We often do things that we regret when we’re out of our heads. Drunk, in love, low blood sugar – whatever the reason, something causes our brain to reboot, usually the day after, and look back on our behavior in horror.
But at concerts, at least we’re doing things we regret with other people. It’s fine to act like a screw-loose reptile when everyone else is just as goofy as you.
Look around you. See all those people screaming their heads off? See how they’re gyrating and dancing in a sea of other lunatics? Notice how they don’t care who’s watching, because (probably) no one really is?
That’s why I go to concerts: to utterly lose myself in the songs I love. These kids, just like me, were having the time of their lives – and they didn’t care who was watching.
The difference is that my enjoyment didn’t stem from the music on stage. No, it came from the kids losing their collective minds. This is why I want to take pictures. They mean something. I mean, look at them. They’re in ecstasy.
Not on Ecstasy, mind you. No, there’s something about a collective musical experience that makes drugs or alcohol totally redundant. Who needs booze when you have grooves?
It makes my heart ache to see these pictures, the day after, and realize what fun we all had that night. They’ll remember the songs and their friends singing along.
Perhaps it was just my childhood fascination with all things printed and ephemeral, but I do feel a definite disconnect now between myself and my –all digital– music collection. I personally like the idea of a physical object to represents an otherwise unsee-able art form.
I’ve mentioned this before, many times: I prefer buying my music on clunky old CDs because (a) I like having a physical backup and (b) it feels better holding music in my hands. That may be an outdated philosophy, now that all the kids are getting their music on Amazon MP3 and iTunes, but it’s especially true in instances like photography.
For instance, I don’t want some boorish electronic photo frame, cycling through pictures at my new house. Photos capture moments, and should stand as artifacts of the time and place.
Thing is, it’s been years since I’ve printed photos for display. Flickr and Facebook are the new digital photo albums.
But now I have photo frames to fill, and fill them I will.
If you search through enough Flickr photos, you start to learn how great photos are made. The composition and editing are the artistic parts, where philosophy and style come into play. But in the numbers, you can learn a little bit about how to make cool pictures.
Which side are we on? We’re on the side of the demons, Chief. We’re evil men in the gardens of paradise, sent by the forces of death to spread devastation and destruction wherever we go. I’m surprised you didn’t know that.
Science fiction is the rare genre that gets to explore the big issues of our time – torture, suicide, dictatorships, infidelity – without seeming to copy the headlines of the day. It explores the touchy with the fantastic, and lets us think about what could happen as well as what is happening.
This is only one of the reasons I’m in love with Battlestar: Galactica, the four-season series on the SciFi channel. Some of the other reasons include a deep affection for the characters, an appreciation for the big decisions that take place, and the gripping story. You know – silly stuff.
The story? Tell me if you’ve heard this before: humans created androids, who gained self-awareness and overthrew their human masters. A war broke out between cylons (the androids) and humans, and then the war reached a cease-fire that lasted decades. With the new series, the cylons have returned, they’ve eradicated all but the 50,000 or so humans who escaped, and they can take human form. In Battlestar: Galactica, the humans are on the run from their cylon pursuers, trying to find Earth and restart civilization – all while getting mixed up in messy human things like politics, labor and resource shortages, and self-inflicted violence.
It’s utterly fascinating. In a way, I’m glad the series only lasted four seasons, because I’d be watching it to this day if the show were still on TV.
But thanks to Netflix, all four seasons are available, and I’ve been absorbing the episodes since Christmas. It’s one of those take-a-chance things, where I’ve heard so many good things about the show that I dove in and got hooked.
Now I’ve started the final season, where things are getting tense and a little goofy. But watching a television series like this, where it’s more like a long-form movie, gets you invested in the characters and their stories. You have Adm. Adama, played by Edward James Olmos, who plays the perfect not-so-perfect military leader; Kara “Starbuck” Thrace, the hot-shot pilot who makes her own rules; Lee Adama, the admiral’s rebelious son; Gaius Baltar, the egotistical, womanizing genius; and – dear lord – Number Six, the gorgeous cylon with the perfect mouth who falls in love with Baltar.
The ship, the Battlestar, is almost a character in itself. Here it’s this obsolete ship from the first cylon/human war that is humankind’s only defense against the horde of cylons. And Battlestar: Galactica is a decidedly military-oriented sci-fi series, so most of the action and drama happens on the ship. You see characters using phones with cords and all these ancient computers, and you can’t help but feel sorry for them: like the human race doesn’t have enough to deal with.
It’s all these little struggles, plus the big one versus the cylons, that make the show so gripping. Against these overwhelming odds, how can you not root for the plucky humans trying to find their way back home?
That’s my kind of story: overcoming adversity, getting some revenge when you can, and present it all in a fun, fantastical package with strong, vibrant characters.
What do you do to motivate the person who has trouble staying motivated? Or to the self-starter who can’t quite get started?
How about the person with the great idea but no self discipline to get the idea off the ground?
Seth Godin quotes the famous Steve Jobs dictum: “Real artists ship.” It means you can have all the great ideas you want, but if you don’t release them out into the world, they’re worth nothing. Godin says:
A check in your wallet does you very little good. It represents opportunity, sure, but not action.
Most of us are carrying around a check, an opportunity to make an impact, to do the work we’re capapble of, to ship the art that would make a difference.
My bet is that most people who are seeing the kind of change and growth and improvement that sticks tend to avoid these sorts of dramatic, geometric attempts to leap blindly toward the mountain of perfection.
…Calendars are just paper and staples. They can’t make you care.
For me, that’s tough to hear (for you too, Dear Reader, I’ll bet). I’ve long been a Project Guy – someone who sets challenges for themselves, just to see how it goes. To experiment. To learn and grow.
I’d never seen America West of the Mississippi River. So I got in my car and went there. I’d never not eaten potatoes for 90 days. So I took on a potato fast for Lent, just because. I’d never not imbibed alcohol for a whole month. So last January I did it. I’d never grown a garden before, so last year I gave it a try and it turned out great. Not perfect, mind you, but I “shipped,” to use Steve Jobs’s phrase.
It doesn’t have to be perfect the first time. My problem is, it has to be perfect the first time.
Self starting and self discipline – these are my weaknesses. It’s easy for me to think of a neat idea, and at least get started on it. But seeing it through has always been tough. And lately, it’s been a drag just to even start.
Take this idea I have. It’s a clear solution to an obvious problem here in Jackson, and the more people I talk to the more I realize it’s an idea worth pursuing. Like, this could be my Big Thing.
The idea is there, fleshed out on scraps of paper and in the brain of me and Kelli, my co-partner. But I’ll be damned if I can get the thing going. From brain to paper to real life – the shipping is always the hardest part.
Now, this idea isn’t going to make itself. Someone else could come along and ship it before I do, and then I’ll be one of those people who kicks themselves over not having the guts to deliver.
I want to deliver. It’s my responsibility to deliver. Even if it’s not perfect, even if there are kinks in the beginning. The point is to make something, not think about making something.
So the wheels are in motion, and the homework has begun. I’ve set a deadline for myself, and I’d like to run the idea by a few more people to get their feedback. But man. This thing has to launch. It’ll kill me if it doesn’t.
Even failing is a better option than not shipping at all, right? I mean, it could be that my idea floats and then pops like a punctured balloon. The grim reality of Jackson could render the whole venture useless.
Thing is, Seth Godin and Merlin Mann and Ben Franklin tell me that failing is always an option, because we need to fail at least once in a while to learn some things. If, however, you don’t have the guts to ship anything, you’ll never fail because your stupid pea brain shifts from “Drive” to “Safety Mechanism” and you become some depressed mutant reptile who mutters “Shoulda Coulda” to teenagers at the coffee shop. No one wants that.
I type this after having worked out at the gym, meditated on self-evaluation, and completed a project for my freelance business. Surely I have the wherewithal to do something as simple as ship an idea I’ve been kicking around since October. I mean, really.
This story gets told a lot, but after my first job interview, on the eve of graduating college, I came up to my journalism professor and trusted mentor. After explaining my reservations about the job, Dr. Renner looked at me, and said, “Dave, I had a brother who noticed the same thing in me from time to time. And he told me, ‘Dennis, you can him and haw and wring your hands and sweat the small stuff, but sometimes you just have to buck up and DO IT.’”
At the “DO IT,” Dr. Renner really yelled at me.
While I haven’t always been the best at applying that little lesson, shouted at me from Dr. Renner’s office at the newspaper, I’ll never forget it. Because he saw what my problem was. Dr. Renner had the same problem, and someone once upon a time told him exactly what he needed to hear to get him moving.
Owning a camera that shoots motion-pictures, i.e., video, does not make me a filmmaker. Filmmakers have a very unique skill set that I find myself lacking. I can operate a camera, but that’s pretty much where my skills end.
It takes a director, producer, editor and many more folks to make a real film. If you think it’s easy, you’re wrong. I’ve come to realize that I suck at trying to make films. I am pretty good at capturing the footage, but I need help knowing what to shoot so that the filmmaker’s vision can be executed.
I’ve learned that I’m more of a doer than a leader – that I can executive things very, very well. But having that “vision” thing is tough for me.
Creativity comes once in a while, and some of my professional work wins awards and compliments and whatnot. But I find it far easier to implement someone else’s vision than come up with my own. They think, I make it happen. That’s the kind of setup where I thrive.
Some blessed folks have both vision and know-how. And good on them.
Did you know there’s an evil Santa in some Germanic countries? Via Krampus.com:
Krampus is the dark counterpart of Saint Nicholas, the traditional European gift-bringer who visits on his holy day of December 6th, a few weeks earlier than his offshoot Mr. Claus. Like his American descendant, the bishop-garbed St. Nicholas rewards good kids with gifts and treats; unlike the archetypal Santa, however, St. Nicholas never punishes naughty children, parceling out this task to a ghastly helper from below.
It all makes sense, of course. It’s not enough that Santa have an anti-Santa – like some Bizzarro version of Superman – but that the anti-Santa would balance him out. Think of it more like the Batman and Joker combo: order and chaos. Reward and punishment.
No, to the Deutsch, it’s not enough that kids get a lump of coal or, worse, nothing at all for Christmas when they misbehave. No, they have to be dragged screaming to the fires of Hell, lashed at with whips, and looked after by some clawed demonic exile.
Why isn’t there a horror movie about Krampus? Or, hell, a Rammstein song?
People that know me know I’m a bit of a shutterbug. Always have been – ever since those cheap-o disposable cameras hit the scene. As bad as those cameras were, they were inexpensive and put a camera in my hands.
They also sparked something. It’s evident in the thousands of photos I’ve taken over the years – mostly hobbyist portraits and travelogue photo diaries. Taking photos has been a way for me to document life. I’m the guy with the camera at social functions and family gatherings and work events. I’ve taken this distinction with pride, and a grain of salt (because mostly people don’t like to have their picture taken, especially if they’re not looking directly at the camera, posing, and smiling).
Over the past few years, as I’ve learned more about photography, and especially since my last trip out West, I’ve wanted more. Or better. I’ve craved the top-notch (but still affordable) tools to take pictures, and develop it into something beyond a casual hobby. I’ve wanted to get beyond the advanced beginners stage and into the realm of know-how and expertise.
That takes time and practice, but even with a great point and shoot I feel like you can only get so far. The drawbacks of consumer cameras, issues like slow shutter speed and poor low-light shooting, provide a brick wall. To climb that, I need to use what the pros use. And learn what the pros know.
And get this: thanks to Canon’s holiday season rebates and discounts, I ended up with $200 off a $210 telephoto zoom lense, a free memory card, and a free UV lense filter. It all came with the Rebel T1i, which was on sale too, and not with the T2i. With all that, I pulled the trigger on the T1i last Wednesday. It was too good of a deal not to.
Over the next month I’ll invest in some sort of fancy camera bag – because man, this stuff is delicate. It’s not like a simple point and shoot that I throw into my jacket pocket on the way out the door. This stuff takes preparation.
Also, a prime lense. Just a simple, affordable version, something to take great potrait-type shots with. The idea of the prime lense excites me because there’s no zoom. If you want a closer shot, you have to move closer. The thinking is it trains you to be a better photographer – to think in terms of composing the shot and developing an eye for a good photo.
There’s a lot to learn. But that’s always the exciting part, right?
In this week’s interview, I talk with Dave about finding his career path straight out of college, getting bit by the travel bug, what’s the obsession with Apple and passing over the 20s malaise.
In this week’s edition, I’m interviewed by Andrew Krukowski, Internet superstar and good friend from California.
This last trip out west brought me back to a turning point in my life. More specifically, a simple pavement-and-paint road: Route 66.
Leaving the Kaibab Plateau on the north rim of the Grand Canyon, and crossing the Navajo Nation in northeastern Arizona, I entered New Mexico by way of I-40 and Gallup. The last time I was in Gallup was four years ago on a life-changing trip across country – the first of my great big adventures.
But I didn’t enter Gallup by Interstate; that was just the destination. Instead, I drove into Gallup like I did last time – by a smaller two-lane highway coming out of Arizona. Driving down Main Street, seeing the old Sante Fe Line railroad cars, being in Gallup brought back a lot of good memories.
So I thought, “What the heck? Why not?” I decided to hit the route again for old time’s sake. The only problem was that I came unprepared. No maps, no directions, no idea where, exactly, to jump on and start driving.
That’s the thing about Route 66: there are parts that remain in a straight line, but out west the road remains broken and jumps around in fits and starts. You don’t hop on and keep riding. You have to navigate the Mother Road, crossing the interstate, zipping down frontage roads, and then watch as the “Road Ends” sign signals a change of plans.
Doing the best I could, I tried it anyway. And let me tell you, it was great.
I flicked through my iPod playlists and hit “Play” on my Route 66 Mix. U2’s “Where the Streets Have No Name,” Johnny Cash’s “I’ve Been Everywhere,” Boston’s “Foreplay Long Time,” Bruce Springsteen’s “Hungry Heart,” The Eagle’s “Take It Easy,” Chuck Berry’s version of “Route 66” – it’s hard not to get emotional when those songs start playing while I’m driving on the road they were organized for.
There was only one wrong turn the whole way from Gallup to Albuquerque. It’s like my brain snapped into place and my hands become automatic sextants, guiding the rental car down a defunct highway.
Even though, for many miles, the route runs alongside the Interstate, I found (then, as now) that the mind occupies a totally different space when driving on Route 66. On the highway, you pay attention to your destination and the car around you, speeding and passing and watching for exits. On the Route, you pay attention to the Route: the scenery, the little towns you pass, the way the road meanders around rock formations and railroad tracks. You think differently driving at 55 miles per hour.
Of course, for me, there was a lot to think about. I couldn’t help but remember what was going on with my life four years ago, and how it mirrored today. Same stress, same heartache, same need to hit the road. It was only appropriate that I returned to the road that had given me so much comfort and respite back then.
For some parts, it was like waking up out of the slumber I’ve been in – both sobering and exciting to realize that, here I was, back in the desert, on my own again. I looked out at the landscape and thought, “I’m back.”
And it was good to see sections of the Route I missed in 2006. For that section of western New Mexico, I had traveled a lot of path in the dark. I remember pulling out of Albuquerque at sunset, sneaking into the Acoma Pueblo at twighlight (long past closing hours), and crawling into Gallup at night to sleep in my car. When it’s dark in the desert, it’s dark. So I missed large sections of the Route.
This time, it was pretty cool to see the parts I did remember again. There’s a little section an hour or two west of Albuquerque that winds through sandstone cliffs, and “Route 66” is painted on the asphalt along the way. I’d forgotten about that section of road through the years, but driving through those formations brought everything back. It could be that last time I didn’t grab a picture. This time I did:
Most of all, it was tons of fun to drive. Changes in altitude, taking corners at 15 or 25 miles per hour – it makes steering the car along the road a true joy.
On the way back home, during my shotgun trip across Arizona back to Las Vegas, I picked up bits and pieces of the Route – mostly because that’s all that’s left in Arizona. There’s a long section, between Seligman and Kingman, that was my favorite driving experience the last time I was out there. Past Kingman, the Route heads toward the Black Mountains, on the border with California, and snakes through Sitgreaves Pass – practically a religious experience for a young man from mid Michigan.
So I went back to that place. It’s a 10 minute drive outside of Kingman to the entrance of the Pass, and last time those mountains loomed at me. I remember my palms sweating, getting nervous, for no good reason except I felt something ominous about those mountains. Turns out I was right, because a winding, narrow, sheer-cliffed road facing the setting sun in a desolate landscape will put the fear of God into you. That road changes things. It broadens your horizons, and teaches you a bit about the unpredictable nature of the world. Plus it’s a pretty fun drive.
Last time, I came down the other side of those mountains – changed, sweating – and pulled over in Oatman just to get my bearings. A pair of the locals, probably feeling sorry for me, invited me to dinner and told me about guys who sat at the entrance of the pass and got paid to drive out-of-towners through Sitgreaves. Many who didn’t have help died falling down those rocky cliffs.
This time, it was nice just to see it again, and remember the dread I felt approaching that mountain pass as the sun was setting in May 2006. I only went part-way up because I had a plane to catch, but I came back down with some new resolutions and fond memories of my younger self. It was worth the return trip.
Plus, while in Albuquerque, I took a day’s drive up to Sante Fe and caught an old section of the Route, dating from 1938, that I didn’t catch last time. The Route changed, and straightened, to include Albuquerque after 1939. What I did see in Sante Fe wasn’t all that impressive, though – mainly a long commercial section with three lanes each way and many, many stoplights. Really, I was glad to be done with it when I hopped back on south-bound I-25.
But no matter where I was, the world changed on Route 66. It could be part sentimentality and part psychological need, but my heart needed a little trip down one of the best memories of my life. A return voyage to a great adventure, if only in small sections.
A friend, Britt, wants to start a blog after getting laid off at her teaching job.
She wrote:
So, I have some questions about blogging. You seem to know what you’re doing in this arena and I like what I’ve seen from your work. I outlined my Blog Plan below the questions so you can get an idea of what I am going for.
Some questions:
1. Preferred blog host? Blogger vs. WordPress vs. TypePad? Most book blogs use Blogger, but I don’t like the look of most of them. I think that I’ll go with Typepad because Andrew said that it was the best (but what does he know anyway?)
2. Do you have an editorial calendar? How far in advance do you plan blog postings?
3. Do you have any advice for community building?
4. Any advice on a good name?
5. Any advice in general?
How fun. And I must say, it’s great that you’ve put a lot of thought into this.
To answer your questions:
1.) I’m more adept at WordPress, and I love its flexibility. Chances are there’s a theme you’ll like and they’re all hackable, so you can tweak it to your exact liking. But something like Tumblr is worth looking at. It depends on how much upkeep you want to do. If you’re geeky and want to dig into some HTML, then WordPress or Typepad will be good. If you want a no-frills, just-let-me-write-and-post blogging tool, something like Tumblr, or Posterous, will work well. There’s also a question of cost: Tumblr/Posterous are free, but WordPress/Typepad may cost you – even if you only buy the domain name (like www.loblawlaw.com or something).
2.) My editorial calendar depends on the blog. For Newton Poetry, I try to do two or three posts a week, and at least one longer one every few weeks – posts where I really get down, dirty, and detailed. My personal blog is whenever I get an idea or see something I think it worth commenting on. But I do type up posts ahead of time, sometimes weeks in advance, and just sit on them until I have a slow idea week, and then I can reach in the grab bag and fill in a pre-made post. But two to three a week is good, with maybe little “here’s something interesting” posts as you find them.
3.) Your community building starts with the people you know, so this could be as easy as posting your blog on Facebook, e-mailing all your friends and family (this is no time to be shy), maybe starting a Twitter account – that kind of thing. My community was built from classic Mac nerds, so I went to where they were, delved into the culture, made posts on other’s blogs, and made myself known. Most importantly? Write good stuff. When someone finds it, your audience will build itself.
4.) Short and sweet – so loblawlawblog.com or something. Head to 1and1.com, type in some domain name ideas into their little input box, and see if someone has it already.
5.) Yes. Before anything, you need to listen to John Gruber (of Daring Fireball) and Merlin Mann’s (of 43 Folders) podcast/talk from South by Southwest on finding your voice, and finding the point of your blog. It’s a must-listen for anyone who wants to bootstrap a blog.
Also, just start writing – even though you don’t have the darned thing set up yet. Get a few draft posts in the hopper, ready to go. Show them to Andrew. Then kick him in the pants.
You’re right about those book blogs being too cluttered. You want a unique style without all the crap. If, hey, you get popular enough that advertisers want to put ads on your site – that’s gravy. But you don’t have to make it look like crap with ads and links and little “POST TO DELICIOUS!” boxes everywhere. Again, my philosophy is minimalism. Let the content speak for itself.
The cost thing again: It’s about $10/year to buy a domain name. A lot of the blogging platforms have free hosting and setup, and then you buy the domain name and point it at yourblogname.wordpress.com or whatever, but to the reader it’ll appear as yourblogname.com – so that’ll be the minimal cost, the $10. From there, if you want to do your own hosting (read: super geeky and technical), then the cost goes up.
Most of my blogs, with the exception of Newton Poetry, I let the blogging platform host, and I point my purchased domain name at it and no one knows the difference.
You’ve thought a lot about what kinds of posts to write, who your audience is, and what you want to focus on – that’s the tough part, really. Now you just need to write, find a voice, and make it all look pretty.
I have work to do, and lots of it, and I have music to listen to, lots of it. Work is good for me. And music is even better.
So they must coexist.
I would go so far as to say I can’t do anything productive unless there’s music on. In fact, I will do just about anything for anyone as long as there’s music playing in the background.
So while Sandwich struggles to combine the two, I struggle when they’re not combined. My typical workflow at the day job has me picking out something on the iPhone, letting the album wash over me, and then digging in to the work.
Brainless tasks, like stuffing envelopes or painting a room, are even better with music – because you can be both there and with the music. Or at least I can.
So here’s the plan: fly into Vegas on Friday, Sept. 10 around 9:30 at night, grab my compact rental car, and start driving. Leave the Sin City behind and hit the road.
Next, make it to Springdale, Utah, just south of Zion National Park, check into a room at some low-rate motel, and hit the park. Hiking and picture taking. A day, maybe two, then hit the road again, southeast this time, toward the Grand Canyon’s North Rim. Find a spot to sleep, maybe with the rental car as my tent, build a fire in the desert, and wake up to do some more hiking – to the bottom of the Earth.
Last time I was in the neighborhood, I passed up on the Grand Canyon only because of time constraints. By the time Route 66 wound through Arizona, there was too much left to see along the actual route – and when I got to California, I had to turn around and drive all the way back home.
But I always knew I’d be back, and it only took four years. So it’s time to do the largest gorge on Earth justice and explore it righteously.
My only concern is gear: since I’ll be flying and not driving West, it’s not like I can fill the car with tents and pots and backpacks. In fact, I want to travel as lightly as possible. One option is to pick up everything I’ll need there, use it, and ship it home. I’m still working this one out.
After all the parks, it’s on to New Mexico, and to Albuquerque to see Cowboy and Sarah and Kita, their nice, skittish dog. The last time I was in town I had a burger and malt at a ‘50s-style diner, and became a member of the Albuquerque Public Library System to use the Internet. That was only an hour or two, but this time I’ll have days to explore: visit the Route again, maybe do some hiking, definitely go swimming in the Myers’s apartment complex pool.
That’s until Friday night. Saturday morning has me hauling ass across the desert to make it back to Vegas and take a red eye flight back home.
It’s an adventure like the old days, when time and money were no object. My last big trip was New England, and that seems so long ago that I get experiences from that trip mixed with the others. Which trip had my knee hurting? (New England) Which trip had fears of car trouble? (Route 66 and Pennsylvania/Columbus) Which trip was I hit on by a gay guy? (All of them)
This is how I get my head straightened out. Me, sitting in a car, blaring the radio, windows down (yes, even – and especially – in the desert), seeing things I’ve never seen before. It’s cathartic and therapeutic and fun all at once. It’s the “me” that I’ve gotten to know so well, and it’s time to revisit that feeling.
There was a story in Ken Burns’s “The National Parks” documentary about the head of the national parks, Stephen Mather, going bat-shit insane if he didn’t get out and explore the country on a periodic basis. He spent so much time in Washington that he would up in a mental ward for 18 months until his family took him out West and – lo and behold – his soul and sanity were restored. I can relate.
After a certain amount of time, I get The Itch – the feeling that there’s adventure out there somewhere. Really, it’s because there’s not much room to sit and think around these parts. Sitting and doing nothing but thinking, with some hiking and picture-taking mixed in, allows for time and space totally dedicated to reflection. What have I done? Where am I going next? Why didn’t I stop at that last rest area? These are questions that need to be answered.
So I’ll answer them at the bottom of the Earth, and in between tunnels of rock and dirt, and in the middle of nowhere – amongst my best friends.
This year, Morin and his crew were preparing to camp in Antarctica’s McMurdo Dry Valleysóa place that serves as an analog for Mars on Earth. As the name implies, there’s little snow in the dry valleys. There’s also very little life, just cyanobacteria and the occasional seal that wandered in and died.
We all have a mental image of what Antarctica must be like (maybe from “The Thing”), but it’s more diverse than most imagine.
Call it a mental exercise, but lately I wonder what other parts of the Earth look like. These images from Boing Boing help paint a more detailed picture of Antartica’s landscape – and help dispel any continental stereotypes we have.
Part of the pleasures of travel is that, when someone mentions a place you’ve been, you can retrieve a reliable picture of it in your brain. Tell me about Arizona, for instance, and I can pull up a few images: broken Route 66 running parallel to the interstate, alpine Flagstaff and its snowy ridges, the Black Mountains and the doom they inspired. It’s all in my head because I’ve been there.
But there are far more places I haven’t been than have. It’s a logistical fact of life that, unless you’re some modern-day Magellan, a trip around the world is impractical. We do the best we can to get out and see the world.
So what does Siberia look like? Or inland China? Or the Eastern coast of Africa? How about those islands smack-dab in the middle of the Atlantic? Or the herding plains of Argentina?
That’s why I can get lost in a map. It’s so easy to spend time imagining what those topographical grooves look like in real life, or what high-tailing down this or that highway would feel. Dots connecting to dots, with so much along the way – what is life like from point to point? What is there to see? Is it worth the trip.
Photo journeys like the brief one at Boing Boing help ease the craving for more landscapes. I’ll never see the majority of the Earth, but any little bit I can gather is worth it.
[I gave a shorter, punchier version of this essay at Jackson Magazine’s 30 And Under banquet, as a way to warn these ambitious young professionals what was in store for them. They probably already knew the second part, but the first part was 30 And Under wisdom after I was honored last year.]
There’s not much tackier than unasked for advice, so we’ll call these next two tid-bits “tips” instead of advice.
Tip one: whether anyone who is honored as a 30 And Under winner likes it or not, you’re going to become a celebrity in Jackson. The picture and profile will show up in the magazine and you’ll have strangers on the street saying “congratulations!” It happens. And grandma and grandpa and that guy you owe money to will all call and say they saw you in Jackson Magazine.
It’s a heavy burden, those first few months after winning. You’ll be famous to a group of people who have a very local sense of fame. You’re now in a select group of people that will probably make appearances on JTV or United Way billboards.
And in case you weren’t busy enough now, you’ll have community groups and committees asking for your help for their next big project. Jackson needs help, so being an up-and-coming hotshot means groups are pointing their volunteer laser beam right at you. Be prepared.
Tip two: listen for what people say about Jackson, especially when they pipe up about an idea, project, or event being “too good” for this town.
I heard it even before I was honored, but now I pay more attention. Too often, someone will claim an idea will never go over, never be attended, never be supported – because Jackson just isn’t that classy of a town.
Don’t think about that wild project you want to tackle, because it’s too good of an idea. And don’t even attempt to tackle some barrier in town, because they’ve been there and tried that and it doesn’t work around here.
Jackson has a crisis of confidence – a low self-esteem that rates somewhere between Chelsea and Hillsdale. Maybe it’s too much bad news in the past generation, or maybe it’s something in the water. Whatever. It’s very real.
It’s also true that good ideas have died on the vine in this town. But I’d rather have too many good ideas than a hum-drum philosophy that accept mediocrity and doesn’t break a sweat.
So don’t settle. Don’t let “good enough” be good enough, or think that something exciting is too exciting for Jackson.
I often think about AKA Sushi, the little boutique eatery up by Starbucks on West Ave. A business owner could have played it safe and threw in another McDonald’s, or Tim Horton’s, and offer another chain restaurant. Those are good enough for Jackson. Anything fancier would never make it, right?
Instead, there’s a hip sushi joint that draws a crowd on a Friday night. Not settling has been good for business.
Jackson’s chapter of the American Red Cross took a chance on a pop-up art gallery. With real art! And people had to pay to get in! The result was a smash success. The RED committee didn’t settle.
But many of my 30 And Under compatriots understand this already. They don’t go to work and go home and flip on the TV, day in and day out. They don’t settle for a life lived as usual – if they did, they wouldn’t be honored by Jackson Magazine.
The way we make Jackson raise its chin is by doing what we’re doing: not settling. Experimenting. Taking chances.
It’s tough, and it draws attention to your efforts, but the payoffs are pretty cool.
Laying out the design of a page or a flyer so it looks like a pro did it takes about ten times as much work as merely using the template Microsoft builds in for free, and the message is almost the same…
Except it’s not. Of course not. The message is not the same.
The last ten percent is the signal we look for, the way we communicate care and expertise and professionalism. If all you’re doing is the standard amount, all you’re going to get is the standard compensation. The hard part is the last ten percent, sure, or even the last one percent, but it’s the hard part because everyone is busy doing the easy part already.
This is what makes what I do paradoxically enjoyable and frustrating. I love concentrating on the stuff that no one else cares about because I care intensely about it. Things, little things, do matter.
On the flip side, I encounter people who are template humpers and think good enough is good enough. They have no respect for, or are totally ignorant of, that last 10 percent – and have no interest in it. It’s the interest part that’s frustrating.
For some, Microsoft Word is good enough, and Times New Roman is good enough, and an photo stolen from Google Images is good enough. For me, the fun is in tackling the good enough and making it even a tiny bit better.
Even if I never approach something a tiny bit better (and often times I don’t), the pursuit is, in of itself, a worthy goal.
“Literally,” it seems, has become a word used in just about everyone’s vocabulary these days. Literally. We don’t just say, “I’m five minutes away.” We say “I’m literally five minutes away.”
The use of “literally” has spread so fast and so aggressively that even smart, well-intentioned people are prone to literalize everything.
Here’s what bothers me about the overuse of “literally”: it adds emphasis that doesn’t need to be there. It’s okay to say, “I jumped out of my seat,” or “There were two people in the theater.” You don’t need the exclamation point “literally” provides.
Is the overuse of “literally” a reaction against metaphor? When I say, “The dog had three legs,” what else could I be saying that would necessitate a “literally” in between “had” and “three?”
Now, if you want to clarify a point and make it clear that you’re not using a metaphor, saying “literally” notifies the listener that you are, indeed, speaking in a literal sense. So you can say “all hell broke loose” if a situation gets hairy, but it’s not appropriate to say “all hell, literally, broke loose” unless a hole in the earth swallows your house and little imps and demons carry away your pet llama, while in the background some maniacal laughter signals your doom.
Because unless that happens, hell does not literally break loose. There’s a difference.
Metaphor is a powerful agent in the English language, and we use it – along with similes – every day. I’m as high as a kite, fit as a fiddle, sharp as a tack, happier than a pig in shit, and as rabid as a dog. Also, we are all snowflakes.
But often metaphor isn’t needed, like when we say we’re driving 90 down the highway. The silliness with “literally” is that saying we’re driving 90 down the highway implies meaning and conjures up a visual automatically. There’s no metaphor involved. You’re really driving 90 miles per hour. We get it.
So why the hell would you ever say, “Honey, I’ll be there in a minute; I’m literally going 90 down the highway.”
Was there any confusion? Would your honey not believe you? Was speeding and driving recklessly enough of a stretch in behavior (there’s a metaphor!) for you to qualify your statement with a “literally?”
No. There’s no qualification needed.
Using “literally” goes along with the overuse of “to be honest” or “honestly” (replacing “basically” as the overused phrase of the decade): am I to assume you haven’t spoken to me truthfully before? Why add “honestly?” Are you being super grownup serious when you say, “To be honest?”
Same with “literally.” If you’re implying that you’re using a metaphor in a denotative instead of connotative way, then by all means use “literally.”
You’re literally a pig in a poke? Great. Can’t wait to see you in a dead cat costume, climbing out of a bag, yelling “fooled you!” You literally flew down the road? Super. Can’t wait to see your supersonic hovercraft.
Otherwise, leave the “literally” behind. Because, to be honest, I’m so sick of it I could puke. Literally.
“I’ve lost myself again
It’s a nightmare
But it’s clear
It will end
But when?”
– Type O Negative, “White Slavery”
Peter Steele came into my life through dumb luck.
My high school buddy Nathan and I were playing “Magic: The Gathering” at his place, listening one of those satellite TV stations that does nothing but play a certain category of music. I was probably 16 or 17 at the time. We’re sitting there, and this thundering, brooding rock came on, and I asked what it was.
“Oh, that’s Type O Negative,” Nathan said. “Their frontman is a giant, seven-foot-tall guy with that deep voice. They sing mostly about sex and death.”
Sold, I thought. What more do I need to know?
But actually I forgot about that encounter for a few months, until later that summer I was browsing through the CD section of Jackson’s Circuit City when I found the Type O Negative section. Browsing through the albums, I took a chance on the newest one – October Rust.
It turns out I picked the right one, because October Rust changed my life. It has since risen to the top two or three albums I listen to, and it introduced me to something I had been looking for. Here, I discovered, was a perfect blend of lush, methodical, brooding music. It was funny, heavy, and catchy as hell. I remember “Burnt Flowers Falling” being stuck in my head for months, and after repeated listens the whole thing became a classic.
From there, I caught up on the rest of Type O’s catalog, with the (what I felt) uneven Bloody Kisses, the album that gave Pete and the band their first big hit with “Black No. 1.” I had to wait two or three long years until World Coming Down came out my first year of college.
That was the thing with Type O. You had to wait Tool-long periods of time, usually four years, between albums. What you had, you had to stick with, until some other life-altering event in Peter’s life made another album necessary.
For me, World Coming Down was almost too much. It was their darkest album yet, dealing with death and suicide and – for the first time that I can think of – Pete’s cocaine habit. And from that album on, Type O albums weren’t immediately grabbing. Hell, I didn’t like WCD after the first few spins. It wasn’t until I spent a year or two with it that it began to grow on me.
When you give them enough time, however, they become a part of your standby list. Need a CD to get you to work in the morning? Grab Dead Again and skip to “Profit of Doom.”
I remember printing out reams and reams of Type O guitar tabs in my high school computer class. I’d get done with my work so early that the teacher gave me permission to dick around on the Internet. So I’d head to a Type O site and print off all the guitar music, and learn those dead-heavy chords in dropped-B tuning.
I remember walking to my first in-college job, at Lincoln Elementary in Adrian, rocking World Coming Down as the maple leaves fell around me, and thinking that Type O was the soundtrack for fall.
I remember “Anesthesia” getting me through a few breakups.
Are a thousand tears worth a single smile?
When you give an inch, will they take a mile?
Longing for the past but dreading the future
If not being used, well then you’re a user and a loser
Type O drummer Johnny Kelly, in the After Dark video, called what Pete did “sonic therapy.”
For Pete, is was for himself more than anyone. Over the years, the music became less about girls and sex and more about family and addictions.
During the interim between Life is Killing Me (2003) and Dead Again, Pete faced all kinds of wacky stuff: incarceration at Riker’s Island, a stint in rehab, the death of his mom, coming back to Catholicism. Through all that, he never lost his sense of (dark) humor. And I can’t speak highly enough of the end product: Dead Again fucking rocks, and I’ve listened to it constantly since 2007. Constantly. It’s now right up there with October Rust in terms of rotation.
That got me thinking a few days ago. Dead Again was released in 2007, and we usually wait about four years between albums, meaning new Type O was due to hit in 2011.
Turns out I was right. The band’s statement on the Type O web site put it best:
Ironically Peter had been enjoying a long period of sobriety and improved health and was imminently due to begin writing and recording new music for our follow up to “Dead Again” released in 2007.
Now he’s gone. But as Don said, there’s bound to be some music in some deep, dark crypt that has yet to be released. Let’s hope.
With a recent trip to Iceland to “clean his mental health” behind him and The Profits Of Doom ahead (an early summer release is planned), Steele is non-committal about Type O’s future. And if he did return to making music as a hobby? “Maybe I can start my own website and send out CDs for free to fans, who could send me a donation for what they feel it’s worth,” says the former NYC Parks Department employee. Then he adds – with the slightest hint of self-deprecation – “So I guess I could expect a bag of shit in the mail.”
Pete and his humor. Man, to count the time the guy made me laugh out loud. I remember nearly pissing myself in the Adrian library reading interviews from the guy. As a journalist, Pete would have been a dream interview, full of those “did he really just say that?” moments. His personality was a big as his giant, hulking frame and as deep as his voice.
Hell, the guy did a Playgirl spread. Now that’s having a sense of humor about yourself.
I had no pulse last time I checked
I’d trade my life for self respect
So I say with my ass whipped
There are some things worse than death
I can’t believe I died last night – oh God I’m dead again.
Did you ever see that episode of Gilligan’s Island where they almost get off the island and then Gilligan messes up and then they don’t? I saw that one. I saw that one a lot when I was growing up. And every half-hour that I watched that was a half an hour I wasn’t posting at my blog or editing Wikipedia or contributing to a mailing list. Now I had an ironclad excuse for not doing those things, which is none of those things existed then. I was forced into the channel of media the way it was because it was the only option. Now it’s not, and that’s the big surprise. However lousy it is to sit in your basement and pretend to be an elf, I can tell you from personal experience it’s worse to sit in your basement and try to figure if Ginger or Mary Ann is cuter.
Something is better than nothing, says Clay Shirkey, especially when “in the U.S., we spend 100 million hours every weekend, just watching the ads.”
I don’t hate TV. In fact, there’s a lot about it I love. “The Office,” “Mad Men,” football – I don’t get much done when these programs are on TV. Sometimes that’s great. My mind can stand to have a few minutes of down-time each week. So can yours.
But more and more, I find myself using that leisure time (the “social surplus” of time, Shirkey calls it) to do something productive: write a blog entry, or make a web site, or help out my recycling group, or just goof off on something creative. It’s all entertainment.
Sometimes, my heart aches at the silly YouTube videos people gobble up, or the hours spent managing a fake farm. But then I think about what’s going to come out of all this – how we’re all just goofing off and creating a new and vibrant culture.
Before, TV execs told us what to watch, and when, and we voted with our remotes. Now you and I and all of our friends make all this stuff and tune in to what we want, and vote with our mouse clicks and encouragement. My roommate can star in a video, and I can share an article that I read, and we’re having just as much fun. Plus, we’re using our brains way more.
On payday, this Friday, my savings level will reach a peak. Never in my life has this amount of my money been sitting in one place, fully accessible, and all at once.
It doesn’t matter how much, or how I got it, only that over time I’ve minded my manners and tracked my spending and saving enough that I have a tidy sum set away for emergencies or big projects.
That kind of thing does something to your brain. I’ve noticed, for instance, that what Dave Ramsey said about Murphy and his law staying away when you have money is totally true. If something unexpected does spring up, I won’t be anxious about how to pay for it. Unless it’s something huge and disastrous (hint: zombies), I’m ready for anything.
Goodbye, worry. Hello, peace of mind.
None of this is meant to be a bragging point. Goodness knows I don’t have as much money stashed away as many of my friends, and I still have a number of debts that I’m tackling over time. I have a modestly-paying job doing what I love, and my biggest expenses are prescription drugs and Macintosh computers.
Which points out another benefit of having money in the bank credit union: my recent iMac purchase ($1,200, out the door) barely put a dent in my savings. It’s mostly because I used my freelance income to pay for it, but still. It felt good to drop $1,200 on the barrelhead and not be affected by it. That’s the definition of security.
Back to the brain. My thinking, in the last year or so, has changed in ways that I’ve only begun to understand. An emergency fund, for example, is great medicine for paranoia, and it allows me to be more carefree in my everyday dealings.
Because I remember what it was like, not so many years ago, when the opposite was true. I learned money management on my own, with no help, until the Dave Ramsey class, and I see now that I made a lot of mistakes. But it was all an education. And it helped lead me to where I am now.
The single biggest change from then to now? Diligence, and simply paying attention to where my money goes.
I don’t want to go on and on about Ramsey, but he says that if you don’t control where your money goes, it controls you. That simple maxim is truer than true in practice. My secret? I keep a simple spreadsheet with each month’s expenses and income, what bills are due, and what long-term expenses (like my license renewal, or doctor appointments) to expect.
That’s it. Well, that, and a follow-up session at the end of each month. I have my budget, but then I track what I actually do over the month. When I get a positive number each month, I pat myself on the back. When the number’s negative, I know that was an expensive month, or that I slipped a little bit, and try again.
Some months, like April, are categorically more expensive because of taxes. Last month I bought my iMac, so it ended up in the negative column.
No biggie. I have money in the bank credit union.
The whole thing is hard to describe until you experience it, but it’s like a great big sigh. Like, aaaaahhh, life isn’t so bad after all. It sets your brain free to do other things, like not worry so much about the future. That’s incredibly powerful.
But I’m humble enough to realize it’s all temporary. Something, anything can happen between now and Friday. Unkowns creep from every back-alley trash can, diseased knife in hand, waiting for me to get complacent.
There was a time when I could hear a song on the radio, pick up my guitar, and strum it out until I got the hang of the song’s chord progression or riff.
In high school, after I picked up my first guitar for $100, I could sit for hours and learn my favorite songs. Over time, I built up a competency for guitar playing. No, I couldn’t hammer out solos like my friends. I didn’t have a knack for songcraft, either. But I had enough skill to play what I wanted to play, and to learn something I heard and liked.
I like to think I still have that skill set. Like riding the proverbial bike, from time to time I pick up my acoustic guitar and everything comes back to me. The time I spent in high school was an investment that pays off every time I play.
My guitar playing came to mind during Merlin Mann’s 37-minute-long video on expertise and fake self-help. Mr. Mann learned that there are several levels of expertise, ranging from novice to expert, and your placement on the gradient is proportional to the time and attention you place on whatever it is you’re studying.
A novice, the thinking goes, starts out knowing nothing, and learns by doing exactly what they’re told. Learn the basics. Simple enough.
My journalism professor, Dr. Dennis Renner, said that “rules are made for smart people to break.” That little maxim always stuck with me because it makes so much sense. Learn the basics before you go sprinting off to change to world. You have to know something before you can’t start messing around. You don’t get smart until you move past the novice level.
So the expert and the master, as Mann labels a sixth level, are free to break the rules because they know the rules inside and out. They know the rules so deeply and personally that the rules fade into habit.
It’s the step above novice, what Dreyfus calls “advanced beginner,” that has me thinking.
For years now, I’ve dabbled in many things and have become an expert of none. It’s the Renaissance Man Syndrome: know a little about a bunch of stuff, enough to talk intelligently during dinner hour conversations, but not enough to go out and change the world. Or get anything practical done. Just knowing is different from actually doing.
Take graphic design. I’ve been doing design work for almost seven years now, from my first design class in college, yet I wouldn’t call myself anything next to an expert. I know enough to get my job done, to dabble in freelance projects, and that’s it. Mostly, I think it’s because I never developed a strong enough foundation. No art training and little design sense handicap me, and prevent me from developing my craft to an expert level.
Writing, however, is something I know deep and well. My whole life, I’ve studied grammar and story telling and expository writing. It made English an obvious bachelor’s degree choice, and helped journalism come naturally to me. Writing isn’t easy. But I know enough to do well, help others, and critique bad writing when I see it. This comes from years of doing writing.
As Merlin says, every writing book on Earth has one shared piece of advice: sit in a chair and write. That’s the only way to get better.
Well, that and pick up a goddamn book now and again.
But besides writing, I don’t have a particular skill I can call my own. Sure, I can fix a computer – but I get the knowledge to do that from online searches and a bit of history. And yeah, I can take a decent photograph – but that comes from seeing how others have done it, not from any particular depth of knowledge.
I respect men and women who can work on cars so much. They have to know a vehicle deep and well or it doesn’t get fixed. It’s a skill I’d love to pick up (and it has me researching some ways to do just that).
Mann argues that so much of our knowledge about a particular subject doesn’t get much deeper than a Wikipedia search and a few how-to articles. We become beginners at something and never really advance beyond that. It’d be like Michaelangelo putting tracing paper over a painting he saw and transferring it the Sistine Chapel. From afar, it might look nice, but up close – well, anyone could do that.
That little bit of knowledge makes us arrogant. We end up thinking we know more than we actually know.
Renaissance Men and Women of old, especially some of our founders like Thomas Jefferson and Ben Franklin, knew a great deal about many things. They were deep and wide. Their lives were dedicated to learning and thinking, and – in all fairness – few of us have time for that today.
Instead, we take up hobbies and learn a lot about one or two subjects. But knowing something deeply doesn’t simply affect what we do in our free time. It also affects our prospects for employment and advancement.
And shucks, it makes us interesting people. Deeply interesting. Like, magazines-or-NPR-will-interview-you-for-your-expertise interesting.
That’s not for everyone. Some people (and you know them well) are comfortable with a mile wide and an inch deep. I respect that, and it’s naive to think that everyone will become an expert in something.
But man, wouldn’t it be great if we had more people who knew what the hell they were talking about when they open their mouth?
Wouldn’t it be cool if more of us moved past the “advanced beginner” stage?
Which brings us, finally, to the One True Way to get a lot of traffic on the web. It’s pretty simple, and I’m going to give it to you here, for free:
Make something great. Tell people about it. Do it again.
That’s it. Make something you believe in. Make it beautiful, confident, and real. Sweat every detail. If it’s not getting traffic, maybe it wasn’t good enough. Try again.
Then tell people about it. Start with your friends. Send them a personal note – not an automated blast from a spam cannon. Post it to your Twitter feed, email list, personal blog. (Don’t have those things? Start them.) Tell people who give a shit – not strangers. Tell them why it matters to you. Find the places where your community congregates online and participate. Connect with them like a person, not a corporation. Engage. Be real.
Then do it again. And again. You’ll build a reputation for doing good work, meaning what you say, and building trust.
It’ll take time. A lot of time. But it works. And it’s the only thing that does.
Again and again and again, marketers (or people that do things similar to what I do) ruin a good thing because they want to make more money.
When you job is to make web sites appear higher in Google rankings, you’re abandoning effort on the actual content of that site in favor of snake-oil tricks in the form of Search Engine Optimization (SEO).
Sure, it’s fun to have your page creep near the top of Google’s rankings. But it’s way more fun to have it happen organically.
We are witnessing the tabloidization of everyday life. Regular people are acting like mini-celebrities, announcing their every move in the way famous people once did in the gossip pages.
For all its usefulness, Facebook has largely become a burden. The social media norms are still in flux, the stepping on of toes is rampant, and there are way too many goddamn “Which superhero are you?” quizes that beg for the “Hide” button.
But as Fortini shows in her article, the trouble can be much more personal. Personal, and groan-worthy.
As a former passive-aggressive nut, I’ve come to loathe passive-aggressiveness in others. Say something without really coming out and saying it, and we won’t be friends for long.
On Facebook, though, this kind of thing is normal. Sadistic hints and obtuse status updates are a gold mine for attention whores. Leave a cryptic enough message, and you’ll get plenty of “What happened?” comments underneath.
It makes one long for a ringing phone.
Our grandparents understood something called “class.” Passive-aggressive updates, or using a web site to manage your real-world relationships, is not classy.
What will probably happen is Facebook will become uncool, just as Myspace did, and everyone will jump ship to something else. It’s already happening. In that case, not much of this will matter because some of the rules will change.
Some won’t, though. I’m nervous that the rules that stick around will be the ones Fortini warns about, and I fear for our culture if/when that happens.
I also fear that Facebook, and sites like it, are becoming the new TV – giant time-sucks that prevent us from stepping outside, facing the sunshine, and breathing in the real world with all its real problems and real beauties. Admit it: you know who spends all day on Facebook (or Twitter, or whatever), and you wonder, “Shouldn’t they get a frickin’ hobby?”
Yes, they should.
Just keep it classy, folks. And keep your id out of your status.
By all accounts, physical music media is on its way out. The MP3 is the new king, and – arguably – has been since the late ‘90s.
These days, the only way you can actually hold your music is with an iPod. Otherwise, it lives in binary 1s and 0s on a hard drive or flash drive somewhere. It’s hard to get romantic about the idea.
I grew up in the cassette age – a barbaric period for music, requiring rewinds and thin, black tape that got caught in tape players. It was an awful medium for music (and for movies in VHS tapes), and we were all rescued when the CD, invented years before its heyday, came on the scene. It seems extraordinarily obvious now, but the idea that you could start listening to an album at any point, at any time, and at great sound quality, was mind-blowing.
To those Baby Boomers, the LP was the epitome of audio quality and music appreciation. That artwork, those liner notes, the way you could sit with an album and soak it all in. That was the stuff.
But to my generation, the CD was our LP. Tremendous sound quality, music booklets you could flip through, and a degrade-proof medium that was more portable than the classic record. Sure, CDs skip and scratch – but so did records. And with no needle to replace, the laser-read CD was the new record for the digital age.
This was the era that I came into in high school, right at the time I was developing a greater appreciation for good music.
Over time, the digital music era began, stemming from CDs ripped to computers. But eventually, the need for CDs disappeared. If you could download your songs, why do you need to buy a shiny plastic disc?
And the idea took off. Like a rocket. Thing is, there was nothing artistic, besides the music, to enjoy. It was just songs. To learn anything about the band, you had to visit their web site or Myspace page. There was nothing physical to hold in your hands.
Now Apple is trying to bring back the album idea, transforming it into it’s new iTunes LP format. The iTunes LP idea, like movie extras stuffed into a DVD, is compelling because it lets you go even deeper than LPs and CDs let you go before. Sure, there’s liner notes and credits and lyrics, but there’s also band interviews and music videos and the whole shebang.
As nice as it is, it’s just not the same.
I remember, especially in my high school years, taking a new CD, popping it into my stereo, and sitting down with the booklet and pouring through the lyrics as the music played. It was a way to connect with what I was hearing. I looked at the photos, and tried to parse through the thank-yous, and get a sense of the album’s direction by following along in the lyrics. It helped me memorize my favorite band members’ names and the song titles. For that hour, it was me and the band.
In fact, I would get upset if a band scrimped on their CD booklet. No lyrics? No multi-page nuggets of band trivia? When that happened, I felt cheated.
Now things are different. When I download an album from iTunes, I don’t get that connection that I did before. Now, music is something that plays in the background, while I’m working or cleaning or cooking. There’s nothing to hold on to, except my iPod, so I don’t hold on to anything. Not the song titles, not the band members’ names, not the little mysteries that unfolded when I would sit and listen and digest.
It’s totally different now.
It could be that I just don’t have the time to sit and marinate in my music like I used to. Part of that is true, I’m sure, but there’s something else.
I’ve always been a print guy. Paper and me go way back, and my career features skills that I developed in the print world. Only recently have I begun to learn more about web design and graphics. It’s a different way of thinking, for sure.
To hold a piece of paper with so much information on it, while listening to good music, is a feeling that electronic music formats can’t reproduce – not with iTunes LP, not with an iPod Touch, and certainly not on the web. The physical thing. That’s what I cherish.
I’m a hold-out. I still have every CD I’ve purchased since high school, after that very special Christmas when I got a Playstation and a CD boom box. They’re all still in their CD trays, stacked alphabetically, and some even have tickets when I’d go see the band in concert. Each CD is a slice of my history, and by opening up the CD tray I get whisked away to some time in my life. Maybe it’s when I first bought the CD, or when I first “got” the music. Whatever. Each one has a place in my home.
It’s heartbreaking when my CDs get scratched.
Sure, MP3s don’t scratch. You don’t lose them (unless your hard drive crashes), and they can’t get stolen from you. They’re robust and universally accepted, and it’s not hard to figure out why they’re so popular.
But man. To pop a CD I haven’t heard in years into my car stereo – to feel the CD player tug at the disc and whir as it spins it alive – that’s music appreciation. To pick a CD out of one of the stacks, to see the faded artwork on the cover, and to have a concert ticket spill out on the floor…
…it’s like real sex versus phone sex. Sure, you can get plenty of benefits out of masturbating with some poor schmuck on the other end. But nothing beats the in-your-face physical act.
And that’s why I’ll continue to go to the record store, or visit Amazon.com, and purchase real, live, physical manifestations of my music. I can rip them to iTunes, after all, getting the benefit of both the physical (and backup) copy and the electronic copy that lives its life in electrons. The CD makes both options possible, and I own both a physical and electronic copy at the end of the day.
Music has a special tie to memory. I like to hold both in my hands for as long as possible.
