Posted on by Tim Dixon

Do you know someone who needs hours alone every day? Who loves quiet conversations about feelings or ideas, and can give a dynamite presentation to a big audience, but seems awkward in groups and maladroit at small talk? Who has to be dragged to parties and then needs the rest of the day to recuperate? Who growls or scowls or grunts or winces when accosted with pleasantries by people who are just trying to be nice?

Do you know someone who needs hours alone every day? Who loves quiet conversations about feelings or ideas, and can give a dynamite presentation to a big audience, but seems awkward in groups and maladroit at small talk? Who has to be dragged to parties and then needs the rest of the day to recuperate? Who growls or scowls or grunts or winces when accosted with pleasantries by people who are just trying to be nice?

Caring for Your Introvert – The Atlantic (March 2003)

Best description of my personality type I’ve seen in a while.

(via kottke.org)

Posted on by Tim Dixon

I suggest you begin a journey back to your creative roots. That is where your true, strong voice is. And that is what you need — more than unit sales, more than awards, more than publishing contracts, what you need is your voice back.

I suggest you begin a journey back to your creative roots. That is where your true, strong voice is. And that is what you need — more than unit sales, more than awards, more than publishing contracts, what you need is your voice back.

I feel like quitting writing | Salon Life

An inspiring article from Salon advice columnist Cary Tennis.

Posted on by Tim Dixon

When Schroeder pounded on his piano, his eyes clenched in a trance, the notes floating above his head were no random ink spots dropped into the key of G. Schulz carefully chose each snatch of music he drew and transcribed the notes from the score. More than an illustration, the music was a soundtrack to the strip, introducing the characters’ state of emotion, prompting one of them to ask a question or punctuating an interaction.

When Schroeder pounded on his piano, his eyes clenched in a trance, the notes floating above his head were no random ink spots dropped into the key of G. Schulz carefully chose each snatch of music he drew and transcribed the notes from the score. More than an illustration, the music was a soundtrack to the strip, introducing the characters’ state of emotion, prompting one of them to ask a question or punctuating an interaction.
Schroeder Played Real Beethoven in Charles M. Schulz’s ‘Peanuts’ Strip – NYTimes.com

Posted on by Tim Dixon

Episode of Elvis Costello’s “Spectacle” with Elton John

This is such a good series, and this is one of my favourite episodes. Excerpt:

Later in the same interview:

John: But why Elvis?

Costello: That was really picked up by my manager. If you think about the year that I began making records, it was 1977. You had Captain Sensible, Johnny Rotten, Sid Vicious, Rat Scabes … I think I got off quite lightly. Really, it could’ve been much worse.

John: You made a wise choice. I mean, Declan McManus, people would think …

Costello: They’d be expecting a guy in a cable-knit sweater singing whaling songs.

Elvis Costello, “Spectacle” | Salon Arts & Entertainment

(2017 EDIT: Substituted another clip, edited the text to fit)