At times blogging can be like State Fair food science.
I launched Midlife Crisis Crossover on April 28, 2012, three weeks before my 40th birthday as a means of charting the effects of the aging process on my opinions of, applause for, revulsion at, and/or confusion arising from various works of art, expression, humanity, inhumanity, glory, love, idolatry, inspiration, hollow marketing, geek life, and sometimes food. It was also my way of finding a way to give myself excuses to write during a time when joining other people’s conversations was becoming increasingly dissatisfying and rare. Nobody talked about what I wanted to talk about; when they did, my opinions usually got me sent to go stand in the corner or flat-out ignored. And just not typing my thoughts was killing me.
Here we are celebrating MCC’s seventh anniversary, still chugging away like the Little Engine That Could. No book ideas suggested or dreamed of, no writing gigs applied for or parlayed, and no danger of me ever describing myself unironically as an “influencer”, which sounds like an upper-class euphemism for “drug dealer”. But I keep writing anyway.
When you make a longtime hobby out of turning words and pictures into hopefully entertaining compositions, more for the sake of self-satisfaction and human interaction than for lofty aspirations to widespread fame and/or corruptive fortune, it’s always a pleasant surprise when something you did — no matter how tiny or inconsequential it seemed at the time — somehow catches the eye of just the right person and creates an unusual opportunity you’ve never had before, never saw coming, have trouble explaining to others, but draw a bit of pride from anyway.
I’ve had a few such occasions pop up in my life. Another one of those odd little things recently happened for me. I think I now have enough to assemble my own checklist. It’s not long or dignified enough to call a bibliography, but if there were an Internet Peanut Gallery Database — like IMDb, but for nobodies like me — then my IPGDb page would presently look something like this:
It’s a time-honored MCC tradition: every road trip concludes with bonus photos I skipped while compiling all the preceding chapters. However, this finale is a little more special than average.
Effective with this very entry, every single one of our annual road trips is now officially available for perusal and literary analysis on MCC from 1999 to 2017. All the major vacations from MCC’s 2012 inception to the present have been housed here exclusively from the get-go. As of today, all our prior travelogues from 1999 to 2011 have now been reposted and reformatted here for our own personal library to be shared with one and all — our lifelong, immutable road trip canon. Some write-ups were reprinted word-for-word, but in several cases extensive rewrites felt necessary and/or fun.
This curatorial project has been years in the making, and has now reached its final major milestone. It’s kind of a nice feeling.
I launched Midlife Crisis Crossover on April 28, 2012, three weeks before my 40th birthday as a means of charting the effects of the aging process on my opinions of, applause for, revulsion at, and/or confusion arising from various works of art, expression, humanity, inhumanity, glory, love, idolatry, inspiration, hollow marketing, geek life, and sometimes food. It was also my way of finding a way to give myself excuses to write during a time when joining other people’s conversations was becoming increasingly dissatisfying and rare. Nobody talked about what I wanted to talk about; when they did, my opinions usually got me sent to go stand in the corner or flat-out ignored. And I couldn’t just not type.
Six years and 1,772 entries later, here I remain, not permanently burnt out, not yet out of anecdotes, still finding new experiences to relay, and, once in a blue moon, pulling out a different Moral of the Story to share with the kids these days that I haven’t already hammered into the ground in twelve previous posts.
My favorite piece of journalism so far this year was just published January 27th over at the New York Times and struck a nerve in a number of places. In an epic-length article entitled “The Follower Factory”, the NYT plumbed the wobbly world of Twitter and those peculiar, insecure users who boost their Follower head count by paying a company actual money to bless them with hundreds of thousands of automated “bot” accounts that pretend they’re fans clinging on to their every tweet, for the purpose of making the paying customers look more popular. Some are piecemeal accounts, with profiles barely filled out. Quite a few are the product of surface-level identity theft, cribbing photos and usernames but with a character altered to make it unique (relatively speaking). They don’t praise you, go forth in your name, act as your “street team”, or interact with you or other humans in any meaningful way. They just Follow. They sit there, shut up, and act like you rule.
Companies such as Devumi cheerfully offer low-price options for ordinary web-surfing rabble like me, but they also bank some major cash selling bot followings by the hundreds of thousands to B-list celebrities, politicians, creators, reality TV dwellers, and others at varying levels of fame. The NYT named a few names I recognize — actor John Leguizamo, Chef Michael Symon, onetime MST3K guest star Kathy Ireland, and film critic Richard Roeper, whose Chicago Sun-Times reviews have been suspended pending their internal review. Of those who responded to requests for comment, a few buyers insisted it wasn’t them personally pushing the buttons, but an assistant or social media manager who bought a hollow audience on their behalf for PR strategy or whatever. Whether their deflections are true or not, boosts of fake fame are kind of sad. Granted, some personalities receive perks and bonuses from their corporate overlords based on the looks of their social media metrics, which means a return on their invidious investment is entirely possible. To them I imagine it’s all part of the Game.