A cover of Marshall Crenshaw’s “Tell Me All About It,” performed by me, Paul.
An original song, written and performed by me, Paul.
Back when I was lonely oh I could not comprehend
Why my species had decided that I was not one of them
Got my diagnosis and I wrestled with my pain
I made friends with my weirdness, now I’m lonely just the same
But perhaps I only serve as a reminder of the truth
That not everyone is beautiful or revels in their youth
And while no one will admit it we all feel it in our guts
That while all the pieces fit so nicely
All I do is jut
I don’t know who to talk to and I don’t know who to trust
Though I’ve tried to imitate the moves the TV said I must
The glow from my small candle tells the world what I’m about
But its light reflects and redirects to something sticking out
Now I try to take into account my old proclivity
To presume that anybody’s given any thought to me
And I know that to all thoughts of hope my mind has long since shut
But that filthy fucking fact remains that
All I do is jut
Like a sore thumb
Now I’m a tolerable person, by now I’m sure you’ve found
And you can have a beer with me when there’s no one else around
But I will understand it when your real friends arrive
If you excuse yourself politely and pretend I’m not alive
I could be a great companion, and a true friend to you all
But no one responds to questions or will answer when I call
Oh how much I’d love to reach out and pull myself out of this rut
But your averted gaze confirms that
All I do is jut
Like a sore thumb
An original song, written and performed by me, Paul.
Our vitals had been phoned in
When you chose me and I chose you
Tonight it seems
I’m down to my last moment
Before this dream
Resolves into a dew
Negotiating terms in our parlay
You’ve taken all my crimes into account
I strain my ears in hopes I’ll hear you say
You’ll measure out our days by keeping count
By the beat of my irregular heart
A swarm of souls
But you stand out like a statue
It’s hard to spot the cracks within the stone
The storm, it swells
But I’m too small to catch you
And now you lie in pieces there alone
But I am here to make it all okay
Your fragments I will bring in from the cold
And when you’re reassembled, will you stay?
You’re not the same, at least now you are whole
With my irregular heart
The time signature is wrong
Maestro breaks his baton
Phrases as frenetic as a moth’s flight
The pattern’s hard to see
But soft, and listen patiently
To a love so true
Could set your watch by
You caught me flinch
When you were standing right here
The kind of clue you prayed you’d never see
You took an inch
But I offered you a light-year
You’ll be damned before you let me in that deep
I know you don’t want me to get this way
But I sense your affections moving on
I must believe this love is still in play
It’s your heartbeat that makes this sound a song
With my irregular heart
My cover of Letters to Cleo’s “Here and Now.”
Inspired by The Incomparable podcast’s series of “album draft” episodes, I thought it might be an interesting exercise to write about some of the albums that have been the most meaningful to me. So whether or not I decide to do several of these kinds of posts, here’s my first stab at it.
I was very close to never having heard of Marshall Crenshaw. It just so happened that my dad had used a cassette copy of Crenshaw’s eponymous first album to mix down one of his own original songs (Billy Joel’s Nylon Curtain was on the other side, which I’ll probably get into in another post). One day while in my teens, I went searching through my dad’s tape collection to find his song, and gave it a listen. The tape kept playing after dad’s song, and suddenly this simple and engrossing little guitar riff grabbed my attention, and I was pretty much hooked from then on.
That riff was, of course, the opening notes of Crenshaw’s “There She Goes Again,” which remains one of my absolute favorite songs. It pretends to evince optimism and liberation in the face of separation and loss, but it’s all obviously a mask for the sickening weight of regret and the sting of rejection.
His album, Marshall Crenshaw (1982), largely remains in this vein, with nostalgically styled pop-rock tunes that sound like they could have been recorded in a basement, and I mean that as a compliment. It’s certainly polished, but it also has an immediacy and organic feeling, as though Crenshaw and his band are friends of yours who are working on their record right in front of you.
Once I discovered Crenshaw, I immediately related to him. He’s a smaller guy with glasses who likes hats, and he writes extraordinarily satisfying, hook-infused melodies and arrangements, almost all of which serve as wrappers for some sort of pain, self-doubt, or regret. This element is rarely overt, instead it comes out in comic self-deprecation, little jabs at his blunders, and a kind of hapless, “well what can you do?” persona. I really get that.
Anyway, the album. “Someday, Someway” is the album’s hit, which you’ll still hear once in a while on the radio or pop up in TV shows. It’s a very good song, but it’s not even one of the better ones on the record. Apart from the opening track, highlights include “Rockin’ Around in NYC,” which is both bouncy and tense at the same, in which he sings, “I get the feeling that it really was worth coming after we tasted disaster”; and “Mary Anne” with its gorgeous counterpoint backing vocals and its resignation to someone’s else’s despair.
“The Usual Thing” and “Cynical Girl” are rather different in tone, but both are defiant love songs that embrace uniqueness and alienation. On “The Usual Thing,” he worries that giving himself over to someone else will cause him to “lose his energy,” which sounds to me like the lamentation of an introvert. “But,” he tells her, “if I didn’t think you were a little bit out-there too, I just wouldn’t bother with you.”
And on “Cynical Girl,” he longs for a partner who, like him, has “got no use for the real world.” He sings, “I hate TV. There’s gotta be somebody other than me who’s ready to write it off immediately.” Damn right.
I really like a lot of Crenshaw’s other albums, most particularly #447 and Miracle of Science, but Marshall Crenshaw is something truly special, a rare distillation of the delights of classic pop-rock and the pain of being “a little bit out-there.”
It’s the late autumn of 2017, and I’m in Point Reyes Station, California for a two-week writers’ retreat. I was walking down a remote road, taking one of my regular strolls into town for supplies, a bit of exercise, and to take in the landscape, which was stunningly beautiful. The weather was nearly perfect, and being so removed from everything, cars and other pedestrians on the road were quite rare. I was alone and enjoying the movement and the environment.
The wind picked up a little and it whooshed deeply in my ears. You know the sound, the low thup-thup as the air pummels your earlobes. Maybe I hear it more than others because my ears are little on the bigger side, so they scoop up a bit more air.
Only something was off. The whooshing sound was there, but it was only coming in on the right side of my head. That was weird. I must have just happened to be facing in such a direction that the wind was hitting my head at that particular angle. So I checked.
I pivoted my head in different directions, while walking, while standing still, and nothing changed. I walked to different parts of the road with different landscape features; fewer trees, fewer houses, atop an incline, then toward the bottom. Still the same. I wasn’t hearing the wind in my right ear at all.
I snapped my fingers in both ears, and noticed no meaningful difference. I rubbed my finger along the surface of my earlobes and ear canals. In the left ear, I could hear the deep rubbing and rumbling sounds of the friction. In my right ear, I heard a faint and wispier sound, like something soft brushing on paper, at a distance.
I got out my headphones and attached them to my phone. I played some songs, and only listened through one earbud at a time. In the left ear, the full, rich sound came through that I had come to expect and enjoy from this particular pair of headphones. In my right, the bass and mids were, alarmingly, almost nonexistent, save for the high-frequency sounds of strings being scratched or plucked. All I heard were higher-end sounds, such as vocals, snares, and cymbals, only much tinnier, thinner, weaker.
Finally, I tried listening to a voicemail to see if I could hear a phone call. Again, the expected normal sound of the voice came through the phone’s little speaker into my left ear. Putting the phone up to my right ear, the voice sounded like it was coming from a tin can stuffed with cotton. I could hear the voice, but barely.
This was unmistakable. I wasn’t being paranoid. I had lost hearing in my right ear.
It’s the spring of 1994 in Absecon, New Jersey. I’m a 16-year-old junior in high school, in an exurban basement. It’s the house of one of my friends from marching band, Chris, and by way of some now-forgotten confluence of agreements and compromises, I have formed a crappy little band with him and two other friends; Chris on drums (talented thrash metal devotee), my best friend Rob on bass (had never played, and was borrowing my dad’s sort-of vintage bass guitar), me on lead guitar (I had no business being a lead guitarist but I could play chords and learn songs by ear relatively easily), and one guy I met through Chris, Corey, our lead vocalist, a kind of Axl Rose/grunge type (and who was tone deaf).
I told you it was a crappy band.
Nonetheless, it was my band, and my sole outlet for playing with a full set of musicians on a few songs I really liked (and some I really didn’t, but like I said, agreements and compromises). In the year or so we played together, I don’t know that we ever got to the point of being “good,” but we did manage to scrape together a handful of songs that we could enjoyably hack our way through. It was fun, at least some of the time.
On this occasion, we’ve been a band for a few months, and Corey and Chris have brought with them a friend of theirs, another guitarist who was straight from the Metallica/Megadeth school of metal. He had the requisite long hair and patchy teenage facial hair, including that mustache so many of those guys wore back then that usually signaled to me, for some reason, that I should be wary of them. I don’t remember his name, so let’s just call him “Patchy-stache.”
Apart from having some obviously advanced skills in metal lead guitar, Patchy-stache also brought with him something else we didn’t have: a giant-ass stack of huge amplifiers. For our usual rehearsals, I hauled back and forth my dad’s ancient Vox tube amp and a very small beginner’s amp that I’d gotten as a birthday present. Corey had a decent amp and PA for his vocals and occasional guitar playing. With what we had, we could barely hear ourselves over the astounding pound of Chris’s drums. That guy did not mess around behind that set. Usually I wore earplugs to protect my hearing, though not always. I was afraid it made me seem like a wuss.
So here we were in this small space, enclosed in concrete, with our usual collection of aspirationally loud shit. And now here’s Patchy-stache with his menacing obelisk. When he played through it, the obelisk emitted these teeth-rattling, piercing riffs, filled with stabbing licks and needle-like harmonics. It was painful. I of course didn’t know at the time that I was autistic, and already wired to be overwhelmed by stimuli like noise, and I didn’t have my earplugs in.
But I dared not show my discomfort. Checking for the other guys’ responses to this sonic assault, they seemed totally unfazed. I tried to indicate that this decibel level might be a bit too much with some humorous gesticulations of my ears exploding. It got me some smirks, but nothing else. It was really quite awful, but if there was one thing I found more excruciating than a storm of stimuli, it was the threat of social rejection, of being called out as lesser than the others. So I endured.
That night, I of course had ringing in my ears, like anyone would after a loud concert or something. But in addition to the ringing, there was also a low humming sound in my right ear, which happened to be the ear that was more directly facing Patchy-stache’s amps. It had clearly taken the brunt of the abuse.
The next day, the ringing had left both of my ears, but the hum remained. And it stayed. Forever.
I got used to it. At first it drove me nuts, and I had trouble sleeping. But I think it was only a few months before I’d learned to manage it. When there was sufficient ambient sound, the humming almost “turned off.” It weirdly just seemed to stop when there was enough sound around, not just fade to the background to become less noticeable. Whether that’s true or not is kind of academic, since tinnitus (the name of the condition) is mostly about the brain responding to a trauma. It’s a kind of illusion, but also not.
I’d learned to sleep by having music on at night, and that became a years-long habit regardless of my tinnitus. Throughout high school and college, most of my music listening happened in bed, where I’d fantasize scenarios in which I and my friends, all of us now musical virtuosos, were the ones performing these songs. I loved those fantasies. Now they just hurt, but explaining that is for another time.
Going into full adulthood (assuming I have actually done that), the hum became a total non-issue. It was always there, and I was aware of it, but it no longer troubled me at all. It was just part of the sound of being alive.
The right ear remained sensitive, however, so I’d shrink from blasts of sound directed at it. I’d had a few scares after, say, acting partners or overexcited children would inadvertently scream in my ear, causing me acute physical pain, but it always subsided and things went back to normal. And if the stabbing that Patchy-stache’s amps perpetrated on my ear had reduced my hearing at all, I couldn’t tell. For over two decades, I enjoyed the full scope of stereo sound, and as far as I could perceive, heard equally well out of both ears.
I didn’t appreciate it like I should have.
It’s the early autumn of 2017, a few weeks before I’d go to the writers’ retreat in California. My sinuses feel a little plugged up, which is not at all unusual for me. The usual pressure, the usual feeling of crud in the back of the throat, but it’s all very mild. I don’t even really notice it.
What I do notice one evening is my tinnitus. As I said, I have a baseline awareness of it as a matter of course, but I don’t often “notice” it. Well, now I did, a lot. The subtle hum was now blaring in my ear, several orders of magnitude louder than usual. Though this was unpleasant, it wasn’t totally surprising. Once every long while, some nasal or sinus related thing will make it sound a little more present in my head, and it always passes, returning to normal.
But jeez, this was really quite loud.
Days went by, and it wasn’t getting any better. If anything, it was getting worse. The sound was even louder, producing a sensation that was kind of like something pressing against my face. It felt like I had my head flat up against a some sort of enormous air compressor, subtly pushing into me. Or like the hum of all the electricity in the world was behind a wall to which my ear had been affixed with superglue.
My doctor said it was probably just a sinus infection affecting the existing tinnitus, and that would hopefully clear up with some antibiotics and decongestant. This felt particularly urgent, given that I was about to head off to California for my fortnight of writing. The last thing I wanted while trying to enjoy the peace of staring out over the San Andreas fault was to have the sublime state constantly interrupted by the jet engine in my head.
Unfortunately, by the time of my trip, the problem still persisted. The sinus treatment had no effect. I had some hope that maybe the shifting air pressure of my upcoming flights might sort of pop the problem out. But, of course, no. So I just had to cope.
A few days in, I noticed that I couldn’t hear the wind in my ear. A couple of days after that, the sound amplified yet again, out of nowhere, to the point that it physically hurt, causing me to experience a little vertigo. I saw a doctor in town and was prescribed some ear drops as a kind of shot in the dark, which also did not help.
Shortly after my return home, I saw a couple of specialists and had my brain scanned. The audiologist was the only one with any news, and it was not really news. I had indeed lost much of my ability to hear the low and middle frequencies of the sound spectrum in my right ear, and the tinnitus was my brain’s misguided attempt to investigate and compensate for the loss. Because they were happening at the level of the brain and inner ear, both were almost certainly permanent.
Both are permanent.
I have lost very little, really. I’m not by any means disabled. I’m not even a good candidate for a hearing aid. Someone whose pinky was cut off in an accident will struggle far more with their loss than I will have to with mine. With all the things that a human could suffer, with all the debilitating diseases, injuries, and accidents of fate that could befall a body, this doesn’t even approach the status of “big deal.”
But it’s still a loss, isn’t it? A little one. And sometimes little things matter a whole lot.
There is a space in the constellation of sound that one of my ears won’t ever experience again, not meaningfully. It’s just gone.
When I’m working on a recording for one of my songs, I’ll no longer be able to rely on my own senses to find the right blends and mixes of sounds that will bring the music to life. One side of my head will be missing way too much of it. It would be like directing a play with the lights dimmed on half the stage.
(I guess I could produce everything in mono. I mean, the Beatles did for a while.)
The other ear is fine. The full sonic palette remains available to it. But both ears, of course, will now only get worse as I age, because that’s what happens to human bodies. More colors will dry up or be scrubbed off my palette.
And then there’s the hum. Or rather, the droning. That’s a new reality that must be accepted as well. I became so accustomed to its first manifestation over the past 23 years, that I had the luxury of giving it almost no thought at all.
Now it’s a different story. This new, louder sound is always there. Even when I’m distracted by other sounds, ambient or otherwise, I remain aware of the droning. And because it pulses erratically in tone and intensity, it’s as though it’s not satisfied to merely exist. It’s like it wants my attention. It wants me to feel menaced by it.
It might yet become tolerable or even of negligible concern as the years go by. I kind of doubt it.
But I’m fine. As far as da-to-day obstacles, the hearing loss just means I’ll have to say “what?” more often, which will at times get a little frustrating for me and the people around me, and that’s really nothing. The droning, well, that will bother me exclusively.
Regardless of the relative severity (or lack thereof) of the loss, I’m grieving it. I’m sad and angry about the fact that I’ll never experience music and sound to the full, rich extent that I once did. That I so loved. That filled me up and saved me. Most of it is still there, but it will never be the same again. And I’m going to mourn that.
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I have lately discovered in myself a kind of sympathy with a certain flavor of religious belief and practice, which, when approached from a very particular angle, I find relatable, even laudable. To be clear, I don’t mean religion in the sense of unquestioning belief in absurd cosmological claims or even magical thinking about some silly “universal spirit” or what have you. This has more to do with things like yearning, reverence, discipline, peace, and one other thing.
That other thing, interestingly, is part and parcel with the very ideals I work to promote in my professional life advancing reason and secularism: Doubt.
It’s kind of a funny thing. I live a life positively drenched in doubt. My self-doubt is, of course, the stuff of legend, and it spills over into grave doubts about all manner of external things, from the intentions of others to the sustainability of human civilization. I’m just not so sure about any of it. No, that’s too flip. I deeply distrust all of it. Everything. It’s, as they say, crippling.
At the same time, I have a mind that strives for certainty. This is to be expected from someone with Asperger’s (which I only became aware of a few months ago), and true to the stereotype I grasp for recognizable patterns and hard-and-fast explanations for everything. Perhaps this was a primary factor as to why I found the secular-skeptic movement so appealing: Well at least I know those people are wrong!
This need for the concrete is, I think, a major reason as to why I soured on the arts about a decade ago. I didn’t feel like its benefits to humanity were sufficiently tangible. At the time I was making these considerations, things were very dark in American politics (which looks rosy compared to today), and I felt that all hands were needed on deck to fight back and make the world a better place. I did still believe that performing Shakespeare had the power to do some good, but that the effect I could have was too small, too localized. I needed to expand my do-gooder blast radius.
Politics, I thought, would bring concrete solutions, eventually. Successes there would do more than lift the spirits of a few upper-class theatre-goers; they would improve society as a whole, helping people who needed it, as opposed to just those who could afford a ticket to a play.
But I think I was missing something, something I couldn’t be expected to understand at that time in my life, at that age. I’m not sure I understand it now, but I do think I undervalued what I was doing at the time. But I couldn’t quantify it, I couldn’t see it. I doubted it.
I couldn’t live with that doubt. The irony of course is that I now utterly doubt the ability of politics and advocacy to make lasting positive change, given, you know, how things have shaken out.
But aside from the abysmal state of things in that particular arena, it remains that political advocacy is largely mechanical. Yes, of course, there is as much poetry as prose involved in the whole mess of politics and government, but all of that poetry is meant, in the end, to get some dials adjusted on the machinery of government; to get particular gears of society to move or speed up, and get others to slow or stop. Meaning can be measured.
I couldn’t measure what made a performance of Othello or As You Like It meaningful, just as I can’t measure the meaning of the songs I write and record, or even the meaning of these words. I have metrics for attention paid, surely, in clicks, downloads, listens, views, likes, shares, tweets, and all that. But there is no measuring the impact, no quantifying to what degree the world has gotten better as a result, if at all. Indeed, I have so little understanding of this that I often doubt the things I do have any meaning at all.
In the quantifiable world, the readings on the gauge are very grim. The wrong gears are moving, the right gears are being removed from the inner workings, and the dials are pointed in all the wrong directions. It is dark. And I realize this darkness is due to an emptiness, a void. It’s not a lack of good ideas or good campaign strategies. It’s a void in the human heart, a vacuum instead of open air. It is dark.
The thing about darkness, though, is that little lights become really freaking important. I’m directing a production of Into the Woods with the local university, and it might be great, or we might just eke out a passable showing by the skin of our teeth. But that’s not really the point. The point is that this group of young people are throwing their hearts and minds and energies into telling this beautiful story with this beautiful music that is full of joy and pain and fear and yearning. Whatever happens, I am certain that this show will be a little light in the dark. It already is. Before it’s even been performed, it’s already made the world a better place, made all those who have been a part of it, myself included, better people.
I can’t measure that. But only in this time of darkness do I realize how badly we need it anyway. How bad we’ve always needed it, and always will.
Here’s a thing I read recently by Dougald Hine that helped focus my thinking about this:
Art can teach us to live with uncertainty, to let go of our dreams of control. And art can hold open a space of ambiguity, refusing the binary choices with which we are often presented – not least, the choice between forced optimism and simple despair.
These are strange answers. For anyone in search of solutions, they will sound unsatisfying. But I don’t think it’s possible to endure the knowledge of the crises we face, unless you are able to draw on this other kind of knowledge and practice, whether you find it in art or religion or any other domain in which people have taken the liminal seriously, generation after generation. Because the role of ritual is not just to get you into the liminal, but to give you a chance of finding your way back.
If religion, for you, is something that is not about theological certainties or following the revealed will of the creator of the universe, but like art is about yearning, reverence, discipline, peace, and doubt, then I think I am beginning to understand that. I can’t take at all seriously any claims about some mystical being or force that has willed us into existence and interconnectedness. But I am interested in a way of thinking that yearns for this connection, that reveres the vastness of our knowledge and ignorance, that partakes in a discipline to explore and strive for this connection, that seeks and achieves moments of bliss, harmony, and peace in this practice, and that doubts every bit of it, so as to power the continuation of the cycle. Maybe that’s what faith is supposed to be about, or what it ought to be about anyway, having faith that there’s something to strive for. Against all evidence.
This is what the arts, the humanities, are for. Not only their products, but the practice, the making, the discipline. That’s what’s holy about one more goddamned performance of a show I’ve been doing for a year. The ritual. This is what I think I missed all those years ago, or was not yet capable of understanding. It’s what I think I misunderstood about certain key aspects of religion, and what I suspect the vast majority of religious people misunderstand, or neglect, as well.
My Aspie brain struggles painfully with this. “Why bother” is the mantra of my subconscious mind whenever I even consider undertaking some effort in writing, music, or what have you, especially given that I am not making my living this way anymore. “To what end?” asks my brain. “What good will it do, for you or anyone else?”
Daunting, invigorating, and frustrating, the only response is that it is, in every sense of the word, immeasurable.
This is a song I wrote in 2006 for a production of As You Like It that suddenly felt rather appropriate for this moment. So I thought I’d sing it for you all.
The old world we knew is falling away;
It’s proven difficult to accept.
And I had been feeling like I’d lost my way
Before I’d taken my first step.