“Everyone is susceptible to some kind of glamour; it’s just a matter of understanding what kind of glamour you’re susceptible to. Is it technological glamour, or glamour of the intellectual life, or something else?”
Virginia Postrel joins us this week to talk about her new book, The Power of Glamour: Longing and the Art of Visual Persuasion. It’s a great conversation about the uses and abuses of glamour, the nerd fixation on space travel, the first known symbol of glamour, how people get seduced by IT glamour, how Barack Obama’s first election campaign was heaven-sent for Ms. Postrel’s book, and more!
“All my work is a continuation of the classical liberal tradition that goes back to the 18th century. Writers like Hume and Adam Smith were interested in the economy, in the role of the state, but they were interested in much more than that. Fundamentally, they were interested in the human imagination, in how human beings create a meaningful world around them, and relate to each other, and live in a civilized world order.”
Credits: This episode’s music is Glamour Profession by Steely Dan. The conversation was recorded in a rather echo-y room at the School of Visual Arts in Manhattan on a pair of Blue enCORE 200 microphones feeding into a Zoom H4n recorder. The intro and outro were recorded in a room at the Omni La Mansion Del Rio in San Antonio on aSamson Meteor USB Microphone. Processing was done in Audacity and Garage Band. Photo of Virginia Postrel by me.
I take something that seems obscure, and it leads you to somewhere that is not where you expect.
First, philosopher, musicologist, clarinetist and author David Rothenberg joins us to talk about his new book, Bug Music: How Insects Gave Us Rhythm and Noise, and its accompanying CD. It’s a fun conversation about rhythms and meta-rhythms, 17-year cicadas, David’s lifetime of music, the joy of bringing different people’s worlds together, how aesthetic preference sorta trumps survival of the fittest. the development of bugstep, and the secret to finding a rewarding job teaching the humanities. (And, really, you should listen just to find out that secret.)
These points in your life, you often wonder what would have happened if you’d taken the other course. I could’ve gone into theology or some bloody thing. Instead I wound up in science and I’m atheist now.
Then (around the 43:00 mark), we have a conversation with Clive Bennett, the CEO of Halo Pharma, a pharmaceutical contract manufacturing organization. I met Clive through my day job, and found him so delightfully literate, discursive and thoughtful that I asked him to record a segment on the podcast. Once I had him cornered, I asked him why he’d gone into the sciences, given his artistic, historical, musical and literary interests. (Really, I think it was just a condemnation of myself for not doing more with my time.) He decided to bring his Kindle along to reveal what he’s reading and why (and reveal himself in the process). It’s two men talking about the choices we make and those that are made for us.
Clive Bennett has been CEO and president of Halo Pharma since 2008. He’s spent 40 years in the pharma industry, including 23 years at Hoechst Marion Roussel (now sanofi), as well as Fisons Limited, Evolutec, and Patheon. He’s also a voracious reader, history buff, opera-goer, and a lot of other things that don’t go on a CV.
Credits: This episode’s music is Katydid Prehistory by David Rothenberg. The conversation with David Rothenberg was recorded at his childhood home in Westport, CT on a pair of Blue enCORE 200 mics feeding into a Zoom H4n recorder. The conversation with Clive Bennett was recorded at his office in Whippany, NJ on the same equipment. The intro and outdo were recorded in my home office on a Blue Yeti USB microphone. File-splitting is done on a Mac Mini using Audacity. All editing and processing was done in Garage Band. Photo of David playing with cicadas by Charles Lindsay. Photo of Clive & me by Sally Langa.
“There’s this misconception that something born of the imagination is less true. It’s more true, if you do it right.”
Lori Carson joins us to talk about her debut novel, The Original 1982 (published by William Morrow, an imprint of Harper Collins). Lori’s one of my all-time favorite musicians, so the conversation also covers her singer-songwriter career and her time with the Golden Palominos, where she recorded two phenomenal albums, This Is How It Feels and Pure. It’s a really fun talk about the blurring of fact and fiction, the differences between songwriting and prose-writing (and album vs. book launches), how the music industry changed over the course of her career, her favorite authors and the books that sustained her through her first novel, why she made this life-jump from music to books, and more!
“Many people get to a point where they say, ‘I’ve done this all my life; what’s next?’”
Credits: This episode’s music is Little Suicides, Souvenir, and Stars by Lori Carson and/or Golden Palominos. The conversation was recorded at the Harper Collins offices (thanks, Leah!) on a pair of Blue enCORE 100, feeding into a Zoom H4n recorder. I recorded the intro and outro on a Blue Yeti USB mic into Audacity. All editing and processing was done in Garage Band. Photo by Lauren Cook (thanks, Lauren!). There are a few more pix of us up at the Virtual Memories Show flickr set.
I was going to write some depressing remembrance about 9/11 for the 10th anniversary, but here’s the best thing I wrote about 9/11, a post from 2009′s anniversary. I don’t think I can improve on it, so much as riff. (Here’s something else I wrote about the towers, from 2005.)
I’ve been thinking of getting my “9.11.01 Never Forget” tattoo removed or covered over. I think I’m ready to forget.
I read today’s installment of Cul de Sac and laughed for a while. Thanks, Mr. Thompson:
Man, I wish there was, like, a line in here that says, “And these are the moments when you say something, and these are the moments when you don’t,” and it always works that way. Oh, God, it’s never gonna be that simple. I’ll go to my grave and never get it right.
It’s been far too long, dear readers! But, as I mentioned a few weeks ago, the month of June is devoted to the Top 20 Pharma / Top 10 Biopharma issue of my magazine. In addition to researching and writing a shit-ton of profiles, I also had to transcribe and edit a bunch of interviews I did with major companies and their outsourcing partners. I hate that process, but don’t trust other people enough to let them handle it. (I have a weakness for Q&A-style articles, so I try to include one or two in every ish.) Late in the process (as in last Monday), one of the pharma companies told me that the person they’d given me to interview had subsequently left the company. In the two weeks between the interview and my sending them the transcript. They didn’t get around to telling me this for 10 days, and offered no solution outside of, “You can’t run any of his quotes.”
I built a lot of flexibility into the structure of this ish, so I can absorb the loss of a two-page article a week or so before press time, but I’m still peeved enough at their crap behavior to put them on my banned list for future publicity, articles, etc. I mean, it’s not like they’re even going to notice this, being a $20 billion company, but I have to have my petty triumphs.
Still, I finished writing my Tops profiles a day ahead of schedule, putting myself in a less stressed mode before tomorrow’s trip to DC for the annual BIO convention. I still have to clean up the page layouts and write short intros for the two features, but those will be manageable. (With a little work done over July 4th weekend.)
During BIO, I’ll be staying at a hotel called the Helix. If my room gets downgraded to a double, I’ll laugh at the cosmic jokester.
This is my first post in a while, and I thought I’d ramble about Bob Dylan. He turned 70 a little while ago, which got me listening to his music. I also found myself watching two of his great videos, Jokerman and Series of Dreams. On Facebook, I pondered whether any other musician has enough built-up history/iconography to freight a video like this one:
“Freight” felt like an odd but appropriate choice, given the artist and the video.
Amy & I also watched No Direction Home, Martin Scorsese’s 87-hour documentary about Dylan. Not being too much of an acolyte, I found a lot of the details and anecdotes illuminating. I thought it was interesting to see a documentary about a guy with encyclopedic knowledge of music made by a guy with encyclopedic knowledge of film. I was surprised at how at ease Dylan was in his interview segments. I was expecting a mystic making cryptic / gnomic pronouncements, rather than a plainspoken older guy. (Which isn’t to say that he was necessarily honest, just that he was speaking plainly.)
I enjoyed the documentary up until the last hour, when I realized it was only going to cover Dylan up to the 1966 motorcycle crash (with a coda of his first post-crash live appearance, in 1968). Don’t get me wrong; it was a really engaging documentary. I loved learning about the schisms in the folk scene, how Dylan evolved from protest-singer to rock star, how his relationships went, both with lovers and other musicians, how he dealt with fame in the early days, how he transformed himself from that kid from Hibbing, MN.
But I realized as the documentary unfolded that that wasn’t the Dylan I wanted to learn about, exactly. See, I was hoping that the narrative would continue into the 1970s (and maybe beyond). I wanted the Dylan who embraced his Judaism, became a born-again Christian, got divorced, recorded Blood on the Tracks, sank, rose. What I wanted, I think, was to find out how he tried to live once he got all the fame and riches, and had no idea what to do. A lot of the documentary involved the matrix of Dylan and his audience: how betrayed they felt over his distance from the protest movement, how shocked they were when he went electric (ha-ha). I would have loved more insight about Dylan when those audiences became stadium-sized and his popularity was more immense. How did he cope?
I guess I’ve always been fascinated by that question, “What next?” It’s because stories so rarely seem to end, so much as just stop. It’s why I’ve always adored Anna Karenina‘s ending, because Levin finally understands that there’s no miracle secret to living a good life. He at last understands the day to day negotiations to try to live better. I think what I wanted from a documentary of Dylan is some idea of how he dealt with his life once he achieved (what he thought were) his goals.
And that made me wonder about the filmmaker. See, Martin Scorsese has confounded my expectations in exactly this fashion before, with The Aviator. That biopic about Howard Hughes focuses on the industrialist’s movie-making aspirations, and ends just before HH’s obsessive-compulsive disorder sends him totally ’round the bend. Sure, there are a few scenes of him losing his grip for a while, but I was much more interested in the Hughes who wore tissue-boxes as shoes, never cut his fingernails, and whittled himself down to 90 lbs. by the time he died. A pal of mine, SF writer and critic Paul Di Filippo, had the same reaction when I mentioned the movie to him: “That’s the Howard Hughes that I find interesting. I wish the movie had started from that point.”
Of course, I understand why Scorsese would focus on HH-as-filmmaker, what with that aforementioned encyclopedic knowledge of film. But as a character, batshit-nuts Howard is much more interesting to me than young up-and-coming Howard. And post-rise Dylan would have helped (me) complete the image of Dylan as an artist and as a man. Or at least it would have put together a narrative sequence, like a series of dreams.
At New Year’s, I decided to call an end to the weekly Unrequired Reading posts, figuring that it was easier for people to just follow my Twitter feed (twitter.com/groth18) and/or Facebook posts. But at that party I attended a few weeks ago, two other old acquaintances told me that they enjoyed this feature and were kinda bummed that I’d decided to stop posting it.
So I’ve decided to compromise: Every month (or thereabouts), I’ll post a mega-Unrequired Reading for those of you too goshdarned lazy to just add me to their Twitter feeds! Enjoy! (yes, I left the hashtags in so you’d have some idea of what the posts are about.)