No, I don’t want help writing that email.
An artificial intelligence bot has come alive within my Gmail, and I am not inclined to use it. I might be inclined to use the summary function if it’s an email I don’t want to read, that is a text created by an institution rather than a friend. But then, if it’s not an email I want to read, then I just don’t read it. For example, did you know that you don’t have to read all the emails that your child’s school sends you? I learned this just last year when my forever partner told me. (“Duh.”) And while I still feel the slight effervescent breeze of guilt, instant deletion feels even better.
But to actually get help with writing the emails? But I actually like writing — even the tedious stuff. I enjoy writing sentences, and then fitting them together. Even if the revision turns into a kind of endless mental Tetris, and even if the end result has all the charm of re-translated stereo instructions, it’s still me in there, thinking.
And really that’s my main beef, and my main belief: writing is a form of thinking. Are there other forms? Sure. But writing is one of them. What I mean is that when I write, I don’t simply get my thoughts down as a transference mechanism. There is some of that, sure. But what’s more is that in the process of transferring those already thought-through thoughts, I discover more thoughts, or figure out what I really think through the actual process of finding the words and the order they should go in. It’s weird, alchemical, seems tautological, or slightly voodoo-y. By writing down what I think, I actually discover what I think. And then when the act is accomplished, I can go back later and re(a)discover what I thought at that moment.* Have I changed my mind since then? Most likely. But there, however impermanently, is a little word sculpture of my thought process for that day on that subject.
But then also there are the unseen thoughts, the unknown unknowns that one discovers when reading, where you find meaning perhaps where the author didn’t intend. Or you see their gaps, their mistakes, their blind spots, their noise within their signal. This too is part of writing and is part of your own writing. No one writes absolutely cleanly with no room for ambiguity or misinterpretation, except for maybe lawyers, but even lawyers make mistakes, which is why we have so many of them. Lawyering is a type of weaponized literary criticism. They are busily arguing over the latent ambiguities that their colleagues have created, recently or historically. It’s a great racket.
What happens when you reread yourself is that you see what you thought back then but also what you were wrong about. You’re able, however slightly, to see yourself as a stranger might, to see your own bald spot, your own exhausted presumptions, and that too is a kind of thought, thought’s echo, thought’s reverb, a reconsideration, perhaps even a regret. So writing becomes thought in stereo, moving through time, a moment generated into being that can be reviewed skeptically for as long as the page lasts or the wifi stays strong.
Why would I want to give that up? Sure, I need help with my spelling and my typing, which seems only to get worse. But the little corrective squiggles is one layer of robot intrusion. When you let the robot take over the structure of the syntax, then you have forfeited the chance to figure out what you really thought about something, and to be reminded of it later. You’ve robbed yourself of the pleasure of thinking for yourself.
*Sorry! Grad school trick.
Monthly Archives: January 2026
How to rehearse
Rehearsals should have a goal, an agenda, a rationale, a structure, a limit, a path, a focus, a boss, a point. What’s the point of this rehearsal? is always a pertinent question, if slightly rude.
Perhaps everyone already knows this, but my experience points otherwise.
Is it a rehearsal or is it a hang? A hang is a perfectly good thing, but one should be clear about the goal. If it’s a rehearsal, what is it for? What are you rehearsing? Are you trying to get ready for a specific gig? Are you trying to work out the arrangements of new material, who plays the head, how the groove is going to lay, what happens with the bridge? Are you rehearsing as a proof-of-concept? For instance, a new group of people meeting and running through some stuff to see if it gels, if it’s feasible — if it sounds terrible and everyone wants to punch themselves after an hour. These are all valid reasons for a rehearsal, goals for a rehearsal, but my point is that the goals should be stated and held to. The goals should be explicit. Everyone should show up knowing the stakes.
What a rehearsal is not for is for everyone to practice their soloing. There is no greater corrosion of the spirit than playing a song under the auspices of preparing for a performance while everyone goes through the full Skynyrd. This is an indulgence and a waste of everyone’s time. Solos should be practiced alone at home in the dark. That’s your personal woodshedding time. Like a magic trick, its recipe should never be revealed. I suppose the theater kid analogy would be: learn your lines at home.
A couple of years back there was that Peter Jackson multi-hour documentary of the Beatles, showing them working on Let it Be. I’ve only seen a few clips. (I adore the Beatles, but who has that kind of free time?) Even in those fleeting reels I would notice Ringo sitting behind the kit, arms folded, waiting for his bandmates to get their shit together. It’s the curse of drummers everywhere, sitting quietly while the other band members teach each other the song, or write the song, or simply do work that should have been done beforehand. That’s why Ringo is a great drummer, because he sits there patiently and doesn’t go after Paul and John with a machete. Learn the songs before you get to rehearsal. I am trying not to yell. It’s like a potluck. Don’t show up unless you have a dish ready. Rehearsal is the time for getting individual components together for a performance.
How do you get it together? You practice the intros, the outros, and the head, and you note any special arrangement details. You don’t even need to play the whole song. A song by definition has sections that repeat. You don’t need to play all the verses in rehearsal. If you need practice singing all those verses, do that at home with your soloing practice. You certainly don’t need to let every horn player scrimmage over that spot where the half-diminished chord jumps out of the bushes.
And not to sound all corporate on you, but people shouldn’t cross the threshold without a clear agenda. In this rehearsal we are going to run through the intros and heads to ten songs we need to play tomorrow night. In this rehearsal we are going to work up the arrangements for four new tunes. “Work up” and “run through” are different concepts, demand different metabolisms. Working up a tune is like barn raising: in the morning there was no song, but at the end of the day, there it stood. Run through means the arrangement already exists but the band is going to confirm the details: the tempo, the groove, the key, the order of events.
But sometimes you do want to solo. You want everyone to solo in the seclusion of a non-performance safe space. You want to vibe. But that is not a rehearsal. That is a jam. Another perfectly viable form of musical collaboration, though to be sure one that’s ripe for abuse. I’ve lost count of the number of bands I’ve been in that could jam the afternoon away but could not effectuate a performance. Jamming has no parameters placed upon it, except perhaps the limits of the band members’ bladders or their girlfriends’ patience.
Most important, a rehearsal is not a performance. It’s the preparation for a performance. It’s not even a scrimmage. I knew a singer who would blow out her voice in rehearsal the day before a gig. This defeats the purpose.
Rule of thumb: if there is beer, it’s most likely a hang. Which is fine. I like hanging out with friends. I do have friends! I am trying not to yell. But the point is you should have clear expectations.
Also, as a rule, rehearsals should not last longer than two hours. Really, I think 90 minutes should be the max. It’s hard to stay focused for that long, and people are busy. Plus the restricted time window cuts down on the mayonnaise effect, asking about how everyone’s holiday went, what their kids got, all that. That’s hang talk. You want to visit, then swap spit in the parking lot afterward. Right now, we’re running through the song list. Everything in life could be shorter: movies, meetings, rehearsals, concerts, podcasts, even blog posts.
Another rule of thumb, there should be a boss, whether elected or not. Perhaps it’s just the pushiest person in the room. The bitchy wheel gets the grease, etc. But left without a leader, collective indecision will mutate the rehearsal into a hang. Whoever establishes the agenda is the de facto boss. Embrace being the boss. Tell people what to do. Like dogs, they will be silently grateful. They will thank you with their eyes.