaches number one on the charts, you are made for a good, long while — but not forever, never forever.

But no career, not advertising, not music, can be enough in life. You need a relationship, you need genuine friends, and while money is nice and even necessary there is such a thing as enough and to chase it for too long means you collapse into your grave unfulfilled. I chased money relentlessly. I always tried to do great work, but I wanted money, too, because I believed that once I had enough money (see where this is going?) I would be happy or at least able to take the time to figure out what would make me happy. I never did have enough. No, I had to complete my fall to the top and now I look back and it’s all such a shame: I wasted so much time and energy on things that, while important, are not the only things one should be concerned about, while all along Catherine was right there. Today, I cannot imagine life without her and the two beautiful babies we have. Through her I learned that no career in and of itself can be all that’s required for a fulfilling life, at least not for me. Through her I learned that family really does matter and that success is not measured by a paycheck or expressed in a title. Success is within, it’s where you feel joy. But to fully realize this very simple fact, something had to break. Literally.

Thursday
Nov152012

• What’s the difference between Keith Richards and Lance Armstrong?

I was in a meeting yesterday and before we got down to business we got into a debate about drugs, specifically performance enhancing drugs. The catalyst was an offhand comment about how the people in charge of awarding Tour de France medals had had to go back several places to award a new first. In other words, it seems like all the top riders were either users or former users. A colleague blurted out, “What’s wrong with using drugs or plastic surgery or whatever to make yourself better?” He then added, “I mean, what’s different about John Lennon?”

I agreed with him. I think banning performance enhancing drugs is dumb but I also felt that there was a difference between musicians and athletes. So I asked myself, “What’s the difference between Keith Richards and Lance Armstrong?” Keith used drugs to enhance his creativity; Lance used them (or so it seems) to enhance his cycling. Both of them broke the law to get an advantage, right?

No so fast. If you do a little heroin, smoke some dope, drink a fair bit and then snort of bit of coke to stay awake, you might write a great riff but there is no guarantee. Steroids, on the other hand, will make you stronger, full stop. In other words, there are no guaranteed performance enhancing drugs for creativity so using drugs isn’t cheating. In sports, on the other hand, the drugs work and they are outlawed so using them makes you a cheater. And that’s the difference. Lance cheated to win a race. All Keith has ever cheated is death.

Tuesday
Oct302012

• Notes on Cerebellum Blues, Playlists One and Two: Europe, part two of two.

Welcome to my series of posts about how I got into music and songwriting and the events that ultimately led to the 2012 release of my first album. Here are the posts, so far:


If you read anything that strikes a chord please let me know in the comments section or via email. As always, thank you for reading

Though I did not fully realize what was happening at the time, I can still remember the morning when my life in Europe began to fall apart. I had gone out to get a pastry from the bakery across the street from my apartment and as I was returning I saw my business partner, the person I’d started my translation/copywriting service with, walking up the sidewalk from the canal. He’d been gone for a few days, no one knew where, and through the cold air and under the grey light of an overcast sky I could see he was unshaven and had his hands dug deep into the pockets of his wool duffle coat. He saw me and said hello cheerfully enough but on that morning I knew our business partnership was over.

When we started the business together, I found my partner’s heavy drinking to be entertaining and not a big deal. He seemed so together most of the time. Besides, everyone drank heavily in Munich, it was part of the culture and alcoholism was seen as a choice more than a disease. I confess, too, I didn’t know anything about alcoholism, what it looked like, how to spot it, the damage it could do. But I learned. And in the end, my partner’s problem forced me to face the hard truth that we could not continue to work together and to ultimately to shut down the business. Why didn’t I just look for another partner? I’m not really sure but I do remember how hard the business had been to get going and how much I had spent on business cards and a brochure. I was also painfully aware of the fact that my partner owned most of our client relationships. Actually, now that I think about it, Michelle and I tried to run the business for a brief time but she had her own goals and could only devote a tiny bit of time. And so, I started to think about what to do next and that was when the notion of working in an ad agency and actually creating ads rather than just translating them — a notion that I had been thinking about for awhile — started to truly take root.

I first approached a few of my Munich advertising clients about a copywriting job but they were very clear that there was no way they could rationalize hiring me primarily because I had no experience as an advertising copywriter. Surprisingly enough, the language issue wasn’t that big of a deal because a lot of advertising in Europe is done in English, and a lot of German companies want help with materials for the American market. But lack of experience? Well, that was a deal breaker.

And so I hatched a plan. I would return to the States and get a job with a US agency, work just long enough to build up a decent portfolio (I figured one to two years) and then return to Munich or maybe the UK if my weak German turned out to be a big deal, after all. By early 1993 I was obsessed with my this plan and I was completely confident it would work. In fact, I was infused with a level of confidence I had never before possessed and I believed I would have a fairly easy road into adland and be able to build a strong portfolio quickly. I mean, how hard could it be, right? I had moved to a new country, taught English to former East German border guards, started my own business, gotten black market health insurance, fallen asleep on night trains back to my apartment and missed my stop, driven in Italy. Surely, adland would be not only be glad to hire someone like me (I’d read that agencies liked to hire young writers with interesting life experiences), but also the work would be relatively easy after all I had been through. There was another factor to my chutzpah: Europe had made me an optimist. Go figure, right? Isn’t Europe supposed to breed morose intellectuals? But there I was, very, very far from morose and certainly no intellectual. In a way, my years in Europe had made me more American, more ready for risk, more ready for change than all my years in America had.

And so my new plan supplanted all of my old ones, which had primarily involved my continuing with the marketing translation business and supplementing my unpredictable income with teaching jobs in Europe and Asia (I’d heard that the pay in Japan was especially good). I told myself that advertising was the answer to all my concerns: it would give me a career I would enjoy, money in the bank and the possibility of serious money down the road. And what of music? Yes, I knew I could not live without it but it was different this time. I was realistic and I would just keep music as a hobby, nothing more. More important, what about Michelle? I told myself I was not being a cold-hearted bastard by putting my career ahead of us for the time being but in hindsight I was. I set my departure date for early 1994 and all through 1993 this fact wedged its way between us and pushed us apart.

I walked everywhere in Munich. Neither Michelle nor I had a car, so it was by foot or by bus or by train that we got around the city, but usually by foot. Michelle worked far more than I did and was also enrolled in the university so I was often alone and walking became, in addition to a way to for me get around, a way to pass the time. I had my routes: there was one along the Isar river, which flows through Munich, several emanating from Marienplatz, Munich’s main square, and a few through Schwabing, the area north of the university and bordering the English Gardens, where I also walked. Ever since I can remember, walking and songwriting have gone together for me but back when I was living in Munich I mostly tried to stop the songwriting thoughts when they started up because I did not want the mental burden of thinking about something I felt was hopeless.

The year was probably 1992 because I remember I was still living in my unheated apartment at 1 St. Bonifatius Strasse and I was out for a long walk in the English Gardens when something completely unexpected happened: a line formed in my mind that I thought would make a good song. I tried to squelch it, to think of something else, to not burden myself with the hope that I might be onto something, but I could not. The line was “people change” and when I got back to my apartment I picked up my guitar and worked out some basic chords for a song that would indeed be called People Change and then spent the rest of the year and some of the next trying to finish the lyrics. But I could never get them to be quite right because I was unsure what the line should mean. Was it about Michelle and me? Was about a past relationship, an imaginary one, someone else’s? I never really could decide although I did, at one point, try to make the song about Michelle and me as we faced down 1993 and my decision to leave Europe at the end of that year. When I finally finished the song just a few years ago, about the only words I kept from the original version were “people change”; for the rest, I stopped trying to write a song about actual events and instead created fictional characters whose lives had some similarity with mine. Regardless, back in 1993, when I finished the first version of People Change, I liked it well enough to want to write more songs, but it would be another 10 years or so before I actually did.

The address of my final apartment in Munich was Pariser Strasse 11. It was a small one-bedroom on the top floor of building that looked just like all the other buildings surrounding it and my only furniture was a futon, a flimsy metal shelf and a wardrobe made of cloth (old apartments in Munich don’t have closets.) Given how few possessions I had, I thought packing it all up would go quickly. It did not. In the end, it took several weeks and when I was done I had made around 10 six-high stacks of standard yellow Deutsche Post boxes piled against the right wall as you entered the living room from the kitchen — an orderly monument to the disorder of my values. How could I be so cold to just leave the way I was? I don’t know. Yes, I was desperate to have a career in advertising and I kept telling myself that once I got a little experience under my belt I would be back but I was probably lying to myself. I remember my last night. It was January, the weather was cold and wet; Michelle and I went to the movies and saw Short Cuts and stayed up most of the night and treated ourselves to a cab to get home. The next day, rain was coming down hard as I took the bus from the terminal to the plane.

When I left the States for Munich in 1990, I consciously and enthusiastically left music behind. But music had stowed aboard with me as I left San Francisco on my maiden voyage to Munich and when I returned it was traveling openly with me in the form of People Change and various song fragments. Most important, though, my years in Europe and the immediate years that followed were when I finally started to really grow up. I became much more aware of life, what I was good about it, what I wasn’t. I made real choices, gave up some beliefs, added a few new ones, took on baggage, found new things to hope for and on and on. But I’ve always been a slow learner and the lessons from all of this, lessons that I think ultimately helped me to finally write some songs I was proud of, took years to sink in. In the meantime, I pursued a career in advertising, but getting a job was a lot harder than I thought it would be and building a portfolio harder still, so I stayed in the States and Michelle and I eventually parted and music once again receded into the background, not to be heard from for years and years.