Insomnia and the four poster bed

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Image: Elizabethan ornate oak four poster bed. Wikipedia, Public Domain

It may come as no surprise, given our circumstances, to read that I/we have suffered bouts of insomnia these past few weeks. Selling up and moving from our home of the past 17 years was one major stressor that contributed to fitful sleep. Then there is the (ongoing) uncertainty about where we will end up living, which in our case requires two people to agree on the location, condition, ambience and price of another home. Thirty-seven house inspections later, we are just about there.

But as you would all know (Australian home owners move on average every seven years), the transitional period is quite stressful. We have moved our luggage from one place to another four times since vacating the premises on September 11. Naturally enough, you leave things behind. For example, I’m supposed to wear black leather shoes for our choir performances this weekend. So far, all I have found is a dowdy pair of brown loafers and a pair of old man slippers (the kind with a flap held in place by Velcro). She Who Had No Clue Where My Black Shoes Were said, “Why don’t you go to the Plaza tomorrow and buy a new pair?” Now there’s a thought.

These past few weeks we have been ‘couch surfing’, courtesy of benevolent friends and relatives, who in truth provide much more than a couch (and a spot for the dog). Still, strange beds, different locations and fluctuating bed times clash with the heightened stress of the displaced person. Not to mention this weird spring weather where you kick the doona off at 11pm and wake up cold at 4am.

For years I thought it was normal to wake at 2.10am with no expectation of falling asleep again. If I did, it was inconveniently about 35 minutes before the alarm told me it was time for work. This was not always the pattern. Sometimes, I could not get to sleep at all, other times I’d fall asleep the minute my head hit the pillow then wake again in 20 to 30 minutes, hyper-vigilant and twitching.

Over the years I discovered there are many different forms of insomnia and the ones outlined above are only some of them.

Medical research agrees that the first line of treatment for insomnia should be behavioural modification. Eat your evening meal at a sensible hour, don’t read, log on to the Internet or watch TV two hours before going to bed. Don’t drink tea or coffee after 2pm. Go to bed at the same time every night, roll on to your side and switch out the light.

The second line of treatment is medication, usually of the type prescribed for anxiety or depression. An article in the Journal of Clinical Sleep Medicine informs us that 40% of adults with insomnia have a co-existing psychiatric disorder.

Among these psychiatric disorders, depression is the most common, and insomnia is a diagnostic symptom for depressive and anxiety disorders,” writes Dr Thomas Roth, PhD.

As Dr Roth’s paper asserts, 30% of the general population suffer from chronic insomnia; women and older adults are most at risk. Primary sleep disorders including restless legs syndrome, snoring and sleep apnoea can also lead to insomnia.

The artistic side of the brain quite likes insomnia. Some of my best work, and maybe some of yours, has been created in the wee small hours.

But when you have to front up for work and use your brain and make decisions all day, three or four hours sleep just doesn’t cut it. The phrase ‘burning the candle at both ends’ comes to mind. It means excessive work with no time for rest.

The phrase comes from a time when candles were expensive and burning them at both ends implied a wasteful way to achieve an obsession. As the American poet, Edna St Vincent Millay wrote: “My candle burns at both ends. It will not last the night, but ah, my foes, and oh, my friends, it gives a lovely light.”

In the 1990s, when I was working long hours by day and staying up late writing songs, I sometimes had a dozen candles burning at once.  On Saturdays I would take my son to New Farm Park and later to my favourite writers’ retreat, a coffee shop in a massive old woolstore at Teneriffe, an inner Brisbane riverside suburb. The Australian Estate Woolstore had been converted to a furniture warehouse with three huge floors full of classy furniture. It was fun to roam around and check out the stock, bounce on a few beds, try a leather recliner or two and vow that one day, we’d own one of those. Son was 9 or 10 and happy to go off and explore while I’d sit in the coffee shop overlooking the river, blowing froth off my cappuccino and trying to capture the images of the day in a battered old journal.

One time son came back to tell me I had to check out this huge bed.

“It’s got a roof and curtains, Dad.”

The four-poster bed was a beauty for sure, and it had a price tag to match.

“We’d never get it through the front door,” I lied. “Besides, Mum and I are quite happy with the bed we have.”

He went back to building a fort with a pile of sofa cushions while I went back to my journal and jotted down the first lines of a new song “I went down to the wool store, to buy myself a bed; it might help with my insomnia, it was something that I read”.

The Australian Estates Woolstore was later converted to apartments, swept up in the gentrification process that changed Teneriffe from an age-worn industrial suburb to a residential precinct favoured by young urban professionals.

There are lots of coffee shops now in Teneriffe, but none had that sleepy tranquillity, imbued with the ambience of the wool store’s expansive wooden floors and big casement windows that let in the natural light.

Now known as Saratoga Apartments, the Australian Estates Woolstore in Macquarie Street was built in 1926.

Not that Teneriffe’s apartment dwellers would want to be reminded, but I recall the spectacular McTaggart’s Woolstore fire in January 1990. The fire in Skyring Street took hold quickly as the brick and timber building, its floors soaked with lanolin from years of storing bales of wool, exploded. The building was completely destroyed within an hour and the rubble was still smoking next day. That fire took old timers back to 1984 when the Dalgety’s Woolstore at Teneriffe met a similar fate. Those with an interest might like to track down a video called Back to the Brass Helmet which details many of the huge fires the Queensland Fire Service have been called upon to extinguish.

That’s the interesting thing about history – those who like to write down what happened, when, how and where, leave fascinating trails for those of us who care to follow. I went on to finish the song, prosaically called Four Poster Bed. It’s a tongue-in-cheek story about a fellow who spirits a girl away from another chap in a bed shop. It’s fictional, but I like to think it has somehow preserved the edgy, consumerist mood of the early 1990s.

If you had credit, and a degree of lust, you could buy anything.

Last week: Elanora Park is managed by Brisbane City Council, not Redland City Council

Songwriting Competitions And Radio Play

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Songwriter Kate MIller-Heidke, Australia’s entrant in the 2019 Eurovision song contest

My first record producer once said of songwriting competitions – “The only competition I’m interested in is – can it get played on the radio.” His wise words came back to me in a week when I was reminded twice of my peripatetic career as a songwriter. One reminder was a quarterly royalty payment from APRA, derived from having five songs played on the radio in the quarter under review. The money rarely gets above three figures, but it is easy to see how the multiplier effect kicks in if you have a song that is being played on a lot of radio stations all over the world. I usually spend mine on music! Last time I bought a set of harmonicas.

Also, I received an email from the International Songwriting Competition (ISC) which informed me (a) that I was not among the 2018 semi-finalists and (b) 18,999 other songwriters had taken up the challenge. The ISC judges’ panel, which includes luminaries like Tom Waits, Kayne Brown, Adam Lambert and Jeremih, whittled this down to 1,900 semi-finalists in 23 categories.

Last week I received a second email, the names of the finalists – it’s still a packed field. The ISC Grand Prize is worth winning – a cheque for $US25, 000 and a host of sponsor-driven extras including a six-song recording package at Nashville’s The Tracking Room (plus a fully mastered album) an Art & Lutherie Roadhouse Acoustic Guitar, recording gear and free online marketing campaigns.

The competition is high-level, as the ISC is open to songwriters already signed to labels and many entrants have, ahem, a track record. This year’s finalists, for example, include (from Australia), Missy Higgins, Sahara Beck, Pete Denahy, Fiona Boyes and Georgi Kay.

ISC spokesman Jim Morgan told me that Australians have always done well in this competition, since Kate Miller-Heidke became the first Australian winner back in 2008 with Caught in the Crowd. Other Aussies who have taken the main prize include Kasey Chambers and Vance Joy with Gotye winning the Folk category.

“Out of nearly 19,000 entries for ISC 2018, 199 Australian songwriters made it through to the Semi-finals and 30 from New Zealand.”

Kate Miller-Heidke’s husband and musician partner Keir Nuttall said of their 2008 win: “I think the great stuff we got out of it was that it gave us a bit of credibility overseas and it looks great on the bio.

Keir reflected on his days entering songwriting competitions as an emerging songwriter/guitarist.

“It reminds me of when my band didn’t make it into one of the early incarnations of Triple J unearthed. In Queensland alone there were literally thousands of bands.”

Established in 1995, Triple J Unearthed has exposed 99,000 music tracks from previously unheard of bands. Each year the ABC FM station plays its Top 100 unearthed artists.  If your band makes it into Unearthed, you automatically get played on national radio – then your fans take over.

One of the early winners was a band called The Rubens (also named in this year’s ISC finals).  Other artists who got their start on Unearthed include Flume, The Jezabels, Northeast Party House, Tired Lion and Courtney Barnett.

fRETfEST founder Alan Buchan, who recorded my first album Little Deeds in 1998, has since been persuaded of the merit in songwriting competitions. Tamworth-based Buchan started the Regional Songwriting Competition, now in its fifth year, which gives writers in rural areas a chance to display their craft.

Nambour-based songwriter Karen Law won this year’s Illawarra Folk Festival songwriting competition with 9am on Polling Day and has received honourable mentions in the Australian Songwriters’ Association (ASA) contests over the years.

“My first songwriting competition got me into being a perform iner. In the UK while I was at Uni, I won a folk songwriting competition run by BBC Radio Shropshire Folk Show. Part of the prize was appearing in a live broadcast concert – I was terrified but I did it and it set me on the road to becoming a performer”. Continue reading “Songwriting Competitions And Radio Play”