2012 British GQ Man-ifesto

The bear here metaphorically represents The World.  The man?  Men.

Number 10 is a rule I have lived by for some time. By number 10, I mean the 10th insight in Tony Parsons' and Manila Chuck's 2012 Man-ifesto, found in the January 2012 edition of British GQ. So what is the rule?

"It is better to beg forgiveness than to ask for permission"

Humans are said to be the only list-making animal.  Great.  That point filled some more space in this post.

But I do also bring it up because, we are, due to this apparent, species-specific talent, inundated with lists on a daily basis.  In fact, in the world of social media marketing, lists are one of the types of "shareable" blog content that are most frequently pushed to be produced.  Why?  Because, we love lists, and in the world of blog content, the concise, categorical, ranking, or suspense filled simplicity of lists (oooh man... what is going to be number one, I can't wait!) always proves to be popular among readers. So there you have it, it's a vicious cycle of human interest, we make lists and we love reading lists, whether or not they have much of an impact on our daily activities, productivity, or overall life-fulfilling goals.

Anyway, for the modern-man in the common era year of 2012 (maybe our last), in a Chapters on Saturday night, while wasting time before a movie, I found what has proven to be the best list of the year, all 30 days of it, so far.  The 2012 Man-ifesto.  I agree with most, disagree with some, and wholly accept that all are potentially perfectly suitable pieces of wisdom to live by.  So yes, here are 53 points of unbridled insight for the modern gentleman this year, and any afterwards if, indeed, we are granted such fortune by the Mayans.

Check it out here.

Also, to peak your interest, another couple favourites below...

40. You decide if you are going to succeed or fail. It is a personal decision. Luck does not come into it. The decision process goes by many names - creative visualisation, neuro-linguistic programming, the power of positive thinking, self-hypnosis - but it all comes back to the same thing. If you tell yourself you are going to do something well, and you tell yourself until you can actually see yourself doing it well, then you will. And if you picture yourself lumbering towards the cold sweat of failure, then success is an impossibility. Believe in yourself. Be your own greatest ally. Do not let negative thoughts into your mind. There will be enough people in your life who will be only too eager to underestimate you, to denigrate you, to put you down. Never do it to yourself.

 47. If you knew how long you were going to live, you would take better care of yourself. 

Trending the Unacknowledged You

17 years later, I have read Douglas Coupland’s Life After God. Personally, I think it is forgivable considering I was 10 when it was published in 1994, and one should be above a specific age to truly benefit from the thoughts it provokes.

As far as age is concerned, it seemed remarkable how applicable the introspective vignette’s, contained within the novel still are to, particularly, those within the late-20-something to 45 age bracket. This is in spite of the momentous shifts in technology and social interaction that have occurred since its publication in the early 1990s. Of course, this is not to say that books published any more than two decades ago are irrelevant in terms of their wisdom, as that is wholly untrue, it is more correctly a re-assertion of the old “the more things change, the more they stay the same.” Youth is youth, aimlessness is aimlessness, and trying to figure oneself out is ever a work in progress.

This is precisely where a very interesting thought from the book comes into play. In the chapter “Patty Hearst,” the narrating character outlines a fascinating method by which one may learn more about themselves, it is as follows:

“...Everyday each of us experiences a few little moments that have just a bit
more resonance than other moments –we hear a word that sticks in our mind –or maybe we have a small experience that pulls us out of ourselves, if only briefly... If we were to collect these moments in a notebook and save them over
a period of months we would see certain trends emerge from our collection –certain voices would emerge that have been trying to speak through us. We would realize that we have been having another life altogether...”

This passage stands out for two significant reasons. On the one hand, it suggests that we could employ traditional research techniques, particularly related to marketing and consumer behaviour, to more effectively learn more about ourselves. And secondly, it suggests, quite astutely, that there is a potentially significant dissonance between the self that we think we are and think we project, and the self that we actually are deep down, the one with all the patterns, passions and failings that may remain unacknowledged. This latter suggestion is also greatly tied to consumer behaviour research techniques, and how often our buying habits, as a result of strategies employed by marketers, more correctly reflect the self we wish to be, rather than the self we actually are.

This would be an intriguing experiment for one to attempt to learn more about themselves, the tracking of personal trends over time, indicating who we really are, and what we really think/care about, and recognizing the potentially big difference between the outerself that we think we are, and the innerself that we really do not know.

Expletive as in "Poop"

One of the viral commercials made for ShitHarperDid.ca

As far as digital and new media is concerned in the realm of Canada’s political theatre, the methods are fairly tried and true reflections of what would usually be seen in the physical arena. From political party juniors and hacks trolling social media platforms and blogs, to innumerably unfunny parodies of the old “I’m a Mac, I’m a PC,” commercial, pitting two partisan party personas against one another.

The Canadian federal election of spring 2011 has, unfortunately, brought little else in the way of defining, technological innovations in the world of political dialogue, promotion and information dissemination. Political party hackery has, as expected, run rampant and made many an eye-roll, recalling an old insight imparted by John Stewart, “...extremes run the world, because moderates have shit to do.”

However, one bright spot was the arrival of Shit Harper Did by TRUTHFOOL Communications. Though this initiative, in its parts, was not necessarily technologically innovative, in the integration of its parts into a broader socio-political communication strategy, it was both conceptually new and simply fun. This strategy quite effectively connected comedic, viral commercials with a simplified site as its hub. From there, a “shitty” fact about Stephen Harper was offered and links from this site directed users to news websites, such as the CBC, for further information on this fact. Shit Harper Did established itself as a humourously engaging, easily shareable, user-friendly, and informatively accountable, social and political vehicle.

What’s more, though it was quite obviously condemning of Stephen Harper and his Conservative government, it was otherwise un-partisan in its intent, as it was unaligned with any other Canadian political party. Shit Harper Did was more concerned with encouraging the large quantity of politically disinterested Canadians to vote, if for no other reason, than to prevent the election of a government that does the same “shit,” or, at least, the same “shit” to the same “shitty” degree.

It's All in the "Brown H"

Establishing, continuing, or changing one’s career path can be a challenging endeavour. In doing so, and especially in a world in which the ease of electronic communication gives backseat to face-to-face first impressions, our names are our introductory ambassadors, heralding our existence. What can make this career creation more difficult, is when one’s name proves a challenge in itself (particularly when it contains a non-existent, culturally specific letter).

Facing the challenge of unworldly articulation approaches for far too long, Arati (R-Thi) Sharma, project manager at Toronto digital experience creation firm Jet Cooper, decided to make an appropriately pre-emptive video detailing the proper pronunciation of her name. Having made the mistake once myself (sorry, A-Rat-tee), and then awkwardly tip-toeing around it saying it for at least a couple weeks (for A-Tari’s sake, not mine) the intent behind this video is both appreciated and justified. The video can be found on the Jet Cooper blog.

However, beyond the retellings of tragic first days in September, and even beyond the hilarious proclamation of the existence of a “Brown H,” (the alphabetic Big-foot of Indian names – has anyone really ever seen it?) the video highlights an oft championed, but rarely executed-so-well capability of our digital age; the individual ability to share our own stories and advance our own identity.

Cusp Will Return

Starting the week of April 25.

Si Bon

Post Facile Aujourd'hui.
Out of Quebec comes Beatrice Martin aka. Couer de Pirate.

When a Stwanger Tweets

There is no doubt that since its popular emergence in the 1990s, the internet has provided the world with the means to become, socially, much smaller. From the chat rooms of yore, to instant messaging services such as ICQ and MSN Messenger, to blogs and forums and, of course, now to the giant social media sites Facebook and Twitter, we are provided with a vast amount of opportunity to easily connect to each other.

However, we do not seem to do this to the extent that it is popularly believed. We commonly have Facebook and Twitter profiles that are packed with friends, or in the case of Twitter, followed by friends (though we may also follow famous people). Yet, by friends I specifically mean friends as people we know, have known and have developed relationships with, people who, more often than not, may share similar experiences, outlooks and lifestyles. Even when one’s “friends list” doesn’t necessarily reflect this, it will still be more than likely that the friends they most regularly interact with will. Either that, or their list will be semi-regularly purged of friends with whom they rarely communicate (a practice which I have never understood, I mean, it’s not like they’re actually taking up space or cluttering a physical area, but I digress).

What this seems to point to is an inherent contradiction in the social outreach capabilities of the internet. We don’t necessarily seek to make our world smaller through relating to others, rather, we seem to simply better organize our social world as it would otherwise exist. It is an opportunity afforded to us that we, more often than not, refuse to accept. After all, how often has it happened that you have rejected the friend request of someone whom you neither knew nor shared friends with (spam and porn aside)?

To this end, the question is raised as to whether or not we are stunting our own social development? By consistently adhering to only our immediate networks, we deprive ourselves of the richness and plurality of all the different people and social experiences that we could easily engage with. Even if we do not agree with the perspectives or lifestyles of an individual whom do not actually know, by simply relating to them in some way or another, we can chance the positive growth of our understanding of the world and all those around us.

Enter The Stwanger. After hearing an episode of CBC Radio’s technology program Spark, which was addressing this contradiction, a developer in Toronto created a Twitter based program that connects users to complete strangers. Based both on taking advantage of the internet’s communicative possibilities, as well as on the philosophy that expanding our networks and relationships to include those who we share little to nothing in common with makes us personally richer as global citizens, the Stwanger opens the door for us to, at least, peer into a world in which we would otherwise have no connection. Check out the “Huh?” section on the Stwanger’s website for a better explanation on how to use it, and how it can even be used as a game.

Nice Rack

The Paperback Bookshelf, by Studio Parade

If there is at least one thing that the old-fashioned, physical book has over the various types of e-readers, aside from a few millenniums of existence, it is the bookshelf. This thankless vanguard of intellectual support and storage has been keeping our bound volumes safe for as long as there has been a necessity to have a space to cram texts, parchments and/or papyrus.

Yet, beyond the functionality of the shelf, serving as a place to place our paperbacks, is its legacy as an element of interior design. Whether it’s for the infusion of an eclectic collection of colours in a common area or the development and gradual procurement of a stately library to ensure, and quite obviously assert, one’s intellectual acumen (whether feigned or for real), the bookshelf (presumably loaded with books) is an ancient and essential component of decor.

Of course, there are countless iterations of the bookshelf, from those costing $29.99 at your nearby Ikea, to improvised stacks of anything from milk crates to skateboards. However, the inspiration behind the Paperback Bookshelf, from Dutch-based design firm Studio Parade, is so absolutely simplistic, it borders on ingenious. This minimal shelf simply positions books on their sides and in small stacks. When said aloud, admittedly, it sounds ridiculous that such a thing had to be designed. Yet, when viewed, one has to appreciate the blunt wisdom inherent in the simple desire to see things from a different perspective.

Straight Tacheles

Increasingly, the benefits of urban gentrification are being hailed as hugely important to the cultural development of communities, and broadly, cities. By no means a new, positively received concept, it is certainly one that has powerfully come in vogue within, at least, the past two decades.

Specifically, the reversal of old industrial, or commercial, structures into modern, artistic and cultural hubs is a component of this trend that has proven extremely popular in many municipalities. Immediate examples can be seen in the project properties of Hamilton, Ontario's Imperial Cotton Centre for the Arts; the Cotton Factory and the recently opened Hamilton Hotel, as well as Toronto’s Wychwood Barns, overseen by ArtScape.

However, bucking this trend of renewal, with no less of a creative and cultural vengence, is East-Berlin's Tacheles. This aging commercial complex, has housed, at different points in its long history, an in-door market place, a new-technology showroom, a Nazi prison, a theatre, and low rent housing. During the 1960s and 70s, after decades of consistent and intense usage, Tacheles was evaluated by engineers and ultimately slated to be demolished, a process that was initiated in 1980 and to be completed by 1990.

Yet, in 1990, two months prior to the final detonation which would have leveled the remaining majority of the complex, the artists’ initiative group Kunstlerinitiative Tacheles occupied the building and had it designated a historical site. Upon initiating another engineering survey of the Tacheles, it was found that the complex was, in fact, still sound, despite its semi-demolished appearance.



Since this time, the complex has become officially known as Kunsthaus Tacheles, and has become an art center and nightclub that is a central destination to a number of Berlin’s arts, activist and cultural groups. What is particularly interesting about this is that, unlike the trend of targeted, cultural gentrification, Tacheles' emergence as an arts centre has been a wholly organic one, lead by a gradually developing grassroots arts community.

Moreover, the most interesting facet of the Tacheles is not even necessarily in the groups that it hosts, but rather its manifestation as a gigantic, and continuously evolving, mixed media work of art. Boasting an ever-changing, eclectic array of murals, sculptures and other pieces, the deceptively un-dilapidated Tacheles is less a gentrified example of old into new, than it is fateful study of cultural
(r)evolution.

Albeit, one with an uncertain future.

I, Telenoid

One sometimes wonders if the whole effort to create humanoid robots that will fulfill various household tasks is actually derived out of necessity, or some sort of Popular Science-Fiction/fantasy wish-list. Sure, various types of robotics and machines can, could, and do make our days more convenient, but making it into some sort of cyborg android seems more in line with frivolity than utility.

It is this thought that occurs to me as I look at the Telenoid R1, a nightmarish, android, alien baby with a body like a semi-formed tad-pole. Designed and constructed by roboticist Hiroshi Ishiguro, in collaboration with Osaka University and Advanced Telecommunications Research Institute International, the Telenoid is intended to aid in long-distance communication. Functioning somewhat like a telephone, you speak to the Telenoid, and as the person on the other end of the line replies, the Telenoid program picks up their facial cues and physical language and mimics it.

Apparently, speaking to the alien from Cocoon, who has inexplicably assumed your friend’s voice, eases the pain of distance more than Skype does. And this is precisely the question, sure the Telenoid is terrifyingly neat, but is it (and would future ancestors of it) be truly more effective at personalizing long distance communication than future incarnations of a service such as Skype? I think, in the future, I would much rather speak to that ridiculous CNN hologram of Will-I-Am, than I would C-3PO with Will-I-Am’s voice.

That is, of course, until Apple gets a hold of it and creates an entirely new, hip, lifestyle changing, tech product, that they tell us we need, the iPerson.

Comedic References Across Time

Having finally caught up to the current season of Mad Men, I found myself struggling to understand, why, in its first episode, Peggy and her new creative department employee keep purring “John” and “Marsha” back and forth to eachother.

After conducting some thorough Googling, I found that what they were doing was carrying on with an inside joke/popular comic reference from the era. This, of course, is not so surprising, but what does make it interesting is that, on the one hand, it further represents the fine toothed comb which the Mad Men creators use to ensure period accuracies, and on the other, it represents a very well placed gimmick by the writing staff to not just portray an organic and realistic workplace, but one that the viewer can also associate with.

The whole “John and Marsha” thing was a skit that satirized soap operas, recorded in 1951 by comedian Stan Freberg. The skit consists of two characters continually repeating each other’s names, a narrative is made out of the overindulged intonation that the actors apply to the speaking of their names, playing on the hammy, melodramatic acting found in soap operas. Though recorded in 1951, the skit would have maintained popularity through Mad Men’s 1964, and even to modern day where it is still occasionally performed.

In regards to how this is clever writing, representing an organic and easily relatable workplace, simply consider, how frequently in a given day (especially in this time of viral videos that are instantaeneously spread through emails and links on Facebook and Twitter accounts) you might repeat fad-like jokes or phrases with co-workers for a comic cathartic release. How many times did you refer to “Charlie bit me,” the grape stomp lady, “I like turtles,” or perhaps deliberately interrupt someone with “I’m really happy for you and Imma let you finish but...”? How often do (did) you reference shows like Simpsons, Saturday Night Live, Seinfeld, Dave Chappelle, Family Guy or even How I Met Your Mother?

Though it was an obscure and out of the blue reference, kudos to the Mad Men writing staff on their insightful attention to detail, as well as effectively illustrating the cross-generational connection inherent in these sorts of workplace comedic quips.

The Wilderness Beyond Boundaries

A couple months ago, Radiohead lead Thom Yorke prophesized the music industry’s imminent and not-too-far-off downfall. The cause of this would be related to reasons that have been heard before, those being primarily the industry’s player’s unwillingness and inability to adapt to more innovative models of distribution, and lack of embracing the possibilities inherent in new technologies. Yorke encouraged young artists not to sign with the sinking ship labels, and instead, explore these new possibilities on their own.

In terms of embracing these new possibilities, artists need to look no further than Arcade Fire. Though still represented under label Merge Records, the band has not been shy about experimenting with everything from distribution to music videos in the lead up to the release of their new album, The Suburbs. Earlier in the summer, the band not only webcast their Madison Square Garden show on YouTube, but had auteur director Terry Gilliam (Brazil, Fear and Loathing in Las Vegas) direct the project. As well, in terms of the album’s release, aside from traditional methods and among other things, the band also made the songs available to listen in full off their own website.

Now the band has launched one of the most fascinating projects associated with The Suburbs, The Wilderness Downtown, the interactive short-film/Google Chrome and street view project that blasts the boundaries of the traditional music video. Directed by Chris Milk, the video, for the song “We Used to Wait,” prompts the viewer to enter their home address and then proceeds to lead the viewer through an abstract narrative set in their own neighbourhood.

Nearly three months since Yorke’s declaration, the industry still remains standing, but at least bands that matter, like Arcade Fire, are continually testing new waters.

The Undead Book

Books currently "developing character" in my bag: A Confederacy of Dunces (John Kennedy Toole), Chief Culture Officer (Grant McCracken), Wikinomics (Don Tapscott and Anthony D. Williams).

“Death of” media predictions have persisted for some time and in reference to many different types, notes a recent New York Times article. For example, TV was supposed to kill the radio and the movies, and the internet was supposed to kill TV. However, as the article goes on to detail, none of these forms of media have ever truly died, but rather, have evolved to fulfill other roles or, particularly in the case of vinyl, re-emerged to fulfill new niches.

Yet, a question still remains as to how literature will evolve. Certainly we see obvious indications as to the future of non-fiction print, the increasing prevalence of online news sources, the decline of the literal newspaper, the popularity of topical blogs. Such media has well begun carving out its future existence as widely available, short-burst bites of information. Nevertheless, and at least for me, the future of long-form non-fiction and fictional literature remains less certain. I say at least for me because, though some may roll their eyes and say “obviously, they’ll be translated to ebook formats to be read on the iPad or Kindle,” I, honestly, want nothing to do with those formats or products.

Now, I am not saying that the iPad or Kindle are non-functional or pointless products that I would never use, but they are products that I would prefer not to use to engage myself with a book. A couple summers ago I went on a Cross-Canada train trip for roughly a month. Going from Toronto to Vancouver, back to Toronto and then to Halifax with a number of spots in between, takes a lot of days aboard a train, and unless there are Aussies aboard doing it too, reading material becomes your best friend for the long stretches between great views, destinations, arrivals, departures, and daylight.

The novel that most notably accompanied me on this trip was Michael Chabon’s The Amazing Adventures of Kavalier and Clay. As a piece of literature it provided an amazing escape from train induced boredom (which, despite the views, is bound to happen), but more importantly, as a solitary traveller, it became an appreciated companion. Physically, its appearance and development matched my own, the less I shaved, the more creased its covers became, the more thoughts I had while reading it, the more notes were jotted down inside its cover. It became less a book in my bag than it did a partner, accompanying me on my journey and developing its own character along the way.

It seems unrealistic to me that an iPad or Kindle could ever provide such appreciated (and durable) company. The sterile, glowing screen aside, even if I were to decide to bring one on any form of rugged adventure, I sincerely doubt that I would view a broken or chipped screen as proudly (or, at least, indifferently) as I would a ripped, coffee stained cover.

I guess the point to be made is that literary print, as it exists and has existed for centuries, remains a much more flexible format than those that are vying to be the next link in its evolution. Looking back at the aforementioned examples of TV and Radio, in their evolution their ease of use and application has been increased. Radio has gone from large, immobile, wooden units to personal devices that tune into digital signals (which can also be personalized). TV has gone through very similar transformations. Books, on the other hand, have always been a highly personalized experience (personalization being a decidedly central concern of all media evolution). If anything, those products trying to push the medium forward seem more like a step back. I’d rather lose a single, beat-up paperback worth $10.00, than my entire library contained on a pristine, plastic device worth $500.00 alone.

Of course, and as the article further points out, the real question in literature’s evolution is not necessarily “is the print format dead?” But rather, “is our attention-span?” Certainly, having all your social media available on the same medium as your book is not conducive to dedicated reading time.

So, books, what’s next?

March of the Bags

A new project, by Californian environmental group Heal the Bay, builds a bridge between humourous viral videos and environmental campaign awareness.

The Majestic Plastic Bag is a mockumentary, narrated by Oscar winner Jeremy Irons, that parodies various nature documentaries as it makes believe that plastic bags are an indigenious species of Californian wildlife. The short video details the epic journey of a plastic bag, from the grocery store to its final, migratory home in the Great Pacific Garbage Patch, a clump of consumer waste, ranging in size estimates from the state of Texas to the whole of the contintental United States, and located in the North Pacific Ocean.

The film was made to function as a viral video, funny and easily shared, so that it might also raise awareness about the push to have Calfornia's congress pass bill AB 1998, a piece of legislation that would significantly reduce plastic waste (such as banning the use of plastic bags) in the state.

Song of the Week

Great, just... great.

Broken Bells - High Road

Nerds on High

Miles Davis, as seen on Nerd Boyfriend.

A short and sweet post for this dull and dreary Monday.

Back in the spring, a friend had turned me on to a simple but fun, little, men's fashion blog called Nerd Boyfriend. The premise of this blog is beyond simple, it consists entirely of a single, iconic photo of a famous male figure (whether actor, musician, scientist writer, adventurer and so on), and then beneath that photo are thumbnail picture links to clothing websites where you can buy articles of clothing similar to those worn by the icon in the photo.

Similar to The Sartorialist, in its celebration of an individual's style, Nerd Boyfriend is differentiated both by this online retail association as well as its focus on legends rather than the stylistic recognition of the anonymous individual.

Aside from its name, there is little else to know about Nerd Boyfriend, seriously, the blog has no other sections or offers no other information about itself or who runs it. Even the name is an odd choice, upon searching on Google, the blog's description is listed as "shopping guide and style blog for the fashionably nerdy male," ok, clear enough, and true enough considering some of their past photographic selections (Woody Allen). Yet, if one were to visit today, they'd be greeted by a fantastic photo of Miles Davis, the man who defines the word "cool" and is anything but "nerdy."

Either way, it will shortly be an addition to my links at the side, as a site that I visit regularly.

Among the Clutter

Thrift store on St. Laurent, Montreal, 2010.

You've Got Mouse

Mice exist, deal with it.

Of course, that doesn’t mean we have to deal with it inhumanely, as we have been doing for the last however long time.

For those who’d rather avoid pinched fingers, mess, smells or murderous guilt, the new OneDown mousetrap design, entered into the 2010 International Design Excellence awards (and winner of the gold prize), on behalf of the DSK International School of Design, does precisely this. When set on its side, the bottle shaped trap allows the mouse to enter through its mouth. Once in, the mouse’s own weight causes the trap to roll upright, on its rounded bottom, indicating that it has made a catch. From here, one can simply empty its contents outside and away from the home.

Now, the comment may be posed that, by doing this, it just gives the mouse a chance to come back. This is true, but, with far more mice in the world than people, it is more than likely that another mouse will make a visit anyway. If you really want to keep mice away altogether, a cat is still tops in design and function.

This trap design was not quite functional... and was never as fun as the commercials made it look.

Shades of Hell

Three versions of the same song (well, kind of, the third is a sampe of the first)... Which is your favourite?

Either way, enjoy!

1. (Original) The Clash - Straight to Hell


2. (Cover) Lily Allen - Straight to Hell


3. (Sample of Original) M.I.A. - Paper Planes

Tailored Back to the Future

Last week, at a local pub, I had a conversation with a fella about “old-world” professions, such as cobblers and tailors, and their (often diminishing) translation and presence in the modern world. The conversation, largely focused on the admirably persistent cobbler that still operated a shop a block away, was concerned with a question of whether we should, as a society, be dismayed over the loss of such practices, or recognize their greatly lessened necessity and be comfortable with their products more streamlined production.

Now, two things, first; though tailors were discussed, it would be wrong to put it, as a profession, anywhere near the modern status of cobblers. Despite the “mall-ification” of mainstream fashion, with designer brands and template “fitted” clothing, tailors are still a very essential, everyday profession. Second; New York based tailoring company Second Button has quite adequately addressed the above questions and taken an entirely novel approach to re-translating an old-world profession into the new world of fashion.

How Second Button works is a person would first custom order a shirt through the company’s website, selecting from five different styles (classic, alternative, western, military, utility), and then from a variety of details, buttons, fabrics, and colours. Upon checking-out online, you are prompted to enter your measurements, if you do not know them, visit a tailor or follow the site’s how-to videos. Shortly thereafter, the customer would receive their bespoke shirt for the relatively (considering the services involved and high degree of customization) inexpensive price of $70-$85.

Second Button takes its name from the issue its founder had taken up with the placement of the second button on most men’s shirts, and the difficulty in its look when the top button is left undone (either showing off too much chest, or running right up into the neck.). To this end, the company’s primary mission is to produce comfortable, customized shirts, with an impeccable male neckline when worn casually undone.

The one conceivable minus to Second Button, is that despite the innovative reinvigoration of the ancient craft of personalized clothing, under the site’s FAQs it is noted that all shirts are precisely tailored in Hong Kong. Issues regarding working conditions aside (as I cannot say whether or not there would be any here), the obvious issue to be legitimately concerned with is that this does little to revive this old, and necessary, profession on a “main street” near you. Very little can compare the face to face service of a locally dedicated (and talented tailor), so it is always recommended to find one in your own town and start building that relationship.

Now, how do we revive the art of cobbling?