Personal Note: Some News, and Happy Thanksgiving!

Hello, friends!

Most of you by now probably already know this, but for those readers who haven't been closely following my musical adventures, I did (as promised) release my debut music album Strangers back on September 29th. It has 12 of my original songs on it, including my first seven singles from 2021 and 2022, and five new songs which were previously unreleased, all from 2023.  

I'm very pleased with how it turned out, and it has been so much fun sharing it with the world, and hearing peoples' reactions to the songs and the album. I also released new lyric videos for the five new songs, so you can listen to the entire album on YouTube, with videos, if you prefer that to just listening on your favorite music streaming service.

If you're curious about it, please click either the link to my music website, and/or the link to my music YouTube channel, on the lower right side of the page. 

And if you want to stay in touch with what I'm doing creatively by receiving occasional emails (about either this blog, and/or my music), please go straight to my music web site's Contact page, and add your name and email to my email list!  I haven't actually sent any emails out yet, but I plan to shortly, and then only every so often (and you can quit any time). So please join!

 

By the way -- I expect to begin writing more about the topic of artificial intelligence (AI), as you'll see by my next post later today. But the arrival of ChatGPT last year actually poses immediate questions that relate to this blog, and what I'm doing in continuing to write it (or why). 

If I wanted to, I could now ask ChatGPT to write my blog posts for me, once I've found a book, or a show, or any topic I want to share with you, so why should I even bother to do it myself?  And it's a very reasonable question, one that every writer and creative person is now having to ask. But that won't be happening here any time soon.

ChatGPT can accurately describe and summarize any work of art or source of information we ask it about, at whatever intellectual level and in whatever writing style we might choose. That is an amazingly powerful tool, which like millions of other people, I look forward to exploring and using more in the years ahead.

But my blog is written to tell you what I think about something, to use my own words, and to describe it based on what I found interesting and important, not on a condensation of what a lot of other anonymous writers said. So at least until I say otherwise, please be assured that the content on this blog is 100% human-generated.

 

One more very gratifying bit of news I wanted to share is that when I logged on this morning, I noticed that my "page views" count for The Memory Cache blog has just passed 10,000 (since I started this blog in February 2022). 

It's not a huge number, but it's very pleasing to me, since it means that there are still readers out there who are interested in what I have to say, even after my 6-month absence this year while I was working on the album. So I will keep writing and posting more reviews, and my own thoughts about the very best of what I read, watch and notice. Thank you so much for visiting!

In fact, in that vein, it's Thanksgiving tomorrow, my favorite holiday of the year. So I'm wishing you, your family and friends a very happy Thanksgiving, and giving thanks myself for my own family, friends, readers, music followers and community in this always-interesting time and place we share. Stay well, and have a wonderful holiday season!      

Book Review: The Every (Dave Eggers, 2021).

A while ago, I wrote a review of Dave Eggers’ novel The Circle from 2015, which was made into a good film with Emma Watson in the starring role. The Circle told the story of a naïve young woman who goes to work for a huge, powerful California tech company (called The Circle), that combines an insular campus full of idealistic young employees, a charismatic male founder with cult-leader magnetism, and the sort of messianic “save the world through better tech and openness” approach to business that is by now all too familiar.

I’ve recently become a real fan of Dave Eggers, as I’ve read more of his books and come to appreciate what a fine and prolific writer he is. He is one of the few popular authors I know of who routinely produces outstanding, smart best-sellers in both fiction and non-fiction categories, and I’ve now enjoyed and appreciated several of his books from each genre.

 

But in The Every, Eggers’s sequel to The Circle, he has outdone himself, with a just-barely fictionalized account of a recognizable, chaotic, fast-evolving version of our society that will make you laugh at its absurdity, at the same time it will terrify you with how closely it appears to mirror our own world, and the dangerous directions in which we seem to be heading.

 

In The Every, The Circle has grown by mergers and acquisitions into a new mega-corporation (The Every) that now dominates almost every sphere of global business, and increasingly politics, communications, healthcare and the environment, through its tight control of supply chains and its massive financial power. But the real source of its power is data, obtained through the steady erosion of personal privacy protections, which are collapsing under a relentless onslaught of popular new smartphone applications, sold by The Every to an eager population under the guise of personal empowerment and self-improvement.

 

As in The Circle, the main protagonist is an intelligent and sympathetic young woman. But there the similarities end, because in The Circle, our hero (or anti-hero) Mae Holland took the frustrations and setbacks she encountered in her job as the fuel that led her to challenge the company’s leadership to a dangerous game of corporate politics, and through a series of smart moves and timely revelations to ultimately triumph over them.

 

In the nearly omnipotent and all-knowing environment of The Every, though, our hero is Delaney, on a secret private mission to work her way into the company, to find the one lever that will allow her to destroy it in the hope of saving human privacy and freedom. With the help of a hacker friend, she manages to get hired, then slowly evolves a plan to use her social engineering skills to propose new applications so horrific in their privacy implications that she dreams they will create a public revolt that must lead to the company’s demise.

 

There’s only one problem with her plan. Each time she helps create another terrible new privacy-violating app, it becomes wildly popular, leading to even less freedom and privacy for everyone, and turns into another huge triumph for The Every instead. Can Delaney find a way out of her increasingly hopeless situation? And how long can she keep up her quixotic campaign to save the world, before she’s discovered and fired or worse?

 

This is an inspired dystopian novel, and a black comedy as well. It’s funny in the sense that every time another setback occurs, as Delaney’s subversive plans produce the exact opposite result that we would expect and hope for (in terms of peoples’ presumed desire for freedom and dignity), you have to laugh. And admit to yourself that although it’s another very depressing plot twist, it also seems perfectly realistic – exactly what you believe would probably happen in our own society, as well as the world of the novel.

 

It’s brilliant too in its portrayals of the behavior of people at work in a modern tech company, as they deal with the internal contradictions between their desire to please management, to gain status relative to their peers, to conform to get ahead, and to handle qualms about doing something seemingly immoral or repugnant when it also pays their salaries.

  

Aldous Huxley’s Brave New World asked essentially the same questions about what we humans want (as between technology and freedom) almost a century ago, but most of the science and technology he envisioned in his story didn’t exist yet.  It does in the world of The Every. There’s hardly any advanced technology, or corporate, political and social behavior modification in this book that isn’t already here, or utterly believable based on current trends.

 

Read it and dread (or maybe not, depending on where you are on the “convenience versus privacy” spectrum).  Highly recommended.

Movie Review: Hearts Beat Loud (2019). On Kanopy.

I stumbled on this intriguing little film recently while browsing Kanopy, one of the streaming services associated with many public libraries. It wasn’t until I got a little way into watching it that I realized not only that I had seen it before, but that in fact it had played a small but important contributory role in my decision to start trying to record music at home.

This is the simple, quiet tale of Frank, a working-class music fan, record-shop owner and former rock musician in Brooklyn. The role of Frank is played by the wonderful Nick Offerman (best known for his TV role as the lovable libertarian department manager in Parks and Recreation). 

 

Frank is also a widower, who had lost his wife years ago to a bike accident, leaving him the single parent to a talented young multiracial daughter (Sam), a high school senior who is now preparing to graduate, and leave for college to study pre-med.

 

As the story develops, it becomes obvious that Frank is under a lot of stress. In addition to trying to raise his daughter alone, his music store is failing financially, and he has no other prospects for work. His landlady, though a longtime friend, is pressuring him to close the store, and he dreads having Sam move away to California for college.

 

But despite all those pressures, the father and daughter still share a favorite ritual of getting together to write and play music together. We get to watch one such session, as the two of them haltingly try things out, putting together bits of music, words and melodies, as Frank plays the guitar, while Sam sings, plays a keyboard and creates loops with a modern sampling device. It’s a perfect little portrayal of the creative process of songwriting between two people.

 

At this particular session, though, Frank has acquired some new technology that allows him to record their music. He records the song they’ve written, and then (without telling Sam), he uploads it to a streaming service, where against all odds, it quickly goes viral. For the aging musician father, it’s a dream come true – they could form a band!  Get a record contract! Play live! Make music! And in the process, maybe he can rekindle his old band dreams, while keeping Sam with him in Brooklyn too. But is that what she wants?

 

I won’t spoil it by saying what happens next. It’s definitely a comedy-drama; it’s both fun and funny, while still dealing in serious topics of love, loss, growing up and letting go. If you like quirky, interesting character-based family stories, this is a great one to check out and enjoy.

 

But what I most remembered when I saw it again was the fact that when I had watched it the first time (early in the pandemic), it had been a total revelation for a completely different reason, beyond the emotional impact of the relationships and the story line. 

 

For me, the revelation was: really, you can fool around with some instruments and singing in the spare bedroom, record it and mix it, and upload it for other people to hear? With no formal recording studio or record company involved? And then you can just upload it for everyone to listen to it?   

 

Of course, I'm pretty sure I already knew all that abstractly, but it was so beautifully depicted – enough for me to suddenly believe the wild idea, “Maybe I could do that!”.

 

You just never know what people will take away from any given piece of art, or what unintended consequences may flow from it, do you?  This is why art is so dangerous! 

Highly recommended.

Theater Review: Passengers (2023). At Seattle Repertory Theater.

Hello, dear readers, and to myself and you, I say: “Welcome back!”.   

As promised back in August, this blog is now declared “live” again, and today for my first review back, I’m doing something new as well: my first theatrical review.

Last week I went to see the first play in the 2023-24 season of the Seattle Rep. Those of you who don’t live in Seattle might not know that the Seattle Rep is one of Seattle’s longest-lasting and best theaters, which is why my wife and I have been season ticket holders for many years.

I didn’t know anything about the play (not unusual – I generally just show up), but it was called “Passengers”. It has played in other cities, so you might have heard of it, but it was beyond surprising – it was absolutely fantastic and electrifying. 

The play is really a collage of scenes and vignettes loosely based on the idea of a train ride, as a dual metaphor for travel, and also our passage through life. But what makes it astonishing is that the nine cast members are all circus-style acrobats and aerialists, performing a series of scenes in which each of them can display extraordinary feats of acrobatic skill and daring.

They use the full range of circus-style acrobatic acts and aids, including rings, ribbons, trapeze, hula hoops, juggling, a pole and other props in endless combinations of individual performances, along with couples (men with men, women with men, women with women), and sometimes even a single performer doing tricks that combine their unique specialty in perfectly timed and synchronized interactions with all the other performers.  

Many of the routines looked incredibly sensual, as they wrapped their bodies around each other in intricate dances, but that always led quickly to bodies leaping, flying and falling through the air, to be caught and continue on, despite what often looked like a very high probability of physical calamity if anyone missed a step or lost focus for even a split second.

In the background, there was also music and video to reinforce the sense of motion, and the train trip metaphor, so it was a multimedia experience as well as a dazzling display of difficult physical skills, fast-paced land-based and aerial choreography, and perfect coordination.

Of course, the theme of “we need to depend on each other”, which fit well into the “passengers” theme of the play, and as a comment on our lives and society, was reinforced constantly every time one of the performers willingly fell in the expectation that they would be caught. And they always were. It was so beautiful, and totally thrilling. I can’t remember ever going to a play where the audience was so dazzled, excited and happy at the end of the performance.

The director, writer and choreographer for this play is Shana Carroll. The performers are members of a contemporary circus collective known as The 7 Fingers, based in Montreal. They describe themselves as writers, directors and choreographers, who merge acrobatics and theater, dance and multimedia, music and storytelling. That perfectly describes the range of remarkable skills, talents and activities on display in preparing and carrying out this marvelous performance.

This play only runs at the Seattle Rep through next Sunday, October 15^th, and I don’t know if there are many tickets left. But locals, if you can see it before it leaves, try to go! And for everyone else who doesn’t live here, perhaps it will come to your city soon. Remember the name "Passengers" and look for it in a theater near you.

For more information about The 7 Fingers collective and their many other projects, check them out at 7Fingers.com. Very highly recommended.

Personal Note: Surprise! The Memory Cache is Returning!

Hello again, dear readers,

 

In February, I made a decision to step away from this blog (at the time, I assumed permanently), based on what I perceived of as my own self-inflicted pressure to produce regular and frequent posts. I wanted more leisure and lack of obligation to the blog to enjoy time spent with family and friends, to work more on my music, song-writing and recording, and to be able to enjoy the books I read and shows I watch for the sheer pleasure of it, rather than as fodder for commentary and analysis.

 

These were good and important insights about myself, and the process and demands of the kind of writing I’d done for the blog over the course of a year. And as hoped, I have definitely enjoyed the time away from it since February, and have made good use of the time. 

 

On that note, there’s so much news to share!  For one thing, I just went online with my music website – I've put a link to it on the Favorite Links list. There you can find information about my music and music videos, and a little about me and the musical side of my artistic and creative life.  It’s also a hub for linking to my artist profiles on music streaming sites, my social media accounts, my YouTube channel and the like.  I’ll also have a blog there, about what I’m doing with my music, and other specifically music-related topics of interest.  

 

Most importantly, check out the site's Contact page – from there, you can join my email list, and if you like, send me a short message. I’ll use this email list to send out occasional news about my music, and also my future writing projects.  I promise the emails won’t be a burden – I’ll only use it occasionally, and every email will have an “Unsubscribe” link so you can quit whenever you want if you’re tired of it.

 

But wait, there’s more! After releasing seven singles to digital streaming in 2021 and 2022, with videos, I’ve been working hard all this year writing and recording five new songs to combine with the others on my first album, Strangers. The album will be released on Friday, September 29th, and will be available on all music streaming services, plus in a limited run CD release.

 

Despite all this other music-related activity and focus this year, though, it occurred to me recently that perhaps it might be possible (and rewarding) to resume The Memory Cache blog, but on different terms (for myself, as well as the readers). 

 

It’s unfortunate that the nature of the attention economy and its imperatives make anyone with a web site assume that they have to produce constantly, or their site will “go stale”, and no one will bother to look at it anymore. That was certainly a major factor for me in deciding to give it up in February – it just felt like way too much pressure to produce, to keep people interested and checking the site for frequent new posts.

 

But with time to reflect, I’ve realized how unnecessary that approach is. The remedy, I realized, is simple – I just need to approach this blog as a place to continue posting and sharing whatever information and musings I think are useful, fun or particularly significant to other people too, but only when the mood strikes me. In other words, the blog site and my writing for it could be much more about quality than quantity, passion than productivity. It doesn’t have to be an all or nothing proposition.    

 

With that in mind, I’m happy to announce I have decided to begin posting new entries here again starting in the fall of 2023. However, this time, I will only post when I think there’s something especially important or exceptional about the content or issues I’m covering. That means I may only write an article every month or tw0 – I’ll see as I go along how often I’m inspired. But when I am, you’ll be able to read it here on the site again.

 

Of course, I understand that it’s hard to follow a blog that only changes infrequently, but that’s probably okay. You’ll only need to check it occasionally to see what’s new, especially since (like a monthly magazine) I’m not trying to provide up-to-the-minute news flashes, but rather less time-sensitive interpretation and opinion. 

 

And with my emailing list up and running (don’t forget to sign up on my new web site on the Contact page), I can and will send a bulletin out whenever there’s a new post, so you won’t have to check the site at all in between posts if you're on the email list. You’ll know when there’s something new.

 

Looking forward to writing to you (and for you) again soon.