Sunday, April 19, 2015
Friday, April 17, 2015
Harlan Coben introduced me to the modern mystery genre in high school, and I count his writing, along with Dave Barry and Isaac Asimov, as a blueprint for engaging an audience. His signature character, Myron Bolitar, has headlined ten best-sellers, with the series also winning multiple prestigious genre awards and birthing a young-adult spinoff.
Matt Murdock and Myron Bolitar are separated by a generation, as Marvel’s Daredevil series debuted in 1964 and the first Myron Bolitar novel, Deal Breaker, was published in 1995. However, the shared character traits between Matt and Bolitar, as well as the narrative and thematic similarities in their stories, are uncanny.
Matt, a defense attorney, and Myron, a sports agent, were both put on the path to assume their dual identities by traumatic events in their lives. Murdock was blinded while saving someone from getting hit by a truck carrying toxic chemicals, while Bolitar suffered a career-ending knee injury from an intentional hit during his first training camp with Boston Celtics. Both characters rose above these circumstances to graduate prestigious law schools and open their own practices in the New York metro area, and became trained experts in martial arts as a cathartic release (and narrative convenience). The Daredevil persona arose within Matt Murdock due to his father’s murder at the hands of the mob, while Myron Bolitar’s vigilante activities are a series of unhappy accidents when his prized clients are blindsided by scandal.
The supporting casts in both series have near-direct analogues to each other as well, and add key dimensions to the protagonists. Matt Murdock and Myron Bolitar both claim their college roommate as their professional partner, confidante, and best friend. Foggy Nelson, while initial designed as Daredevil’s comic relief, provides a voice of reason and emotional grounding for the melodrama that typically engulfs Matt Murdock. Windsor Horne-Lockwood reflects a more extreme viewpoint in the Bolitar series. Unlike Myron, Win is an old-money playboy who fully embraces the lifestyle of the loner vigilante, acting almost as a walking cautionary tale to his proclivity for violence and complete lack of empathy. Karen Page and Esperanza Diaz round out the “core trio” character setup that both series adopt, and while both function initially in a secretarial role, Karen is damsel in distress for almost the entirely of her existence in the written Daredevil mythos while Esperanza grows into an equal partner for Myron and represents a human connections that Myron steadily loses throughout the series.
Daredevil and the Bolitar novels are heavily steeped in noir conventions. The lives of both central characters are regularly impacted by “femme fatale” characters. The doomed romances with Elektra Natchios (first love/college girlfriend) and Milla Donovan (trauma-prone community activist) are defining moments in Matt Murdock’s 50-year history, and Myron’s involvement with Emily Downing (first love/college girlfriend), and Terese Collins (trauma-prone television anchor) have acted as catalysts to push Myron down increasingly dangerous paths. While both series are set in a “modern” era, organized crime is still alive in both worlds, and Matt’s complex relationship with Wilson Fisk echoes Myron’s ongoing issues with the Ache brothers in many of his novels.
I could easily spend another thousand words describing the oddly specific surface-level similarities between Matt Murdock and Myron Bolitar, but my intent is not to make any insinuations regarding Harlan Coben, one of my literary idols. The basic template for both characters has existed long before either was created, as exemplified by Zorro, the Shadow, and Batman. These characters have uniquely inspired me because the most important traits they share are their unbending morality and endless resilience.
Matt Murdock and Myron Bolitar are both influenced by their religion. Matt’s Catholicism is more overt than Myron’s Judaism due to the more in-your-face nature of comic books, but in each case their faith is deployed to examine the nature of their choices, make the correct decisions, and comfort them in the face of adversity. Religion in both books isn’t works as the evangelical sledgehammer or blanket excuse for discrimination it is in today’s world, but rather a ploughshare for fixing injustice or solving the problems of those in need. While Matt Murdock may have heightened senses, he and Myron are both ordinary men working to the best of their ability and means to heal their worlds.
Matt and Myron’s commitment to their morality frequently forces them into adversity that would easily overcome most people, but they make the hard choices and refuse to yield to their obstacles because that determination is ingrained in their identity. The pain Matt Murdock endures in Frank Miller’s classic story Born Again could occupy six noir novels, the entire premise of the Bolitar novel Promise Me is that Myron made a casual promise to keep his friends’ daughters safe, and he never abandons that promise even when protecting them becomes deadly. I have a tough time making myself floss and finish 20 minutes of yoga a day; reading about these characters leveraging their intelligence and endurance against seemingly insurmountable odds made them strong aspirational figures to me.
One element that I feel can be missing from authors’ work with long-running characters is remembering that their protagonists are role models to their readers. While real-world role models often let their admirers down with unfortunate and even occasionally frightening personal flaws, authors have direct control over their creations. When crafting a new story for characters that carry a deep attachment from their audience, writers should remember how they have defined their characters’ personalities, and not cross those lines unless willing to seriously explore the long-term ramifications of their decisions. When Matt Murdock seriously considers killing a baby in the execrable Guardian Devil by Kevin Smith, or beats Wilson Fisk to death in public in Brian Michael Bendis’ End of Days, the disrespect for established characterization for fans is shocking, and an unfortunate byproduct of a character being owned by a corporation rather than a singular writer. However, when a novelist takes a jarring, ugly turn with a central character, trust with the audience can be severely damaged. Long Lost, the 9th Bolitar novel, took a very dark turn with Myron as he graphically murdered several people while investigating a terrorist cell, which was also a plot that was far outside the character’s traditional realm. This would have been an interesting choice for the character if was extended into future installments of the series, but Myron was essential back to “normal” by the next book, Live Wire. While Live Wire was a solid read as a standalone novel, the events in Long Lost had almost completely broken my immersion in the world that Coben had built.
One of the greatest rewards a writer can attain is creating characters that audiences grow to love, and build an attachment far beyond the typical escape from reality found during reading. While the characters I chose as aspirational icons are largely derivative, the origin and influence is not nearly as important as the lessons these characters can impart to the audience. Authors are also teachers, and should remember their own lessons while building their worlds.
Tuesday, January 21, 2014
Yes, someone does buy Wii U games
I recently began a new job, and I have really enjoyed getting to know my new coworkers. I have met many of my best friends through work opportunities, and am always excited to learn about the interests and ambitions of the people who will share the majority of my waking hours. A few weeks after I started work, talk turned to video games (my N7 messenger bag is often a good conversation starter) and the dual launches of the Playstation 4 and XBox One. I told a coworker that I already owned a Wii U, and his response was, "what's a Wii U?"
Apparently most gamers in America have asked the same question, with pre- and post-holiday gaming news focusing on the stark decline of Nintendo's market share.Wired reported in December that Nintendo had only met 5% of its Wii U sales projections for the fiscal year heading into the holiday season. News has not improved in 2014, as the company's stock took a significant hit after announcing a reduction of the Wii U's global sales estimate by a staggering 69%.
Reading these articles have been heartbreaking for me, a lifelong Nintendo brand loyalist. Starting with the NES at seven years old, I have owned every generation of Nintendo system and only Nintendo systems. Other consoles were often flashier, with better graphics, sleeker advertising and adolescent-attracting mature content, but Nintendo games embodied joy, creativity and craftsmanship. As a kid, I was stunned by the intricate level design of A Link to the Past, captivated by the intensity of Donkey Kong Country and engrossed in the 3D gymnastic adventures in Super Mario 64. When nearly every other software developer was attempting to be Michael Bay, Nintendo was Hiyao Miyazaki.
The Wii U's sales performance is especially disappointing because it really is a fantastic console. The lightweight Game Pad's second screen allows me to take my game anywhere in my home, and the Wii U also has apps for Netflix, Amazon Instant Video, Hulu and YouTube. As an HD system, I was finally able to experience the games I had missed on the Wii, including the Arkham series and Mass Effect 3. I also got the chance to play an HD version of Legend of Zelda: The Wind Waker, (a game I missed on the GameCube) and I'm excited for the next rollout of Nintendo exclusives, including the upcoming Donkey Kong, Mario Kart and Smash Brothers sequels.
There is no doubt though, that Nintendo has decisively lost this round of the gaming console wars, and barely even registered as a participant. The Wii U is a deeply satisfying system, but I have never seen any product launch botched so thoroughly on the development and marketing fronts. The Wired article covers some of the basics - issues with the price point and developing for the Game Pad, competition from tablet and smartphone devices, the lack of A+ exclusives at launch - but the problems ran far deeper.
Nintendo gambled that getting a one year head start on its competitors for next-generation consoles would offset the known disadvantage of the product's lacking hardware, compared to Sony and Microsoft's planned offerings. This may actually have worked if they had not lost a major point of parity almost immediately after the Wii U was released. Following an initial slew of ports, Electronic Arts pulled Wii U support entirely, mainly due to disagreements over online management, denying Wii U owners the opportunity to purchase new versions of Madden, FIFA, and NHL games, along with major licenses like Battlefield. Sports games and multiplayer shooters represent an enormous segment of revenue (as many casual gamers buy those games and nothing else), and a loss of access to these games mean the target audience won't even consider the Wii U.
The damage done by this loss of parity was compounded by Nintendo's failure to create effective differentiation. One of the company's strongest assets has always been its enormous library of legendary games, and the original Wii's Virtual Console offered nearly every classic from the first three system generations. The Wii U's additional power had many fans looking forward to downloading even more games from the GameCube, since the GameCube disc tray in the Wii was retired for this edition. However, a year later the GameCube library is completely missing from Nintendo's eShop, and so are nearly all of the games that were already on the Wii's Virtual Console! The near-total absence of Nintendo's game library is inexcusable, and it's shocking to consider the amount of money they may have lost as a result.
Even with all of these difficulties, the Wii U could have been a success if the marketing plan had been sound, but Nintendo not only provided insufficient promotional support for the system, their positioning was tragically outdated. Between the original launch window (November 2012-March 2013) and this holiday season, I did not see a single Wii U ad in the print or broadcast channels, which is outrageous for a consumer-focused company's centerpiece product. When Wii U ads did reappear on television, this was what audiences saw:
The ad is "cute" and conveys that the Wii U is perfect for "family bonding." This positioning worked for a brief period in the mid-2000s, and doesn't reflect the reality of the gaming audience now. Generation Y (I refuse to use the "M" word) is the first generation that grew up with video games, and consumer behavior has shown that this generation still wants to play them well into their adult years. This age demo also has far more disposable income than families with young children, and given the high price point for consoles, gaming companies need to maximize their appeal to the 20s and 30s crowd.
Game systems have also moved beyond simply games into all-in-one entertainment units, in an effort to overcome the high price point entry barrier. Compare the Wii U's ad to these ads for the PS4 and XBox One:
These ads are remarkably similar, but they both convey that these game systems are hip and immersive entertainment experiences for adults, and their offerings suit a wide variety of interests. There are not any kids in these ads because again, kids are no longer the industry's main audience.
Nintendo has recovered from poor launches before, with the 3DS being the most recent and prominent example, but the Wii U debacle should represent a sea change in the company's philosophy. Beyond playing nicer with the third party developers, and staying on the curve with current hardware expectations, Nintendo needs to catalyze their brand's story. The Mario Bros., Link, Kirby and Donkey Kong are characters that elicit very fond memories for me, but I represent a niche and declining audience. Nintendo hasn't created new brand icons in the 21st century, let alone any that align with the most powerful target market. Nintendo needs their own Lara Croft, Nathan Drake or Commander Shepard - a signature, exclusive character who can be used for "A+++" releases aimed at the core audience. An argument can even be made that Nintendo already has that character in Samus Aran, who if given a compelling backstory and strong characterization can be the cinematic character Nintendo desperately needs.
Ideally, Nintendo needs far more than one new character, and their creative direction needs to be based around developing a modern generation of heroes for their audiences to enjoy. The existing characters can still stay and even maintain prominence because they are still viable for a specific market segment, but effective promotional target toward the group with the largest spending power is critical to the company's long term survival.
Shigeru Miyamoto is one of the greatest creative minds of the past century, who launched an entire, multibillion dollar industry by himself through thanks to an unparalleled ability to execute his vision. The talent behind Nintendo is undeniable, but it needs to adapt to the current market landscape. Otherwise, the entire company may occupy the same status as the Wii in my new company's conference room: unplugged and unnoticed.
Wednesday, November 6, 2013
I am writing this blog post from my brand-new home office, which is adorned with framed, autographed pictures I've obtained over the past year attending both the San Diego and New York Comic-Cons. Pictures on my walls signed by the cast of Arrow, Doctor Who and Mass Effect, are complemented by large-scale action figures of Superman and Captain America, smaller model replicas of the SSV Normandy, and a framed Rocketeer comic signed by Chris Samnee. Beyond my Comic-Con swag, my bookshelf contains my prized Daredevil graphic novel collection and a diverse assortment of other souvenirs representing various science fiction and fantasy franchises.
I like surrounding myself with heroic iconography, because I've always been enamored with the idea of heroism. I'm nearly thirty years old and still daydream about becoming a jaeger pilot or Iron Man on my daily commute to work. The creative work I've attempted has largely been based on the idea that people are capable of being extraordinary. I like to believe anyone can become a leader who inspires others to become the best versions of themselves, and create lasting positive change in the wider world. While I love watching and reading stories about overcoming galactic invaders or thwarting mad scientist plots, real-world heroism is just as prevalent and I have resolved in the past year to find ways to make a tangible difference on the personal, local and global levels.
I have found that heroism can be as simple as paying attention to your Facebook and Twitter accounts. Many of my friends have participated in a variety of charity races and events for causes that deep personal meaning to them, including the Lyme Research Alliance's Race for Lyme, the American Cancer Society's Relay for Life, the Boston Children's Hospital Miles for Miracles program, and the MSPCA's Walk for Animals. Social media has also led me to charitable projects run by companies within my media and sports fandom, including DC Comics' We Can Be Heroes initiative, which benefits organizations working to end hunger in the Horn of Africa, and a charity auction run by Major League Soccer's New England Revolution where proceeds were donated to the Leukemia and Lymphoma Society.
Anyone who provides support to a cause that provides relief, care, and happiness to those who need it is a hero, but creating and leading a cause yourself is still possible, even if you aren't a genius, billionaire, playboy philanthropist. I attended the INBOUND Marketing Conference this past September, and the closing keynote speaker this year was Scott Harrison, the founder and CEO of charity:water, a nonprofit that supports clean water projects in underdeveloped nations.
Harrison, a successful nightclub promoter in New York City, started to feel a profound sense of moral emptiness from years of living "selfishly and arrogantly." This epiphany made him pay to volunteer with Mercy Ships, which travels to the most impoverished regions of the world to provide free medical care. Acting as the ship's photojournalist, Harrison took close-ups of horrific ailments that are beyond comprehension in the modern world, with patients' bodies mutated in a way I didn't even know possible when the pictures were displayed. The majority of these ailments were due to the lack of clean water in these regions, as families had to spend entire days traveling to wells racked with parasites and bacteria, torturing their bodies by carrying 80-pound jugs on their back for miles.
Inspired by his time with Mercy Ships, Harrison sought to address a problem affecting one in nine people worldwide. Using his networking talents to acquire funds from angel investors and other sponsors to cover the costs of running the foundation, Harrison created a model where 100% of donations were allocated to clean water projects. The idea to use GPS technology to prove transparency in how donations were used was also an innovation that allowed charity:water's message to break through the noise in the nonprofit sector. Today, charity:water has raised over $93 million since its inception, providing clean water access to over 3 million people.
Scott Harrison's world-changing accomplishment didn't occur because of any natural advantages. He has a communications degree, like myself and countless others, and his sphere of influence didn't exceed the New York club scene. He is one person who was inspired, and had the will to see his idea to through to its fullest potential. His keynote at Inbound 2013 spurred me to take the first steps to actual leadership in my life, and work toward creating a Massachusetts chapter of Green Wish.
I first learned about Green Wish at San Diego Comic-Con, when I visited actor Raphael Sbarge's booth for an autograph. Sbarge, a prolific voice voice actor best known in video game circles for his work in Mass Effect, also plays a recurring character on my fiancé's favorite show, Once Upon a Time. All of the proceeds Sbarge collected from the autographs and pictures sold were going toward Green Wish, a nonprofit he founded in 2009 that creates new donation opportunities for green charities and projects in local communities. Once again, my interests took me in an interesting new direction, as months after meeting Raphael his message stuck in my mind and I studied Green Wish's mission and model online.
Green Wish's method for supporting local environmental nonprofits is to establish partnerships with local retailers, by providing the retailers with community-customized donation cards to be sold at their registers. The funds generated by these cards are then collected by Green Wish and distributed to the approved nonprofit organizations. Retailers that participate receive a variety of financial and promotional benefits, making the partnership a win for all parties. Green Wish's other programs, such as live events and the recent EEK-O-Halloween drive that is modeled on the annual UNICEF Halloween coin collection, require low involvement on the part of the "target audience" but can yield large rewards toward continued environmental sustainability in your neighborhood.
I am incredibly excited about creating a Green Wish chapter here in Massachusetts, because it is a tremendous opportunity to utilize the leadership skills and creative thinking strategies developed by my marketing and communications education, in order to improve the quality of life in my community. However, the core reason I am taking on this project recalls a thought Raphael Sbarge considered prior to founding Green Wish, which is, "what can we do to protection [a child's] journey in a world as vast and complex as ours." I am hoping to start a family in the near future, and my reply is that I want to set an example for my children, that empathy and consideration for others and your environment is a responsibility of being human. I want to teach them that while fictional heroism is thrilling, real heroism is perfectly ordinary.
I am currently seeking board members for the Massachusetts chapter of Green Wish, including a Vice President, Secretary and Treasurer. These are all volunteer positions, but are a fantastic opportunity to enhance a marketing skill set through work in creative direct marketing, public relations, and event planning (with a highly flexible time commitment), all while making your neighborhood a better place to live! Please leave a comment below if you are interested in learning more.
Additionally, I am participating in the "September" campaign for charity:water, which is working to complete water projects in underdeveloped regions of India. My goal is $450, and I will be matching all contributions up to my goal with a donation to the American Lung Association. You can donate to my campaign here.
Tuesday, October 22, 2013
When I was in high school, my grades were always best during wrestling season. Afternoon workouts five days a week, followed by meets on weekends, not only forced me to organize my time, minimizing potential study procrastination, but the regular exercise provided a rush of energy that fueled my focus and motivation for my schoolwork.
Amateur wrestling is one of the most balanced total workouts because rather than building a specific muscle or skill set, equal emphasis was placed on endurance, flexibility, and strength. While I was never able to build up enough real offseason discipline to become a powerhouse, champion wrestler (I also blame my twiggy wrists), I did value the energy and mental rush I gained from these workouts and tried to build a similar regimen when I first entered college. Intermittent attempts at Tae Kwon Do, dance, and intramural sports helped me stay in shape, but it didn't recreate the intensity, structure and competition that kept me motivated through high school.
I feel a major problem with adult fitness is the lack of choice once you leave your undergraduate university. Recreational sports are often difficult to find due to distance, scheduling and structure issues, and a large portion of rec sports are low-intensity, like softball or kickball. Gyms, for many, are limiting - costs are high, there are also time and distance issues, the actual setting can be uncomfortable, and you have to pay extra for structure, in the form of a personal trainer. Running is often the sole option, and no one enjoys running. Runners may values its benefits, but actual running is a miserable experience.
The other problem with adult fitness is of course, adult life. Most people's work days, including commute, account for about 12 hours of the day, with 6-8 hours reserved for sleeping. If you work in marketing or the entertainment industry, like I have, those numbers go up. If you don't make enough money at your office job to eat healthy, you rely on "office freebies" to eat - usually deli sandwiches or pizza. Aging complicates these problems as well. I got through full-contact youth sports relatively injury-free, but I still have a thyroid condition, a chronic lower back problem thanks to a particularly harsh Oom Yung Doe instructor in high school, and knee pain and instability that apparently has no actual cause.
I'm fast approaching 30 (I figure reminding myself often enough will lessen the psychological blow when it actually happens) and in a quest to retain my boyish good looks and body shape I spent several months searching for a workout that would improve my cardio health and keep my weight controlled while minimizing impact to my joints, time and wallet. I found the answer, as I seemingly always do, within pro wrestling.
Diamond Dallas Page was one of the most memorable wrestlers from my youth, first as a sleazy heel World Television champion accompanied by his bombshell valet Kimberly, but later as arguably the most disciplined main event talent in World Championship Wrestling. A meticulous match planner with relentless energy, Page had many of the best matches of the late 1990s with Randy Savage, Bill Goldberg, and Sting. Page's story is even more impressive due to the fact that he didn't even start competing in the ring until he was 35, proving that age does not necessarily inhibit athletic ambition.
Following his retirement from the ring, Page developed his own workout regimen, a modified form of isometric yoga called DDP Yoga. I initially dismissed this workout as another fad, until I came across an article on Deadspin which detailed Page's work to rehabilitate notorious backsliders Scott Hall and Jake Roberts with their drug and alcohol addictions. I was shocked at the progress both Hall and Roberts had made upon reading the article, having understood them as lost causes in the decade plus I've followed their stories through the wrestling media. Further testimonials on the DDP Yoga site have shown the program had significantly improved the health of people with significant physical disabilities, including war veterans, using a fitness program which emphasized minimal joint stress. I knew then there was no excuse not to attempt the program.
I purchased the most basic package (Pack 1) for $70 (far less than recurring gym payments, obviously), which included a poster featuring the different movements, a DVD with six different workouts, and a program guide which provided additional nutritional information. Following the introductory "Diamond Dozen," which demonstrates the proper common movements in the workout programs, and a breathing demonstration, there are four different workouts on the DVD, each focusing on a specific target - energy building, weight loss, abdominals, and the gluteal muscles.
None of the workouts is longer than 30 minutes, which immediately fit my criteria of getting results from a minimal time commitment. The key to performing all the workouts properly is maximizing your "dynamic resistance" - clenching and tensing the proper muscle groups and working through the various yoga/tai chi-style movements as if you are holding invisible weights. The most striking element of the Energy and Fat Burner workouts is how deceptively simple they appear. I passed through both of my first respective attempts with minimal strain, besides the pushups (again, damn you stick wrists)! However, the more often you perform the workouts (sticking to the plan outlined in the program guide) the more you "feel" the activity, both through your heart rate and sweat production. The only workout program on the video that I would deem "advanced" is the abdominal workout, which requires an intensity and increased flexibility I have not attained yet. However, it is also the shortest workout on the video at less than fifteen minutes.
The element of the program I most appreciated was having one of the video participants demonstrate the "modified" positions, which allowed me to move to a position that placed less pressure on sensitive joints and muscles while still being able to work through the various movements effectively. I was also pleasantly surprised that many of the cool down exercises were actually the same core exercises prescribed to me by my physical therapist when my back problem first arose, making me continue an activity I had previously ignored for years.
Thanks to the DDP Yoga program, combined with healthy eating (provided by my fiancé's grocery organization and prodigious cooking), and vitamins, I lost 13 pounds in the first month and a half of the program. My focus and energy levels during the day also returned during this time. I will admit I have lapsed in the past two months, only performing this workout sporadically, and while I haven't regained most of the weight, I have been noticeably more lethargic in speed of motion and thought. I plan on returning to DDP Yoga very shortly, with the clock ticking down to both my 30th birthday and wedding, and also to gain the mental sharpness I need to undertake some large personal projects, which I will also be detailing in this blog soon.
Tuesday, August 20, 2013
Success in any venture can be influenced by a multitude of factors, such as natural talent, personality, existing connections, or simply luck, but all of those elements are influenced by the ability to generate and maintain motivation. However, motivation, in my experience, is the most difficult trait to not only maintain, but make a core part of your overall personality.
Motivation levels influence every element of daily activity, and the weekday work routine can grind that level down to zero. Following a nine-hour work day, bookended by a combined two hours of commuting, I personally don't want to do anything other than aimlessly read soccer blogs and play Mass Effect 3 (I've beaten the game twice already, but I need to finish my Renegade, Cortez-romancing play-through...video games are bad for you, you guys). I'll admit that lack of motivation is the core reason I've only updated this blog once since October 2012, and why my fully outlined fantasy comedy/noir novel has been stuck on page 40 since January.
Yet, particularly in my professional field, living in a market where stable creative marketing jobs are scarce, it's not enough anymore to punch a clock and go home. Achieving the visibility needed to become a financially successful creative marketer requires you to be "on" until you are sleeping. I know four people, all of whom are more advanced in their marketing careers than I am, who also run their own startup firms* and blog regularly.
The next set of posts I plan on writing detail the steps I have taken to try and grow consistent motivation levels, and the one I am highlighting today is finding role models in unconventional channels - artists who have carved their own niche through creativity, hard work and willpower, and carry an inspiring message.
Outside of work, my major interests are in comic books and pop culture. When it comes to those interests, the best site in terms of editorial quality and content diversity is ComicsAlliance, and that site led me to the fantastic world of YouTube musicians.
I've always admired musicians and songwriters because of the multiple intelligences and imagination required to make truly vibrant music. Musicians need to not only be master linguists and imagine the complementary nonverbal tones and beats necessary to create memorable music, but they have to have a confidence and stage presence that connects with audiences at a universal level.
My personal problem with popular music, though (and this is obviously not a new complaint) is that it's too manufactured. Record companies recycle the same songwriters constantly, and the goal of these writers is to apparently ensure the song can fit in a movie trailer. These companies' influence over what airs on major radio stations guarantees their chosen artist becomes popular due to sheer overexposure. The lyrics are so thematically indistinct and artificial that to me it really just becomes noise. Even musical instruments are disappearing. YouTube musicians, despite working in a largely uncharted channel, I feel are taking music back to its roots, letting their creativity run wild in a way that isn't present on the radio dial.
One of the most prominent YouTube musicians and the personification of the channel's vibrant creativity is Lindsey Stirling. I first found out about Lindsey when her Zelda Medley was posted on ComicsAlliance, which led me to track down her other music videos. A classically trained violinist, Lindsey has taken the instrument out of the narrow confines of classical music and into the realms of rock, electronica, dub step, and even nu-metal. Drawing inspiration from video games ranging from Skyrim to Just Dance, as well her own original compositions, Lindsey has parlayed her 2010 quarterfinal appearance on America's Got Talent into a worldwide touring schedule and six-figure record sales without major label backing.
I attended one of Lindsey's concerts this past winter and it's easy to see why she's developed a hugely devoted fan following (nearly every Facebook post she makes has multiple marriage proposals in the comments, in multiple languages) and nearly three million YouTube subscribers. Literally a bodily-kinesthetic genius, Lindsey is self-taught in a hybrid of ballet and club dance, effortlessly floating across the stage while flawlessly playing one of the hardest instruments to master. Her show is a confluence of amazingly detailed costuming, choreography and stage production, creating one of the most enthralling live performances I have ever attended.
Beyond the uniqueness of her music and live performances, Lindsey Stirling's obvious appeal as a role model for motivation is the intensive work she put into growing her personal brand. Acting as her own agent, location scout and seamstress, Lindsey independently produced a tremendous body of musical work, cultivating the needed connections to create professional quality music videos in a variety of evocative settings, while crafting her own costumes and compositions. Her connection to her fans has also not wavered despite her success, holding question-and-answer sessions before her concerts and spreading a message of personal confidence to young adults as a motivational speaker.
Lindsey Stirling is arguably the most successful of YouTube-grown artists, but she is far from the only one breaking through the musical glass ceiling online. I first heard of Adam WarRock as a result of being an unabashed, enthusiastic fan of Chris Haley and Curt Franklin's "Let's Be Friends Again"** webcomic (to the point of wishing I could be their 18th century Europe-style patron so they could create awesome stuff forever). Haley and WarRock (real name Eugene Ahn) co-host the Gravity Falls Gossiper podcast, where beyond talking about the cult Disney Channel show they carry a thoughtful, compelling and often hilarious dialogue about "life and stuff." During a particularly tough time for me mentally, listening to those podcasts got me through the day with a smile, and led me to check out the Adam WarRock catalog in earnest.
A former lawyer who decided to pursue his musical ambitions as a career, Adam WarRock has toured the country as a pioneer of "nerdcore" rap, composing critically acclaimed songs about offbeat pop culture ranging from the X-Men and Firefly to Futurama, Game of Thrones, and Parks and Recreation. What's most impressive about him, beyond his prodigal lyrical talent, is the sheer volume of creativity that pours out of his head. Producing new, free music every week, WarRock has amassed song production in the triple digits in the space of a few years.
I went to the Adam WarRock concert at Comicazi in Somerville last week, and despite the unusual and intimate setting (it was definitely my first time attending a concert surrounded by action figures) it was the only concert I've been to where a smile never left my face. One of Eugene/WarRock's greatest strengths as a performer is his ability to make you feel like you're his best friend even though you've never met. Between songs, he told amusing stories about his friends and past performances with the ease of a seasoned standup comedian, keeping the crowd rapt with attention even when not rapping about "that Hawkguy dude" or ""the Kingslayer".
Beyond his tireless work ethic, what I admire most about Adam WarRock is his advocacy in pop culture as a positive force, especially for young people. His song "Tell Me" is a reassurance to young adults that they should be proud of their interests and to protect them with integrity, which is difficult in a culture where bullying is becoming increasingly invasive and harder to avoid. During the concert he also spoke about how comics and comic shops can create a supportive community for all groups and orientations, which was evident by the friendly atmosphere and frequent regular events at Comicazi.
I am not a musician, beyond a few fractured attempts at playing the guitar in college, but it doesn't mean you can't find sources of motivation outside of your typical aptitudes. The drive, success and positive messages of people like Lindsey Stirling and Adam WarRock has played a huge role in my efforts to effect change for myself, and reinforced my belief that just because you have external and internal challenges to your success, it is not impossible to overcome them and achieve the fulfillment that you want.Postscript/Plugs:
*Since I mentioned the startups of people I knew in this post, I thought I would note them here and help with some awareness-driving:
- The Paper Compass, a creativity coaching and consultancy run by my former graduate professor, Brenna McCormick. You can vote for her and Thomas Vogel's SXSW Interactive panel here.
- Tidal Strategies, a social media strategy firm co-run by Christine Turnier and Jessica Krywosa, both of whom were a tremendous help in initiating me in the world of higher education marketing.
- Rogue Social, based in Rhode Island and offering services in PR, social media and events, run by my childhood neighbor and pop culture blogger, Adri Cowan.
Thursday, May 9, 2013
I have been very disappointed in myself for not posting on this blog since October, particularly since I feel like I have an enormous backlog of topics I want to cover. I have posts half-written in my head about Big Data and its impact on creativity, reviews of documentaries on the creative process starring some of my favorite auteurs, lessons learned from my recent job transition, and even more comic think-pieces. However, even with a lot of milestones and changes going on in my personal life, I've had the time to write all of them, but not the motivation to sit down and sketch out an organized piece.
Unfortunately, the one topic that's spurred me to write immediately is one that might force me to shut down the email account associated with this blog. While browsing my usual news networks last night, I came across the news that Dr. Stephen Hawking pulled out of the Israeli Presidential Conference, joining the "cultural and academic boycott" against Israel. I was so infuriated and disgusted after reading that article that I felt the public thought inhibitors in my brain break and I rushed to my computer.
The Israel/Palestine conflict is (almost literally) the hottest-button topic in world politics and blanketed in a thousand shades of grey. As someone whose formative years took place during the growth of the Internet and is sharply aware of the damage online brain leakings can cause, I'd like to make clear this is not an opinion piece on that issue, and this post is not supporting one nation over another. I would feel exactly the same way if it was an academic and cultural boycott against Palestine, India, Pakistan, North Korea, or I don't know, Micronesia.
Dr. Hawking, beyond his reputation as the most brilliant theoretical physicist and cosmologist in the post-World War II era, is also the world's public face for advanced science in popular culture. I grew up watching Dr. Hawking's likeness on The Simpsons, Futurama and most recently, America's most popular sitcom The Big Bang Theory. Along with Carl Sagan, Hawking's books (both children's and adult) and documentary specials paved the way for other "celebrity scientists" like Neil deGrasse Tyson and Michio Kaku, helping make daunting subjects like physics more accessible to the public than ever. Hawking's role as the figurehead for all of popular science is, to the world at large, a far greater part of his legacy than his resolution of the black hole information paradox.
Despite Dr. Hawking's obvious brilliance, by joining this boycott he has failed to recognize what was obvious to high school graduate Stan Lee, that "with great power comes great responsibility." Science, and in my opinion especially physics and cosmology, should remind us that there are exponentially greater forces in the universe than what we experience on Earth and as a unified species, we have so much more to strive toward understanding. Science is supposed to appeal toward collaboration among all of humanity in order to build a more livable and enlightened world. Hawking has now utilized his position as the world public's scientific ambassador to endorse shutting off a nation from knowledge sharing, the most basic and essential tenet of the scientific process.
The exclusionary attitude of this boycott is not only the basest and honestly, most obscene form of hypocrisy from a man in Hawking's position, it runs counter to the nature of modern scientific advancement. One of NASA's central figures in the mid-20th century was Wernher von Braun, the "Father of Rocket Science" and developer of the Saturn V launch vehicle used in the Apollo missions. He was also a highly decorated military officer during World War II, and it's fairly easy to guess he didn't work for the Allies. The International Space Station (key word International) is a joint project among the American, Russian, Japanese, European, and Canadian space agencies, not exactly a set of groups with complementary agendas. It has been noted in multiple media outlets that the technology that allows Dr. Hawking to communicate is based on work by Intel's technical team in Israel. BrainStorm Cell Therapeutics, a biotech firm that's developed an encouraging treatment for ALS, which Hawking has suffered from the majority of his adult life, is also based in Israel.The basic idea of intercultural relations building knowledge in the global community is hardly new, and dates back to the dawn of civilization. Our modern understanding of mathematics and algebra was cultivated by Arabic cultures in the pre-Rennaissance era. A quick Google search revealed this timeline site which reveals major advances in multiple disciplines originating all over the world dating back to 2400 BCE. You can crack open any history textbook for countless other examples, which makes the concept of "cultural and academic boycott" all the more blasphemous, and Hawking's tacit approval of it all the more disappointing.
The timing of Dr. Hawking's announcement could not be worse, as there is an ongoing struggle in the United States to prevent the marginalization, and in some cases outright exclusion of the scientifically accepted theory of evolution from classrooms. The controversy over the Louisiana Science Education Act has become the most prominent battleground among leading minds for ensuring that all children and young adults are given complete access to knowledge that forms the basis of chemistry, physics and biology. Does Dr. Hawking realize the damage that could potentially be done to that effort, now that one of the world's most recognized scientists has now essentially said that knowledge exclusion is acceptable?Science, as well as all academic thinking and creative thought, is wholly dependent on open collaboration. No political agenda should ever impede humanity's search for greater knowledge, as a healthy and sustainable cultural dialogue is imperative for humanity as a whole to thrive. I would think that's something that would be universally understood, and it's a terrible shame Dr. Hawking and other figures involved in this boycott do not.