I cracked it. The exercise code. The problem with going for evening walks after a day’s work is getting ready, pulling shorts and socks on, wearing a mask, all that jazz. Then picking entertainment: a podcast, a new album. Then a route. Then knowing when to turn back.
What if you could start your walk instantly, end after 15 mins or two hours, entirely up to how you felt, and be in the shower immediately after? What if you could walk anywhere in the world while COVID rages, and that was the entertainment baked right in?
That’s what I’ve been doing this week. The secret is in the massive catalog of first-person, stabilized, commentary-free walking videos on YouTube. Pop one on and stand in front of a large TV, walk on the spot, and that’s it. I’ve wandered shopping malls and basement food halls in Japan, walked along canals at sunset, and taken rainy evening walks while staying dry. The novelty of the visual content keeps your eyes and mind busy, and you can walk as fast or as slow as you want, regardless of who’s in your way. It solves every friction point I had with going on a walk, just without the fresh air and vitamin D benefits, but hey I’m a digital native. It’s okay.
We went out one night this weekend for a special dinner, the kind that blows a couple of days’ wages at one go. Coincidentally, while discussing what a possible first vacation after the apocalypse might be, the Park Hyatt Tokyo was mentioned, with the visual reference of that bar scene from Lost In Translation. Of course. Not 20 minutes later, the chef comes over to present a course and talks about how he came up with it while guest helming a menu at the Park Hyatt Tokyo years ago, staying in the same suite that Bill Murray did while he was filming the very same film. That’s life, isn’t it: undoubtedly a computer simulation.
A couple of new albums out this week. I’m looking forward to hearing more of Grouplove’s This Is This, having heard one song already. SOIL & “PIMP” SESSIONS’ The Essence of Soil is another predictably energetic jazz jam session. I had it on in the background but will need to spend more time with it. Tricky has released an EP with four guest remixes of songs from his last album, Fall To Pieces. His collaborators seem to have observed that the Tricky of today doesn’t sound quite like he used to, and have tapped into the frenetic chaotic energy of his earlier days. It’s probably not for everyone. Another case of more listening needed, when I get the time.
As I type this, I’ve put on Lana Del Ray’s Chemtrails Over The Country Club and goddamn, the first track is already stupendously lovely.
Earlier today, I heard all of Justin Bieber’s new album, Justice, from start to finish on the living room speakers. Not that I was particularly excited and wanted to put it ahead of all the above, but our neighbor had started practicing Adele’s Rolling In The Deep on her karaoke machine, JUST THAT ONE SONG over and over for about half an hour. I figured some modern pop production would drown it out, but Justice has a lot of quiet, anemic songs in the first half. Quite disappointing, although it does have Holy (which I put on my Best of 2020 playlist) and the new song Peaches works quite well.
Finally, For My Friends from UK-based Jacob Banks is well worth checking out. Across 8 songs in 25 minutes, his sound manages to combine stunningly beautiful R&B stylings, vocoders, swirling organs, rootsy rock sounds, and big guitar reverbs.
Not new, but I came across Vapor (2013) by Yosi Horikawa in a forum thread about AirPods Max. It’s an excellent electronic album for pushing your headphones, full of intricate details, a wide spatial mix, and full-bodied beats.
The Snyder Cut was watched. We got through the first 3.5 hours in one sitting, but had to go out for dinner before the epilogue. Between this excess and the hollowness of Wonder Woman 1984, I don’t think I will ever want to watch another DC superhero movie. Hmm, okay I’ll admit I’m a little bit curious about Robert Pattison as Batman.
The uneasy intimacy of work in a pandemic year — How capitalism and the pandemic destroyed our work-life balance.
I read this article on Vox yesterday, and it not only accurately describes what I’m/we’re currently experiencing, but also offers some frames that I hadn’t considered. As someone who thinks they welcome any opportunity to socialize less and stay home more, I was acutely unequipped to sense the encroachment of work into my personal headspace, distracted by the larger movements of personal time’s visible signifiers (no commuting, attending meetings from home, working off mobile devices) increasing and normalizing.
For as long as it was transforming in novel ways, packaged as a liberation, and had momentum amidst all this chaos, who would question the idea of placing work at the center of life under such circumstances? Who blessed with good health would even see the opportunity to do so, until it became too late?
What we’re left with is a situation in which workers in knowledge professions find ourselves thinking of work at all times, obsessing over it, devoting ourselves to it, even in our most private and intimate settings, even when we say we want to be thinking of other things. What is this experience, Gregg asks, but the experience of being in love?
“Classic definitions of love see the beloved as ‘the only important thing’ in life, compared to which ‘everything else seems trivial’ … leading to ‘the sense that one is in touch with the source of all value,’” Gregg writes. “A significant number of participants in this study spoke about work using language very similar to these tenets.”
Conflating the effects of overwork with being in love is an interesting idea to me, except it happens even when you’re not in love with the work. From what I can see, some of my friends experienced the above symptoms during the pandemic, but without any of the euphoria associated with love. These work thoughts that fill our waking and dreaming hours do not, as the saying goes, live rent free in our heads. The rent is too damn low, but we are charging nonetheless.
So is it a fair takeaway that knowledge work, when taken to an extreme, is just people being paid to live through a simulation of love? I think there’s a name for that. People like to jokingly use it when explaining their what they do for a living, but I guess it might be truer than you think.
[Ancient lamentation music playing]