A to Z (but not X)

I spend so much of my life on the web, I was struck about the ease of getting to my most frequented sites by typing the first letter. Here’s what each letter is in my world. What’re yours?

A is for amtrak

B is for brown.edu/cis — we do a lot of work with their Web Services department

C is for calendar.google.com

D is for drive.google.com

E is for etsy

F is for facebook

G is for gmail

H is for hellomrmag.com

I is for ideo.org

J is for jri.org — one of our largest non-profit clients

K is for kayak

L is for linkedin

M is for maps.google.com

N is for nytimes.com — shame about the &gwh removal being turned off

O is for okcupid

P is for posterous — but not for long

Q is for quickbooks online

R is for rihumanities.org — a recent exciting prospect

S is for schwadesign.basecamphq.com — the classic version!

T is for teamgantt.com

U is for underconsideration.com

V is for vimeo

W is for webmail.schwadesign.com

X isn’t for anything.

Y is for youtube

Z is for zipcar

Notes on Cliff

[This content originally appeared in the first edition of Hello Mr.]  

He told me his name was Cliff Quibble.

It was 1986, the summer before I turned 15.

Growing up in the suburbs of New York, I was accustomed to taking the train into the city myself. But on this particular Saturday, it wasn’t the museums or SoHo streets I was exploring. I was seeking connection.

Like any curious teenager at the dawn of dial-up Internet and PCs at home, I found the chat room – basically an ongoing stream of text you had to scan constantly for any reference to your name – an easy place to explore. And an enticing one, given that it seemed limited only by who was in the room, and not by distance. I could connect with anyone anywhere, making me feel less isolated in the sleepy burbs. And there were hundreds of rooms.

I pictured in my head an 8-bit green-screen rectangle of a room, with a door on each wall and tables in each corner (somehow it was easier to enter this new territory if I made a visual of it). I found a few people in one corner that seemed interesting. Someone I saw more than once went by Cliff. After a few chats he asked me if I wanted to go “pvt” – he set up a private chat room for just the two of us.

We chatted about nothing and everything. The weather, the city, Ronald Reagan, my family, his. He was cordial and laughed at my jokes, hahahahah-style. After a few weeks of rushing home from school to hop in our pvt, he asked me if I wanted to meet him in person. I didn’t hesitate because he seemed kind, and said he just wanted to get to know me better, no pressure, and that we could go to a museum together if I liked. That generosity and companionship was exactly what I was looking for. He gave me his last name and phone number, and I still remember how small and important it looked on the dot matrix printout. I hid it in a book, and then tucked it in my back pocket on the Saturday I went to meet him.

I suggested we meet in Grand Central because it was a hop off the train for me, and a very anonymous/public location in case things didn’t work out. We described in detail what we’d be wearing so we could spot each other in such a crowded place (him: plaid shirt and jeans; me: shorts, polo shirt, loafers), and picked a time. He said he was in his late 30s, about 5'7", glasses, sandy brown, thinning hair. I didn’t even realize (or consider) that he was twice my age, and his appearance seemed irrelevant. I was focused on connecting with someone – almost anyone – that shared my experience.

I gave myself a buffer of time to blend in to the staircase overlooking the appointed location, Ticket Window 23. I felt my heart start to pound from nervousness when I thought I saw someone by his description, but older. I felt paralyzed, unable to stand up or inch closer to the ticket window. There were throngs of people in the terminal that morning and it was a few minutes past the time we said we’d meet when I began to lose faith, wondering – almost hoping he’d bailed. Then, as the crowd dissipated, it revealed Cliff gazing directly at me. Tunnel vision quieted the echoing hall, and I realized that the glasses were thicker and the hair was thinner, the face more deeply lined, and I felt before we’d even spoken that I’d been deceived. I quickly stood up, turned around, and walked up the staircase. I never went back to the chat room or saw him again.

I have thought of him, though. Wondered if he was still alive. Pondered my youthful bravery to even get as close as I did. Cliff’s mismatched description with what I saw was the first time I felt crestfallen. Over the years, challenged by similar moments, I’ve grown more accepting and tolerant, and less judgmental. Connections can be made anywhere, with anyone, and there’s something to learn from all of them.

Thoughts on 4'33"

First: I was happy to hear the performance for the first time. It’s been a year of firsts. (I went to Mont St-Michel recently, too.) Second: I have loved Cage since I was in high school. Thanks to Mr. Brooks for the introduction to A Musical Circus. Changed my life. Or at least my approach to things.

Now to the heart of it: a lot of people were anticipating that the performers, holding their instruments and bringing out their scores, would do something. When slightly more than a dozen musicians take to the beautiful, vertical Calderwood Hall at the Isabella Stewart Gardner Museum’s stage, and stand, poised with their instruments, yet seemingly doing “nothing” …. There was tension. Anticipation. The weight of expectancy. An audible silence.

Bodies shifted in chairs. Bodies of the performers shifted from one standing foot to another.

And seemingly still nothing. The turning of a page of a score. Audience, still waiting.

The increasing mass of silence. A cough — finally, some noise.

The lesson was simple: everything is music.

I knew what to expect, yet I knew that every instance of the performance would be different. I was actually relieved that the guy on the second balcony opposite me coughed. I smiled when and beacuse did, knowing it was a contribution to the piece.

I knew it would make some people uncomfortable. I enjoyed that.

It was such a delight.

Poem, 5/20

For Greg

two boys in parallel

two lanky bodies laying atop mom’s

long silver dodge caravan

roof rackless

recklessly in early spring boy love,

discovering how close bodies can be

without touching.

then, a hand, exploringly inches

towards the energy of another

man’s hand and

the first spark of skin belies the

resistance within.

yet still, there’s that thrill.

My time with Maurice

Maurice Sendak has died, and I am pondering temporality. In fact, it’s taken me all day to find the time to write this post…

On a ride to Philly only last Thursday, my friend Kevin and I were talking about the great creative thinkers we admire, who also just happen to be gay. “Maurice Sendak would be amazing to interview,” he said. I took out my phone, and started thumbing through the address book. “I’ll call him right now!” I threatened, but didn’t. I then told Kevin about the time Maurice and I shared together in the summer of 1995.

At that time, my Mom was dating Maurice’s driver, Peter, whom I liked and who took a liking to me. Peter connected me with Maurice since we were both, “you know… creative.” Looking back, I think Peter was suggesting Maurice and I had something else in common… something I was permitted to discover myself.

The afternoon I drove to Maurice’s house through the woods of Ridgefield, Connecticut, I was nervous about meeting one of my heroes, and thus, forced to be present. Maurice made me feel immediately comfortable by the twinkle in his eye, and by his gregarious, irreverent nature. He was both quietly confident and occasionally saucy as he (and Runge, his German Shephard) gave me a tour of the house, showed me his Mickey Mouse collection (Mickey and Maurice were born the same year), and introduced me to his slate of at least a dozen projects. There were in-progress book illustrations and galleys, cover sketches, set design doodles, and librettos. He first mentioned the initial plans to convert Wild Things into a movie with Dave Eggers’ assistance. I followed Eggers’ early work at Might magazine and so I was an immediate fan of the mash-up. Over our many hours together, I found Maurice to be a truly great and witty conversationalist, passionate and dedicated to his work, dismissive and impatient with idiocy and those who did not demand quality. We sat outside in the twilight and sipped white wine, surrounded by all the lilacs — his favorite flower — and talked about our careers, making me feel an equal, although at 24 years old mine was just beginning.

Maurice hired me to hand-letter the words for his Sendak in Philadelphia poster and invited me to attend the opening at the Rosenbach Museum and Library. It was thrilling to be part of his creative process, be in Philadelphia for the preview, be introduced to the people who made the exhibit happen, and attend the opening night. It was a lot of being present a lot of the time.

At the time I was working in a small, two-person design studio and was pleading for months prior to the opening for some time off; I knew that the miscalculation of value on the part of my boss meant that my time at her shop was limited.

I moved to Boston in the fall of 1995 and Maurice and I kept up a telephone and written correspondence for many years. I wrote, in longhand, about my observations in the then big-feeling city, about the difference in the slant of the nose of the New Englander compared to the New Yorker, and about my hesitations and conflicts around starting my own design studio. “Start it,” he advised. “You’ll never look back.”

He was mostly right — I’ve looked back only a few times in these 14 ½ years, when the doubt and fear seemed impenetrable, and when the idiocy outstank the lilacs. But what I learned from Maurice is that, despite it all, we are innately compelled to create. We make something that wasn’t there before, and in doing so bring light into the world. We keep moving.

It is a privilege to have been in his presence and to have created with him. And today I feel a renewed vigor to make.

Poem, 3/18

Glimpse

Into goodness and purity we leapt,

impossibility aside and full on. Rapture

like an ocean, available.

It’s good to know, and yes, to have

felt your arms and warmth

like a continent, solid,

but just as divided. Tender

is the rock that cannot be moved.