
Miles Klee: I think I have a little bit of a crush on Generation X. And seeing Pavement play a concert in an apocalyptic Central Park thunderstorm last night took it to a whole new level. It also didn't hurt that Cece and I ran into you, Dave, an authentic Gen X-er (if my math is sound)-by the way, you do the meanest air guitar I've seen in ages. But the point is, I pretty much swooned when I heard the opening bars of "Spit On A Stranger."

The company is moving its headquarters downtown, from Madison Avenue to a building on Broad Street, next to the New York Stock Exchange, that is bristling with security checkpoints and biometric thumbprint scanners-devices that, to judge by the expressions of suited security personnel repeatedly mashing their thumbs into them, have yet to catch up with science fiction. Thursday, July 29, 2010, was our last business day in the old space, which had already been stripped of cubicle decoration, shelves, filing cabinets, plants and, we were horrified to discover as of 10:40 a.m., vending machines. No light snacks this particular Thursday, or soda; the booze at our last happy hour [...]
I happen to like all three of the components of this week's Storychord (where, every issue, they group a photographer, a writer and a musician) and not just because the text is by Awl pal Miles Klee. (Um, that song is really good.)

Late last month, it very nearly ended: a meme that had, weirdly, endured for years. When the copyright notices finally came to YouTube, and some of the videos were removed–well, they came far too late, and too few. Many of the videos survived, further extending the life of a joke that was never that funny to begin with.
If, as Mark Twain contended, nothing can stand against the assault of laughter, then the "Hitler Reacts" meme was tantamount to poking a dead horse. And yet, for years, everyone felt compelled to pick up their poking sticks and get to work on it. The conceit is one of shallow [...]

In 1793, France's revolutionary government decreed that the Louvre Palace, a much-remodeled Parisian fortress, should serve as a museum to house and exhibit the nation's 537 greatest available works of art-mainly stuff ripped from the clutches of kings and clergy on their way out of power and up the blood-slicked steps to headlessness. Circa that same year, also in Paris, an aging portrait painter named Joseph Ducreux completed the 18th-century equivalent of a charmingly douchey Facebook profile picture, Portrait de l'artiste sous les traits d'un moqueur. The piece would later become part of the Musée du Louvre's vaunted collection… and so much more.

I know you're bursting with assorted creative juices, but let's face it: your masterpiece is likely to end up on a garbage barge where not even famished seagulls will peck at its fearless yet wholly inedible vision of this world we call ‘real.' Why? Because you tried to go it alone! Nobody who tackled their craft with brains and passion and monastic discipline, aspiring to be the lone inventor of something splendidly next, ever got further than, like, the theory of relativity. So just stop thinking outside the box-that is no path to glory in the year 20now. Instead, think inside another box that hasn't been assembled yet.

No, I'm not some joyless prude. I was once like you, even. Remember when we were sitting around your apartment and decided to watch the trailer online? How we laughed! Someone had tried to adapt early 90s Trapper Keepers® for the screen! And they'd spent a small nation's GDP to make it happen! If, some months from that point, James Cameron Trips Over A Fanboy Wishlist Into The Uncanny Valley wasn't going to be the flop of our young century, jeez, it really should've been.
Then we went about our admittedly terrestrial lives.