Tag: Creative Writing

Away From Your Usual

I suppose it’s too late by now to wish you a Happy New Year? In any other post, maybe I’d apologise instead and offer a feeble excuse for why I haven’t had anything to say recently, but this time the truth is simple. There’s nothing to say – at all. Not at the moment, anyway. It’s not a great realisation to come to at the best of times, let alone as we approach Third Time Enabled’s tenth birthday, but I feel I should accept that it’s not necessarily realistic to update it every week or month any more. Recent posts have been shorter, harder to write and – in my eyes – not really worth your time. Perhaps I’ve lost my touch, if I ever had it in the first place. I can only conclude that this blog needs a break, and it’ll be an extended one too.

A friend told me the other day that maybe I should write something that’s “away from my usual” to clear the block. I might take her advice. Failing that, I’ll inspire myself with other people’s writing instead. I want to read as many books as I can in 2025, but at this moment there’s no specific magic number to reach – more the broader desire just to be contented with the reading I’ve done by the end of the year.

I might have come back to you by then, but who knows? Just remember that I’m not saying goodbye, just “see you later”.

Take care of yourselves.

Mason

Full Band Setup

In life, we can long for lots of different kinds of company. It can be platonic, physical or romantic, depending on your situation, and there are lots of different far-reaching branches of each type. What I’m looking for right now comes under the ‘platonic’ umbrella – specifically, company of the creative kind. I’m not talking about someone who’s an ‘intellectual equal’ or anything like that. I run a modest blog read by a modest (but loyal) handful of people, so I’m hardly one of the great thinkers of our age. In fact, I’d say that a lot of my attempts to say something profound have fallen a little bit flat, to say the least.

Nevertheless, I can’t deny that it would be nice to have – for want of a better term – a sounding board of sorts. A person, or group of people, who’ll listen to my daft ideas and gently guide me in the right direction without judgment. They might even offer up some of their own, so that I can return the favour. I went to that writers’ group a couple of times, yes, and I was made very welcome on each occasion – but there was something missing. I was surrounded by brilliant minds relating brilliant ideas, but I still didn’t feel completely comfortable for some reason. Perhaps it was difficult to relate to people who were double my age and had spent a life cave diving in Mexico, fascinating though that was. I also wondered if they’d find it tricky to relate to my 26 year old online ramblings, so I ultimately never presented anything to them. Overall, it was a very different experience to one of my Creative Writing workshops during my degree.

Harsh? Maybe, but I can’t help feeling that I need peers in that arena too, just I’d want friends or dates my own age. It might be time to give serious thought to making Third Time Enabled a group project again, and resurrecting the full band setup, as I’d always envisioned. I wonder if Will, Emily or Alex are busy at the moment? Or perhaps I should press on writing the lyrics I’ve promised to show a friend of mine, even though I hate them with a passion in their current draft form. There are a few options to consider, as you can see…

Mason

Is Here Now

A lyrical analysis of Oasis’ Be Here Now, originally written in 2019

Oasis released their third album, Be Here Now, on 21 August 1997. It was met with significant widespread anticipation, and went on to become the UK’s best-selling album of 1997[1] as well as its fastest-selling album of all time[2] – internationally, it also proved a sizeable hit. It was initially given an enthusiastic critical response, with several reviews consisting of unanimous praise. Over time, however, Be Here Now’s sales and supporters dwindled and it has been retrospectively seen as excessively ambitious, too long and overproduced. In 2018, NME described it as “a rock folly, a coke-fuelled monument to ‘90s excess.”[3]  It is cited as the album that prompted the decline of the wider Britpop scene, but it still produced three UK hit singles in ‘D’You Know What I Mean?’, ‘Stand By Me’ and ‘All Around the World’. The latter remains the longest track ever to reach number one on the UK Singles Chart, indicating both the scale of the music on Be Here Now and Oasis’s colossal commercial appeal.

Noel Gallagher – the group’s main songwriter – had been inspired to create songs that “escaped the strictures of orthodox rock composition”[4] and were “Bigger, Louder and Longer”[5]. In addition, the success Oasis had achieved by the time Be Here Now was written and recorded meant that they were virtually entirely unrestricted by deadlines or budgets. The decadence evident during the album’s production may have influenced its lyrics, although they largely display the same typical Oasis elements of arrogance, relentless optimism and melancholy.

Be Here Now was released following Labour’s landslide victory at the 1997 general election, and this developed a feeling of positivity that had existed for some time beforehand, fostered by events such as the aforementioned political changes as well as cultural landmarks including “Euro 96 and Britpop in general.”[6] ‘D’You Know What I Mean?’, Be Here Now’s opening track, has been described as “more rally than song”[7], and is an example of how many lyrics exist “to propose ideas about life and the world.”[8] It progresses with an authority and forcefulness that is difficult to deny, conveying this most notably in the chorus; “all my people, right here, right now/d’you know what I mean?/yeah, yeah.”[9] The first part seems to cultivate a sensation of togetherness and unity among band and audience; in addition, it reinforces the reputation of Oasis as a working-class band of the people, since Liam is singing to “my people”. The listener is thus part of the story, allowing the band’s message to gain momentum. In the rest of the song, this is used to encourage the listener to brush off life’s setbacks and approach everything with confidence. Through lines such as “get up off the floor and believe in life/no-one’s ever gonna ever ask you twice”[10], they are subjected to a degree of ethos in the lyrics, since the narrator is evidently attempting to convince the listener of their own personal strength and inspire faith in their message. It has been noted that the song’s chorus provided a particularly apparent “note of hubristic confidence”[11], linking back to the aforementioned arrogance that featured in Oasis’s earlier lyrics. Looking deeper at the words themselves, we can establish that there is use of both perfect rhymes and family rhymes. In parts of the song, they almost seem to alternate; for example, “step off the train all alone at dawn/back into the hole where I was born”[12] is swiftly followed by “the blood on the tracks, and they must be mine/the fool on the hill, and I feel fine”[13]. These lines, varying in their rhyme style, are separated by standalone ones – in this case, “the sun in the sky never raised an eye to me”[14], which helps to establish a pattern running through the rest of the song. This format, along with the repetitive nature of the chorus and the steady AABCCB rhyme scheme in the verses (the pre-chorus is ABBCC), can potentially make the song easier for a listener to memorise, thereby increasing the effectiveness of its message. The video develops this, showing Oasis performing the song in an apparently post-apocalyptic world while helicopters fly overhead and a crowd gathers. Smoke grenades are thrown, adding colour and chaos to a grey setting and bearing a resemblance to the uprising and sense of fearlessness encouraged by the lyrics.

‘Don’t Go Away’, on the other hand, is much more personal and introspective in nature. Its lyrics take the form of a plea to a loved one not to abandon the narrator. It opens with “a cold and frosty morning/there’s not a lot to say/about the things caught in my mind”[15], immediately setting a solemn scene, establishing a clear sense of pathos, and succinctly illustrating the narrator’s frustration at being unable to properly express their inner feelings. Its production was supposedly an emotional experience; Liam claims to have cried while recording his vocal, saying that “I had to go away and sort myself out”[16]. The emotional angle is reiterated notably in the lines that lead up to the chorus – “and I want to be there when you’re coming down/and I want to be there when you hit the ground.”[17] When the chorus begins, the aforementioned plea fully manifests itself; “don’t go away/say what you say/say that you’ll stay/forever and a day.”[18] As well as desperation, a sense of loss is also apparent: “me and you, what’s going on? All we seem to know is how to show/the feelings that are wrong.”[19] Such lines suggest an emotional vulnerability that is at odds with the resilience and defiance evident in other Oasis songs; on Be Here Now alone, ‘Don’t Go Away’ is preceded by ‘My Big Mouth’ (“I’ll put on my shoes while I’m walking slowly down the hall of fame”[20]) and ‘I Hope, I Think, I Know’ (“’cause baby, after all/you’ll never forget my name”[21]). In rhyming terms, the lyrics employ more examples of perfect rhymes, and more evenly so than ‘D’You Know What I Mean?’. The scheme can be established an ABABCDD, at least in the first two verses; “damn my situation and the games I have to play/with all the things caught in my mind/damn my education, I can’t find the words to say/all the things caught in my mind.”[22] At the end of these, the words “coming down”[23] are sung after a pause, separating them on their own line and disrupting the flow of the pattern, although much like ‘D’You Know What I Mean?’, the consistency of this method can again allow the song to stay in the listener’s mind.

The video matches the melancholy theme of the song, while also using more surreal elements. It depicts Liam singing in a house and caught in moments of deep reflection while the rest of the band appear around him, and an orchestra play in a desolate and blue landscape. The visuals are likely to attract attention, but they all seemingly serve to isolate Liam and what he is singing, which can in turn provoke thought and reflection among listeners.

‘All Around the World’, however, is inherently optimistic and the album’s most blatant display of grandiosity. This orchestra uses strings and horns to create a juggernaut of positivity and convince the listener that everything will be right in their world; “all around the world/you’ve got to spread the word/tell ‘em what you’ve heard/we’re going to make a better day.”[24] Such a message can be interpreted as another attempt to inspire more confidence in the listener, albeit in a manner that displays less attitude than ‘D’You Know What I Mean?’. Its lyrics are even more consistent than those of the aforementioned two songs; certain sections are repeated numerous times (“yeah, I know what I know/it’s gonna be okay”[25]), and the verses contain a series of identical perfect rhymes in an AAAA pattern, followed by AAAABB in the pre-chorus sections. In addition, “please don’t cry, never say die”[26] features an additional rhyme, with an internal one occurring on the same line.

The music video for the song emphasises its positivity – Oasis are shown performing the song in a yellow spaceship while travelling through a surreal fantasy world, apparently inspired by The Beatles’ Yellow Submarine film. The jovial tone and bright colours of the video effectively compliment the lyrics, placing Liam firmly at the centre – he and the rest of the band are dressed in white suits, thereby rejecting darker attire, and he and Noel exchange light-hearted glances, abandoning their usual seriousness and revelling in their spectacular surroundings.

The relative extravagance of Be Here Now’s music and videos extended to its promotional materials. The album’s cover featured Oasis standing around a swimming pool at Stocks House, Hertfordshire, surrounded by various props; the pool had a Rolls-Royce lowered into it, and the items included a calendar displaying the album’s release date. It is believed that this was included to equate buying a copy on release day to participating in “some kind of historical event”[27] – the album’s title may convey a similar idea. Indeed, customers who purchased it at HMV stores were given a certificate confirming they had “been there then”[28], emphasising the perceived magnitude of the occasion. On the album’s supporting tour, the stage set replicated some of the cover artwork items. A Rolls-Royce grille was used as Alan White’s drum riser, and the band entered through a red telephone box, preceded by a ringmaster who walked the stage to enliven the audience.[29] Despite such ostentatiousness, the band themselves often donned more casual attire in keeping with their working-class reputation, remaining a degree of relatability to the audience despite the nature of Be Here Now’s music and retaining the image for which they are best known to the public.

Mason

Bibliography

The Official Charts Company. ‘End of Year Album Chart Top 100 – 1997’. Accessed 6 November 2019. https://www.officialcharts.com/charts/end-of-year-artist-albums-chart/19970105/37502/

BBC Newsbeat. ‘Sorry Adele, Oasis are still the album chart record breakers’. Accessed 6 November 2019. http://www.bbc.co.uk/newsbeat/article/34919975/sorry-adele-oasis-are-still-the-album-chart-record-breakers

NME. ‘Oasis’ ‘Be Here Now’ – Was It Really That Bad?’. Accessed 6 November 2019. https://www.nme.com/blogs/nme-blogs/oasis-be-here-now-at-15-was-it-really-that-bad-770068

Harris, John. The Last Party: Britpop, Blair and the Demise of English Rock. London: Fourth Estate, 2003.

Dorian Lynskey, ‘’Flattened by the cocaine panzers’ – the toxic legacy of Oasis’s Be Here Now’, The Guardian, 6 October 2016. Accessed 6 November 2019. https://www.theguardian.com/music/2016/oct/06/flattened-by-the-cocaine-panzers-the-toxic-legacy-of-oasiss-be-here-now

Eckstein, Lars. Reading Song Lyrics. Amsterdam: Rodopi, 2010.

Oasis, ‘D’You Know What I Mean?’, from Be Here Now, Creation Records, 1997.

Oasis, ‘Don’t Go Away’, from Be Here Now, Creation Records, 1997.

MTV. ‘MTV Oasis Uncut Documentary’. YouTube. 24:35. Posted by Whenallwozkool, 4 August 2013. https://www.youtube.com/watch?v=evCXwh0vcNM

Oasis, ‘My Big Mouth’, from Be Here Now, Creation Records, 1997.

Oasis, ‘I Hope, I Think, I Know’, from Be Here Now, Creation Records, 1997.

Oasis, ‘All Around the World’, from Be Here Now, Creation Records, 1997.

Loud and Quiet. ‘Don’t just blame the cocaine for Oasis’ Be Here Now – it was kinda Richard Ashcroft’s fault’. Accessed 6 November 2019. https://www.loudandquiet.com/short/dont-just-blame-cocaine-oasis-now-kinda-richard-ashcrofts-fault/

Oasis. ‘Oasis – G Mex Arena Manchester Full Concert December 1997’. YouTube. 1:49:35. Posted by headshrinker666, 18 July 2014. https://www.youtube.com/watch?v=8N-ylUkGV2Y&t=168s

[1]‘End of Year Album Chart Top 100 – 1997’, accessed 6 November 2019. https://www.officialcharts.com/charts/end-of-year-artist-albums-chart/19970105/37502/

[2] ‘Sorry Adele, Oasis are still the album chart record breakers’, accessed 6 November 2019. http://www.bbc.co.uk/newsbeat/article/34919975/sorry-adele-oasis-are-still-the-album-chart-record-breakers

[3] ‘Oasis’ ‘Be Here Now’ – Was It Really That Bad?’, accessed 6 November 2019. https://www.nme.com/blogs/nme-blogs/oasis-be-here-now-at-15-was-it-really-that-bad-770068

[4] John Harris, The Last Party: Britpop, Blair and the Demise of English Rock (London: Fourth Estate, 2003), 334.

[5] Harris, The Last Party, 334.

[6] Dorian Lynskey, ‘’Flattened by the cocaine panzers’ – the toxic legacy of Oasis’s Be Here Now’, The Guardian, 6 October 2016. Accessed 6 November 2019. https://www.theguardian.com/music/2016/oct/06/flattened-by-the-cocaine-panzers-the-toxic-legacy-of-oasiss-be-here-now

[7] Lynskey, ‘’Flattened by the cocaine panzers’.

[8] Lars Eckstein, Reading Song Lyrics (Amsterdam: Rodopi, 2010), 10.

[9] Oasis, ‘D’You Know What I Mean?’, from Be Here Now, Creation Records, 1997.

[10] Oasis, ‘D’You Know What I Mean?’, from Be Here Now, Creation Records, 1997.

[11] Harris, The Last Party, 338.

[12] Oasis, ‘D’You Know What I Mean?’, from Be Here Now, Creation Records, 1997.

[13] Oasis, ‘D’You Know What I Mean?’, from Be Here Now, Creation Records, 1997.

[14] Oasis, ‘D’You Know What I Mean?’, from Be Here Now, Creation Records, 1997.

[15] Oasis, ‘Don’t Go Away’, from Be Here Now, Creation Records, 1997.

[16] ‘MTV Oasis Uncut Documentary’, YouTube, 24:35, posted by Whenallwozkool, 4 August 2013. https://www.youtube.com/watch?v=evCXwh0vcNM

[17] Oasis, ‘Don’t Go Away’, from Be Here Now, Creation Records, 1997.

[18] Oasis, ‘Don’t Go Away’, from Be Here Now, Creation Records, 1997.

[19] Oasis, ‘Don’t Go Away’, from Be Here Now, Creation Records, 1997.

[20] Oasis, ‘My Big Mouth’, from Be Here Now, Creation Records, 1997.

[21] Oasis, ‘I Hope, I Think, I Know’, from Be Here Now, Creation Records, 1997.

[22] Oasis, ‘Don’t Go Away’, from Be Here Now, Creation Records, 1997.

[23] Oasis, ‘Don’t Go Away’, from Be Here Now, Creation Records, 1997.

[24] Oasis, ‘All Around the World’, from Be Here Now, Creation Records, 1997.

[25] Oasis, ‘All Around the World’, from Be Here Now, Creation Records, 1997.

[26] Oasis, ‘All Around the World’, from Be Here Now, Creation Records, 1997.

[27] Harris, The Last Party, 341.

[28] ‘Don’t just blame the cocaine for Oasis’ ‘Be Here Now – it was kinda Richard Ashcroft’s fault’, accessed 6 November 2019, https://www.loudandquiet.com/short/dont-just-blame-cocaine-oasis-now-kinda-richard-ashcrofts-fault/

[29] Oasis, ‘Oasis – Live G Mex Arena Manchester Full Concert December 1997’, YouTube, 1:49:35, posted by headshrinker666, 18 July 2014. https://www.youtube.com/watch?v=8N-ylUkGV2Y&t=168s

Beyond The Wall Of Smiles

Remember that writing group I referred to recently, in one of Winchester’s coffee shops? I loved it, don’t get me wrong, but I haven’t been in a little while. To tell you the truth, work and other stuff – which you’ll find out about very soon – have been taking it out of me a little bit, and there’s the small matter of an ongoing Grand Prix season to consider too. I’d feel uncomfortable sitting at a table of writers knowing Martin Brundle was on his grid walk at home. Most of my Sunday afternoons between March and November are very antisocial.

That doesn’t mean I haven’t thought about the group, though. More specifically, I’ve been thinking about what I wrote last time I went, in the notebook Liz gave me a couple of months ago. It seems pretty apt to share with you, talking about delaying going back to things. “Describe the scene,” they said, as I reached them that morning. “Describe everything you see, hear and feel in as much detail as possible.” Believe me, that was easy enough:

“The coffee shop is alive with the thrum of conversation, and music blasts throughout, but when I enter I know what’s in store. Beyond the wall of smiles at the counter, a trio of disapproving faces awaits me. My only hope is that when I reach them, they’re distracted by their writing, too immersed to even notice my arrival – but they aren’t, and they do. And they haven’t even started, because they’ve waited for me first. Curse my lateness. Turns out I didn’t know quite how long being ‘on my way’ would take.”

Mason

A Craig David Day

A lot of my posts start with a title, even before I have any idea of how to build what follows. I often have a starting point at the very least – the end of a thread which I can use to find my way through the rest of the labyrinth. Sometimes, though, that thread deserts me, and beyond the title there’s absolutely nothing. Consequently, a lot of the titles stack up in my Drafts section, left there to gather dust with no context whatsoever. I came to this blog today with the intention of writing something completely unrelated from scratch, but that was before I opened my Drafts and saw a trio that was too odd not to share with you. What do you make of these?

“A Craig David Day”

“The Only Escalator In Aberystwyth”

“Even My Computer Is Getting In On The Action”

It’s like they get weirder with each one (I honestly have no idea where I was going with the third). As you can see, I chose the first as the title of this post. Not only is it the snappiest of the three, but it’d also go straight to the top of any alphabetical list, which is always handy for a blog jostling to be noticed among a zillion others.

“7 Days” is an absolute tune too, of course…

Mason

One Sentence

I’ve referred every so often in these posts to writing prompts, or words and phrases that might make good ones. I then ask myself whether I’ll ever use them, but I don’t. If I’m honest, every time I mention one, I know full well it won’t see the light of day again. I don’t know whether that’s because of laziness, a lack of confidence, or the absence of a good idea, but whatever the case I don’t push it. It’s in those situations that I wonder what I’d write if I was put under pressure to come up with something, as I have been on occasion. Two weeks ago, I was tested in exactly that way when I attended a writers’ group at a coffee shop in Winchester.

It’s a place I’ve been a loyal customer of for a number of years now, but until that day I’d had no idea that they met in there. I approached them tentatively, notebook and pen on my lap. Unlike some of the others – including an ex-diver working on a memoir about his time exploring underwater caves in Mexico – I had nothing to share, because this was my first week and I needed to establish the lay of the land. Don’t get me wrong, I was still an active participant, but I kept relatively quiet, only dropping in the odd nugget of feedback here and there. This back-seat approach paid dividends, because it quickly allowed me to feel comfortable around the others and in what I was getting myself into. It wasn’t long before I was scribbling away without a care in the world, which is where the aforementioned prompt comes in.

“What I want you to do,” said the lady leading the session, “is to find the last message you sent on your phone, take it out of its original context, and use it as a starting point for a piece.” All I’m going to do now is present you with the line I found on WhatsApp, and the two-person dialogue that evolved from it. It’s amazing what you can manage when you’re given a little nudge in the right direction. In fact, I think it was enough of a nudge to convince me to go back again soon. Make of this what you will…

“Luckily, I won’t need it today, because I’m busy over lunch.”

“What are you so scared of anyway?”

“What am I scared of? What am I NOT scared of? This is huge!”

“It’s a coffee and a chat, and then you never have to see her again. My mother always said difficult conversations are best had quickly.”

“Or not at all?”

“Oh, come on!”

“It definitely will be difficult as well. She’s hardly the kind of person you can make small talk with. Everything’s either world politics or high culture, and there’s a time and a place for that.”

“Yes…”

(a beat, then the same character speaks again)

“So why did you agree to marry her then?”

Mason

In My Lap

After a brief hiatus, I’m back writing for Details, and what makes that even sweeter is the fact that I’m doing so feeling creatively rejuvenated. That’s because even before our monthly editorial meeting, I’d already had an idea that’s a great fit. It didn’t need any crafting or developing – it was just there, and it naturally suited our theme better than I could ever have imagined. Up to that point, I’d already abandoned two potential articles because they just weren’t flowing, and if something’s forced, it isn’t sincere and certainly isn’t worth publishing. With that in mind, I couldn’t offer Caitlyn material that I knew would detract from the otherwise excellent quality of her magazine, but at the same time, I didn’t like missing all the fun. Details is a vital, colourful and inclusive outlet with an enormous amount of room to grow, and I’m determined to be a part of it for a long time to come. If you’re reading this, Caitlyn, the only way you’ll get me off the team is by firing me – and that’s a promise!

But I digress. My point is that sometimes, as I must have said before, the best ideas just fall straight into your lap. That’s a very welcome feeling at the best of times, but it’s especially satisfying when you feel like you’ve lost that drive to put words to paper. Of course, not only will Details benefit from that, but Third Time Enabled will too, and I look forward to sharing what I’ve written once it’s done. As things stand, I only have one paragraph at most, but I’m fairly confident that the rest will write itself. I hope so, anyway, otherwise those might be famous last words…

Mason

Operation Book Club, Part 6

I just thought I’d let you know that I recently decided to take a break from my book club with Lara and Nora. I did so halfway through Stardust, which I’ve told the girls they can go ahead and discuss without me. As it turns out, not being in that conversation might be a blessing in disguise, since I’d left the novel at a point where I was yet to write a single word about it in my lined red notebook. I bought it almost exactly a year ago with the intention of using it only for my literary observations, and while I had quite a few for the first couple of stories, my notes for this one currently consist only of its title, the name of its author, and the date on which I started reading.

It would be a shame to waste all that paper, so even though I might not have anyone to talk about it with, I’m going to carry on with Stardust regardless. In the absence of regular paid work to establish a 9-5 routine, it might be good to give myself that distraction. Of course, from a creative point of view, it’ll still get those creative juices flowing, even if there are only a few words or sentences. Sometimes the tiniest amount of input is enough to cause a deluge of inspiration, so by the time I do rejoin the girls, I might have more feedback than they bargained for. Beyond that, I’ve bought more than enough notebooks meant for one project that have been condemned to contain passwords and shopping lists for eternity – and I’m determined to save this one from the same fate!

Mason

Details

You may recall that in a recent post, I alluded to a new writing project that I wasn’t quite ready to talk about yet. Well, I just wanted to update you on exactly what that is, especially because as I write this post, I’m working on my second contribution to it. It’s none other than the excellent Details Magazine, founded and run by Caitlyn, a fellow Winchester student due to graduate this year. Aimed at women aged 14-20, it contains stories from a wide variety of voices and walks of life which always fit a given theme. In the case of the March issue, in which my first piece appeared, the theme was ‘let go and grow’, which we were all free to interpret in any way we wanted.

Naturally, given my current circumstances, I chose to focus on the whirlwind of emotions that letting go of an old job and searching for a new one entails. Beyond that, though, I wanted to emphasise how the written word had helped me to stay focused and develop creatively, particularly through the medium of blackout poetry (which you can find out more about here). As it was my Details debut, I was nervous about how it would be received, and I wondered if my link to the theme was too tenuous, but I needn’t have worried. It went down a treat with Caitlyn and was duly published – and let me tell you, the thrill of seeing my name on a page attached to something I’ve written isn’t a feeling that anything can ever diminish. It only increased my hunger to get involved in the forthcoming April edition with something else that could appeal to an audience beyond the target demographic. As I sit here typing that very thing, I can only hope that I’ve succeeded, but I’ve certainly got a good feeling about it.

If you want to know more about Details, you can visit its website here, or check out its new podcast here. You’ll be glad you did, I promise. And I’m not just saying that because I’m biased!

Mason