When Neither of the Captains Picking Their Teams Wanted You

November 6, 2023 By David Griesing Leave a Comment

It’s been another week of bad news.

I got to watch the Phillies lose to the Diamond Backs in the last two games of the National League Championship Series and it had me re-living my own years playing baseball and, more soulfully, about what it had been like being picked (often from the bottom of the barrel) for the team I’d be playing on.

But even before these misty memories, I was thinking about the men (in particular) who watch sports on TV but never played the game they’re watching despite their baseball caps and enthusiasm. They always strike me as having “no real skin in the game” while living vicariously through a bunch of thoroughbreds who don’t even spend enough hours in their home town to pay a wage tax.

The “never played part” seems hopelessly arms-length to me, while the players who make up the Phillies (or any professional sports team for that matter) fly in the face of every tribal instinct that adds up to “local” as far as I’m concerned. Most of the showboats out on the field don’t care enough about this place to actually live and raise their kids here. So watching this week re-connected me to the sensation of bat-meeting-ball and “that impossible catch” way-back-when, but also somewhat less so because those protean skills were being demonstrated by the best out-of-towners-that-money-can-buy who were pretending to be my home team.

Back when I could do a credible run around the bases, baseball to me was so local that I could almost hit the roof of my house with a homer if the wind was right.

We had two sports seasons back then—Spring and Fall—which roughly coincided with baseball and football. There were several, multiple-kid families near-by and one of them (across the street) had the right-sized backyard and the properly-motivated oldest brother to organize a game almost every afternoon in those swollen hours when exiting the school bus melted towards dinner time.

With winning in each captain’s mind, the biggest hurdle before starting a game was getting picked for your team.

It was more or less the same random sample of players each day so our pluses and minuses were pretty well known, but my memory is that the draft picks were always reduced to the kids that each captain either wanted or didn’t want (until the last rounds gave them only the bad choices) which was where I regularly fell. That meant you were literally in a meat parade every afternoon if you were brave enough to show up for the selection process, and some of the easily-wounded who also lived near-by skipped it altogether, got an early start on their homework, or sat around feeling sorry about being a klutz, a spaz or a cry-baby.

It felt Darwinian because it was.

As one commentator with similar memories—who may also have been watching the end of the same baseball season on TV— noted:

_{“you see yourself, maybe for the first time, through the cold eyes of an appraiser. You are no more than a body in the mind of this person, an object with too many deficiencies to catalog: chubby, knock-kneed, weak-armed, timid, poorly coordinated, scared of the ball, slow.”}

Because every game promised camaraderie, excitement and a fast clock towards nightfall, I always showed up (despite the pain of it) even though I hadn’t yet discovered that I might be able to do something to improve my “low-value status,” or even become “an athlete” someday.

We’ll return to this commentator (and his suspicions that the trauma of this experience can cause permanent scarring) in a minute, but somewhat like him I devised my own “work-around” to this miserable situation, having neither an older brother nor a father who was around enough to show me what I needed to do.

Because the neighborhood draft-pickers already knew my inabilities too well for me to ever game them, I practiced turning myself into something more desirable at school during recess, where a similar winnowing out process for the games we played took place nearly every day. Kick-ball, dodge-ball, whatever it was, I’d focus (in advance) on how to make some kind of indelible impression every single time I got the chance: kicking the ball harder and farther than the last dope, throwing the ball hard enough to smack some asshole who needed impressing, looking at how the “first picks” moved around the field compared to me, stumbling around and seemingly out-of-place.

I didn’t realize how much I was teaching myself about playing a sport, being on a team, becoming “the kind of man” that other men wanted on their team. Sure, I was trying out conformity instead of forging my own singular path, but it was also about getting better at something, and maybe something as worthwhile as self-mastery.

While I was re-living these early, tooth-and-claw chapters of my team-playing evolution, I remembered a New Yorker essay that’s never left me about a remarkable coach (who also happened to be a world-famous art curator) and how he turned a gaggle of 9-year old boys from Manhattan into the Metrozoid’s football team. Among many other things, he had the boys break “that mystical game” down into its component parts so that they could “get good at” each part before getting good at the whole. A few years ago, I wrote here about Kirk Varnedoe’s game mechanics and general wizardry in Who We Go-ToTo Learn How To Get There.

Similarly, I worked at each part of my baseball game and at the-putting-it altogether-part and never stopped until I slowly started inching up the pecking order– or at least high enough to know that I didn’t have to be a passive victim of a selection process that was going to repeat itself for decades and through entire careers.

Somebody else is always going to pick or reject me. So what am I going to do about it?

Some rejects spend the rest of their lives fleeing those first rejections in a kind of “safe harbor” they’ve built for themselves.

Instead of rising to positions somewhere beyond their capabilities (a phenomenon once called “The Peter Principle”) because higher-ups kept falling for these individuals’ confident self-promotion, there is also (in my observation) a category of under-achievers who only go as far as their easiest successes because the risk of being rejected when putting yourself out there is simply too painful to ever attempt again.

The aforementioned commentator (Rich Cohen writing in the Wall Street Journal), sees this kind of pain as plausibly originating at team selections in the course of childhood games and grade-school gym classes, those earliest and, for some, indelible brushes with “natural selection.” He also explains why this might be so:

_{“the feeling of randomness, being misunderstood, underestimated and judged for all the wrong reasons. We will never get rid of it because it’s a pure expression of the human condition.”}

To be judged unfairly. Or maybe (because you really do suck as a ball-player) to be judged fairly, and then to feel badly about it because in its harsh light, somebody else’s judgment has revealed something about you and how you’re viewed by others.

Of course, it’s what you do (or don’t do) next that matters. While he never says anything as matter-of-fact as “just try to get better at taking the test you just failed,” Cohen does seem to see the benefit in working through your suffering somehow.

_{“Maybe it’s better to face [a draft, selection process like this one] and learn to overcome it in the same years that you are learning about the Declaration of Independence and human reproduction [that is, while you’re young]. After all, you only learn to disregard the draft—and, better still, turn it to your advantage—once you’ve suffered it.”}

But the lack of specificity of his thinking here—for example, he never exactly says how one can turn this situation into an “advantage”—made me wonder whether Cohen really thought his way through the traumatizing quandary and out the other end, particularly when he wonders out loud:

_{“Were these [meat-market] auctions the source of all my problems, the insecurities and panics, the angers and paranoia, that still haunt me? Were they the cause of the occasional drinking-binge, meditation retreat and need to write?”}

Could all of that possibly be happening to this day if he’d truly found a way to leave his particular meat-markets stronger instead of weaker?

I can only speak to my years being assessed in these ways. It seems to me that the only way to gain some measure of damage-control over selection processes like these is to first off, be clear-eyed about your weaknesses, and then to do whatever you can to mitigate their impact in whatever game you want to be playing in. Then, even if you’re the last one picked—or not picked at all—you’ll have the empowering satisfaction of pushing yourself to the point of improvement.

Of course, this is not just a boys-to-men phenomenon. And, to the extent it is still “a man’s world of business” out there (but one with far more women in it), the girls-to-women cohort needs to deal with these selection processes too—just as endlessly and ad nauseam but also the only way you can deal with them effectively. (It’s one reason I’m a proponent of girls playing team sports: so they too can get familiar with and learn how to triumph over these gruesome dynamics.)

Which was why I was taken aback by Cohen’s citing and then providing his own rationale for a growing opposition to the playground/gym-class draft picking process. Apparently for some time now, the practice is being phased out, and at least part of Cohen seems to approve.

_{“As long ago as 1993, the New York Times headlined a story, ‘New Gym Class: No More Choosing Up Sides.’ Because it traumatizes kids, separates them, leaves a mark on their psyche.”}

(At this point I wondered: Is this what happened to those wimpy, TV sports-team fanboys who shied away from team sports themselves because they couldn’t “live with the rejections that came with it”? Are they seeking a jolt of toughness or even of “masculinity” by watching a team of mercenaries pursue what they never had the fortitude and resilience to pursue on a competitive playing field?

These will have to be questions for another day.)

All I can speak to is my experience once again, and how glad I am that no one was protecting me before I got the chance to prove what I needed to prove to myself.

Because one day, long ago, on the Burn’s family’s Spring-Season baseball field, I actually got picked first by one of the opposing captains. Some other player may have been sick or on vacation that day, providing an opening for the top spot (my memory is a tad hazy about that), but about the moment when I was picked there is nothing but clarity.

One of the captains (maybe Walter) must have remembered my recent hitting, catching and sliding into third-base before he had a chance to recall his earlier impressions of me. And because he wanted to be on the winning side when the game was done, he went for the best player that was available in the first round.

I still remember how proud I felt that day.

I had already felt the empowerment of those prior games, when I’d seen myself improving in all those ways.

Now, when somebody else was finally noticing, I got the first-hand opportunity to view them side-by-side and realized (in some ways, once-and-for-all) that getting your own shit together was the better of the two..

This post was adapted from my October 29, 2023 newsletter. Newsletters are delivered to subscribers’ in-boxes every Sunday morning, and sometimes I post the content from one of them here. You can subscribe (and not miss any) by leaving your email address in the column to the right.

The Surprising Effects of Saying the Right Words Out Loud

November 16, 2022 By David Griesing Leave a Comment

A lot of people seem depressed to me. It’s particularly disheartening when their rage against the machine casts a pall over the smiles and chat that they’re aiming in my direction.

We all process life’s traumas differently of course, but many of us do so by burying them. it’s just not far enough down to hold our game faces in front of anyone who’s paying attention.

We get depressed for some of the same reasons that we suffer from PTSD.

During America’s wars in Iraq and Afghanistan—and given the unrepaired damage that lingered from Vietnam 30-plus years before—there was a growing acknowledgement of PTSD (or post-traumatic stress disorder) and, more importantly, how to enable soldiers who had internalized the traumas of these battlefields to reach a kind of armistice with them so they could begin to heal as they made their transitions home.

Two books have changed my thinking about this healing process, and both suggest paths for recovering from traumas that have been branded on our psyches by war or by simply growing up in damaged families and communities. The first, about warriors struggling to find their ways back from war (and so much more), is “The Evil Hours: A Biography of Post-Traumatic Stress Disorder” (2015) by David Morris. The second, about recovering from traumatic experiences more generally, is called “The Body Keeps the Score: Brain, Mind and Body in the Healing of Trauma” (2016) by Besel van der Kolk. (It’s telling, I think, that Van der Kolk’s important book is still a top-10, best-selling non-fiction title six years after it was first published.)

Both books are beautifully written and conceived, and both authors observe how pre-modern societies (unlike our own) enabled trauma survivors to recover through community-sponsored, participatory events. For instance, Morris talks at length about the role that performances of Greek tragedies (and the on-stage choruses that echoed audience reactions) had in finally bringing their returning soldiers back into their communities. Van der Kolk devotes some of his most powerful chapters to programs that teach victims how to “perform” their ways through the kinds of traumatic events that have been holding them hostage.

So I found a recent podcast about the healing that can come from reciting carefully-chosen speeches from Shakespeare’s plays to be yet another way to bring “what’s been damaged” out into the open—to give it both a deep breath and a plaintive voice—in an effort to weaken trauma’s hold on how we are and appear to our families and neighbors.

I wondered whether speaking famous lines from a make-shift stage could actually help those who are shadowed by trauma to heal the wounds that still haunt them and are impossible to hide.

Since I spend a lot of time writing, it’s hard to avoid “the slap to the side of my head” that at exactly the same time I’m grinding out another paragraph, fewer and fewer readers are actually reading anything more than the wordstreams that keep flashing across the surfaces of their phones. Maybe a podcast story like this one “about the healing power of literature” can help to reverse the TikTok-ing of our attention spans so that there will be somebody left with the bandwidth to read any book (and mine in particular) someday.

Of course that reversal will happen, I say to myself. It has to.

But whether it’s a book to read or a speech to recite, whenever advice is involved it also depends on “the quality of the uplift” that follows your words on the page or the ones that you’re delivering to an audience.

– So could learning to deliver, say, Gloucester’s speech in Shakespeare’s Richard III (the one that begins: “This is the winter of our discontent”), really help to counteract the conflict and darkness–and more importantly, the buried anger about that conflict and darkness–more effectively than either the “Can’t-you-just-get-over-it” advice or the anti-depressants that our culture keeps prescribing?

– Is Shakespeare’s poetry really that much fuller and more resonant with what we’ve actually been feeling and living than the clinical jargon that gestures “in the direction of” but fails to capture the full dimensions of our discontents?

– Is there also something about the iambic pentameter of Shakespeare’s lines that can fall into sync with our natural body rhythms, thereby slowing us down and calming us in spite of everything that was destabilizing us before?

A recent episode of The Pulse, “a podcast with stories at the heart of health, science, and innovation,” was posing all of these questions and making me wonder about the recognitions that the right words might invite and the healing power of their bodily cadences when we turn them into personal testimony in front of an audience.

– Could transforming Gloucester’s speech or Lady Macbeth’s “Out, Damned Spot” monologue into ones own witnessing about trauma actually relieve some of the pain that’s under the surface but still leaching out?

– Could aspects of “a cure like this” be bottled and taken home for medicinal purposes, effectively turning our living rooms into mini-Globe theaters, instead of venting our inner demons whenever we scream at customer service representatives over the phone, assault flight attendants while we’re traveling, threaten poll workers when it’s time to vote, or lash out at our spouses?

– Could “magical words, passionately spoken” offer any kind of pressure-relief valve for what’s plainly ailing so many of us?

At least until now, the program that was profiled onThe Pulse has been limited to trauma survivors-–both war veterans and others—who voluntarily come together for a kind of group therapy to (1) chronicle their particular injuries; (2) identify the Shakespearean passages that best reflect those injuries; (3) get some distance from the damage that’s been done by enlisting another group member for a dress rehearsal of those theatrical lines; and (4) learn how to sync breathing with delivery to present what amounts to “their own testimony about personal traumas” in front of the group.

The amount of healing that occurs in those who follow this arc was measured and found to be substantial.

According to Stephan Wolfert, the program’s founder, the support of similar group members is essential for trauma-sufferers to begin to heal. As comfort levels grow, participants create an inventory of their past injuries, including insomnia, occasions for shame and guilt, or when they’ve felt betrayed and abandoned. From reading excerpts of Shakespeare’s plays, they notice that some of his characters seem to be tortured by the same experiences. According to an article about Wolfert: participants who had felt “stupid” reading these plays in high school “entered the world of Shakespeare’s verse” as they began to feel a kinship between themselves and these characters.

An early challenge involved matching participant traumas with monologues in particular plays. Wolfert worked with Alisha Ali, who was part of a research team in applied psychology at NYU, to create an algorithm that could help with those matches. For example, someone with recurrent nightmares would be given the lines of a character with tormented sleep. With a “good-fitting” speech in hand, participants then hand off their “personal trauma monologues” to a trusted group member to rehearse and perform, gaining from it:

an ‘aesthetic distance’ from his or her own trauma, and from that distance, being able to feel empathy toward the [other] veteran who is performing [your] monologue. For veterans who are unable to forgive themselves for some wartime trauma, such as the death of a fellow soldier, this distance can provide the veteran with a new self-awareness and a path to self-forgiveness.

Because performing Shakespeare is a physical act that requires training, members of the group then turn to improving breath control for delivering lines that are written in iambic pentameter and, as such, have their own unique stops, starts and rhythms. Through his work with Ali, Wolfert began to notice how closely “the beat” in Shakespeare’s verse echoes the rhythms of the human heart, and how encouraging performers to breathe around each line can reduce “heart rate variability”—a regulator of stress in PTSD sufferers—as well as deepening their appreciation of what they’ve been feeling while reciting them.

In the podcast, one group participant described how this breath-work around Shakespeare’s lines worked for him. By alternating each line with a breath, he noticed that:

it softens, just that breathing between each line, it softens the reading so that the lines almost melt into your breath, ‘cause you’re inhaling and exhaling while you read, almost like you’re not reading it but breathing it, and that’s when the meaning of the words comes in.

At first, the rush of “his sense of aloneness from all directions” overwhelmed him to such a degree that he broke down. These kinds of recognitions and releases of pent-up emotions continued for all participants as they delivered their final testimonies using Shakespeare’s words.

All the while, Ali used scientific measures to document health improvements in the group’s participants. She noticed how “immersion” in the verse and “feeling” its rhymes and rhythms through intermittent breathing counteracts the kind of “shallow breathing” that is common when someone is in a near-constant state of fight and flight, which many PTSD sufferers are. At the same time, she noticed how a new sense of calm enabled participants to hold their traumas in a somewhat safer place.

Ali also noted how this kind of play-acting produces “significant increases in self-efficacy,” with participants gaining a greater belief in their own abilities and competencies by owning and performing their experiences and, therefore, building confidence that they can hold jobs and socialize more effectively in spite of their injuries once they leave the group. Ali went on to record “significant improvements” in heart-rate variabilities and in “EEG” measurements that are associated with improved brain functioning among the program’s participants.

There seems little doubt that these men and women were more prepared to enter their new worlds by gaining a greater measure of control over old world traumas.

_{Another night’s entertainment.}

Below is the front-end of Gloucester’s famous speech from Shakespeare’s Richard III (For its entirety, the last 13 stanzas can be found here.) If you’d like to “make a go” at it, try breathing “in” before and “out” as you recite each line—even if the only one who’s there to hear your testifying is a trusted pet. Notice how surrounding each line with breath deepens your appreciation of the words and how they resonate with your experience. And if you’re not feeling disconnections like these already, try to imagine how it might feel if you were fresh from a battlefield and returning to the supposed relief of an alien world that feels as misaligned as this one does.

Now is the winter of our discontent
Made glorious summer by this sun of York;
And all the clouds that lour’d upon our house
In the deep bosom of the ocean buried.
Now are our brows bound with victorious wreaths;
Our bruised arms hung up for monuments;
Our stern alarums changed to merry meetings,
Our dreadful marches to delightful measures.
Grim-visaged war hath smooth’d his wrinkled front;
And now, instead of mounting barbed steeds
To fright the souls of fearful adversaries,
He capers nimbly in a lady’s chamber
To the lascivious pleasing of a lute.
But I, that am not shaped for sportive tricks,
Nor made to court an amorous looking-glass;
I, that am rudely stamp’d, and want love’s majesty
To strut before a wanton ambling nymph;
I, that am curtail’d of this fair proportion,
Cheated of feature by dissembling nature,
Deformed, unfinish’d, sent before my time
Into this breathing world, scarce half made up,
And that so lamely and unfashionable
That dogs bark at me as I halt by them;
Why, I, in this weak piping time of peace,
Have no delight to pass away the time,
Unless to spy my shadow in the sun
And descant on mine own deformity:
And therefore, since I cannot prove a lover,
To entertain these fair well-spoken days,
I am determined to prove a villain
And hate the idle pleasures of these days.

Maybe you don’t have PTSD today, but are merely suffering the after-effects of lesser traumas in a world that’s still alarming and frequently destabilizing.

Maybe taking a breath–and cushioning the words for such traumas in the moment that you exhale them–can soften the daily body blows, deepen your breathing and slow a racing heart.

Maybe it’s worth it to keep finding “the words” for the traumas around “just plain living and working,” and that one of the best reasons to read may be how books, plays and poems—particularly great ones—can give us more evocative words than we have already to move us from alienation today to a more comfortable world tomorrow. “The right words” can help us to breathe our sufferings in and then out in an effort to move beyond them.

(In the meantime, your captive audience may not always know what’s going on when the stage lights dim and the costumes come out, but hopefully will join you in feeling the air get a little bit lighter after each performance.)

+ + +

This post was adapted from my November 13, 2022 newsletter. Newsletters are delivered to subscribers’ in-boxes every Sunday morning, and sometimes I post the content from one of them here. You can subscribe (and not miss any of them) by leaving your email address in the column to the right.

Why We Gravitate Towards the Work We Do

August 17, 2021 By David Griesing Leave a Comment

I’ve always wondered: how did somebody I meet end up doing the job (or jobs) that they’re doing? After many of these exchanges, the most telling answers always seem to involve early preferences that they’d chosen to act upon.

It’s what you preferred to do when you were bored, where you turned “to make something” when inspired, or the ways you reacted when you’re put in an uncomfortable spot. These decisions reveal almost instinctual affinities, the pull of your strongest magnets. Almost always, they’re more intuitive than rational and you end up trusting them enough to turn them into springboards.

Recent evidence has helped to confirm this hypothesis.

Some family members and friends of Bo Burnham repeatedly made fun of him as a kid. They were amused that he acted “kind of gay” and, by way of response, he proclaimed some of his work-defining preferences not by starting a diversity workshop on his front porch (signaling his flowering desire for a career in HR) or by researching “conversion camps” he might attend (sensing the power of immersive experiences to improve himself and the gravitational pull of maybe working for an investment bank or a major law firm one day). No, Burnham didn’t respond by doing either of these things.

Instead, he reacted to the hurt or alarm he felt by leaning into his family member’s and friends’ conformist attitudes and spoofing them (along with his role in triggering their intolerance) in videos he made in his childhood bedroom, posting them on YouTube, and writing the first chapter of what was to become his viral success story.

Burnham’s early-and-often preference for turning uncomfortable situations into comedy—and then sharing his unexpected point of view as widely as possible—had a kind of apotheosis two weeks ago when his Netflix special called Bo Burnham: Inside (about his discomfort at having to relieve his isolation during the pandemic through the screens of his devices) received 6 Emmy Award nominations only six weeks after it was first released (which on top of everything else has to be some kind of record) however terrific it frequently was.

I didn’t know Burnham before watching his comedy special but almost immediately wanted to know how he first set sail for the strangely hilarious harbor he was sharing with us. Still in his early teens, filming his reactions to other people’s judgments in his bedroom, and then wanting to get his response to as many people as possible—Burnham had been drawn to blaring situational comedy like a moth to a flame before he could probably explain it. And when he was pulled in that direction, he proceeded to act upon “what that little inside voice” was telling him to do. Now that voice had been given what some might call The Ultimate Amplification.

Because at least half of my work today is writing about work, I often ask people I encounter “how they happened to get into…,” and not infrequently, I hear stories about childhood affinities and the aptitudes that helped to further them. Discounting the occasional savvy marketer who has built an “engaging origin story” around his or her subsequent success, there plainly seems to be more than mere coincidence in the “follow-your-early- preferences” Theory of Workplace Fit. In addition to everyone else that I’ve heard from, it surely applies to my career choices, including what family members and random observers told me “I should do when I grow up” once they had a sense of where I was telling them (subliminally of course) that I was headed.

So on Friday morning, after I’d listened to an interview with a neuroscientist who’d wanted to be either a professional dancer or a scientist as a kid—and then heard him say that the same brain circuits which enable the birds he studies to vocalize may also enable both humans and birds to dance—I knew that I’d be writing to you today about his preference-driven origin story.

Was it a coincidence, or something far deeper, that brought him to a career fork between “obviously dissimilar” jobs early on, but found him discovering, at mid-career, that he’s always been interested in (and his preferences had always somehow involved) investigating the mechanics that make both of these jobs possible?

_{Illustration by Maiken Scott for the Bird Song episode of her podcast.}

The interview with Erich Jarvis (who is a professor at Rockefeller University studying the neurobiology of vocal learning) was on a podcast called The Pulse. The tagline for the pod describes it as “an adventure into unexpected corners of the health and science world,” and since I listen fairly often, I can report that in terms of “adventure” and “unexpected” it often delivers, and certainly did this week.

Jarvis concentrates his research on how birds produce song with the broader aim of finding solutions to human speech disorders in the ways that certain song birds, including parrots and hummingbirds, learn how to sing by imitating other birds and the real world sounds that they encounter. As he delves into the brain circuitry that enables these birds to “learn” their speech patterns, he hopes to find ways that can enable similar circuits (or molecular pathways) in the human brain to fire again as intended once they’ve broken down.

As the interview unfolded, I learned that Jarvis grew up in New York City. His mom was a gospel singer and his dad a musician with a deep curiosity about science. Encouraged by their artistic inclinations, he became a dance major at the High School for the Performing Arts in New York City, leading to internships at the Joffrey Ballet and Alvin Alley Dance Company. Notwithstanding his talent as a dancer, Jarvis recalled his deepening fascination with science, which he took from both his father and a high school biology course. On the eve of college, he wondered if he might make more of a difference to others as a scientist than as a dancer. He chose the path of science of course but made a point of mentioning that he still dances as much as he can, including in the studio that he maintained in his apartment during the pandemic-related shutdowns in New York.

Elaborating on his research, Jarvis mentioned a couple of widely-viewed video clips featuring performing birds on line. He told us that one of them, featuring a parakeet named Disco, illustrated how birds can learn to mimic surprisingly complex speech patterns. As with all birds and animals that have learned how to mimic, they do so by storing sounds they have heard in their auditory memories, transferring these sound cards through a motor pathway to their voice boxes (a syrinx in birds, a larynx in humans), hearing themselves vocalize, and then practicing until their memories and their voices are aligned—in a sensory feedback loop. When I got to check it out, I had to admit that Disco’s feedback loop was, indeed, pretty amazing.

But then Jarvis made his own surprising disclosure: “Only species that can learn how to imitate sound can learn how to dance.” Apparently, in Jarvis’s corner of of the scientific community, interest in this possible overlap was only piqued after a cockatoo named Snowball was seen by millions dancing to the Backstreet Boys and revealing, among many other things, how clickbait can have entirely unintended consequences once it finds its own feedback loop.

During the scientific debate that Snowball triggered, Jarvis said that he began to extrapolate from what he had already learned about the neurocircuitry of vocalizing animals and humans.

Are there specialized connections that take sound from the ears and integrate them into the brain circuits that control the muscles of the body, [stimulating not only the vocal cords in animals and birds, but also other responses in their bodies]? If those specialized connections and genes that control those connections are the same ones that gave rise to the spoken language circuit…it would suggest that the mechanism of learning how to dance [actually] came from language. What’s interesting about this is that some cultures don’t distinguish dance from music.

Jarvis’s podcast interview never direcly linked this hypothesis to his own career fork in high school, or to the fact that the same mind-body connections might be integral to both of them. Instead, the coincidence (or congruence) just floated about in the ether for a few seconds before his interview ended.

I tend to think there is something behind most coincidences, in this instance how genes and environmental factors may have embedded the career preferences that Jarvis had in high school far more deeply than he ever could have known for sure.

I think the good work of his life—as prefigured by his early preferences for dance and science—may have always been about the drive to discover how his mind, was telling his body, what it should do.

The image up top is of a 2006 painting by David Hockney called “Wheat Field Beyond the Tunnel,” one of many paintings he’s done of paths in rural England and what lies beyond them.

This post was adapted from my July 25, 2021 newsletter. Newsletters are delivered to subscribers’ in-boxes every Sunday morning and occasionally I post the content from one of them here. You can subscribe by leaving your email address in the column to the right.

The Giving Part of Taking Other People’s Pictures

June 14, 2021 By David Griesing Leave a Comment

It’s harder than ever to maintain, and then safeguard, our zones of privacy.

I’ve been thinking about it in terms of pictures that other people take of us or that we take of them—sometimes when those other people are friends, sometimes when they’re strangers, and sometimes when its companies or authorities who are taking them for their own purposes.

In these photographs, what is the line between a fair exchange (with mutual benefits) and an unwelcomed intrusion?

What exactly are we “taking” when we take a picture of somebody?

(When shown their photographs, tribal people often complain that the camera has somehow stolen their souls.)

Is there, or should there be, a “give” as well as a “take” with photography?

Two encounters this week sharpened that last question for me.

A close colleague of mine in counseling work stopped by unannounced with some cookies to end our just concluded school year on a celebratory note. We’d been meeting with our kids on Zoom and hadn’t seen one another in person for months. She was so glad to see me that she wanted to take my picture before leaving, but I waved her gesture off. I’d stopped mowing the lawn when I saw her heading my way and felt that my sweaty appearance would have made a poor souvenir (even though she clearly felt otherwise). “What just happened?” I wondered afterwards.

My second encounter came by way of reminiscence.

Three years ago this week, I had been in New Orleans and was remembering that unbelievably rich and flavorful time, eager to go back and dig in even deeper. Part of my return trip would be taking in a “second line” street parade, because every week of the year at least one of them takes place somewhere in the City.

*_{A “second line” street parade photo by Aeisha Palmer, May 20, 2007}*

As you can imagine, these parades (which are sponsored by New Orlean’s “social aid and pleasure clubs”) are a kind of paradise for professional and amateur photographers. While following a random NOLA thread last week, I came across a story about “the etiquette of making photos” of the performers at these parades. This story also speculated about the “taking and giving” boundaries of photographing other people. For example:

Are there different rules for friends than there are for strangers?

Several years ago, Susan Sontag explored these boundaries and expectations in a series of essays for the New York Review of Books, later published in her own book, On Photography. Sontag focused on the “acquisitive” nature of cameras, how they “take something” from whoever or whatever is being photographed, a sentiment that’s similar to those tribal member fears about having their essences stolen. She wrote:

To photograph is to appropriate the thing photographed.

Sontag also commented on the vicarious nature of picture taking.

Photography has become one of the principal devices for experiencing something, [or at least] for giving the appearance of participation.

The way she saw it, we may not be marching in (or even watching) the parade, “but somehow we feel that we are” if we can capture a picture of it for savoring now and later on. Instead of “being in the moment,” we’re counting on the triggering nature of these pictures to approximate the real experience we’ve missed by “capturing enough of it” to still feel satisfied.

Of course, there are consequences on both sides to this kind of “taking.” A drive to accumulate photographic experiences can not only rob us of more direct engagement with other people and places (say, the actual smells and sounds of the parade, or the conversations we might otherwise be having with spectators and participants), it also raises questions about the boundaries that can be crossed when we’re driven by a kind of hunger to “take” more and more of them without ever realizing the impacts that we’re having by doing so. To our camera’s subjects, it can feel like violation.

As I’ve become more thoughtful about these impacts, it’s meant thinking through my picture-taking drive in advance.

What is gained and what can be lost when I’m taking somebody’s picture? What is (or should be) the etiquette around photographing others? These are questions that seem impossible to ignore since cameras are literally everywhere today, devouring what they see through their lenses. As a result, going through some Q&A with myself by way of preparation—whether I’m likely to be the photographer or the photographed—increasingly seems like a good idea.

For instance, what if strangers “who would make me a great picture” are performing in public or, even more commonly, just being themselves in a public place when I happen upon them with my camera?

My most indelible experience of the latter happened at the Damascus Gate, which leads to the “Arab Quarter” in Jerusalem’s Old City. In arcs along the honey-colored steps that sweep down to that massive archway, Palestinian women, many in traditional clothes, were gathering and talking in a highly animated fashion against the backdrop of ancient battlements, but as soon as I pointed my camera in their direction to take “my perfect shot,” they raised their hands, almost as one, and shielded their faces from me. Was that ever sobering! I didn’t know whether they were protecting their souls or simply their modesty and privacy from another invasive tourist.

In the story about picture taking at parades in New Orleans, one photographer who is drawn by their similarly incredible visuals observed:

You really have to be present and aware and know when the right time is to take a photo. Photography can be an extractive thing, exploitative, especially now when so many people have cameras.

To her, knowing when to shoot and when to refrain from picture taking is about reading the situation,

a vibe. You know when somebody wants you to take their photo, and you know when somebody doesn’t.

Another regular parade photographer elaborated on her comments:

If you carry yourself the right way . . . people putting on that parade see you know how to handle yourself and will give you a beautiful shot.

I’ve also found that performers want you to portray them in the best light and will help you “to light the scene” when you make eye contact and invite them to do so. On the other hand, they will also tell you (if you’re paying attention) when the lighting is off and you should just back off.

*_{Here’s one where I got it right, at least about “working the scene together.”}*

Because everybody wants to look their best while being photographed, the same rules usually apply when the subjects aren’t part of a performance but simply out in public, being interesting by being themselves. For the would-be photographer, it’s about initiating a conversation and establishing at least a brief connection before asking: can I take your picture? If they don’t feel “looked down upon” by your interest, they’ll often agree. But as with those “on stage,” these preliminaries can also result in: “No, I’d rather that you didn’t right now,” a phrase that’s hard to hear when “a great picture” is right there in front of you if only you could “take it.”

Whenever you know in advance that taking pictures could be uncomfortable for those being photographed, one New Orleans parade regular talked about the need to deepen his relationship with those he wants to photograph before showing up with his camera. Because he takes pictures at NOLA’s legendary funeral parades, he brings club members photos that he’s taken of the deceased on prior occasions so that colleagues and family “have a record of that person’s street style.” It’s his sign of respect at what is, after all, a time for grieving a loss as well as celebrating a life.

We go and we shoot funerals and [then] it’s not a voyeuristic thing. You’re doing what you do within the context of the community

—a community that you’ve already made yourself at least “an honorary member of” through your empathy and generosity.

Then, what you’re giving tends to balance what you’ll be taking.

_{Here’s a gentleman I’d just purchased something from at the annual flea market.}

So what about my cookie-bearing friend who showed up unannounced this week?

Should I have relaxed “my best foot forward” enough to permit one sweaty shot when she so clearly wanted a memento of our reunion after so many months apart?

Yes, probably.

But I’ve become so defensive about cameras taking my picture on every city street, whenever I ring somebody’s doorbell or face my laptop screen that sometimes it’s hard to recognize when “putting down my guard” is actually relationship building and for my own good instead of some kind of robbery.

Where zones of personal privacy are concerned, this is a tricky time to navigate either taking pictures of somebody or being captured by one.

It’s one more reason to try and rehearse my camera-related transactions before I find myself, once again, in the middle of one.

+ + +

(If you’re interested in a photo essay I posted after my last visit to New Orleans, here it is, from May, 2018. Another post, with photos taken at the Mummers Parade in January, 2019, can be found here. Taking pictures has always been a way that I recharge for work, although I’m still in the process of learning its complicated rules.)

This post was adapted from my May 30, 2021 newsletter. Newsletters are delivered to subscribers’ in-boxes every Sunday morning and occasionally I post the content from one of them here. You can subscribe by leaving your email address in the column to the right.

Blockchain Goes to Work

May 20, 2019 By David Griesing Leave a Comment

This week I’ve re-worked a post from last August in the first of a two-part consideration on the future of work. Today, it’s envisioning a workforce where more of us will be working for ourselves, selling increments of our time and talent in what amounts to a series of paying jobs. While it’s a response to the loss of “traditional jobs” to automation, it also holds the promise of greater autonomy, abundance and prosperity if we choose to value the right things by standing up for and safeguarding our human priorities along the way.

The future of work is being designed today. Perhaps the most exciting part is that each one of us has a role to play–is part of a broader negotiation–about how that future should unfold.

1 An Optimistic Vision

The future of work has never looked more abundant, although many don’t see it that way.

Some are busy projecting job losses from automation and brain-replacing artificial intelligence, telling us we’ll all be idled and that much poorer for it. Or they’re identifying the brainpower careers that will remain so we can point ourselves or our tuition payments in their direction. For these forecasters, the future of work is at best the pursuit of diminishing returns.

Some of the most pessimistic (or politically ambitious) among them have been formulating universal income plans to replace today’s more limited safety nets. They tell us that a stipend like this will liberate us to pursue our passions since new government checks will cover our basic necessities. This seems misguided to me. As George Orwell noted, some utopians simply cannot “imagine happiness except in the form of relief, either from effort or pain.”

An alternate vision focuses on innovations that could enable us to do more and better work while unlocking greater prosperity.

One of the enabling technologies that is already ushering in this future is blockchain. Like the protocols for transmitting data across digital networks led to the Internet, blockchain-based software applications could fundamentally change the ways that we work.

A blockchain is a web-based chain of connections, most commonly with no central monitor or regulator. The technology enables every block in the chain to record data that can be seen and reviewed by every other block, maintaining its accuracy through its security protections and transparency. Everyone with access can see what every other connection has recorded in a digital ledger or transaction log. The need for and costs of a “middleman” (like a bank) and other impediments (like legal and financial gatekeepers) are avoided. Unlike traditional recordkeeping, there is no central database for meddlers to corrupt.

Blockchain technology supports the sale and use of digital currencies (like bitcoin) and just as importantly, “smart contracts” that enforce the rules about how value is exchanged by parties when they reach agreement. Ethereum utilizes its blockchain platform to host most of the projects that attract, manage and pay for time and talent in decentralized ways today. Tantalizing glimpses into this future are also available at the social network Steemit and on the payment platform Bitwage.

Steemit’s uses a digital currency called Steem that you can redeem for cash for your contributions to the social network’s “hivemind.” For example, users are paid for posts, for the number of people liking their posts, for how quickly you spot another post that becomes popular, that is, for the value of your contributions to the network. Users are funding jobs like travel blogging while they crisscross the world and, reportedly, one early adopter has already earned more than a million dollars worth of Steem. In more traditional buying-and-selling transactions, Bitwage’s payment application allows employees or freelancers to receive their wages in bitcoin without requiring either their employers or clients to use a digital currency exchange.

For work-based ecosystems built on blockchains to evolve further, they will need to become faster and more scalable without sacrificing the security and decentralization that are their hallmarks. In this pursuit, Ethereum and a raft of competitors are experimenting with a protocol called Lightening that can settle millions of digital currency transactions more quickly and cheaply but that needs “to go off the blockchain” in order to do so. These companies are also exploring structural changes to basic blockchain technology. The prize that drives them is an online platform that is durable enough to support a global marketplace where every kind of work can be bought and sold.

Let’s call it a work2benefit exchange.

Because your time and talent has value and is in limited supply, you could sell it in a market that’s vibrant enough to buy it. A blockchain-based exchange might easily handle transactions that involve very small as well as larger, project-oriented jobs. Because you have capabilities that you’ve sold before and others that you’ve given away because there was no way to be compensated, an exchange like this could help secure prior income streams while providing you with new ones. Such a marketplace would easily dwarf Walmart’s in size without the downsides of a company middleman taking his profits, making you keep his work schedule, commute to his place of business or contribute to his overhead.

Previously unrealized income streams—even small ones—will be particularly welcome.

Suppose you’re asked to provide 5 minutes of feedback on your recent doctor’s visit. Your scarce resources are the time and judgment that you might not provide if you weren’t being paid for them. Their one-time value might be modest, but as the demands for your input keep coming, payments for it will add up. A blockchain exchange could pay you for editing a resume in 20 minutes or designing a company’s logo in 2 hours; providing traffic-cam information on heavily traveled routes you are already taking; matchmaking acquaintances with service providers that have something they need; selling your personal data to marketers who want you to buy their products; maybe even a government incentive for completing your tax returns or voting in the next election. Similarly, when I need the benefit of someone else’s work, this marketplace could connect me to it, even if the time and talent is half a world away.

Work2benefit exchanges that can handle incremental transactions like these haven’t been built yet, let alone populated by enough buyers and sellers to make them viable—but they’re coming. You’ll still need your judgment, vision and hustle, but before long it will be possible to make a living in a marketplace where you (and maybe billions of others) will each be blocks in a global blockchain. Many people will continue to work in groups. Offices and factories won’t vanish. But traditional jobs that once came with pensions, health benefits and provable credit will become increasingly scarce. The stripped-down, “independent contractor” work that’s left will almost certainly be supplemented by new ways of getting paid for your human resources.

Blockchain and related technologies will unlock new categories of personal wealth and autonomy. They could fill the future of work with greater abundance for us to share with one another. Tomorrow’s challenge won’t be finding enough work to make a living but reimagining and re-bundling job securities like health care and creditworthiness around all the new jobs we’ll be doing. Next week, I’ll introduce you to some of the people and companies that are helping to build these protections around our increasingly autonomous workforce.

2. The Future Begins With a Vision

A vision should linger and inspire for long enough that it fixes in the minds eye where it becomes part of the imagination, a cause for hope, and fuel that’s needed to overcome the obstacles that will always stand in its way. Here, in brief, are some of the challenges that a bold-enough vision will need to see us through, starting with the inevitable turf wars and technology challenges:

-There is resistance from the mainstream banking community to digital currencies and the exchanges that convert them into cash for gig economy paychecks. For example, a story in today’s Wall Street Journal chronicles the banking controversy that has already embroiled one digital currency exchange. Some of the current banking industry will need to be disrupted so that new “fin-tech” mechanisms can take their place.

-There are technology challenges to making digital platforms large enough to handle the smart contracts that will bring all these new buyers and sellers of work together. The ecosystem of applications will need to be robust enough to attract, manage and compensate the sale of goods and talent in a global marketplace. To meet these challenges, new applications are being developed outside of blockchain’s architecture (with its attendant security risks and middleman costs) while some of the fundamentals behind blockchain technology itself are being reconsidered. If you’re interested in a deeper dive, more about blockchain’s “scalability” hurdles can be found here.

-Managing yourself to a stable, reliable income from many jobs in a way that meets your needs and your family’s needs requires its own expertise. The freedom to decide when to work and how often to work is liberating, but as the recent strikes by Uber drivers illustrate, it isn’t easy to cobble a patchwork of compensated time “into a living” while also selling your services at “a market price.” We’ll all have to learn more about how to put our livelihoods together while finding new ways to bargain effectively for what we need from each one of our work-based exchanges.

-Not everyone is naturally suited to be an entrepreneur, so we’ll have to learn how to embrace additional parts of our entrepreneurial spirit too. Working for yourself involves not only doing your paying jobs but also functioning as your back and front offices by doing your own marketing, accounting, taxes, establishing and monitoring your co-working relationships, maintaining your skill levels, and determining the prices for your goods and services. Most 9-5 jobs didn’t require you to do all these things, but as jobs like this disappear, you’ll be doing more of them yourself—with both the upsides and downsides that new opportunities for growth and mastery can bring.

Thinking through the hurdles hopefully reminds us of the promises. We’ll thrive with greater freedom, convenience and efficiency by working where, when and how we want to. We’ll be paid for increments of our time that we used to give away for free. We’ll increasingly stand both behind our work and out in front of it in ways that will make “what we do” an even more powerful demonstration of who we are and what is important to us.

This future of work is being written today.

We’re building it with our ideas and conversations as new ecosystems gradually evolve around it.

What comes next will be exciting and daunting, both creative and destructive, as the familiar is replaced by something that few of us have experienced before.

This future can have a human face, an opportunity for workers, families and communities to flourish, as long as we don’t leave the ideas and conversations about how that can happen to someone else.

This post was adapted from my May 19, 2019 newsletter. When you subscribe, a new newsletter/post will be delivered to your inbox every Sunday morning.