Gillmor Gang: Old Brown Shoe

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My favorite show right now is Succession, a fictionalization of the Murdoch family and its media empire. It’s relentlessly funny, as the patriarch and the kids compete to be the most malleable. It’s a big tie; Each principal swings between bewildered self-doubt and the over-the-top belief that they are somehow close to the Almighty in their struggle for control of the family business. Characters from last season that seemed somewhat exaggerated have become normal in their interactions with others this year. My favorite is one of the Culkins, who uses the Culkin look to explain how he got the part in place of another. It reminds me of Bogart, who history remembers a star because there is no way to ascertain his strengths as an actor other than his total roles. Of all the couples….

These were early catchphrases from Bill Cosby and his Noah routine with God, and Bob Newhart’s phone conversation with himself. Buy setup, buy little. Kubrick further narrowed it down with Peter Sellers’ “Precious Body Fluids” in Dr. Strangelove. Then George Harrison in Hard Day’s Night: “She’s a Drag, a Well Not a Drag…” George Martin produced the live album with the Goons and Richard Lester after he and Sellers directed the Goons short film. It was now the two first Beatle films. Hard Day’s Night was black and white, the French New Wave’s experience with light cameras and location photography fused seamlessly with Kubrick’s 2001 space opera. Each method informed the other. In 2001 the onboard computer HAL used the same laconic detached attitude (I’m sorry, Dave. I can’t do that) to reject its captive astronaut, which George Harrison did when he threatened to lose the part. For which he was clearly drawn (I don’t care.) Each was a role reversal, as the Beetle took over from the arrogant Edman, whose office he had wandered into, and the computer took over from its direct human boss. Was. Hal isn’t sorry, and George doesn’t really care.


Forgive me if I’m wrong, but the other shoe dropped as soon as Clubhouse released the replay. It doesn’t allow you to record private sessions, or even sessions visible only to the people you’ve followed. It makes sense to promote people (called producers) who think their work should be preserved or post-produced as we do to add music and titles. I care about these things, and I suspect many others do as well. Catchphrases stick because the combination of rhythm and resignation (I don’t care) produces a calming effect. Many people enjoy podcasts, but I prefer the seriousness of the conversation on the mountain made from Molehill. Streaming may replace podcasts as the government considers broadband an inalienable right. It remains to be determined whether it is the economic model that encourages production.

By default, if the session is public, Clubhouse Records is enabled. When completed, each speaker’s profile adds a link to the room. If you’re the host of the room, you can download an MP4 and post it, but my favorite is to share a link to a notification stream like Twitter or a newsletter. By clicking the Listen button, you can listen to the session and proceed from speaker to speaker. So, step three: Start a room, share conversations, and follow threads as this is the thorn in the social networking landscape. The economic model of establishing trust in low friction, ubiquitous equipment and broadband, and the fruits of cooperation. Not bad for a few good minutes in the gig/producer economy.

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The Gilmour Gang – Frank Redis, Michael Markman, Keith Teare, Dennis Pombriant, Brent Leary, and Steve Gilmour. Recorded live on Friday, November 5, 2021.

@tinagillmor Produced and directed by Tina Chase Gilmore

@fradice, @mickeleh, @denispombriant, @ktear, @brentleary, @stevegillmor, @gilmorgang

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