Name my book truck - Austin Kleon

Nothing from the outside will fill what’s missing on the inside

Friday, October 11, 2024

I was interviewing Franz Nicolay about his book, Band People, and at one point I asked him, “Where do you think ambition comes from?”

Before he could answer, I blurted out, “I think it comes from a big hole in you!”

We laughed. He didn’t disagree.

Here’s Tony Schwartz on the two lessons he learned from being Donald Trump’s ghostwriter:

The first lesson is that a lack of conscience can be a huge advantage when it comes to accruing power, attention and wealth in a society where most other human beings abide by a social contract. The second lesson is that nothing we get for ourselves from the outside world can ever adequately substitute for what we’re missing on the inside.

Casually, and anecdotally, this is what I’ve often observed in my (thankfully limited) experiences around famous or quasi-famous people.

First, it’s hard to tell in the “suck-cessful” what’s ambition or drive or hard work or whatever you want to call it and what’s sociopathy.

Second, fame never fixes anything for anybody.

Because nothing from the outside will fill what’s missing on the inside.

The October Country (a mixtape)

Thursday, October 10, 2024

Here’s another mixtape I made from a sealed, pre-recorded cassette I got for 99 cents at the record store. I tape over the cassette’s protection tabs and then I tape over the music and then I tape over the artwork.

I’ve made so many mixtapes this year that I think I’m starting to crack what I really love in a good mix.

Vibe.

What I really love in a mix is a vibe rather than a theme.

This comes up a lot this time of year when people post their Halloween mixes. All the songs are about witches or demons or whatever, but they don’t really cohere musically.

(I make exceptions for Bob Dylan’s brilliant Theme Time Radio Hour, which ruled completely, and also had a Halloween episode. Also: a radio show is different than a mixtape — the DJ can add context, switch the mood, etc.)

Anyways, I named this mix after Ray Bradbury’s collection:

“October Country . . . that country where it is always turning late in the year. That country where the hills are fog and the rivers are mist; where noons go quickly, dusks and twilights linger, and mid-nights stay. That country composed in the main of cellars, sub-cellars, coal-bins, closets, attics, and pantries faced away from the sun. That country whose people are autumn people, thinking only autumn thoughts. Whose people passing at night on the empty walks sound like rain. . . .”

I wanted it to sound like what October sounds like to me — in feeling, if not in lyrics. (To be honest, I barely listen to lyrics most of the time, which might be surprising to hear from a writer, but I’ve been a musician a lot longer than I’ve been a writer?)

SIDE A
– Chris Isaak, “Wicked Game”
– Tom Waits, “Down in the Hole”
– Screamin’ Jay Hawkins, “Little Demon”
– Ty Segall, “Girlfriend”
– Leonard Cohen, “Waiting for the Miracle”
– Scott Walker, “On Your Own Again”

SIDE B
– Depeche Mode, “Enjoy the Silence”
– Fever Ray, “Shiver”
– Thee Oh Sees, “Ghosts in the Trees”
– Ravyn Lenae, “Sticky”
– Keith & Tex, “Run to the Rocks”
– Bjork, “The Anchor Song”
– Charles Simic, “We Were So Poor”
– Portishead, “The Rip”

Originally, I had a wizards vs. witches thing going with the sides, and I was going to do Bjork, Fever Ray, and Ravyn Lenae and more on side B, but, again, I throw out concept and theme for vibe when I do these things.

The Charles Simic poem was kind of an accident — I was just looking through Spotify at my “Liked” tracks and tried to find a short snippet to fit the rest of the tape. (On the actual cassette, I play a tiny little portion of “The Rip” to end the side, but I think it goes nicely as a full song at the end.)

You can listen to the mix on Spotify.