Doesn’t It Need To Be *About* Something?

by:

Joe Patti

My nephew is in the throes of writing essays for college applications so perhaps that is why a Twitter thread by author Kelly Barnhill caught my attention a month ago. She talks about how neighborhood kids have been coming and asking her for help in writing the essay. She writes about all the writing exercises and ensuing conversations she has with them trying to draw information and realization out.

“I have them write jokes, treatises, manifestos. I have them make graphic essays. Comics. Yard signs. I have them make lists. We talk about verbs. We talk about how we know what we know.”

But the part I really honed in on was this one:

She goes on to talk about how people often don’t know themselves well enough to write about themselves and in fact other people might have greater insight about you than yourself. Which is probably why it is easier to write about your grandmother.

But this resonated with me on a more practical level because I feel like the college essay about how you overcame obstacles in your life was a new enough subject when I was applying to college that it was relevant to your admission. Now, decades later it is cliched and overdone making it all the more difficult for a person with 17 years of relatively unexamined life experience to set themselves apart from other applicants. (And it probably doesn’t help that college admission consultants are telling his parents he would have a better chance of gaining admission to his top choices if he lived in the Midwest rather than East Coast.)

While Barnhill doesn’t say how successful her essay writers are in getting into their top choices, I appreciate that she provides a rather detailed accounting of how she helps create an essay that better reflects their authentic self.  She is giving them the bones of a learning how to learn process that can serve them well throughout their lives if they pay close enough attention.

Also, it occurs to me that she is inadvertently giving an answer to the oft asked query regarding a work of art – “What’s it about??, What does it mean?” Art doesn’t always have to be about SOMETHING to be about something.

I Started This Blog Post Today

by:

Joe Patti

Okay, a little bit of a rant today. I have wanted to get this off my chest for a couple years now.

Who decided that greeting customers with “What can I get started for you today?” was a good idea? To my mind it doesn’t build a relationship with the customer and in fact undermines the customer’s confidence that the interaction will end satisfactorily.

When I was first greeted with that phrase in a local, independently owned coffee shop, my first unconscious thought was, “Are you not going to finish my order?”  I had the same thought on every subsequent visit and it created a sense of unease in me. But I knew the guy who started the shop so I thought maybe he had read about using the phrase in some management text and while I thought it was something of a miscue, it didn’t really bother me too much. Except that there were times that they did indeed mess up my order and that of my colleagues and it caused me to pay closer attention to my transactions going forward. Moreso than other places I chose to eat.

Then I started hearing the “What can I get started…” in other food service encounters and it definitely undermined my faith that they would get my order correct. Especially in those places where your food is subjected to an assembly line process where the person who you communicate your order to is indeed only starting it, use of the phrase only draws additional attention to the likelihood that things may not be completed correctly. Not only do other people often substitute in for the person to whom you rattled off your request,  the person at the end of the line doesn’t even know what you ordered and has to ask you.

Now, in an environment where places have signs up begging your patience because the location is understaffed, the lack of confidence is compounded.

So I am just bewildered about how this phrase became so commonplace that corporate chains and independently owned shops think there is some benefit to using it.

When stores call their customers guests and the employees team members, it is pretty transparently a superficial effort that doesn’t fool anyone, but at least you understand that the attempt is to make customers and employees feel special. I don’t understand the point behind the “what can I get started…” phrase.

I wonder if it might be a matter of a slogan by committee or the highest paid person in the room flexing their influence.

I sort of wondered the same thing about slogans on the Amazon delivery vans.

 

They have messaging that promises low prices and fast delivery, but it evokes a bit of shared culture pre-dating the internet that has entered the collective consciousness. It utilizes slightly different wording each time, but gives you the option of cheap, fast, and quality, saying you can only pick two. So every time I see one of those vans, I feel like it is basically saying I can get it fast and cheap, but the product is going to be crappy quality.

I can only think that Amazon chose to evoke that meme idea due to marketing by committee or some boss thew their weight around.

 

The Oral Tradition We Have All Joyfully Perpetuated

by:

Joe Patti

About a week ago, The Atlantic had an article that answered a question that has been nagging me for quite a few years – are kids still passing down the silly, nonsense jokes, hand clapping rhymes, jump rope chants, etc that we inherited as kids or has technology basically diverted their attention from those experiences?

Apparently I am not the only one who has thought this, because in the latter part of the article that exact question is addressed.

Adults, it seems, are in a perpetual state of worry that Kids These Days just don’t play like they used to, probably because of whatever technology was most recently introduced. Roud and Willett both independently brought this up to me and insisted that it’s not true. As Willett’s research shows, technology and media do influence kids’ play—but that doesn’t mean play itself is in jeopardy.

To be honest, I found myself surprised to care so much because my sister and her friends would drive me crazy repeatedly clapping out the story of Miss Suzy and her baby Tiny Tim. But as I got older I realized that these games are a tie that binds generations together. Cootie shots, cootie catchers, applying and peeling glue off the palm of your hands, sketching out that blocky S on your notebook, all comprise a type of oral tradition whose origins are difficult to trace.

Technology does morph some of the games and occasionally adds new bits of cherished lore. I am pretty sure my grandparents weren’t typing 5-8-0-0-8 into calculators and inverting the device to spell BOOBS. That is the first thing the article validates as a piece of cultural heritage. (Though knowing my maternal grandfather, that is probably pretty tame compared to some of the things he did.)

On the other hand, making up a game based on the Weeping Angels episode of Dr. Who shares similarities to games played at least 120 years ago.

Apparently, this is an aspect of our lives which perpetuates itself in a type of decentralized democracy:

Our nostalgia for our own childhood shapes what kids get exposed to. But Steve Roud, a British folklorist and the author of The Lore of the Playground, emphasized to me that folklore is by its nature not handed down by an authority. It is of the people, by the people—even if those people are children.

80 Years Before TKTS – The First Discount Ticket Booth In Times Square

by:

Joe Patti

Little trip down memory lane to an entry I did referencing Joe LeBlang, the owner of a tobacco shop whose entrepreneurial mind created NYC’s first Times Square discount ticket service in 1894, long before the 1972 opening of the current TKTS booth. (h/t again to Ken Davenport)

At the time shop owners would be given tickets if they agreed to place show posters in their windows. LeBlang collected the tickets his neighbor shop owners weren’t going to use and resold them at a discount and split the profits with the other shop owners. He became so successful, not only did theatre owners come to him with their unsold tickets, but the US post office had a special division dedicated just to his business.

Despite the fact they were providing him with tickets, show producers had a love-hate relationship with LeBlang, though they shared a mutual dislike for ticket brokers (Yes, apparently secondary market resellers have been a problem for over 120 years):

Leblang and the Producing Managers’ Association

Today it’s known as The Broadway League, but in 1905 it was called the Producing Managers’ Association and Leblang’s relationship with them rotated between adoration and contempt. Most Broadway producers were personal friends of Leblang, but loathed his business model, which they charged lessened the value of their product.

They made a number of attempts to run Leblang out of the business, but as Leblang went on to save a number of Broadway shows from closure he became an integral part of the Broadway show landscape.

Leblang’s War on Ticket Brokers

Leblang and The Producing Managers Association made no secret of their dislike of ticket brokers, which they agreed alienated the ticket buying public. Leblang devised a way to limit ticket speculation; his proposal in 1919 wasn’t readily accepted, but later on elements were used by Actors Equity as a barter to begin Sunday performances.