As my wife is in the long, winding and expensive process of unramshacklizing our ramshackle covid cottage two-hours out of Manhattan on Connecticut's schrunchy-strewn Gingham Coast, it's fallen upon me--not only to work until the veins in my temples are pulsating out--but to accompany her as we make the vitally important decisions those foolish-enough to re-do a house have to make.
On Saturday morning after scarcely five hours sleep we were up at 7, in -10-degree weather and off for a nine-AM appointment with Chloe who is to expensive tile what Carroll Shelby was to muscle car engines. Chloe's place is called American Tile, presumably because the store itself is three-quarters the size of America and crammed to the dropped ceiling with every kind of tile imaginable, except that which you had your heart set on.
Call me a cretin, you won't be the first to do so. But once you get down to it, choosing between matte and flat or pure white or off white reminds me of sweating in an agency at 3AM, waiting for a "perseverance of art directors" (the official name of a group of art directors) to decide whether the campaign the client will never buy should be set in Helvetica Neue or just Helvetica.
As anyone who's ever been within axe-length of me knows, my furrowed brow turns into a superciliary arch, my lower jaw juts prognathously, and my knuckles scrape the carpet tiles when hours and hours are wasted on decisions that mean nothing.
I'd wager that no one in the history of our benighted species has ever on his deathbed said, "It all would have been worth it is I only bought the matte-finish herringbone."
From American Tile we drove through what had been battlegrounds, millennia ago between the Mohawk and the Pequot, till good ol' European cowpox killed them all, where we found American Sink, Toilet and Tub, a warehouse roughly the size of the Titanic, only more deadly.
There, with another otiose woman name Chloe or Kelly, we labored over another set of decisions of utmost gravity. Where do we want to wash, brush, shit and shave, and how many possible variables can there be and why are they all so damned expensive.
I couldn't help but thinking the whole time I was in the rest-room equivalent of the Bataan Death March, that there are parallels--a lot of parallels--to the ad business, such as it is today.
Too many things to choose from that add twenty-seven levels of complexity for each tiny notch of intention. Everything has gotten entirely too deliberate, too fussy, too rife with important decisions, too expensive and too slow, all for marginal material effect.
As I regularly said, again at three in the morning as we labored on pages 58-128 of a creative presentation, from which nothing was bought--ever--after page 21, "we spend eleven cents getting the last dime out of clients."
I know, philosophically speaking, it's heretical to quote Jeremy Bentham and his Utilitarian credo, but I'm all for doing the "greatest good for the greatest number."
As Rick Nelson sang before anyone reading this was born, "you can't please everyone, so ya got to please yourself." In other words, stop trying to do something that will appeal to every conceivable segment of the population without pissing anyone of those 39-trillion segments off. It's all too impossible to do anything or get anything done. And not pissing anyone off very much gets in the way of doing anything decent in the first place.
What we're left with is 927 soaps in the grocery store, 1727 channels on the "connected" TV that tracks your eye movements and 14-trillion opportunities for some oligopoly company to upsell you on something you didn't want in the first place.
I just don't see how any of this makes the world better. Just more enervating.
And it's almost impossible to find a good hotdog.
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