Never Said


We didn’t come to the group as professional managers. We came as these two guys who had some ideas as filmmakers and we wanted to manage. We never said we knew how to do it.”

—Chris Stamp

In James D. Cooper’s documentary, Lambert & Stamp, he recounts the surprising alliance of two filmmaker hopefuls, Kit Lambert and Chris Stamp, who unwittingly became the managers of The Who. Their story is one that manifests a follow your heart and the rest will follow attitude. The two banded together and devised their master plan—to film a documentary about them managing a rock band. However, the two were devoid of industry connections, management experience, and rock music knowledge. But what the two lacked in experience, they compensated for with their ambition to create something cutting edge. Kit and Chris took heed of mod culture and proposed intuitive decisions, such as changing the band name from “The High Numbers” to “The Who,” as the former elicited a mental image of Bingo.

This process, of course, started off and ripened into an offbeat approach to manage a rock band. By not setting up a pre-established process, downfalls are expected, but crafty solutions can arise. And it is in this utter confusion and disorder that hidden gems can surface.

Picture from here.


Lady Looks Like A Dude


While love was the cardinal theme in Woody Allen’s Annie Hall, I, like many who have viewed the film, found Annie’s style to be arresting and the take home point of the flick. Diane Keaton plays the ditzy Annie, but her androgynous style was always on point. The loose-fitting collared shirts, ties, and patterned button ups have inspired countless Pinterest style boards and Halloween costumes. Below are a few favorite looks from the film for future looks to try out. You won’t find a better reason to scope out the menswear department.






Picture from here, here, here, here, here, and here.

The Operation of the Machine

Sometimes, we need to stop and think about how we are living our lives. We get sucked up with what is “normal” and slowly abandon our personal beliefs. We compromise what we think to uphold society’s ideals, rather than our own.

Mario Savio’s 1964 “Bodies Upon the Gears” speech passionately given on the steps of UC Berkeley’s Sproul Hall is a compelling reminder. He points out that

There is a time when the operation of the machine becomes so odious, makes you so sick at heart, that you can’t take part; you can’t even passively take part, and you’ve got to put your bodies upon the gears and upon the wheels, upon the levers, upon all the apparatus, and you’ve got to make it stop. And you’ve got to indicate to the people who run it, to the people who own it, that unless you’re free, the machine will be prevented from working at all!”

Stand up and break free.

You’re more than just raw material.

The Band, Not the Seats


Bleachers. The band name itself should signal the alternative vibes that pulsate throughout all of their tracks.

While the anthem worthy tracks, such as “I Wanna Get Better” and “Rollercoaster,” have been on replay since last year, it’s “Wake Me” that keeps me company during these frigid days. The song steadily slows the tempo and things get quieter. But it’s a very warm song. The perfect companion for my chilly walks.

“Right from the start I knew,
You’d set a fire in me.
And I’d rather be sad with you,
Than anywhere away from you.”

– “Wake Me” (Bleachers)

Picture from here.

Relatively Speaking

It’s life’s illusions I recall. I really don’t know life at all.”

–“Both Sides, Now” (Joni Mitchell)

With every year that passes, I tell myself that I’ve gotten wiser and am that much closer to attaining my purpose in life. But sometimes it just takes one event, one phone call, or even just the muttering of one sentence to debunk everything I thought I knew.

As I gaze into my palms that cup the remnants of what was once my prevailing belief, I notice small curves and cusps that were seemingly hidden before.

The pieces are all scattered about now, just waiting for me to fit together the fragments.