27

Tomorrow I turn 27. By 27, a lot of folks have life more or less figured: who they are, what they want to be, what life’s for, and what they’ll make of it. Married, career, kids in the waiting. Me? I haven’t the foggiest. I’m still searching–may always be a searcher.

Some quick thoughts about my plans for life at 27:

  • No marriage.
  • No kids. Maybe I’ll get a dog some day, if I decide to settle down.
  • No settling down. Life’s too damn short to settle. There’s too much to see. I’ll spend a lifetime searching and exploring, and never but scratch the surface.
  • No career. I don’t need to or mean to get rich, but life’s too short to spend it working–especially too short to spend it working to make someone else rich. Money’s funny–it’s no meritocracy, that’s for damn sure. You might work hard your entire life, and never make more than $50k in a year (see: an appalling number of America’s educators). Or, you can lazily take a few risks, get lucky, and mint piles of cash. If there’s a path to riches, it’s risk taking, opportunism, connections, and luck. (I’m not much for making connections, so I must compensate elsewhere.)  I work exceedingly hard when I’m working, and will take all the risks I’m able. Goal: to make good money or go bankrupt by 32.
  • More declamations, pronouncements. More provocation. I’m tired of being so banal, so bland, so goddamned polite. It’s time to make a point of offending a few more folks. Life’s too short to be so church-mouse-fucking-polite.
  • More interesting conversations. I may never figure life out, but I’d at least like to be able to credit myself with trying.

I’m 27. I’m still finding new things I enjoy–but also still yet to find something I truly love. There’s plenty I’m passionate about–too much at times. It’s high time to embrace the fact that I don’t have a calling in life–unless that calling is to learn, explore, discover. There’s nothing wrong with being good at a lot of things.

27 is going to be a year of working really, really hard. There will be adventures, sure–couldn’t, wouldn’t live without. But the focus of the next year is to make the business successful. That’s it. To work my ass off.  If I do, and I succeed, I make the world my oyster. I prove to myself that capable of hard work, of accomplishing something. That I can give something the best I’ve got, consistently, for a long time.

Oh. And, let’s make 27 the year I become a photographer.

Benediction. Today I’m young. Tomorrow I’m not–least not by most standards. I’m old enough to know better–but intend on remaining too damn young to care.

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Everyone Loves to Hate on Microsoft

The top of my search history right now is “notepad alternative that won’t lose my shit when the power goes out.” I REALLY love Notepad–it’s simple, light-weight, and focused–except when the power goes out, and I lose all of my to-do lists and documents and other important things that I really shouldn’t store in Notepad.

Now, speaking of Notepad. Has anyone else noticed that Microsoft makes lumpy improvements to its products? That is, why can’t Microsoft make two good products in a row. For example, let’s just look at the last 15 years of products:

Microsoft Office – Productivity Software

  • Office 97: Awesome
  • Office XP: Buggy, awkward interface.
  • Office 2003: Fixed the bugs, nailed the interface.
  • Office 2007: Introduced the ribbon, and the other one-billion colors which did not exist in Office 2003. Increased sheet size from 100,000 lines to 1,000,000 lines. Unfortunately, Office 2007 is awkward and ugly.
  • Office 2010: Fixed the bugs, made the ribbon awesome.
  • Office 2013: Introduced new bugs. Reintroduced the original interface from Office 95, but flatter and with less color. Sheets are still limited to 1m lines, and equations can still only be nested seven layers deep.

Microsoft Windows – Operating System

  • MS-DOS. Not too pretty, but gets the job done.
  • Windows 1, 2, 3: Uuuh?
  • Windows 3.1: Conjures Mac OS reasonably well.
  • Windows 95: A great leap forward… into a massively buggy OS.
  • Windows 98 (SE): Pretty durn good. A big improvement over Windows 95.
  • Windows ME: God-awful.
  • Windows XP: A decade on, still the preferred OS for many business environments.
  • Windows Vista: Buggy, awkward interface.
  • Windows 7: Fixed the bugs, made the interface work. Introduced the window “snap” feature–Microsoft’s second great innovation after the Start Menu.
  • Windows 8: Eliminated the start button–Microsoft’s single best and greatest innovation. The one element of its OS which it can claim credit for. Made its interface sexy and completely unusable.

So, while Microsoft is on a huge losing streak with their current product line, I’m not too worried. I’m sure Microsoft runs two product teams–the team which “innovates”, and the team which then takes the feedback from one billion angry users, and turns it into a nice product. Windows 9 may not make any great leaps forward–but I sincerely believe it’ll be usable.

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I Love Shitty Authors

I hold no truck with stylists. That is, of the authors I admire, few are likely to be accused of being masters of their craft. I admire John Steinbeck–who in the introduction to one of his own books admits that he writes poorly. Ray Bradbury is hardly a master of style–though I find his works readable, relatable, and occasionally revealing. I hesitate to admit that I admire Ayn Rand–mostly on account of her Glenn Beck endorsement and Tea Party associations, but also on account of her terrible prose and one-dimensional characters. Ed Abbey is also not much of a writer (his fiction, in particular, downright awful), and yet I love him dearly, and esteem him as one of my favorite authors.

A long-time friend and I disagree, when it comes to books. He admires the stylists, the great linguists, those who win Nobel prizes, and craft their books in a way designed to tantalize literary theorists and flaunt their own staggering intellects. Nabokov, for example. In my view, there’s nothing of value whatsoever to be drawn from Nabokov’s overly wordy, pretentious prose–but Sagar finds him to be the absolute epitome of authors.

I prize books for their ability to transport me away from the humdrum and familiar, for their ability to challenge my way of thinking, to somehow open up my world a little wider. Authors who are imperfect, but passionate–who write for some purpose other than the sake of writing–for an audience not who will appreciate the book for its aesthetic merits, but who will be changed (at least in some small way) by having done so.

Which isn’t to say that I don’t admire, appreciate, and enjoy a book that’s well crafted. I often do–I suspect I’d enjoy Steinbeck twice as much if he was also a masterful writer, in addition to writing passionately.

Of course, this also likely reflects my aspirations. I have no aspirations to write anything which is appreciated for its composition, for its structure, metaphor, or analogy. I aspire only to be simple, salt of the earth, passionate–and perhaps to write something whose words have greater impact than a canvas in a fine arts museum.

In reality, my writing will likely assist no one other than myself. But, I’ve heard it enough times to believe it to be true, I find writing to be an improving exercise, that I learn through writing, that I define my lens on the world and understanding of it by writing about it.

So, sure, I write badly. Fine. Perhaps, if I keep at it, I’ll write less badly. And then, perhaps, someday, I’ll have something to write about (other than revenue cycles and healthcare costs)–and I’ll be in a better place to do so for having had some practice prior to.

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Entrepreneurship

You can’t call yourself an entrepreneur–someone else has to call you one. You’re only an entrepreneur if you create something new and bring it to market. If you own your own business, you’re a business owner. If you open a new convenience store or Papa Johns franchise, you’re a business owner, but certainly not an entrepreneur.

Atlas was founded with very modest ambitions–to create an exceptionally good product, and deliver that product to a handful of people, and in the process generate a few hundred thousand a year in profit–enough to support the other outside ambitions and interests of its founders (traveling, climbing, etc.). It’s not a John F. Kennedy go-to-the-moon-in-ten-years goal, but more of a get-a-good-job goal: a goal but not a dream, an ambition but not a lofty ambition,  an aspiration but certainly no moonshot.

But along the way I’ve been inadvertently exposed  to the idea of entrepreneurship–to the world of people who dream of changing the world by bringing new products and services to market, of having an impact, of creating something greater than themselves. I feel drawn to this world. I’d like to be an entrepreneur. You can’t, of course, choose to be an entrepreneur any more than you can simply choose to call yourself a doctor or a lawyer. First you have to work a lot. Then you have to succeed in an measurable fashion. Then, you’re still not a doctor or lawyer or entrepreneur until someone else calls you one.

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Change Management

A small epiphany from the exceptionally mundane.

When washing dishes my feet are idle but my mind is wandering. This morning I wandered into thoughts of sponge production costs and change management.

I’ve been buying a certain national brand of sponge for years now (I cook a lot–therefore I wash a lot of dishes). But there’s something different about the last batch of sponges I bought. This difference I noticed immediately on my first use of the new sponge some days ago. As my fingers assimilated the new texture, I felt small flutterings of disappointment, fear, panic. Something has changed! The sponge is different!

Which leads me to a certain realization:

Familiarity is comforting. Monotony may be dull, numbing, but also comforting. Settle into a comfortable routine. Pull on a familiar pair of jeans. Etc.

So, unexpectedly change something on someone, and you’re ripping away their security blanket–suddenly and frighteningly your victim cold, exposed, surprised. You’re going to get a negative reaction. 100% of the time.

And yet, when properly managed, change can create just the opposite sensations: a positive anxiety born of anticipation, eagerness.

Imagine how my own reaction to the mundane matter at hand had only the sponge’s cellophane packaging announced a “new and improved texture! Now softer and more supple for better bubbles and cleaner dishes!” I might instead have found pleasure, delight in the new sponge, noticed its softer, more supple texture, rather than its less substantial feel in the hand.

The life lesson from a sponge? Never let change you’re creating catch someone unawares. A surprise change invokes fight or flight. An anticipated change creates earnest expectation.

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The Knife: Music for the 21st Century

The clean narrative of music’s progression from 60’s pop to 70’s rock to 80’s metal to 90’s alternative shatters violently at the turn of the century. Musical shrapnel shoots violently across the vast empty space of the universe. Genres proliferate at a dizzying rate, at the rate at which the universe expands. As a listener, lost and adrift in space, these shards pass through one’s body like cosmic rays of energy from a sunburst. Occasionally, one such shard strikes a nerve.

If there is a music for the 21st century, it should be something like The Knife. It should be impersonal, industrial, haunting, melodious, at once manufactured and yet subversive of manufacturing and industry. Its instruments should be the touchscreen, the drumpad, the synthesizer, the digital sound processor.

It should accord its listener, lost in space, with a sense of harmony in vast emptiness, a sense of belonging in the midst of nothingness, a sense of place where coordinates and location are impossible, a sensation of movement even though every distance is infinite. It should be our salvation, our uplifting, our transcendence, our god in an age where god is not.

I’m late to the party. “Silent Shout,” the last album by The Knife, was released in 2006. It swept the Swedish Grammy’s, picked up Pitchfork’s Album of the Year, and then apparently drifted into space. Perhaps appropriately so: The Knife makes music fit to be played into the empty vacuum of space, amplified, and amplified, and amplified into vast nothingness. A writer for the LA Times suggested (and I paraphrase) their music should be played from an altar in a obsidian church, preferably while levitating.

The Knife released a concert video, “The Audio Visual Experience,” in which the performers, visuals, and music become one, become more than the sum of parts. So seamlessly do they fade into and from each other that it becomes impossible to tell where the performers end and the music begins, to tell solid flesh from massless projection.

It’s a palimpsest of visual images, physical performers projected back upon themselves, the swirling shapes and colors engulfing the performers, even as they lose themselves into their music. The refracting projections play fast and loose with space and time.

I can’t stop watching.

Of the performers you seldom see more than white gloves and masked faces. At times, the image of a performer is projected back upon the performer, but imperfectly and enlarged. Solid flesh melds with projected image and is obliterated, as though the tangible performer is vaporized by the projection of self upon self.

A green light appears on stage left, illuminating a puppet mannequin and an oversized music box. The mannequin’s stick-like wooden arm unevenly cranks the music box (or does the music box drive the arm of the mannequin?), which projects bursting light upon the performers. The mannequin’s head, you realize, is merely a projection, becoming first exaggerated lips, then a passing star field in space. Suddenly the performers are themselves drifting in this same star field, which turns to snowflakes, which envelops the stage and performers as their music settles into silence.

And so on.

For The Knife, it’s as though their music has no beginning, no end. It feeds back into itself. This sense of infinity is suggested by the way the music builds upon itself, by the way the voices are layered, by the looping of visual images.

Unfortunately for the viewer, while space and time are infinite, The Audio Visual Experience is not. When music fades and credits appear, one wonders where an hour just went, reaches instinctively for the re-play button, and realizes feeling comforted and at home, even while drifting in space and time.

The Knife releases a new album on April 8th titled “Shaking the Habitual”. A tour has been scheduled. The tour does not, as of yet, include the United States.

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2012: Year in Review

2012 was a good year, full of activity. This spring I canyoneered or climbed or adventured almost every weekend until moving from Phoenix in May. Then, I travelled to Sweden, and throughout the Rocky Mountains until September. In September, I moved to Golden, CO with Kendra and Sagar, where Sagar and I started a business.

Things that happened in 2012 (in no particular order):

  • Grand Canyon trip with Kendra, in which it snowed and we saw no-one else
  • Travelled to Sweden
  • Ran two half marathons
  • Climbed Devil’s Tower
  • Climbed Gannet Peak and Grand Teton (removing both from the list of peaks who have rejected me)
  • Saw my Dad run the Boston Marathon
  • Saw Chris Thile perform in Carnegie Hall (with Kendra)
  • Quit my job
  • Moved to Colorado
  • Paddled Class IV water
  • Placed in the top ten at Pond Mile 5
  • Learned to ski bumps (well, kinda!)
  • Learned to bake (still working on this one!)
  • Climbed in Indian Creek
  • Welcomed Kanye, my chinchilla, to my life
  • Travelled El Camino del Diablo with Kendra and Curtis
  • Climbed both the tallest and highest sand dunes in North America
  • Became a Wilderness First Responder, and Swiftwater Rescue Technician
  • Started a new business

What a year full of activity, full of adventure! I’ve been less productive than I hoped, but finishes happier than I had dared to hope.

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Ahoy! Punch Brothers, Live in Boulder

Punch Brothers

December 9th, 2012 – The Boulder Theater

Every once in a great while, you go to a show, and come away with a sense of positive eubilation. Sometimes it’s the perfect blend of intoxication and music—lost into a meaningful and moving haze. Others, it’s the circumstances–what happened before, or after. And still others, that ebullition can only be attributed to the musicianship and energy of the performers.

Of these, Punch Brothers this evening in Boulder was overwhelmingly the last. Stone sober, and with a wonderful companion but certainly no surrounding circumstances of note, I’m still aglow with the sense of having a seen a SHOW tonight.

What kind of show? Punch Brothers bills as a bluegrass band. But, in truth, tonight’s performance was more that of seeing Yo Yo Ma perform a concerto than a raucous bluegrass band. Consider the set design: five stands with microphones (four across and one behind), set atop two large area rugs (oriental in style–possibly the venue’s), one banjo, and black curtains behind. No stage monitors, no amps, no racks of guitars–in fact, nothing more than the microphones to distract from the musicians.

When you see a symphony (at Carnegie Hall, say), you wear formal wear, and the musicians wear formal wear. When you see Punch Brothers, you wear a down jacket (this being December in Colorado, after all), and Punch Brothers wear coordinated, and exceptionally well-tailored suits. The crowd is respectful–the band pays it back in kind.

They walk on stage and play music for two hours straight. They’re present, and articulate–clearly in possession of their faculties.

And, as you watch, you become keenly aware that you’re witnessing greatness. These five (three in particular, though I won’t say who) are not merely great at their instruments. More than that–Thile in particular is wildly talented at his instrument. He’s not merely playing it as others have–he’s pushing the boundaries of the instrument, of its sounds, of its style–not just the limits of technical precision and speed, but of what defines the instrument, and how it’s played.

And, more about Chris Thile. He’s a consummate performer. He establishes instant rapport with the crowd–and exudes pure joy in playing his mandolin. At times he conjures David Byrne, as he dances and plays on stage. Each song, it seems, has its own unique motion and moves. He croons into the microphone, pantomimes the actions of the song, gives voices to the characters in his songs.

I’m grasping at straws to describe the scene, and my current elation. Suffice to say, if you have the opportunity, go.

There’s much to like–and much to say–about Punch Brothers. Their new EP (“Ahoy!”) is a delight. But to see them live–ah! Such rapture!

(I’m too exhausted to proofread this tonight–and supposed to leave to ski in seven hours. Forgive me my typos and poorly arranged thoughts!)

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Blind Dogs and Bullet Holes

If there’s a dog on my mind, it would have to be Izzy. She’s a six-year-old, blind Weimaraner, who is currently (and constantly) trying to climb into my lap. Kendra and I (okay, mostly Kendra) are providing a foster home for the local Weimaraner rescue. We’ve had Izzy for five or six weeks, now.

There’s a story (probably apocryphal) of MSU ag students who once led a cow all the way up the stairs to the top of the bell tower atop Montana Hall. It was a great prank, until realizing that there was insufficient room for the cow to turn around at the top of the stairs, and, worse, that the cow would-not, could-not walk down backwards. (In the version of this story popular with MSU Orientation Leaders, the cow was rescued by crane!)

So it is with blind dogs. We took her to the Creek (that is, Indian Creek–a popular climbing area about an hour south of Moab. Pictures here.). She had little trouble navigating the the approach hike up the broken and steep Chinle formation–but coming back down was treacherous for all involved.

The outlook for this winter is becoming increasingly distressing. According to OpenSnow (run by a local skier-meteorologist cum entrepreneur), only 2 – 4 seasons in the last 30 years have had so little snow to date–and of these, half were warm winters with less than average snowfall, and the other half were average winters. Not a good start to the season.

Alas. At the very least, the temperatures have been cold enough for snow-making. Keystone just opened up a few more runs. It’ll likely be a zoo tomorrow–but, hey, it’s skiing!

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Rewriting the Gospel (a.k.a. Wikipedia)

View From My Kitchen This Morning

It snowed last night. Only about an inch–but it’s cold, so that inch will likely stick through the day.

What an amazing place I live. The snow comes to ME. I don’t have to GO anywhere to see snow.

Rode by bike to the post-office this morning through snow-covered Golden with a winter shell and a giant, shit-eating grin on my face.

For me, I tend to think of Wikipedia like an Apostle might think of the Gospel: objective truth (though written by imperfect authors and contributors). Obviously, I know that Wikipedia is far from being an authoritative. Nevertheless, I can’t help but feel some reverence for whatever it happens to contain.

So, this morning I’m writing a post for the Atlas blog about The Red Flags Rule (a 2008 law which requires companies to furnish credit to establish an identify-theft prevention program, which was clarified in 2010 to exclude physicians). The memo got out to medical professionals about the Red Flags Rule in 2008, but apparently the clarification memo has been a little slower. So, we’re sharing the good cheer about The Red Flags Rule on Atlas Insights.

Anyway, as part of my research, I dropped by the Wikipedia article and discovered that the article hadn’t been updated since before the 2010 clarification, and still stated that the law applied to doctors, lawyers, and other professions who furnish services and bill for them later.

So, I did my civic duty, and updated the article–but not without a certain strange feeling. It was “okay, this source doesn’t agree with my article. So … (Interlude of exaggerated typing!) Yup. There we go. Perfect agreement!”

Of course, I actually used the 2010 law and a 2011 court of appeals ruling as the sources for my article (and the Wikipedia update). And, of course, that’s how Wikipedia works. But it nevertheless seemed strange.

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