Repetitive Stress Injuries: Temporarily Side-lined

Some aspects of pain are a natural byproduct of learning an instrument and are to be expected.  For stringed instrument players building calluses on the finger tips is an excellent example of this.  You practice until you’re uncomfortable, then stop and try again later.  Eventually your fingers grow accustomed to the sensation of working the strings and you build sufficient callus on the each finger to no longer have an issue with it.  Working unfamiliar muscles can result in lactic acid buildup which brings a different sort of discomfort, but one that most folks who have exercised are familiar with.   Stretching is vital to avoid many injuries, but it is also an area that is not addressed very often in the learning process.  Most of the time it comes up when an injury is either forming or has already manifested itself.

I have been having some issues with might right elbow that indicate that I probably have a repetitive stress injury that is impacting the ulnar nerve.  It seems to be a bass-centric injury in that the worst symptoms arise when I’ve been working with the bass as opposed to the guitar.  I’ve concluded that the ergonomics of my guitar playing are different than my bass playing.  One of my doctors agrees, and after noting the worsening of the symptoms, she stated that I should take an extended break from bass playing before the symptoms became even worse and started impacting my guitar playing as well.  She also advocated finding a good physical therapist to get me started on the road to recovery.  While this area is not her primary area of expertise, she is no stranger to RSIs as she has been dealing with her own for several years now.

So this has left me with a definite dilemma, as I am active in three bands as the bassist.  All three expect rehearsals and one is a semi regular three set a night band.  It was during the most recent gig with that one that I came to the realization that the problem needed to be dealt with in one way or another.  We were performing in a local watering hole and about half way through the second set the pain started in my elbow, followed by numbness and prickling running down my forearm.  If it had been my left arm I would have worried about my heart, but it was my right and not radiating from the shoulder.  By the end of the second set I was in significant pain and my right hand was starting to go numb in the ring finger and little finger.  The situation simply worsened through the third set, but I grunted my way through it; not necessarily the best decision health wise, but I made it through the gig.

If this had been a one-time occurrence I would have left it at that, but this has actually been building for some time now.  I have been having pain in the elbow there for some time and bouts of prickling and numbness running down my arm in that area that has come and gone.  I’d mentioned the prickling in passing to my PCP when I had my annual physical, but she was more concerned with some other things at that point and it was an “oh yeah, almost forgot about it,” comment on my part.  Given that my current symptoms are basically classic for some variation of tennis elbow, I’m fairly confident that I know what’s going on and my other doctor was in agreement with my assessment.  The treatment options that I have found thus far are pretty simple: rest, icing, and anti-inflammatories.  Severe cases might require surgery, which I would like to avoid.

I’ve also been exploring different positioning, moving from a five string to a four in order to change alignment, shifting strap lengths and instrument angles, and paying close attention to how my right arm responds to the changes.  I’ve been trying to move my elbow position as soon as I get any pain twinges or start feeling the prickling numbness occurring.  I traded my Carvin SB5000 five string for a Carvin Bunny Brunel BB70 four string, hoping that the difference in body shape, weight and less elbow travel to hit the low string would help.  I’m also trying to consciously play as lightly as I can with my right hand; trying to avoid digging in and working the muscles any harder than necessary.  Thus far the difference hasn’t provided any significant relief and I’m looking at another three set bass gig looming on the not so distant horizon.  The pain is under control, but the numbness and prickling are very much affected by how long I’m on the instrument at any given time.

So, I’ve started making my band members aware of my situation and have let them know that it is in all likelihood going to result in my having to take an extended break from performing on the bass.  I really don’t want this to get worse, particularly since I still can play guitar symptom free for the most part.  Thus I’m left with some pretty limited options.  We’ll see how it goes.

 

 

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Late March 2017 Updates

It’s spring and the world seems to be waking up all around me.  We’ve had a couple of false starts, complete with a couple of days where the ground turned white, but it appears to be now definitely started.  Fortunately it doesn’t seem like the false starts impeded the return of the spring flowers as the neighborhood’s crocuses are in full bloom, the daffodils have started, snow drops have presented themselves and the forsythia are now doing their things as well.  It shouldn’t be too long until the redbuds bloom.  I’m hoping that the one my wife and daughter bought for me several father’s days ago will finally bloom for its first time.  We shall see as it’s a little early for it to hit its stride yet.  Musically the stride is being struck, however as things are finally moving forward with the bookings.

I have three gigs lined up in the next month or so with the blues rock band I play bass for, have two folkish guitar gigs on the books with Cedes Buck, a local singer/songwriter, an opening gig with the classic rock band, have a web site near launch ready for the trio, and have been added to an original band, The Hurtin’ Kind, as their lead guitarist.  It looks like my first gig with them will be in June.  I’ve also invested in some fingerstyle guitar music to add to my solo bag of tricks so it’s easy to say things have really started moving along.  Next week I’ve got seven rehearsals slated then a gig.  Still looking for that balance between gigs and rehearsals, which I will be attaining one way or another.

My writing has been on hiatus mostly because of the political nightmare I’ve found my country mired in.  It was occupying entirely too much of my working memory to the point where every time I sat down to write essentially the same tirade would start emerging from my keyboard and wriggling itself across the page.  So, I decided to step back from the writing and focus on music and teaching for the time being.  Sometimes when I find myself faced with this type of rutted thought process I find the best thing to do is simply stop, take several steps back, and attempt to get my perspectives under control.  I’m still really upset with what is going on, but stepping back has allowed me to start refocusing myself on the things that I need to do for my music and the other aspects of my life that need attention.

That being said, I do find that I’ve committed myself to quite a few projects, all of which require varying levels of attention.  I’m going to have to make some decisions regarding them eventually in terms of ultimately where I want to be, which definitely leans toward the original line of things.  I do like being busy as it keeps me moving and doesn’t give me time for inertia to set in, but the shotgun approach can only go on so long.  We’ll see what shakes out of the next few months and where it takes me.  I’ve been in contact with a friend in San Francisco whom I’d lost contact with some 20 odd years ago.  He’s experienced some success with the direction he’s taken, kind of a gypsy jazz/Americana mix that keeps him working steadily in San Francisco, and gigging in various other locations as well, such as New York.  Ultimately, I’d like the situation he’s built, but not necessarily in the same genre.  It’s starting to become clearer though, which is good.

So this is my version of an update on things in the world of Christopher Hopper.  The balls are all in the air, and it would appear that more are being added as the days pass.  I’m hoping that I can keep them all up there, and if any are dropped the results aren’t too damaging.  Here’s to spring!

 

Yes, That was Cool

Getting up this morning was rough.  I got in late from a Tuesday night gig, around 1:30, then finally fell asleep around 2:30.  I really only dozed until my alarms started going off at 6:15.  My a-fib started acting up during the last set and kept creeping in and out while I was sleeping, which wakes me up, so what sleep I had was fitful.  Regardless of playing last night I still had to get up and pack lunches for my daughter and wife, as well as making sure they got to school and the train on time.  I also confirmed a rehearsal for next Tuesday evening and started ticking off my schedule for the next few days in my head, an attempt to stay on track and look at what is coming up next.  My wife suggested I hit the gym today, but I’m seriously dragging and have a rehearsal tonight, some class preparation to do for teaching tomorrow, as well as another rehearsal tomorrow night.  I’m also processing last night’s gig, running over it in my mind and focusing on locking it away into the memory banks.

I have a mental bucket list; it’s in my head and not actually written down.  Last night’s gig was a bucket list event for me at a venue where I’ve wanted to perform for years, and while I performed on my secondary instrument, bass, as opposed to guitar, it fulfilled the requirements I’d set for checking off the list.  Last night I played a gig at Buddy Guy’s Legends here in Chicago, and got paid to do it, the two criteria that I’d set for the bucket list.  There was the added bonus that Buddy Guy was actually at the bar while we were on.  I’d set the getting paid aspect because the venue has an open mic most Mondays where people can come in and jam.  Getting paid makes the gig a professional appearance, as opposed to a recreational one.  From my personal perspective it gives more weight to the performance.

We played two sets, a ninety minute one followed by a half hour break, then closed things out with a 45 minute set ending at 12:15.  The venue is back-lined with good gear which makes playing there a real treat, plus I got to run through an 8X10 cabinet, which can really move some air.  We weren’t overly loud, but I could feel the speaker working and it sounded really good.  One of Greg Guy, one of Buddy’s sons, ran sound, and he had us running with no fuss and a fantastic mix.  He, like everyone else there, was genuinely nice.  He had a clock set up at the front of the sound booth facing the stage, so the performers on stage could keep track of the time without messing around looking at watches, which can sometimes send a mixed message to the audience.

The venue itself is fairly large, particularly when considering that it is right in the Loop where real estate is pricy.  It has a second floor as well, though since we were set up on the stage in the big room I didn’t venture upstairs to look.  The first floor has an open floor plan set up with a large bar at the front and a smaller one toward the back adjacent to the kitchen area.  There are plenty of tables with ample seating as well as a dance floor for anyone who wants to get up and groove to the tunes.  The walls are covered with photographs and guitar after guitar, most with autographs.  Behind the back bar the wall has a series of signature guitars, all signed, including a Jeff Beck model Stratocaster, a Derek Trucks model from Washburn, a Stevie Ray Vaughn Strat paired with a Jimmie Vaughn, a Gibson B.B. King Lucille model, an Eric Clapton Strat and a few others as well.  There are many other signed guitars over the front bar and the entire effect is essentially a whose who shrine to the blues.

All in all, last night was a win on the personal level, and if I get the opportunity to play there again I will quite happily do so.  It’s the kind of venue that is a joy to perform in and they do their best to keep it that way.  I do regret that I didn’t sit down and have a meal there because after looking at the menu I found all sorts of New Orleans based goodness to be had.  Everything on it looked good; even the food items I’m deathly allergic to (shellfish) looked good!  So now that I’ve checked off a big item on the old bucket list, I guess it’s time to revisit it and start looking toward determining the next big item to aim at. Let those good times roll!

 

Sharing A Stage: Opening for The Tubes

Last night Speed of Sound, a classic rock cover band I play bass in, opened for The Tubes at Tailgater’s in Bolingbrook, Illinois. I spoke to three of the band members, guitarist Roger Steen, bassist Rick Anderson and keyboardist David Medd. All three were approachable and had no problems conversing with a local semi-pro who just happened to be in the opening act. Anderson quietly offered me the use of the bass rig that was rented for the band with two stipulations: that I didn’t play too loud or blow it up before he got to play. I had to smile at that. It was a huge Ampeg head on top of an Ampeg 8X10, which Anderson stated was basically, overkill for the venue; a 4X10 would have been fine. I thanked him, but opted to run with my much smaller rig set up on the other side of the stage where I could hear the band better.

The gear that The Tubes contracted filled a good portion of the large stage, and as openers we set up our gear in front of their backline after they were done with their sound check. It was quite evident that they had no interest in a loud presence through the monitors and desired a very comfortable stage volume. They’ve been doing this for about forty years or so, thus they are quite familiar with what they want and need versus the “if it’s too loud, you’re too old” perspective that many aging rockers tend to adhere to. That being said, the front of house sound was huge, clean and clear.

It was clear that Tailgater’s had set up for the event as a concert style production with high dollar tables filling the area that normally would be a dance floor in front of the stage. One of the band members noted that ticket sales were down, but he still maintained a cheerful and professional demeanor despite this. The sound check took a while, and it took the sound team a bit of time to get the keyboards into the stage mix at a level that the band was happy with. At the start the keys were washing everyone out except the drummer, and it took about ten minutes to nail that issue down, including switching out a monitor. Once they cleared we set up and ran our sound check. I have such a small footprint that I can set up in about two minutes, so I sat in place and looked out at the venue wondering how many tables were going to be filled.

People were starting to file in while we did our sound check. The doors opened at seven. We finished our prep by about 7:40 and then settled in to wait for our 8:30 hit time. People started filling the place up close to eight while I was trying to find a quiet place to sit down and breathe without anyone talking to me. My A-fib had kicked in shortly after arriving at the venue, putting me in a bit of a cold sweat, sucking my oxygen levels down, and sapping energy away, so I requested a stool just in case I needed it on stage. During sound check I was having difficulty getting enough air to push into my higher register for the vocal backups, while seated so all I could do was hope that the A-fib would pass by the time we hit. I talked to our front man after the check and gave him a heads up to which he replied, “oh no, I was hoping you’d cover some for me since I’m still kind of sick.” All I could give him was I’d do what I could. So there I was twenty minutes before the show, sitting on the stage steps doing deep breathing exercises to try to bring everything into sync.

We hit right at 8:30 to a fairly full house. The more expensive seats in front of the stage weren’t full, but the rest of the place was packed in. We were only supposed to go from 8:30 to 9:30 and that’s what we did, running through our set and roping in the crowd. It’s really nice to play to a good crowd. When you’re playing well, and they like what you’re doing it creates a mutual energy feed. Despite there not being a dance floor, we had people up and grooving to the tunes, dancing in the areas the wait-staff had roped off and solid applause after every song. A guy could really get used to this!

The breathing exercises helped get my ticker back in line, so I managed to hit the high notes when and where I was supposed to and I provided fill in support for our front man when he needed it. It felt good, while I was up there, or better stated, I felt good. I was surprised at the volume we were producing, though. We’re essentially a power trio plus a front man. So our instrumentation is guitar, bass and drums at this point. We’re looking into adding a keyboard player in the future, but our core is pretty basic. Despite this we have no difficulty providing a wall of sound, especially when we’re fully mic’ed up and pumping through an excellent club system. We definitely warmed up the crowd for The Tubes’ performance! All in all it turned into a pretty solid good night. I’m looking forward to many more in the future.

Making it Work: Performing When Physically Compromised, or Again with the Cracks. . .

My fingers are patched up and I made it through a couple hours of rehearsing this morning.  The thumb splits reopened but the crack in the left middle finger held.  I’ve resealed the splits and reinforced the middle finger crack with a liquid bandage that I started applying yesterday.  I have another rehearsal tonight of about three hours, one tomorrow night, Friday night and then a gig opening for The Tubes Saturday night.  With the liquid bandage I think I’ll be all right and not get too bloody.  The good news is that I just had my physical, along with my bloodwork coming back in.  No blood borne pathogens here, which is what I thought but it’s always good to have that type of opinion backed by science to prove it to be fact.  Oh, and I have a TV gig tomorrow afternoon as well, a taping session of three tunes that’s part of a Valentine’s Day program featuring Chicago area blues acts.  It’s at the Comcast Studios in Waukegan, Illinois, so here’s to that.

It wasn’t as cold in the basement this morning as it was last Thursday when the splits popped open on my thumb.  Playing in cooler environments provides me with some physical challenges.  For one thing, when the temperature is creeping under sixty degrees my hands stay quite dry, as well as the skin staying cold.  This creates a situation where the skin isn’t as flexible as it is in warmer temperatures, which leads to a greater potential for damaging it as occurred last week.  Additionally, the cooler it gets the colder the hands get no matter how hard the fingers are working.  What normally presents no speed issues suddenly breeds them as my hands simply never adequately warm up.  This also can increase the potential for acquiring a repetitive stress injury, because the muscles aren’t working in an optimal environment for relaxed movement.  Cold tends to exacerbate stiff tendons and muscles creating more tension than normally present, as well.

Right around sixty degrees used to be fine for me, but I’m getting older and my circulation isn’t what it used to be.  I have gigged outdoors when the temperatures have dropped into the low fifties, upper forties, which is downright unpleasant for a string player or any other player who can’t perform with gloves.  When I was in the southwest gigging, there were many outdoor gigs that started out at a comfortable temperature but had dropped pretty low after the sun went down and time spun along.  This was in the late fall and early winter, then early spring.  We did a lot of outdoor gigs during that time frame.  It’s pleasant to begin with, and many of the places have tall propane space heaters spread out across the patios, which keeps the folks outside eating and drinking for the evening, so you do your best to stay warm and play your heart out even if your fingers are starting to go numb.

I no longer live in the southwest.  Up here in the Chicago area, the outdoor gigs are over by the time October rolls in.  The restaurants that have music and patio dining start moving things inside as the weather starts getting dicey, so inside is the place to be.  The rehearsal areas are another thing, though, particularly if you’re not long on paying rent for a rehearsal space.  Band members’ basements are the preferred locations in this case, but they’re often not the warmest areas, particularly in the older homes like mine.  It’s still warmer than the garage with a kerosene heater though, and I’ve done plenty of time in those as well.  There, it can get painful after awhile though and the concrete flooring never really does warm up enough for my feet to not feel like ice blocks.  The basement is much better if the rest of the family can deal with the additional “noise.”

I get cracks every winter regardless of where I rehearse though, so it’s just something I have to deal with.  We all have something that we’ve simply got to play through, and we do what we can to insure that the job gets done.  For instance, Johnny A, an incredible guitarist who does awesome instrumental rock/lounge music has scoliosis, curvature of the spine.  Standing with his guitar strapped to his body for performance purposes causes him a great deal of pain, so he sits either on a stool or a chair for his performances.  It’s what works for him, so it’s what works best for the audience as well because he gives a great concert when he’s not in pain.  He and I share this issue, although mine isn’t as bad as his.  In my case I use the chair for rehearsals and gigs where I don’t have any room to move around.  If I’m stuck in one spot wedged in between the drummer and someone else all night, I’m in agony the next day.  Other people have other issues that they deal with as well.

The key to all of this is finding a way that makes the situation doable, like Johnny A with his chair, or sealing my cracked fingertips in as many coats of dab on bandage that will stay put.  There’s always going to be something that has the potential to create an impediment to a solid performance, and part of a performer’s responsibility is finding a way through the problem that delivers the goods expected.  Whether it’s summer heat, too much sweat gunking up the hands, mosquitos or whatever else the situation throws at you, it’s up to you to solve it one way or another, meet the commitment, and play your heart out regardless.  Now, it’s about time for another coat of liquid bandage. . .

 

The Last Gasp of 2016

It’s almost six o’clock on the last day of 2016 and I’m just now starting my last blog post of the year.  I’ve been pretty tired today due to getting in at three in the morning from last night’s gig and then not being able to fall asleep until four-ish.  I had to be up at eight to get ready to teach one of my guitar students.  A power nap did occur, but it was short, maybe twenty minutes of actual sleep, so coffee will have to carry me through until time for bed.  Last night we hit at about 8:45 and finished our last tune at around 1:30.  All in all we played well and kept a crowd there through the night.  It was a decent way to finish out the year’s performances and we all made it home safely.  Over the past few days I’ve been thinking about the positives of the year in review and haven’t taken a stab at the things that could use improvement.  I think that it’s time that I do just that.

This past year kicked off with my being involved in one group, The Chicago Classical Guitarists Ensemble, essentially a sextet.  We did some good work and performed at the Mid-American Guitar Ensemble Festival in Grand Rapids, Michigan in early April.  We had a couple other performances, but I decided to leave the group in May because while it had been a very worthwhile experience it was not moving me closer to increasing my income as a musician.  While this might seem to some to be a somewhat mercenary reason for moving on, one of my major goals for this year was to come closer to a livable income in my chosen profession, and this was not moving me forward in that direction.  This left me entirely on my own through the summer, which yielded three pickup gigs with some local semi-pros between June, July and August.

After moving through eight months of the year, I hit the end of August and the realization that it had been a full year since I’d been involved in a regularly working group, which didn’t sit well with me.  I obviously was not getting closer to one of my prime goals, so something had to change.  I decided to load on the groups to try to boost the income potential.  Theoretically, I thought, this would be likely to resolve the issue, so I dove in, committing to four bands and a heavy woodshedding workload.  Since around October the gigs have started to come in through a couple, the workload is still pretty heavy, and the income is improving, but not anywhere near what it needs to be, and quite frankly I’m still not getting the level of personal satisfaction out of the game that I’m looking for either.

My writing practice has made solid improvements this year over the previous years.  I have, as of this writing, successfully completed two writing challenges for a total of three months of daily writings of at least 750 words per day.  I’ve generated a good number of essays that I’m pleased with and some fiction that I’m not sure what I’m going to do with.  There were periods of lost time over the rest of the year and low productivity, but for the most part I’m starting to actually be the writer I want to grow into.  I’m running two blogs and have been gaining followers on both as well as being read all over the world, twenty-seven countries and counting.  This pleases me greatly, but I also need to look at formal publication submissions, particularly ones that pay.  However, I do think that I’ve made much more progress this year in my writing work than I have in my musical work, and I’m going to stick to that perspective because I’ve actually accomplished some of the goals I set for myself in this arena quite well.  The bar will need to be higher for 2017, but I am going into the next year in this area with some confidence.

One of the things that I have learned over the years is that as a creative person I have to be a creative person in order to have any chance of achieving either personal satisfaction in my life or a modicum of happiness.  I must create; it’s something that I HAVE to do.  When I’m not pursuing a creative bent, I lose my desire to be.  My depressive periods become progressively more dangerous, last longer, and are much more devastating.  I become increasingly difficult to live with and wall myself away.  So, I have continued my pursuits and will do so, continuing to try different approaches until I find something that works and yields the results I desire.  I’m finding my way, and will eventually get to where I want to be.  Tomorrow I start 2017, and start brainstorming for a fresh approach to the conundrum which is making a living as a musician.

 

 

Facing the Buffet and Making Choices: A Musical Smorgasbord

About a year ago I went through one of my “turn the focus to classical guitar” periods.  I had been playing with a community classical guitar group for fun, and had joined a classical guitar sextet to do more challenging material as well as possibly gigging with them.  I periodically go through these phases where I want to return to “serious” music, whatever that really means I’m not certain.  I posted a list of pieces I wanted to revisit, relearn and add to my solo repertoire.  That list is still on one of the windows in my studio, poking up behind my computer monitor.  Today it’s reminding me of where I’ve been before and where I’ll visit again some time from now, or tomorrow.  In many ways music has become a buffet table laden with delights from the many different places to explore, some exotic, some complex, some simple to the point of primitive, others heavy, weepy, joyful and downright creepy.  It’s all there right in front of me and I want it all at once.  I’ve also found that when I’m faced with the buffet I have difficulties determining my identity in all of it.  The easy answer is I’m a musician, but I’m not one that necessarily falls into a convenient slot for further identification, and that’s largely due to my own broad interests.

I have performed classical music as a guitarist, a pianist, and a choir member with large and small ensembles as well as performing as a solo classical guitarist.  I’ve also performed in alternative rock bands, dance bands, funk bands, blues bands, jazz bands, folk bands, country bands, jam bands, Americana groups, R&B bands, zydeco bands, cowboy rock and roll bands, hard rock bands, light rock bands, classic rock bands, country rock bands, and I’m sure I’m missing some other genres that I’ve done as well.  I’ve enjoyed all of them, some more than others, and when it comes down to brass tacks if the other players are good I’ll consider most genres as fair game and interesting in their own way.  I often like to be in a variety of groups at one time, playing different types of music in each, because variety keeps me ticking.  Too much of the same, along with too much repetition, kills the mix for me, and most of the time it doesn’t matter to me if I’m playing bass or guitar as long as I’m playing and performing.

One of the dangers of facing the buffet is overfilling the plate, particularly if it’s a really good buffet.  One of the local restaurants that I love is called The Khyber Pass, an Indian restaurant with an absolutely killer all you can eat buffet.  I have to be careful there because I’m always tempted to stuff myself to the bursting point, and all too frequently have because it’s so good.  The musical buffet presents the same danger, particularly when it comes to projects.  Sometimes it’s difficult not to over-commit, especially when opportunities start coming in.  When you have highly eclectic interests, like I do, often in order to get the variety I crave I have to play in multiple groups.  Most groups focus on a particular genre or target, and variety bands, particularly working variety bands, tend to be pretty tightly knit as well as few and far between.  This means that variety frequently requires multiple commitments, which in turn can lead to overcrowded plates.  When the opportunities are rolling in I have difficulty not overfilling the plate and then wanting to fill it with even more.

Now I’m looking at the list of songs on the window, wondering what I could pull off working on, how much time I have available, and then thinking about the new standards type of jazz project I’ve been considering doing, the four groups I’m currently with (two startups, one fully out of the gate and one getting out), and then my solo interests.  I have a lot going on, yes, but still want more, as well as more club dates to pay the bills.  I’m truly bellied up to the buffet, but I’m starting to wonder how much of it is dessert, versus how much is what really sustains me.  If I’m running with the food analogy, I have to also take into consideration what I need to eat to keep me as healthy as possible and what will keep me running best.  I have often found that when I want more, it’s usually because I’m not getting enough of something specific; there’s some important aspect that is missing in the equation so quantity becomes a way to appease the desire that hasn’t been either attended to or even defined.

Much of my musical journey has been a search for that missing aspect that needs to be fulfilled.  I’m still searching for the ultimate “right fit” and while I find myself periodically down for the count, I still inevitably pick myself up and return to the search.  I have to do this; it’s not optional for me.  It’s really integral to my personal make up, so I return to the search and keep bringing plates back from the buffet to my booth where I dig in once again.  The classical guitar comes out with the technical exercises and complicated pieces, the bass tunes down to E flat for the classic rock band and then up again to standard for the blues rock bands, and the acoustic steel string and nylon strings come out for the other work, all the while seeking that elusive compromise that makes it all work together, and brings home the cash.  I’m still searching, and I will be probably long after I find what I’m searching for.