Legacy

My friend Michael loves jazz. He infected his son with the same passion for music. By the time Nick enrolled in Jack’s school, he was already an accomplished guitarist and now in his junior year, he regularly plays with several jazz bands and combos. Our friend Jeff, also a jazz lover, recently said to Michael, “Congratulations. You’ve created a jazz musician.… Now what?

When Jack was little, Patti and I, like most parents, collected and saved his artwork. We continue to encourage his creativity over the hump of the tween years, up to the present day. Along the way there were times I shared Jeff’s ambivalence, thinking to myself, “Are you just preparing him for life in a garret or working at a Starbucks full-time?”  I would hear the voice in my head chastising me for not preparing him for law school or medical school or Wall Street: “He’s a smart kid, he could be making a lot of money”. So when Jack decided that he wanted to focus on going to art college, I could feel the conflict rumbling in my tummy. I mean, there’s no question that I’ve always regretted the 10 or 15 years in which I didn’t create art. I wonder what my life would’ve been like had I gone to art school rather than studying political science.

But I knew deep in my heart that I could give Jack no better preparation in life than to let them know how important it is to follow your passion. I told him “most people are not passionate or talented in any particular way. You are a gifted artist and you love to make art. You are doubly lucky. It would be criminal to ignore those things to lead a life of mediocrity.” So I helped him to put his portfolio together and think about his application essays. We went to visit various art schools in the spring and I shared his anxiety over the weeks in which we were waiting for a decision.

He decided that RISD was his first choice. It was mine too, had been since I was 16 and I had attended the RISD summer program where I had the most extraordinary time of my young life, making art all day, living hundreds of miles away from my family, being surrounded by talented and creative friends, smelling of turpentine, and loving life.

I guess it’s a cliché: the father, frustrated in his youth, sending his son along the same path, like a mediocre football former high school player goading his son until he becomes a star quarterback. My own father was frustrated in the fact that he didn’t become a full-time artist, and, when I was in my 20s, he sort of encouraged me to take a different path, to study bookbinding or some such. Like most things my father said to me, I didn’t take it very seriously and so continued to go to the office every day.

I have learned so many things from art over the years, and I’ve learned it does not derail your destiny or condemn you to penury. Art is a constant in my life, even if I haven’t drawn a sausage for a month, informing how I see the world, how I think, how I feel. I can think of no greater legacy to leave my own son than to share in that wisdom and experience.

So I had no ambivalence last week, when Jack texted me excitedly at school to say that he’d been accepted into the class of 2016 at the Rhode Island School of Design. Instead, I felt enormously proud. And I felt, from some other plane, that Patti was sharing in my pride, because she too wanted Jack to follow his muse, to lead a creative life, but most of all to be happy. I think that in Providence he’ll be able to do all those things.

If a half-century of living on this sphere has taught me anything, it’s that regret is a waste of time, that one should seize every opportunity that comes one’s way, and that the fear of the unknown is just a one-way ticket into darkness. Fortunately, my son is braver than I am, less damaged, brighter, more confident in his abilities to change the world. He is my greatest work of art (though, of course I can’t claim all the credit).

Black and white

Some people don’t like reading white type on black so I have changed my theme. Please let me know what was wrong with this decision.

Paradise Lost

Last Thursday, I got fed up and lost.
Jack and I started taking a class together at a prestigious art-class-taking-place and despite an initial enthusiasm for the undertaking, several things happened during the second class that reminded of all of the reasons I hate taking art classes and have since I was ten. As we walked out, an hour before the class ended, I said to Jack, “look, the three things I think you should get in art school are a) inspiration, ideas, and infectious passion from your fellow students, b) a teacher who gives you useful and specific direction and c) facilities that you could not duplicate at home. Tonight, we got none of the three.” I wished I’d spent the evening at home drawing in my journal instead.

What I didn’t go into with him was the sense of being lost that started to well up inside me. I suddenly realized that my general enthusiasm for art school — a Nirvana filled with printing presses and – studios and challenging assignments and benevolent mentors — might just turn out to be an expensive illusion that will fritter away the best years of my boy’s life.

What if he finds himself surrounded with nihilistic slackers and trust fund babies with no talent and loads of cynicism being carelessly fed pompous claptrap by failed conceptual bores with tenure and resentment for anyone with a naive enthusiasm for creativity in a shopworn environment filled with squeezed out tubes of drying oil paint and broken easels? Instead of bringing home arm loads of brilliant lithographs and watercolors and bronzes, Jack will slouch into our apartment with tattoos, pendulous pierced ear lobes, a ton of attitude and excuses, and a generally wasted education that produced little but a gaping divot in my bank account.
Hearing our fellow students provide lengthy and incomprehensible explanations of their poorly constructed constructions and randomly daubed canvases, explanations that were crude shadows of the sort of pompous nonsense that cultural critics have mocked since the Salon de Refuse, I was brought up short, thinking, “Shit, I’ve got to make sure he gets into a decent liberal arts college so at least he’ll have a chance to go to law school.”

Anyhow, a weekend of calmer reflection and a 6 a.m. train ride to Providence, Rhode Island calmed me down. Jack and I spent a glorious spring day touring RISD, and my fears receded. The school was filed with amazing painting studios, enormous print shops and woodshops, darkrooms and kilns and endless hallways filled with beautiful art. The students all seemed serious and passionate and ran around carrying canvases and arm loads of wood. The library was humming with studying brains. The students seemed like professionals in the making and I only saw one girl with blue hair.

I don’t know if Jack will end up going to RISD or Cooper Union or MIT or Harvard Law. But I sense in him the same sort of enthusiasm for art that I had, abandoned, and then regained. An enthusiasm that I didn’t get in school, but in spite of it. Jack has been long-marinated in art and I think he’ll always have creative juice in his marrow. Whatever he does with his education and his life, I know it will be interesting and worthwhile.

Today we are on our way to visit MICA, another creative hotspot. On Monday we’ll check out Bard for a different perspective.
My faith in higher education is stored but I still don’t know if I’ll be going to next Thursday night’s class.

I'm a Mac. I'm a PC.

author1I got my first Apple in 1983 or so, a IIC. From then on, I remained in the Apple lane, never even looking at PCs or Windows. Thanks to Photoshop and Final Cut, my ability to make just about anything on my computer expanded my creative world. Over the past quarter century, I have owned a dozen or so macs and macbooks and ipods and am responsible for the conversion of lots of my friends.
People who were not on board with Macs seemed unimaginative, conservative, clueless. The fact that they outnumbered me ten to one just confirmed my commitment. I had the same resistance to Blackberrys, until my company insisted I get one.
Maybe that Blackberry was Bill Gates’ foot in my door. Increasingly I realized that these days I do most things on-line. Sure, I use Photoshop some and edit the occasional video but the fact is I spend several hours a day on my computer and 90% of them involve the web and email. Oh, and my Blackberry has gotten me used to doing a lot of online things on the elevator, in bed, walking down the street.
Recently, the right fan on my two-year-old MacBook Pro conked out and it started making a lot of whirring noise. It also crashed quite often and the fact that I still have Tiger rather than Snow Leopard installed has become a limitation. This weekend, I decided to bite the bullet and start shopping for a new laptop. (Actually, it’s a bit laughable to call my MacBook a laptop; it is chained down to my desk by its external mouse, second keyboard, USB hub and two external backup drives. It’s been months since I was able to budge it.)
I started at the apple website, going through a shopping list of features. Okay, I want a nice fat drive, and a 3 Gig processor and extra ram and Applecare and… by the time I was done, I’d spent almost 3,500 hypothetical dollars to end up with something that seemed pretty much like what I had bought two years ago.
I wandered down to J&R electronics and looked through their wares. At first I though the prices were misprints — there were huge displays for a couple of hundred bucks, rows and rows of sleek, gleaming laptops for $600 or less. The newest thing in laptops is something small, simple and almost primitive — the netbook; no CD drive, no spinning hard drive, just a reasonable processor, a bright display, a full keyboard, and the ability to get online, all in a package that weighs a couple of pounds and is priced at roughly 1/10 of my dream MacBook.
Now there’s one obvious difference: Windows. I have always assumed that this ubiquitous operating system was ugly, confusing, non-responsive and really hard to set up (not to mention the status quo and domain of account executives, the military and Republicans). But I was willing to take the leap because I’d only be using the netbook to go online; I wouldnt even install email but do it through the browser.
I bought a navy blue Asus EEE for $375, brought it home, turned it on and with 90 seconds was connected to my Airport Express and online. I have shut down my trusty MacBook Pro to give it a well-deserved rest and will only turn it on to touch up scans and polish videos. Unless, of course, I discover I can do all that online as well.
I think I can make this transition because increasingly I have less of a relationship with my computer than with the places I go with it.
It’s more like a TV or a house phone, an appliance rather than a custom environment made just for me. I am more comfortable with being mainstream because the Internet allows me so many options. Soon enough, we will all live in the cloud of computing, where all of our files reside online and applications just appear when we need them. That’s fine with me.
I will let you know how my conversion goes…

Everyone has one…

prison1

In a masochistic fit, I have been reading the comments people have been making on YouTube about my commercials. People are so extreme. Some complain about the interest charges Chase put on their card, others link them to some fictional Nazi past, others cry or write paeans to actors playing minor roles. Some just dispute the commercial’s claim:

“This commerical suck balls no atm in the world that quick what a bunch of liers “

Some just plain hate my client:

Chase is an enemy institution that every town should vandalize with bricks and spray cans.

The most recent frenzy has been around the fact that I had Peter Murphy of the band Bauhaus cover “Instant Karma” by John Lennon.This strikes people as a betrayal on about six dimensions and they have filled five pages of comments on YouTube.

“Oh, come on, Pete, are you really that strapped for cash? “

“i could imagine Peter appearing on that commercial as a cute dolphin [sic] to the sea.”

“I hate this song, initially sounds like he’s trying to squeeze one out…”OOOONNNN and OOOOOONNNN and OOOONNNN”

“I owe chase $600.00. I love this commercial so I might consider paying them back.”

“Brilliant! … Nice to see such esoteric luminous creative for a freaking bank commercial. It’s about time things were bumped up a notch!”

I just like the song, and I like Bauhaus, so I am a bit mystified by the fuss. But then,  I’m just an ad guy.

Another phenomenon is when people who are involved with some aspect of the commercial, adopt it as their own. For instance, people who like one of the actors or in, one case, a dog, who appears in the spot.

There’s grumbling though, even among the fans:

“dangerous!!!! Chase is encouraging young people to break the laws and run a muck!!!:

Sometimes the reaction is positive. Like, in this case, when a song I used in a  spot became a pretty big hit and “100 Years” by Five for Fighting was back on the charts.

dude can u plz tell me the name of this song ive been lookin for it for like 2 years now -.-…

“i love this song. it’s soooo amazing. i want it played at my wedding.”

Sometimes there are a lot of positive scomments, like the ones for this mawkish spot I did a few years ago.

“This is like one of the most touching commercials I’ve seen to date. Wow, I’m sold! The power of commercials cannot be underestimated!”

Then there’s the really fantastic post where someone took one of my commercials and endeavored to prove that it was seeded with hidden swastikas, proving that Chase was trying to bring back the Third Reich. I kid you not.

If they make fascism look warm and fuzzy who wouldn’t want it?

its great to know others notice the obvious swastika in the Chase logo. The fact that they even shift the logo to show the swastika shows that they are trying to get us sheeple to get used to the logo again.

Yeah and Kermit the frog is a alien transported to brainwash us all. Damn dude take your medication, I dont give a damn about Chase but that is about the strangest connection Ive ever heard.

And one final spot from

a scum sucking rat turd.

I love the Internet! (This post is for my pal, Richard Hall)

Gosh darned


In this country, and many others, it is very unpopular to not believe in god. Some people are coming out and discussing this but it is the taboo topic of our time.

Even here in the Gemorrah called New York City, you can talk about any sort of sexual thing, about your body’s processes, about any intimate matter, but you can’t ever question theocracy. So I won’t.

Yes, he recovered from mouse poison and the attack of the Robotic Rat.

Perfect storm

So far this millennium has been a strained and sweaty passage. As the moorings are loosened, it seems that any and everything could unravel. A terrorist attack a half a mile and four years away, still feels like it could metastasize and engulf my life. A hurricane a thousand miles away prompts my mother to buy new insurance while I seek reassurance that my home sits a hundred feet above the ground, ground made of rooted bedrock.
Our government is hopeless and corrupt rather than governing: our religions are a source of division and destruction rather than comfort and moral guidance. It’s tough to express opinions in this climate, tough to make plans, tough to depend on the wisdom of one’s years. And yet, I’m optimistic.
Our times are about keeping it real and perhaps, as our illusions shatter, we’ll be left with a more reasonable set of expectations. Maybe we’ll stop hoping to be lottery millionaires or movie stars or CEOs. Maybe we’ll stop idolizing fabricated celebrity and vicious gossip and impossible perfection. Maybe we’ll realize that true love doesn’t depend on fake breasts.
Nature is brutal and beautiful. One moment the seas are placid, the next they inundate the condos on the shore. We act surprised, oblivious to the millions of years of hurricanes that have shaped our coasts into random, twisted lines. We fantasize that there is a divine plan, an intelligent design behind this terrible judgment. Instead, we must come to see the beauty and the brutality as unpredictable and inevitable. We must relearn our place on the planet and in the universe. It’s time to get a little humble.
Think about Katrina and New Orleans next time you draw. Release the 20th century need to do it right, to make it perfect, to lay down lines just as you’d planned. Instead, take a moment to acknowledge your own imperfections and contemplate how your personal deviations are helping our species to survive. There is no room for perfectly met expectations on this wobbling globe.

The river is ever flowing, breeching its banks, leeching into its bed, never stopping to pose. Everything you draw is mutating as you draw it. Every nanosecond, your pen, your fingers, your sketchbook are all in a flux of atomic migration. We are not grindingly consistent computers, you and I, and we don’t live in Sim City. A twisted, crooked line is the only true line.
Study the gnarled tree, the rotting apple, the ill-kempt hairdo, the defecating dog. Capture the spirit of this imperfection, this constant change, and allow yourself to breathe as you draw. In and out, up and down, tendons bowing, bones creaking, brain cells dying, ink evaporating, paper curling. Ride the act out, and don’t dare think of posterity. If you draw just so you can hang your work on the wall for eternity, your picture frames will exploded in the hot glow of the ever threatening blast. Draw only for exhibition and your gallery will be washed away in the gathering deluge.

Imperfection, misjudgment, failure, these are what you have and don’t dare flee them. Embrace them, cherish them. For chaos is the true way of the world, of your soul, of your destiny of Art with a twisted capital A.

Study your world and draw it. Draw crooked, draw with a stick, draw in the dark, but draw. Draw for now, for today, for this moment. It’s all we have. And, believe me, it’s more than enough.

Happy Old Me

romanankle.jpg
It’ll be my birthday in a few days and this year I’m feeling it. My ankle is still a little shaky and it has made me physically unsure. It gets a little better every day but it has made me contemplate my mortality anew. I step off the curb more deliberately; I put on an elastic bandage if I think I’ll be walking for a while. I think about the body I usually take for granted.
My barber, an old Italian man in a toupee, horrified me yesterday. He said, “You know, your hair is very thick at the back. You could easily do a transplant and put some up front.” I barked out a laugh but he was serious, “One session, not very expensive at all.”. For the briefest of moments, I imagined what it would be like to have a full head of hair and then dismissed it in a vision of doll’s hairplugs and snickering comments behind my vain back. I told him that receding hairlines had been a family tradition for generations and to go easy on the gel.
Time does seem to be fleeting. Jack is nearly up to my shoulder these days. Summer’s almost done. And we are repainting our apartment and replacing the furniture we bought when we moved in nine years ago. Sic transit. Last weekend we went to 18 West 18th Street, the address where Patti and I met in a long defunct restaurant called Café Seiyoken. When we got married there, five years later, it was a another restaurant. Now it is a children’s book store. The spot where we said our vows is now a cupcake counter. The bar where we first met has been replaced by a rack of Eric Carle books.
I know, I know. What’s more tedious than a middle aged man bemoaning the passing of time? The odd thing about it all is how full life seems to be of things I’ve never done or known. In many ways, I feel dumber and more inexperienced withe each year. I am still learning how to be married after two decades, how to be a dad after eleven years. I still wonder where my career is going, still plan on getting into an exercise program, still consider getting a therapist, still consider moving to the other side of the world.
My grandfather was born in 1909 and he’s still alive and kicking, so chances are I may only be halfway through my journey. Then again I may be electrocuted by this computer and die today.
I do know I wish I had more time to draw so I could get really good at it. Last night I was curiously liberated when I spent an hour tracing a devilishly complex drawing by Ronald Searle. For months I have been looking for the right pen to duplicate his lines, thinking he must have used a dip pen or a rubbery fountain pen of some sort. But when I studied and reproduced his drawng, I discovered that his individual lines are remarkably consistent and that my Rapidoliner traced them perfectly. There’s no trick, no tool that I am missing. My pen is just fine.
Enough excuses. I should just take it outside and use it. But first, let me wrap up my ankle and suck down some Geritol.

Collaboration isn't just for the French

air

I am writing this on a flight to Los Angeles where we are going to shoot the first five commercials for the campaign I began last summer. It was July 27th when I stood at a urinal on 22nd street and was suddenly struck with the idea which, through various barrel jumps, backflips and slaloms, has brought me to this seat on American Airlines.
Of course, it’s absurd that it should have taken 200 days for three or four minutes of advertising to go from my urinal to your television. Well, actually the commercials haven’t even been filmed yet. It’ll be closer to 300 days before they actually hit the airwaves. This is certainly a long time for even advertising to be birthed, but not unheard of.
When you sell your creative work, the results are invariably a collaboration between your imagination and the processes of the person or corporation who is funding them. In the case of a new brand advertising campaign, your collaborators include various levels of decision makers in your agency, some ‘creative’, some administrative and some strategic, all of who provide input based on their own experience, ego, time and attention span.
Next, the work runs through the filter of the client company’s marketing executives. Some have long and illustrious careers producing great advertising and can often make your ideas better and sharper. Others have ended up in marketing by virtue of their success or failure in another part of the company. I have worked with clients who were former antifreeze salesman, flight attendants, bank tellers, and tax attorneys. When I created ads for the Postal Service, my client was a former mail carrier. However, their past is not necessarily an indication of their utility as creative collaborators.
As I have done a lot of corporate and brand advertising, I invariably end up presenting to CEOs and CFOs. Most of them have little interest in advertising and consider it a waste of time and money. They tend to be results oriented, I’m from Missouri, kind of left brainers, Some, by virtue of having a lot of money and a lot of power, have odd and interesting ideas about how advertising should work. They often cite their wives’ or children’s opinions. Because they are unused to talking about executional creative matters, their words are often ambiguous and hard to take at face value and much time is spent by others, parsing their phrases and trying to determine the hidden meaning behind all sorts of cabalistic executive signs. I have worked with agencies who note down the colors of executives’ ties and shirts in an effort to come up with logo and advertising palettes that will pass muster.
These creative approvals are funny things. They are so often subjective and frankly irrelevant to the effectiveness of advertising. The best clients are the ones who are extremely clear and smart about what they know best. They tell you what they want to accomplish with their businesses and how advertising can help. They couch their reactions to the work you bring them in terms of their original intent. Often they are surprisingly lucid and insightful, demonstrating in spades how they got to where they are. They respect the people they hire and assume that they will do their work well. They keep their egos in check and use their authority to clear impasses further down the food chain. They can break loggerheads with a phrase or two. As one CEO said to me recently, ‘People assume that because everyone has a voice that this is a democracy. It’s not. I want this done so let’s move on.” Someone who works for someone who works for someone who works for him and who had been our daily contact had said something equally memorable and candid in an earlier meeting:” My boss told me that my job is to tell you what you have done wrong. I can’t see anything wrong in what you’ve done but I still have to figure out how to do my job.”
There’s little question that, unfortunately, much of what we are paid for is to deal with the process. To be able to listen to someone’s incoherent rant and turn it into some thing actionable. To respond to the various thumbs stuck in the wet clay of one’s idea and yet emerge with something that isn’t embarrassing and wasteful.
There are different styles that creative people have to deal with this obstacle course. Some defend their work against every single remark and soon devolve into shrill defensiveness. Others sit quietly, waiting for the moment to insert a devastating retort. Some try to come up with constructive responses as the clients lays out his objections. Some give long rebuttals that communicate little but ego and leave the client wondering if they heard a word she said. Some sit gulping in anxiety, waiting for others to defend their efforts. Some smirk smugly, all but saying ‘ You are such an idiot”.
The most constructive approach is, first, just to listen. Particularly when there are lots of clients of various levels in a room, they tend to circle around each other, ideas canceling each other out, objections overruled, problems solving themselves. Then, if the audience has the patience, summarize what they have said and see if they agree with your summary. Then offer a solution or two for the present and withdraw and try to form a coherent plan of response. When you do respond, show them what they asked for, accompanied with a range of other solutions.
I think most clients like the creative process. They want to be wowed. When they come up with their own ideas and insist upon them, they also have a nagging feeling that they’re doing the wrong thing, buying a dog and barking themselves. In some ways, advertising seems easier than other creative forms. When I do illustration work, no one has ever redrawn my pictures like some clients feel they can rewrite my copy. When I work with composers, I have (almost) never seen a client tell them which specific notes to play. A bad and desperate client will push past agency and director and go up to an actor and tell him specifically how to say his lines but he’ll rarely get in front of the camera himself.
The key again is to listen and observe. That’s the way to get the clearest sense of what’s really going on. Then by re-presenting the client’s POV to him or her, you show that you get it, you want to help, you care. Don’t insist on logic — often the process spits up a lot of nonsensical mandates that come about through intricate games of Telephone that make no real sense. People, intimidated by their inarticulate bosses, can resort to just taking dictation and passing the buck on to you. But try to see through that and get to the truth underneath.
Then, try to take all of the comments as a new creative challenge. Be willing to sacrifice your children in order to end up with an even stronger result. I’ve often had good ideas become great ones as they were annealed on the forge of the approval process. Despairing of being able to fix your crippled creation, you toss it aside and fabricate a far more elegant solution.
Am I making it all sound horrible? Do I seem like an arrogant know-it-all who thinks all clients are boobs? Maybe so, but I don’t really feel that, not most of the time. It’s a thin line to tread between making something that fits the needs of the people who hired you to do it and something that you are proud of, that is fresh and exciting to you. I often write commercials based on events or perceptions that have occurred to me and it is heart breaking to see them mangled beyond recognition. It feels very personal. But in the end, it really isn’t. That’s what Art is for, to express the personal. The creative work we are paid to do, while growing from our integrity and values and personal aesthetic, is always a collaboration and must be respected as such. When created honestly and openly and generously, it is is the best sort of collaboration, Rogers and Hammerstein, Dolce & Gabbana. At other times it’s more Rogers & Frankenstein, Dolce & Gambino. So you pick your fights. You say to you yourself, if they want to drive this Lamborghini over the clff, it’s their dollar. I won’t allow myself to be twisted in the wreckage. Recognizing that jobs and millions of dollars are at stake, that these matters are impacting people’s better judgment, doesn’t make you a hack. Just a professional.
So the simple answer is: throw yourself 90% into what you do for money. Reserve that small part for self-protection. Be willing to stand back, to be objective and dispassionate. And channel the feelings you have, the reaction to disappointment and limitations, and put it into the work that really matters: your Art. Now be uncompromising. Insist on the highest quality from yourself. Be clear, be strong, be energetic and bold. Experiment, reach, push. Stay up later than you would on a client project. See yourself in this work, the real you. Keep working, keep fighting, be heedless of others. And keep telling yourself that you work to earn a living and that you must never forget to to do the living that you have earned.