Thoughts on Doing Better

This is the script from a YouTube video I posted today.

These are not normal times. I can’t just do the same things I normally do, and pretend nothing is happening.

I. Freedom and Responsibility

I believe in the innate freedom of every person to choose how they want to live their lives. (And every person is a person, regardless of their race, religion, sexual orientation, gender expression, or ability.) I also believe that freedom comes with responsibility.

If we choose to live in a society — which is not really a choice in the 21st century — then we also have a responsibility to the others around us, to respect and defend their freedoms. The civil rights movement was born of the principle that no one is free, unless we all are free. Or, to put it another way: injustice anywhere is a threat to justice everywhere.

But it’s not just about individual freedoms. Working together, we can do things that none of us can do alone. Collective action allows us to create a better, more just, more meaningful world, for everyone.

II. Power and Money

The late, great senator from my home state of Minnesota, Paul Wellstone, famously said it best: “We all do better when we all do better.”

Or maybe you prefer the words of Jesus: “So in everything, do to others what you would have them do to you, for this sums up the Law and the Prophets.” (Matthew 7:12 [NIV])

Power and money are corrupting forces. Yes, complex organizations need some kind of hierarchy, to make decisions and maintain order, but everyone should still have a voice. And money is an essential tool for an economy to function, when we remember its fundamental purpose: storing the value of human effort, to facilitate trade.

But there are those among us who ignore the social contract; those who choose to hoard wealth and power. Their insatiable desire for more drives a wedge between us. Great empires of injustice are built on the backs of the masses, whose labor is essential to the construction of those empires, but who do not receive their fair share of the value they produce.

Every large-scale economic system, across the spectrum, from communist totalitarianism to laissez faire capitalism, creates an imbalance of wealth and power. It is the power of the people, the purpose of democracy, to provide a counterbalance, to ensure liberty and justice for all.

III. The Internet

The Internet exploded in the 1990s, at a unique time of international openness and realignment, following the collapse of the Soviet Union. There had never in human history been such a powerful tool for the free exchange of ideas, with anyone in the world, nor such an opportune moment for it to appear.

Fast forward to 2026, and obviously that utopian vision for the Internet has become severely corrupted by power and money… as almost all large-scale human endeavors inevitably do.

Today, misinformation and abuse are everywhere. Corporations have acquired, or squashed — often acquired in order to squash — many of the once-independent voices. Countries that were once exploring a new openness have slammed the door shut. Social media echo chambers encourage people to indulge their worst impulses. Every website seems to be drowning in ads and AI slop.

And yet, individual, self-hosted blogs still exist. Independent voices can still speak freely to the world on YouTube… even if the mysterious algorithm ultimately decides which voices rise to the surface in the vast ocean of “content.”

One word (OK, it’s a portmanteau/neologism) shows, better than any other, that the Internet can still live up to its earliest ideals: Wikipedia.

The Internet hasn’t completely lost its potential for the kind of collective action that allows us to do better — to create a more informed, more interesting, more just world — for everyone. But we have to work harder at it.

IV. Minneapolis

I live in Minneapolis. I love Minneapolis. It is a city that embraces the spirit of Paul Wellstone.

It’s not a perfect place. We all know that. But it’s a place that is trying hard to do better. And that’s made it a desirable place to be, for a lot of people.

A place that celebrates nature, with its award-winning park system. A place that celebrates the arts in their many forms, especially with its thriving theater and music scenes. A place that celebrates the diversity of its people, with a vast array of thriving restaurants and small businesses. A place that celebrates learning and innovation, with the University of Minnesota and numerous smaller colleges.

A place that is in jeopardy, in the present moment.

Minneapolis is a city of immigrants, built on stolen Dakota land.

I say that not because I believe it can somehow be “unstolen,” or as some kind of token white guilt self-flagellation. We live in the world we live in. We can’t erase the past — as much as some of us may try — but we can choose how we write the future. Choosing a future where we do better requires understanding how we got here in the first place.

People from all over the world choose to live in Minneapolis, because it is a place where they are welcome. Where they find opportunities. And where they become a part of the fabric of the community, making the city better for all of us by sharing their talents, their hard work, and the things that make their cultures unique. This is what the city has always been.

But, of course, Minneapolis is not perfect. No place is. Fort Snelling is a painful reminder of that, from its use as a concentration camp after the Dakota War of 1862, to the use of the nearby Whipple Building by ICE in 2026. (The Whipple Building is not part of Historic Fort Snelling, which is managed by the Minnesota Historical Society.)

Another painful reminder is the history of redlining, which still shapes the character of our neighborhoods more than a half century after the practice was banned. (The city has a program for homeowners to remove the now-unenforceable racial covenants from their property deeds, which my wife and I did in 2021.) And just six years ago, we experienced one of the most difficult times we’ve ever faced as a community, with the police murder of George Floyd.

But despite — maybe because of — our flawed history, and our imperfect present, we are always striving to make Minneapolis a place where “we all do better.”

The civic spirit of our city is a threat, to greed and corrupt power. So we’ve become a target. But our humble reputation for “Minnesota nice” belies the fierceness with which we will defend the things that make this place special.

That quote from Paul Wellstone, “we all do better when we all do better,” is not just an empty platitude. It’s a foundational pillar of the kind of progressive politics that has held strong here over the decades. And it’s something that those corrupted by wealth and power will never understand.

Here, we actually believe in something beyond ourselves. Our moral compass has not been skewed by the pull of avarice and cynical nihilism.

The thing is, we know we’re not especially unique in that regard. We believe most people, everywhere, feel the way we do. That everyone deserves a fair chance to live their own lives, and that they should treat their neighbors with care and respect. It’s just something that most of us go about quietly.

But. Now is the time to not be so quiet about it.

V. Do Better

These are not normal times… in Minneapolis, in the United States, in the world. I can’t just do the same things I normally do and pretend nothing is happening. I have to speak up. I have to do better.

I believe in the innate freedom of every person to choose how they want to live their lives. I also believe that freedom comes with responsibility. Individual freedom comes with the responsibility of helping to ensure and defend the individual freedom of others, and to engage meaningfully with others, to do the things we can’t do alone.

“We all do better when we all do better.”

But… what, exactly, does it mean to “do better?”

Is it a state of being? Or a call to action?

It’s both. And you can’t have one without the other.

ST:TNG Treadmill Review #45: Final Mission (or Not)

Final Mission
Season 4 Episode 9
Original airdate: November 17, 1990

Netflix Synopsis

Before leaving for Starfleet Academy, Wesley Crusher accompanies Capt. Picard at the negotiation proceedings of a mining dispute.

My Brief Review

Of course this is not actually anyone’s final mission… except Dirgo, the shuttlecraft captain who meets his untimely yet well-deserved demise in this episode.

Wes is on his way to Starfleet Academy, so another scenario is contrived to allow him to be alone with Captain Picard, while the Enterprise races off to deal with a distant emergency… which only exists, on a practical level, to justify the situation where Picard and Wesley are forced to be together because the ship isn’t there to save them.

We never find out what the weird sentry is that’s guarding the fountain in the cave, or how Wesley destroyed it, or how it passes through his body like Voldemort in the first Harry Potter movie without harming him in any way. But does any of it really matter? We get affirmation that Captain Picard is proud of Wesley, which is pretty much the whole reason for this episode to exist.

Still, I actually did enjoy it. The scenes with Wesley and Picard are much more compelling than the side story about dragging a radiation-leaking garbage scow through an asteroid belt. Seriously. That’s the side story.

Does this episode carry on my observation that every episode of season 4 is about family? I would say yes. Obviously there’s Dr. Crusher’s interactions with Wesley after the rescue, but I’ve always felt that there was almost a father-son dynamic to Wesley and Picard’s relationship, and that definitely gets played up here.

Memorable Moment

The shuttle crashed in the middle of a desert, baking at 55ºC, Picard fashions a large arrow out of debris, pointing at the mountains where they’re heading for shelter, then proceeds to immediately walk off at a 10º angle from where the arrow is pointing. Oops. Also there are big looping tire tracks in the sand all around the shuttle craft. Maybe they just didn’t show up on a standard definition TV.

I have several other complaints about these types of details in this sloppy episode, but this IMDb review covers them all better (and more sarcastically) than I even could.

Crew Rando

A real crew rando! She has her name spoken several times and even has a few lines herself! With Wesley gone, we now have Ensign Allenby at the helm. (She appears in two other episodes, one of them uncredited.)

Distance Rating: 5K

IMDb score: 6.9/10

Did Adobe actually mock up these Mac OS X screenshots on Windows? (Yes… I’m pretty sure they did.)

So, for reasons I’d rather not get into, I had to break down and install Flash Player in Safari today. (OK, I’ll get into it briefly… due to a rather obscure bug, Chrome — my preferred browser — has been crashing repeatedly on me whenever I try to upload a file. Long-term solutions aside, I had an immediate need for a way to use a Flash-based file uploader, so I had to install Flash in Safari.)

On the final page of the Flash Player download process on Adobe’s website, they offer a series of helpful screenshots to guide the most novice of Mac users through the process of locating and running the installer. Only… no, wait. Those can’t be real Mac OS X screenshots. The fonts are all wrong! So is the anti-aliasing, if you want to get really geeky about it. They’re mostly Arial, with the trademark overly-hinted anti-aliasing of Windows. Strangely though, it looks like the text label under the disk icon in the first screenshot is in Helvetica.

The real telltale sign for me though was the white mouse pointer arrow. Mac OS X has a black arrow. (The Mac has always had a black arrow, and Windows has always had a white one… presumably one of Microsoft’s infringement-suit-skirting superficial changes to the GUI in the early days of the Mac/Windows rivalry.)

I have come to expect subpar user experiences from Adobe, a company whose products I once loved so dearly. But this really takes the cake. I can’t even quite comprehend how screenshots like these were produced. It’s impossible to get results like this on a real Mac. Do they have some weird proprietary in-house Mac emulator that runs on Windows? (Actually, that might explain a lot.) Did they actually meticulously create these “screenshots” in (the Windows version of) Photoshop? Or do they have a Windows application specifically designed to generate fake Mac screenshots for all of their documentation? I’m at a loss to explain it, but there’s no way it wasn’t significantly more work than simply, you know, taking screenshots on a real Mac.

See for yourself… (Note: The image is slightly scaled down here to fit the page. Click it to view at full size.)

adobe_screenshots

#rpm12 day 1: So far, so… good?

True to the spirit of RPM (I guess), I got things started last night at midnight. I think I succeeded in establishing my process for this year’s challenge: I recorded one complete piece of music, and now I am planning to set it aside and move on, recording another tonight.

On most of my albums, as soon as I finish recording a track, I begin fiddling endlessly with the mix and master, and I’m usually even already starting to nail down track sequence and titles for the final album.

This time I’m trying to exercise restraint. I did make a rough mixdown to listen to in iTunes, but I will leave all matters of final track selection, sequence, titles, and even mixing and mastering until I’ve recorded EVERYTHING and have a chance to step back and see how it all fits together.

The piece I recorded last night consists of 7 layers of increasingly chaotic Animoog synth tones, with a minimal, processed FunkBox beat bolted on to (barely) hold the proceedings together. It starts off deceptively serene, then quickly veers off into chaos, while still managing to be fairly listenable. I’m not, after all, making Metal Machine Music here. (Yes, Lou Reed’s 1975 is-it-a-joke-or-not album of industrial electronic minimalist noise is one of my favorite musical punching bags.)

So, I consider day 1 (or, more accurately, night 0) a success. I think.

One problem I have yet to resolve: most of the apps I’m recording with have stereo output, but the technique I’m using to capture sound from the iPhone into GarageBand on my Mac is mono. I’m using a 1/4-inch (mono) guitar patch cable, plugged into an 1/8-inch adapter, plugged into my iPhone’s headphone jack. The other end of the patch cable is plugged into my Behringer Guitar Link USB interface. It captures the sound well, but… mono. It’s not so bad with a piece of music like what I worked on last night, where I’m layering multiple tracks in GarageBand (so having mono input is slightly preferrable), but it’s not going to work for everything. I know some of these apps allow you to record directly within the app, so in some cases I might do that, and then just drop the resulting WAV files into GarageBand for further editing.

Hey, I know that guy!

By now, especially if you ever watch sporting events (since it seems to be in heavy rotation during them), you’ve no doubt seen this clever American Express commercial:

I’ve enjoyed this commercial since I first saw it, I guess because I am always inclined to see faces in inanimate objects anyway (the front ends of cars are really like this for me), and it’s an inventive way to play up this idea.

The commercial is also memorable for the distinctive cello playing. That’s J.S. Bach’s Cello Suite No. 1 in G Major for those in the know. (Me, I knew it was Bach, but I had to look up the rest.) But who played that cello piece so distinctively? A virtuoso, to be sure. Was it Yo-Yo Ma? Can you name another cello virtuoso?

Well, here’s a name for you to file away in your brain for later reference: Robert Burkhart. He’s been a part of the classical music scene in New York (and toured the world) for the past decade. But I’ll always know him as Bob — the high school orchestra director’s son and one of my most entertainingly eccentric friends in high school. Bob is a great guy and I am absolutely thrilled for him over his growing success in the music world. Way to go, Bob!

If you like what you hear, Bob recently released a CD with pianist Blair McMillen. I picked up two copies — one for myself and one for my parents. It’s called 20/21. Check it out!