Going Back, Going Back

“Steaming hot and sunburned and emptied of emotion, I got lost and had ample time […] to ponder why this simple, almost simplistic ritual, this near-archaic tribal rite, had moved me so deeply. I came to no conclusions. It seemed to me then, lost on that campus itself lost to time, that it was simply a right and good thing to honor something you loved very much as loudly and wholeheartedly as you could, and the devil take sophistication, civilization, undue examination, or whatever else threatened to get between you and it.”

–Anne Rivers Siddons, writing of a “Princeton Reunion” in “John Chancelor Makes Me Cry”


Late afternoon sun hits the tigers between Whig and Clio Halls just right, illuminating them as captured in poet William Blake’s words. I’d rushed past those tigers hundreds of times, usually going between the U-store and class, or my dorm room in Foulke Hall and class or Colonial Club, and for a few rare nights one fall semester, between them lugging a bag of bagels as the Wednesday Night Bagel Man. I never really saw them, then, as an undergraduate, and certainly not with a few moments to appreciate their grandeur, like so much else of Reunions weekends. I have that feeling every time I step into Baker Rink, where for years I would look at the Hobey Baker display with a bit of undergrad ennui, after all, what was the big deal about a pair of hockey skates and some wooden pucks with scores painted on them? Only after I came to appreciate Hobey Baker, and later Patty Kazmaier, and was able to visit the memorials to both of them in Baker Rink did I see them as the connections to those very tribal rites that started with those years on campus.


Thirty three years later, Reunions is still fun. The annual alumni parade — the P-Rade — takes on some new angle or impact. Long-term keeper of Princetoniana Freddy Fox once called it “watching your life in reverse”, and it is, but folded up around your own perspective. You watch the Old Guard pass by, mentally calculating their ages and how much closer you’ve gotten to them this year, then you march through the remaining classes and your age remains fixed in time if not space, while the cheers get louder and lustier as you move through the younger returning classes. The P-rade seems to get shorter each year, as you march earlier and earlier, and even though you are going through progressively larger classes to your junior side, it still takes about 20 minutes to finish the route.

This year I was appreciated of my repaired right knee, which let me stomp around campus and march up and down the parade route (twice!) without much pain or swelling. Rather than thinking of them as “old,” I found myself thinking that the Old Guard were in fact guarding the fun of Reunions. As Sev pointed out, the oldest returning alum had seen members of the Class of 1865 march in his graduation year P-Rade, marking 152 years of alumnae that he had seen, from oldest to youngest to oldest again.

Each year I venture back, I find myself discovering some new facet of Reunions or campus that had previously been just one more thing overlooked or hurried by. One year it was discussion panels; one year it was finding the basement of the Frist Student Center; this year it was a hat trick of discovery – the location of “Lower Hyphen” (a/k/a where the pinball machines were below the Pub), white flowers placed on the 9/11 memorial outside of East Pyne (where I took a moment to think about classmate Karen Klitzman ’84), and on a lighter note, an invitation to the hill where Princeton hockey players of all ages and stripes watch the procession. And that is, in a nutshell, what makes the long-running orange and black weekend fun – a chance to rekindle old friendships and connect with people whom you’ve met electronically post-graduation through something other than classes, organizations or clubs.

Cory Doctorow “Walkaway”

[Also appears in the “2017 Book List” page, but this was so good it gets its own slightly expanded top level entry]

Each of Doctorow’s novels increases in thought-provoking idea density to the point where reading requires a nearly Talmudic scholar intensity to unpack, turn over, and examine each word grouping, hunting for meaning. And it is so, so worth it. Normally I’d finish his latest offering in days, but “Walkaway” (especially on the back cover heels of Kim Stanley Robinson’s “New York 2140,” which dealt with some of the same societal themes) takes the near future, magnifies through the lens of current events, collimates it via just enough social and computer science to make it frightening, and then zaps it, laser-like, into immediate term focus.

What are the existential crises of an uploaded consciousness (something teased in “Rapture of the Nerds” but central to this story)? What happens when test-heavy, fee-for-content education runs rampant? (as I was reading I was thinking “I should support Wikipedia, Curriki and the EFF to a greater extent”) What if the ultra-rich run out of ways to grow more rich? And most scary, what happens when there is immense value locked up in physical plants, raw materials, and intellectual property that isn’t being used, is in crumbling ruin, but can’t be made into a public trust simply because of variously divergent views of “ownership”?

If you don’t see the parallels to the United States in 2017, and can’t trace out the roots of the most terrifying themes in the book, then ask how and why we have and had a savings and loan bailout, a sub prime mortgage meltdown, staggering loads of student debt, teachers pushed to “test for testing” rather than teaching life-improving concepts and skills, and a housing market where $2,000/square foot in some cities is less of am impediment than simply finding supply that isn’t smoldering. And you haven’t visited Atlantic City, Detroit, or the parts of New Orleans still financially submerged from Hurricane Katrina.

“Walkaway” tells the story of those who simply reject the ultra-rich ultra-constrained social contract, write a new one, and the conflicts that result. It is, after an eight year hiatus in adult novels, well worth the wait. There are vintage Doctorow-isms: tribes, family and friends as the strong, weak and gravitational forces of personal relationships; a bit of fun-poking at names and how they convey and develop their own contexts over time (perhaps beating out the ABCD brothers in “Someone Comes to Town”); instant transmutation of noun to verb (“John Henry” as a verb) and by the last page, not necessarily a happy smiling ending but one that points to a more stable future for all involved.

Securing The Snowman

I finally added an SSL certificate to ye olde Snowman so that (a) Google does a better job of indexing it (b) it’s less susceptible to various forms of attack (c) I enter at least the last decade of good internet hygiene. It seems, however, that the whole https chain on my hosting provider is a bit wonky and I keep dropping connections, so if you’re one of the five regular readers, stay tuned.

Man Your Own Jackhammers

Over the years I’ve had to explain the appeal of Yes, Rush and Phish to various music fans, not always from the stance of an apologist but usually in answer to “Why do you listen to that?” When I mention Coheed and Cambria, add in “Who are they?”

The answers flow freely from a mix of outstanding musicianship, intense live performances, creative composition that breaks out of the 1-2-3-4 rock box, and a near Talmudic scholar depth to lyrical interpretation. To be fair, it took me about three months to truly appreciate Coheed and Cambria’s catalog, having found a seat on the fence (sorry) just as their fifth and subject-of-debate album, “Year of the Black Rainbow” was released. Coheed’s canon (first five, and first seven if you count the pre-prequel “Afterman” albums) convey a Herbert-detail level space opera with killer viruses, intergalactic despots, robots, love, betrayal, redemption, and battle. Set it all to insanely complex composition and that’s Coheed in a nutshell.

Disassemble it a bit and you’ll find traces of Frank Herbert’s “Dune” books, “Star Wars,” Greg Bear, Robert Heinlein, and La Boheme. Were I to teach a college course in operatic sci-fi, the background reading would be John Scalzi’s “Redshirts” (ref: The Writing Writer in Good Apollo), Greg Bear’s “Darwin’s Radio” (ref: Monstar virus and a visceral background for “The Broken”), Heinlein’s “Starship Troopers” (ref: trust and relationships, the Jesse character in the Amory Wars), Scalzi’s “Old Man’s War” (ref: recycled personalities in times of crisis, Coheed and Cambria themselves), and Frank Herbert’s original “Dune” (ref: loyalty, fealty, assassination under duress — Dr Uwe in Dune, the creation of the Monstar virus and eventually “Pearl of the Stars”). When I hear the “Man your own jackhammers” chorus of “In Keeping Secrets,” my mind goes to the Fremen/House Harkonnen battle in “Dune”, where the desert army reclaims their stronghold with primitive yet functional weapons.

It’s that chorus, the quintessential bit of obscure lyricism coupled with outrageous riff, that captures why I love Coheed and Cambria: seeing them live. You will never find a more intense and informed group of fans who are equally rocking out yet respectful of their fellow concert goers. Despite being packed three thousand deep on the floor of Terminal 5, there was absolutely no bad behavior – no elbows, no shoving, no copious quantities of spilled beer or anything else gnarly – just lots of what Claudio Sanchez called “Coheed karaoke.” When you look slightly left, catch the eye of someone 30 years your junior whose first thought is likely “What’s the old guy doing here” followed by “Oh, he knows the song” and you both go back to belting out the chorus, you’re inflated by the same feeling as seeing a touchdown in the Super Bowl or a goal in the Stanley Cup Finals. These are your unnamed yet contextually well known friends, the world’s best seat mates for the few hour journey that stimulates whatever deep visual, aural and olfactory memories you associate with the music.

Each Coheed show is slightly different; each solo, each interpretation, each choice of when to let the audience sing or to lead from the front of stage. At the break between the “album part” of the show and the encores, front man Claudio Sanchez offered two sincere explanations – first, that the entire band was sick (you wouldn’t know from the previous 90 minutes of music, another testament to their work ethic and musicianship) and second, that the voice of the little girl on “Good Apollo” was his (then) three year old niece, at a time when he was far from fatherhood himself. Ten years later, his niece was on the stage side, enjoying the show, Claudio talked about life on the road and missing his own son, and the show resonated with any number of us in any number of new ways. This is the future of music: outstanding performance and authentic presence.

Zen and the Art of Motorcycle Maintenance

Robert Pirsig, author of “Zen and the Art of Motorcycle Maintenance”, died at age 88 this week. I read the book because it was part of (what we’d now call) new age/zen/spiritual English curriculum that one of our teachers built for us, a plate of Pirsig sprinkled with heavy Castenada seasoning and a bit of Pierce’s cosmic egg to make us question our realities. If it was possible to give literary acid to high school students, that was it.

I don’t remember much of what I read in high school, but parts of Pirsig’s book stood out to me, not only then but in discussions years later. The emphasis on “gumption”, the desire to do something the right way, and the various traps that drain your energy, motivation or desire to tackle something challenging has come up repeatedly. The thought that the journey is as important as the destination, that the ride matters, certainly informed and prepared me for reading Neil Peart’s moving, haunting and touching motorcycle travelogues thirty-five years later. Finally, his matter of fact approach to maintenance, especially the beer can handle bar shim (horrifying his riding companion but so illustrative of the idea), tied an episode from my childhood to one of my parenthood.

My father and I built a number of models together; one of my favorites was a bass and balsa wood model of a Chris Craft power boat. It was a thing of scale model beauty, down to the lovingly applied finish on it that gave it the feel of a wooden ocean faring boat, scaled to my world and horizons. My father decided we should have not only a model but a boat that could truly power, so he outfitted it with an electric motor and propeller gently welded to the end of a brass shaft. The prop shaft ran through a tube he had installed, at an appropriate angle, through the floor of the boat, and again gently sealed and fitted against leaks (including a bit of non-water soluble lubricant on the shaft so that it would not grind, rattle or even allow water to encroach on the drive train). The concentric brass tubes weren’t part of the design of the model, but solved a problem neatly when tackled with all of the gumption that two inland residents could manage.

Fast forward about forty years, to a day when my son was outfitting a bass guitar with custom tuning heads. The new heads were slightly smaller than the headstock holes left by the original equipment, meaning that the bushings around the tuning pegs were likely to grind, slip or otherwise chip at the headstock. Taking one of the fancy brass tuners in hand, we ventured off to the (last remaining) local hobby shop, known to stock brass tubes in a variety of diameters. Finding one that slipped neatly over the tuning pegs, it filled the headstock bore snugly enough to solve the problem for under $3. It was never part of the original design, nor an intended after market custom shim for nearly $100 worth of tuners, but those small brass barrels cut from the tube solved the problem We faced a gumption trap and drove around it, small bag of scale model parts in hand, the journey providing as much resolution as the final fit and finish. The whole way I was channeling that Chris Craft boat, and Robert Pirsig, and thinking about that beer can shim, a few pennies of aluminum that amplified the value of an $1,800 motorcycle so wildly up or down, if only you had the gumption to fold it to fit.

Somewhere my English teacher is smiling – and for good reason, as the book was less than five years old when we read it — a miracle of modernity, as most of our history books didn’t include the Korean or Vietnam Wars. Thank you Robert Pirsig, for taking us through your Chautauquas, and to the teachers and friends who have reflected on our personal quests for Quality with me over the years.

Plate o Shrimp Musical Hat Trick

Yesterday was Record Store Day, Earth Day and the Science Marches – a hat trick of espousing our preferences for the natural sciences and their appeal to our emotional states. Wrapped inside of my semi-annual pilgrimage to the Princeton Record Exchange was another hat trick of musical plates o shrimp, those casual references that seem to be threaded together, perhaps because we’re looking for them or perhaps because they are the warps (in every sense) of the fabric of our social lives.

I wandered over to the Record Exchange counter to inquire about a vinyl copy of Regressive Aid’s two I’ve been in a mathcore/industrial rock groove (in 7/4) lately and it seemed like a good artifact; while there were none in stock I found out that (a) one of the guys at the counter used to room with RA’s bass player (b) Sim Cain, RA’s drummer (who also played with an early incarnation of Ween), would be sitting in with the Chris Harford band that evening and (c) the 1980s Princeton/Hopewell music scene has persisted and matured and while it’s not same magnitude as the impact of Seattle on grunge, it’s a nice confluence of folk, ska, reggae, rock, and progressive. Does it count as a plate o shrimp if the term was just entering the vernacular at the point of origin?

Browsing through the vinyl that was haphazardly placed into the “new arrival” bins, I got to relive some of those 1980s musical journeys, remembering the time, place, context and to quote Marti DiBergi “the smells” of each of those albums. A preponderance of early Traffic albums had me thinking about Steve Winwood, nearly failing freshman physics and how the sound of mandolins makes me immediately think of grad/curl/div vector fields. A few hours later I got a text from a friend who was at the Winwood show in Philadelphia, depicting the ex-Traffic frontman with — what else — a mandolin. Complete and total plate o shrimp, down to the resonating surfaces.

Wrapping up in Princeton, I wandered over to the jazz section, a nice mix of bebop and fusion and big bands that has the equivalent scattered yet somehow organized feel of the rock vinyl bins. A neat Dave Brubeck boxed set also had me thinking in odd time signatures, carrying me over til dinner at Shanghai Jazz in Madison where the Eric Mintel trio channeled Brubeck classics. You can’t make this stuff up, although sometimes I wonder if we find these weird connections and themes when we’re looking for them.

United’s PR Flap

Having flown nearly 2.4 million miles on United (and Continental, pre-merger) Airlines, having probably lost likely one full weekend per year due to delays and operational problems, and being remarkably vocal about what I see as United’s operational woes, I seem to be tagged left and right in reposts of coverage of the recent forced removal of a passenger from a United flight.

I have three thoughts on the matter (since a number of people have asked): United was within its rights as a carrier, but barely; United created this issue for themselves due to lack of operational excellence; United poured gasoline on the dumpster fire by once again handling a customer relations issue without the simplest of apologies (even if they believed they were in the right).

United and all other airlines routinely overbook flights. If they didn’t, they wouldn’t get the maximum revenue per flight (or accommodate all passengers) when people fail to show up, change plans, or get delayed on their inbound connections. While it’s a huge pain to those on the flight when this happens, it also means that there are seats when you have to make last minute travel plans. What is borderline about this case is that it wasn’t caused by an overbooking but rather by United’s need to move four flight crew to Louisville. United needed the seats, they weren’t sold as extra capacity in advance. United then followed procedure – they asked for volunteers, and when they had no volunteers, they selected based on an algorithm that rewards fare paid, loyalty and disabled or minor passengers. Had they decided to skip the chosen passenger, and pick the next one, they set themselves up for cascading chorus of “I’m important, pick the next guy”. And not to truly pile on, but if you have something time critical, do not depend on the airlines to get you there just in time when you’re flying through a busy hub known for weather and operational delays. Just as doctors sometimes slip their schedule due to emergencies, airlines do the same. There: I defended United. On the other hand, I’m not defending the manner in which the passenger was forcibly removed from the plane — but that’s on the policing force, not on United. I know, shocking for me to admit that an action with bad optics performed by United Airlines was within guidelines, but from my perspective, it was.

Here’s where it goes south: United created this problem for themselves. If you have to move four crew members to the next destination, and your flight is oversold, book them on another carrier. Charter a flight for them. Put them on a helicopter. Clearly, the backsplash from this incident is costing them more than the $50,000 it would have cost to do this in an egregiously expensive but less customer impactful way. This is where United continues to fail its customers – they seem to operate with the thinnest margins of slack in the system, whether it’s maintenance windows or crew arrival or gate availability. My BOS-EWR flight on Thursday was delayed 5 1/4 hours by weather — yes, there was bad weather — but the operational information on the United website was useless — it had incorrect inbound flight information (so there was no way to gauge or plan alternatives), and the sequencing of inbound to EWR and inbound to BOS flights was laughably implausible for hours. In the 18 months, I’ve had more than five flights held for a variety of mechanical problems, or flights held because crew was on an inbound and there were simply no options. I had believed one of the tenets of the hub and spoke model was to make it easier to substitute crew, equipment, and services as needed, but it seems that United is gaining no operational efficiencies at all, and perhaps suffering from needing to get crew to and from hub cities (EWR and ORD being among the worst).

And here’s why United continues to be the public relations pinata they so richly deserve to be: They routinely fail to apologize to the customer. This is true in every interaction I’ve had with United over the last ten years. They never admit that they created a bad customer experience (whether their fault or not, it’s the customer experience that matters). Admit that this could have been handled better. Admit you caused no end of public humiliation and personal aggravation. When my BOS-EWR flight was delayed and I began chirping @United via Twitter, I got back a series of “Tell us what flight” and explanations of their plane logistics, rather than (John Mullaney voice here) “We are sorry! We just destroyed your evening and the first day of your vacation, here is a $100 travel voucher or 25,000 miles for your troubles”. JetBlue does this — I flew on JetBlue right after Christmas, had a TWO HOUR delay, and was given 10% of my ticket price as travel voucher, without me asking, purely because they saw and admitted the problem (which was weather, not their doing). That’s customer sensitivity and customer service.

Until United starts to demonstrate an understanding of the total end to end customer experience of their airline, each and every incident (whether the leggings issue, or an involuntary bump, or just a hideous in flight experience) will get amplified and echoed through social media, because United offers no other signal to combat the negative noise.

CEO Oscar Munoz posted a public promise to focus on these things just a short time ago: Let’s see some transparency and accountability, and maybe the friendly skies will start to feel that way again.

Hall Of Fame Lifecycle

In the span of 24 hours I revisited forty years of parenting, music and sports.

Friday night we attended the Rock and Roll Hall of Fame induction at the Barlcays Center in Brooklyn, mostly to see two-thirds of Rush (inducted a few years ago) do the honors for Yes, my all-time favorite band and the core of so much of my love of music. Saturday took us to the other new hockey arena in the tri-state area, this time to see Patrik Elias take one final pre-game lap as he has announced his retirement from the NHL. Elias cemented us as Devils fans, not just for bringing home two Stanley Cups (and two more Finals appearances) but for his loyalty, work ethic, and popular presence in the local area. His number will be retired by the Devils in 2017-18, and he is a likely NHL Hall of Fame candidate. Over the course of two nights in two big rinks, we saw the past, present and future of various testaments to craft well plied, through the lens of our past, present and future love of music and sports.

The similarities between the two nights were subtle but present: Playing — sports or music — is critical to our enjoyment. Seeing something live gives you context and texture and experience that you can’t get from recorded or televised events. Our heroes, whether known to us personally or just from the backs of their sports cards and record sleeves, influence our approach and goals and style. Our greatest moments of joy are often theirs as well.

Hearing Geddy Lee and Alex Lifeson describe the influence Yes had on them as teenage musicians was priceless; it was a peek past the close of the “R40” tour that wrapped all the way around to the beginning of Rush time. Devin Harrison connecting Jeff Lynne’s ELO to his late father, and Geddy Lee invoking the awesome power of Chris Squire’s bass lines by sitting in with Yes on “Roundabout” made it feel as if both musical icons were smiling from on high. From past to present to future – Elias was greeted at center ice for the ceremonial face off by his wife and daughters, a surprise that made all in attendance (including Patrik himself) tear up; they are the influences on his future life.

Season’s End

For the first time since Labor Day weekend, my car does not have a bag of pucks, coach’s whiteboard, hockey stick and some collection of gloves, jackets, helmets and skate repair kits clanging around the rear hatch. Today ended another season of Mites hockey, my third as a team coach and fifth as a development squad coach, and perhaps for the first time I understand what university professors must feel as a stellar class of students leaves for the real world.

I started coaching travel hockey three years ago, when about half of this team were U6 Mites. They were wobbly, funny, and sometimes more concerned about whose birthday party was after the game, or if they had an itch under their helmet. Today I saw them passing, shooting, supporting each other and showing every aspect of a game that’s ready for full ice, full sized nets, and full score keeping. It was a pleasure to see these kids grow up with hockey as part of their lives.

I got to coach my first tournament – and took a silver medal. I’ve been there as a manager, and as a parent, but never with the responsibility for ensuring the team had a wonderful tournament experience. Despite losing the medal game, it was the type of bonding and mildly exhausting trip that will be etched into hockey memories.

I got to be Coach Santa and Coach Leprechaun. My repertoire is expanding, and the kids seem to love taking pictures and hamming it up with whatever alter ego is calendar-appropriate.

I had the pleasure of sharing the bench with two men who played at a high level, versus the beer league and education-through-sports casting training I’ve had. They brought an amazing mix of humility, humor and knowledge to each game.

At the end of today’s game, concluding our in-house tournament, amidst handing out medals and cupcakes, I took 30 seconds to talk about each player. It was the easiest public speaking I’ve ever had to do, and it happened without notes, because I just had to say what each player made me think.

It was a mixed year outside of Devils Youth hockey – a full season (so far) without Saint Patrik Elias, the patron saint of dangle pie in our house; a horrendous season for the NHL Devils yet one in which I still follow every game; a year in which I got to see playoff hockey in Prague and see my Princeton Tigers return to the ECAC playoffs (and win a series for the first time in nearly a decade); the first year in which I didn’t play in a single adult beer league game due to work, travel and injury schedules. But when you see 11 small players throw their gloves in the air, pile on their goalie and celebrate like they’d just won the Stanley Cup, it’s a good year of hockey.

Bradys, Partridges and “This Is Us”

For weeks I’ve been trying to put my finger on why I adore NBC’s “This Is Us” so much. It’s not just the Ken Olin reflection of “thirtysomething” of twenty-something years ago; it’s a deep visceral feeling that it’s TV that we truly need right now. Two simultaneous conversations refocused my thinking – one was a Facebook comment thread in which friend Jenni commented that “This Is Us” is a show about adoption, and the other was a long phone call with my sister, happily recalling the small screen families with whom we grew up: The Brady Bunch and The Partridge Family. The plate of shrimp turned all the way around when I remembered an early first season Partridge Family episode in which Danny believes he was adopted (and yes, I checked the air date — March 12, 1971, precisely 46 years earlier).

“This Is Us” works because it echoes the same risks, themes and family situations, recast forty years later, as the shows we loved the most as tweens.

Shirley Partridge was a widow. The Brady Bunch were the original blended family. Danny thought he was adopted. The Patridge Family, especially in its last season, dealt with women’s liberation, religion, the precursor to Title IX sports equality, gender roles, aging, subtle racial bias (when the Patridge Family and the Temptations bookings are switched) and the strong nuclear bond of the non-nuclear family. The Brady Bunch dealt in simpler fare: sibling rivalry, respect, dignity in failure. Put this television into the context of the early 1970s: a country reeling from racial tension and social schism around Vietnam, the collected after images of Woodstock, JFK, MLK, Nixon, Apollo 11 and Apollo 13. Like “thirtysomething” which was essentially a comedy with serious family and professional relationship undertones, our 1970s family comedies stepped up to present difficult (for the time) themes. We were just slightly younger than the lead characters of each series, looking up to them as fictional older siblings and idealized role models.

When we watch “This Is Us”, then, we are transposed twice in time – we are older than the Pearson kids in the 1970s timeline equivalent of our TV days, and older than their current ages in the forward timeline. We are now the slightly older, perhaps wiser siblings to our TV characters. Having navigated teenage and adult years we see “This Is Us” as validation that our issues with parents, family structure, rivalry, pressure, perfection, friends and extended family are universal, and maybe just maybe we successfully navigated them and the “Us” refers to the characters as it reflects the audience.