ASCII by Jason Scott

Jason Scott's Weblog

Goodbye, Milky —

Without a doubt, the absolute worst way to find out about someone’s death is through referrer logs.

Among the people I interviewed for the documentary were a couple in Toronto, who for the purposes of identification were called “Milky and Liz”. We talked about diversi-dials (ddials), early BBS culture, BBS meets, and a whole other range of BBS-related subjects. All told, I interviewed this couple for about three hours, one of my longest interviews.

The interview was conducted in 2002, at the beginning of my interview sets, and since I didn’t know how many interviews I’d ultimately have, we covered everything we could. They were tolerant of my all-over-the-place style (I got better) and my talking too much about myself (I got better).

Ultimately, a good amount of the footage from their interview got in, comparatively: probably 2-3 minutes of clips across all the episodes. They were a happy, bouncy couple who had a lot to say and were wonderful to talk to.

I talked to them one more time after the interview, this year, to get a spelling of Milky’s favorite BBS for the subtitles, so it would be spelled right. They sounded different, but I assumed it was just me catching them on a bad day.

Today, from referrer logs, I found out Milky has died of cancer. He was around 30 years old.

Milky had another name, which I didn’t put on the documentary at his request. It was Ninjalicious, and he was the editor of Infiltration Magazine, a zine about urban exploration. He was a giant in this hobby, a figure many looked up to for advice and fun stories. His website is at infiltration.org.

Stories are pouring into the thread that started showing up in my referrer logs. It is heartbreaking.

I am now digitizing their three hour interview. It will go onto archive.org next, a memorial of sorts of a very fun and brilliant man who touched my life like he touched so many others.

Update: The interview is now up, in three pieces: hour 1, hour 2, and hour 3.

In the last months of his life, Milky worked hard to finish his book about the art of urban exploration. I don’t know what I would do if I was given the news of a terminal condition with regards to my current projects, but he finished his. The book is available for sale from his website and I would heartily suggest purchasing a copy; reviews have been very positive.


Kick My Ass —

I am very sad today.

I have two big piles in my life: unfinished projects to do, and unfinished media to absorb. The piles are huge, because I acquire a lot of stuff and I get a lot of ideas.

One of the pieces in the unfinished project is a novel. I’ve had this novel on the back burner for roughly 9 years. All good unfinished novels have to get a good decade behind them before you either tell everyone cryptically that you’re taking two weeks off to work on something or throw the idea away, forever.

On the unfinished media pile was a book. A novel. In fact, idly reading its promotional paragraph before buying a copy about half a year ago, I kind of dreaded reading it. Because I knew it would have similar ideas as my own novel I’d been working on. However, that didn’t stop me from ordering a copy from Amazon, because I know more than most the regret that can come from seeing something interesting, not moving on it, and then finding it’s gone, lost forever.

The unfinished media pile is real and currently looms, literally over my head at my desk while I work on my projects. It is a massive pile of books and DVDs and pamphlets and other creation that needs my attention. I glance across the titles and read and either pull stuff down or leave it to get in my face again soon. It really is huge.

I had to do a particularly boring task for my employement that would take a few hours, so I finally bit the bullet and brought this possibly-like-my-nonexistent-novel novel to the work and read it while the task basically ran itself.

Two things came of reading it.

Number one, it was like my novel. Not exactly, of course, but very similar. Enough points are similar that you would go “Hey….” if you read them near each other. Not the vital “gotchas”, of course, nothing like that, but enough that you’d think the two of us were roommates at college or had cubicles facing each other at a temp job.

Number two, it is horrible.

There is no doubt there are passages with craft, with an effort put into them, obvious months of sweating the details. I was pleased with his take on certain points of videogame history, with how he tried to capture aspects of the videogame experience, and so on.

But there are parts here, throughout the book, where I’m just miserable at how ruinous the story is to videogame culture in general, and especially in its portrayal of the people who adore these parts of their youth. You can certainly point to the passages which show intense respect or at least admiration to the whole nature of videogames, but then this sniffing of flowers is followed by a steamroller of silly images, needless vulgarity, and horrifying juxtapositions or broken narrative. By the end, it is nearly unreadable.

It shows respect to the videogame culture he obviously spent some time studying and communicating with, much as a worm shows respect to an intestine.

I am not going to give the name of this novel, since I obviously am a biased person with his own little spiral-bound axe to grind, an author who didn’t make it to market before someone else made a similar whosis. It would be unfair and petty to show up in search engines as a review of it, with this semi-jealousy looming over me like a cloud.

The reason I bring this up is that I have two choices, really:

Give up on my project…. or kick his ass.

More than once I have gotten people who have mailed or communicated me about stuff I’ve been working on. “Man, I wish I’d moved ahead… I had some ideas, your site/project/work does it, oh well. Damn.”

In some cases, I understand; my monomaniacal approach to a lot of stuff gets things done in those arenas, and I’m proud at how massive they get.

But on the other side, I’m not perfect; the way I did stuff isn’t necessarily the best. You could take my data and then integrate it into your work and make the features better and add stuff I didn’t think of and link it all new ways so that using it is a complete joy.

You could kick my ass.

There’s something to be said for innovation, direct innovation where you say “I saw X, and now I am making Y, which will be X*2.” You acknowledge something came along before you were done, it got the “big ideas” out there in the world. Now the bar is back to you, and you better show how you would have done it even better… by doing it. Talk is, truly and utterly, cheap. Action is not.

So I’m out to kick his ass. Watch out.

And kick my ass too, while you’re at it.


The Documentary was SO worth making. —

Date: Fri, 19 Aug 2005 19:29:46 -0400
To: director@bbsdocumentary.com
Subject: Okay, I admit it!

Jason,

I’d seen your BBS documentary mentioned on Slashdot in the past, and
after a recent post about it, I decided to go to your site to see
about purchasing it. After all, I spent about a decade of my life
infatuated with the things!

I’ll admit, I saw the $50 price and balked. I was fully ready to
purchase it for $20-30, but it was just too much to justify spending
on something of which the quality was suspect. In the Slashdot
comments, I found a link to the 8 parts as individual torrents, and I
sucked them down overnight.

Throughout the week, I watched every single part. Let me tell you,
that before I’d even reached the end, I knew I was going to be sending
you the $50. Thank you so much for creating this. Not only was it a
fantastic piece of nostalgia, but it was an informative, and at times
emotionally poignant piece of work.

(Normally I wouldn’t send an admission of piracy to the creator of a
piece of work, but I’m sure you’ll understand.)

I’ve just sent in my order, and I eagerly await the 80 minutes of
bonus footage that I missed!


Rumspringa —

I don’t know why it took me so long to finally announce this idea; I had it back in June but then life got a little busy.

Textfiles.com gets a lot of visitors. A LOT. Hundreds of thousands. And I get a lot of nice mail from a lot of people. Also, I like to go out on the town, rarely, but in an enjoyable way when I do. There’s nothing I like more than a big comfortable chair, some fine food, and talking to smart, funny people.

I live in Boston, Massachusetts, which is a dismal place for late night food. But there’s a restaurant that serves a full menu every night until 4am. They’re called the News Restaurant, and when I visited, I found out they had an absolutely spectacular private dining area that could seat dozens comfortably, and was both beautiful and the very comfort I was talking about.

I go to a bunch of user meetings on and off; they are usually held in malls or convenient restaurants, and are generally free-form, which translates to “everybody eats and then they go their separate ways”.

So, I’ve decided to start hosting dinners at this restaurant. I will call them “Rumspringas”, because I’m really frigging weird.

The idea is that they will be held on some evening, maybe a Sunday, and they can go into the night as much as people want, since the restaurant will be open until 4am. And I will organize talks, two people talking, who compliment each other, but don’t duplicate.

Anyway, I made a website to announce this for textfiles.com, and the site is http://rumspringa.textfiles.com.

If travelling to Boston is not a killer proposal for you, consider getting signed up for interest. If I get enough people, I’ll do it. And that would be a great way to spend an evening a month.


The BBS Documentary Interview Collection —

Well, Waxy showed his usual talent for sniffing out dropped hints and figured out that I referenced the BBS Documentary raw footage going onto archive.org over time. Since that little kitty’s out of the box, let me give clarifications.

I’m actually more concerned about releasing raw footage while the documentary is in “sales cycle” than I was releasing it under Creative Commons. Like I said in my rant-y essay about that license, I don’t see Creative Commons really impacting sales any direction but upward. A part of me, however, sees releasing the footage as impacting sales, since people might go “he’s releasing the documentary free!”.

Obviously, this is not the case; the thing you’re paying for is the editing, the packaging, the work I did, the convenience and ease of the DVD and so on. But still, I am concerned about perceptions.

There’s a lot of footage. A ton. I don’t know if people know how much. At least 250 hours. It actually might be more, but that’s the number I’m able to dash off. That’s TEN AND A HALF SOLID DAYS OF PEOPLE TALKING ABOUT BBSES.

The interviews are all over the place in terms of quality and subject matter. One of the most common criticisms for my documentary is along the lines of “you didn’t include incredibly specific subject in your film”. That’s usually because either one interview mentioned it as an aside, or maybe nobody mentioned it at all. If so, then it was very hard to fit things into the documentary on a cinematic basis. The documentary is just that, a film, a narrative movie about a subject. And that medium lends itself to certain aspects of story (human emotions, sounds, images) while not doing a good job of others (completist lists, endless talking, complicated issues that you almost have to have been part of to understand, etc.) and you have to take that into account. People compliment me on how well the editing flows… and then ask why I didn’t include a rather complicated subject.

So about these interviews….

Some interviews are basically monologues, with me in the room while someone talks with pretty much no prompting for a full tape. Others are “memory surgery”, with the subject and I working together to dredge out individual facts from hazy fogged reminiscences. The second type is somewhat hard to sit through.

These interviews will in fact be “edited for content”, but I think the term means different things to different people.

There’s a whole set of interview tools I use to get people to talk. In the case of people who just simply couldn’t know where to go next, I would tell them stories. In fact, I often told the same stories. I might tell the same story to a dozen people. But somewhere in there, they’d go “Oh, yeah! That reminds me!” and off we’d go again. I’m likely going to cut out my stories. I’m also going to cut out where, for example, I talk about how I got a flat fixed with AAA before the interview, or where we both marvel about the coffee. Trust me.

However, if we talked about BBSes, it’ll be in there, I’m not cutting out anything related to them, in any way. Some tapes will be 20 minutes while others are 50. It really ranged a lot.

Lighting and sound wise, things are all over the place as well. This is because, in some cases, I would have 10 minutes of “setup time” with someone who HAD to be out the door in 60 minutes. So I’d rush. Or I’d have 4 interviews that day, and the next interview was 150 miles away (this happened a lot). So I set things up, and they were pretty good, and there we went. In a few cases, I had people near windows and the light changed across a day. This is the price of a one-man crew.

I’m going to focus first on putting up the interviews with the people who didn’t ultimately make it into the documentary. This is about five people. In the background, right now, my laptop is digitizing my interview with Mark Nasstrom, from Seal Rock, Oregon, who used his BBS as a way to report election results for the town days before the town newspaper, which only came out once a week. We discuss Boardwatch extensively. We discuss what it means to have a BBS in a town where the phone lines rot from the salt in the nearby ocean (Seal Rock is a coastal town). We talk about a lot of interesting things, very useful historical information about BBSes, across the hour. So it’s fun to listen to.

I’d like the eventual entries for each interview to be as complete as possible. I will write out explanations of the interview, it’s context, the person. I will fill out all the forms it provides for me. But I wouldn’t mind it going further.

I would hope (but hope is all it is) that someone will consider transcribing the interviews. I hope someone considers indexing them. Maybe someone will even find ways to make something be able to search the video.

And more than that, my REAL dream is that someone will take my footage and use it in their OWN documentaries. Remember, it’s Attribute-ShareAlike licensed. You can use it. You can sell what you make from it. You have to release it under a CC license the same as mine, but hey, I’m doing OK financially, you can too, if it’s good enough. I would hope that all the people who complained about my focus on North American BBSes would consider using my footage as a foundation to record their own documentaries, interview their own country’s people, add their own voices to the record. That’d be sizzling hot. I’d be really proud.

Until then, however, we have this library of video interviews I’m building. It’s going to take me many months to get all of them up; I suspect I’ll be doing this well into 2006, on the side, slowly building this massive repository of BBS history, this huge juggernaut of interviews and footage with thousands, literally thousands of BBS subjects covered.

Before this project came along there was no real video footage of Ward talking about the first BBS. Now there is five hours. Before this project, you had to rely on heavily-edited interviews with Tom Jennings to see his take on his software. In the two hours of footage I have, there’s no question about his emotion and energy around Fidonet. Phil Becker, creator of TBBS? 5 hours. Jack Rickard? Two. And so on, and so forth. Voices raised, resurrected from the rich years of BBS history, speaking clearly, telling us these stories, for the generations to come.

How could I put a price on that?

Speaking of which, buy the documentary. My producer thanks you.

Update: It’s now up at http://www.archive.org/details/bbs_documentary.


Statement of Work —

I was browsing around for mentions of the documentary, and found a nice lively discussion about the documentary’s scope and range on a usenet newsgroup, alt.bbs.synchronet. Here’s the thread I found.

It’s an interesting one, because it kind of captures everything that I’ve really been proud of as well as most everything I’ve been criticized about with the documentary. It also includes the opinions of two of the subjects who are IN the documentary. That’s a nice change too.

Here’s the summary:

Good: Looks good, flows well, is professionally packaged, edited nicely, interesting to watch, faces put to well-known names, lots of stuff covered.

Bad: Misses subjects, avoids certain topics, doesn’t discuss BBSing outside of the US in detail, doesn’t mention XXX or YYY or ZZZ or (…infinite). Acts like BBSes do not exist in modern era, acts like they are history and not in the present. Clubs seals.

(Sorry, I made that last one up.)

Naturally, you can’t really do ANYTHING without criticism; there are no perfect films and don’t waste time thinking you can make one. What you do is make the best one you can make, put it out, and take the good and the bad responses together. If it makes sense to, you speak.

I’m reprinting my part of the discussion here, simply because it’s a good solid “statement” on my part about the work.

Hi, everyone.

Jason Scott, BBS Documentary director here. Saw some nice discussions
and debates and, well, accusations. Thought I’d jump in here.

First of all, I want to thank, again, Rob Swindell and Frank Vest, who
both opened their homes to me and my equipment, knowing nothing of my
“work” before then. In Rob’s case, I showed up many hours late (I
misjudged travel time from San Francisco to Los Angeles) and in
Frank’s, well, there I was jamming a lot of lights and cameras into his
home, and after his marked reticence to being interviewed at all. I
appreciate both of your allowances for this, and of course for the
hundreds of others I interviewed.

I think it’s important to note what function the BBS Documentary is
attempting to fulfill and what it took to achieve that function.
Previously, and I am not exaggerating, there was nothing like it. There
were written articles about BBSes, a few scattered photographs and
collections, and there were names and concepts in danger of fading away
forever. There was nothing to hang one’s hat on, no work to say ‘It was
like this….’. That’s what I shot for, basically an overview of a 25
year history that at first blush seemed impossible to really capture.
This is, basically, why we didn’t see something like it before and why
an amateur with a film degree had to do it.

I didn’t expect it would take 4 years to accomplish; had I known that,
I don’t know how much I would have taken on, or if I’d try to do what I
did, but there we are, I started in 2001 and ended work in 2005 and
that’s more than 10 percent of my current life spent making the film.

The focus of this documentary is the experience and the situation of
dial-up BBSes. It’s not meant to be about Internet BBSes, not meant to
be about web forums, not meant to be about current “scenes” that have
their roots in BBSes, and it’s certainly not meant to cover the cutting
edge of BBS technology. This isn’t hard information to garner, and if
someone thought that the video format would be the way to tell this
story, then they would do so, or even better, have the assembled people
available an e-mail or website away to do so. Applying that standard to
the BBS Documentary will inevitably lead to despair.

Also, it’s important to take into consideration the issue that
“complete is the enemy of interesting”. In the case of these episodes,
they are meant to be INTRODUCTIONS to their subjects, to cover them in
as universal and straightforward as possible, without getting captured
into that horrifying geek loop of “but this exception… and this
one… and these…. and this…” and then each episode is a three-hour
laundry list of every variant concept. I am fully aware, and I state so
in the commentaries of all of these episodes (all the episodes except
COMPRESSION have director commentary or statements) that the episodes
represent a scoop, a sliver of the “full story”.

The lack of non-north-american coverage was a decision, one I made
months into the filming when I determined that just trying to capture
the nature of BBS activity in the United States and Canada was going to
be a years and years effort. How good could it have possibly been for
me to travel to countries I’d never been, in languages I do not know,
arbitrarily interviewing people with no knowledge on my part of who did
what (due to the aforementioned lack of language skills)? It would have
been a disaster beyond disasters. So I pulled away from a global view.

When I said “a few hundred BBSes” were left, I meant in the United
States, and I meant dial-up. This number came from consulting fidonet
and other BBS lists. And I think I was being generous.

Remember, it’s all about dial-up, not internet-based BBSes. So I have
to take exception to it not covering something it was never meant to
cover.

Now, all this aside, there are two things I’ve worked to do to make up
for obvious deficiencies in the documentary’s coverage.

First of all, there’s over 250 hours of interviews, of 205 people. With
one exception, I have full rights to do with these interviews as I
wish, so I will be making pretty much all of them available! I have
made a deal with ARCHIVE.ORG to have a large sub-collection of all
these interviews, with salient points covered in them and who and what.
For example, there’s two hours of Rob Swindell where I only used
roughly 45-60 seconds of this footage. Same with Frank Vest. In their
interviews, and in dozens of others, MANY subjects were covered, many
of the same ones people are unhappy I didn’t put in the documentary.
ALL OF IT WILL BE AVAILABLE, under a Creative Commons Attribute
ShareAlike license, meaning they can be used in almost any way people
would want to, including as the basis of further documentaries. This
will hopefully put to rest the idea that my documentary quashes
additional BBS concepts that were covered. 250 hours. That’s 10 solid
days of BBS discussion.

Second, I will be continuing my work with TEXTFILES.COM and the
BBSDOCUMENTARY.COM sites to add more and more information, information
which might not have been easy to portray cinematically (remember, the
documentary is a movie, not a book) but which can have that
all-important critical mass as a location to save this history.

Again, it’s history, I focused on the past because the past wasn’t
being told in this fashion. I do not pretend, anywhere, that it’s the
final word. It’s the first syllable of the first word. The problem I
attacked was that the first word wasn’t even being spoken. Now it is.

So keep talking.


Time Served —

Throughout the whole production, I was only kicked out of a house once.

This is actually a very good ratio, considering the number of people, range of locations, and seat-of-the-pants methods I often employed throughout the filming. I would occasionally find myself in a place, say, Washington DC, get a call and learn that my interview had to shift or cancel (either because of work or other factors). So I’d suddenly have nothing to do until the next morning.

One nice part of this process was I had a great phone list of cool people across the country. I’d make a few random phone calls from this list of everyone I had gotten interest from, and sometimes they’d be up for a surprise visit.

Sometimes they were fine with just a social visit, with me showing up and checking e-mail and talking about the work I was doing. They got a chat with me and I got to spend an evening actually conversing with a real person, so everything came out for the best. A happy ending.

Not so happy were a few very small times where the expectations for the interview were simply not translated properly along the way. I have to stress how rare this was. I recall, for example, the time that I had an interview scheduled for 8 in the morning and at 2am, 6 hours before, I was 80 miles from the location. After some quick and foolish considerations, I decided to gun the rental car and just find some place to stay nearby and get an hour or two of sleep. When I got there at 4am, I decided I’d just park in the apartment complex’s parking lot and sleep until 8am.

I still remember waking every 15 minutes, in a car, with morning dew on my face and thousands of dollars of equipment in the back seat, worried I’d JUST missed the interview. When 8 rolled around, I called the subject at his apartment, and he explained to me, quite forthrightly, that his wife wasn’t comfortable with an interview being conducted in the apartment, and could we do it at the Burger King?

“You bet!” I said, controlling my fatigue-driven rage that I had risked myself driving for hours and hours, only to be shut out of the house. I hung up the cell, turned on the car, and rolled on out of the parking lot. Within 5 minutes I was back on the highway, never to be seen in that part of the country again. Ciao!

It’s hard to say if there’s really any “fault” to lay there. I likely didn’t translate how the interview really needed to be conducted in a place I could set up a camera and lights, and the subject didn’t check with his family about an interview. The result was no interview, a galactically grumpy Jason, and a guy wondering what happened to him. A bad situation all around, but like I said, this was very rare; I probably had this sort of bad thing happen less than 5 times, and considering I was shooting for three years, that’s pretty good.

Getting kicked out of the house was a whole other situation, and it was all owing to a misunderstanding which is the point of this whole essay.

First of all, the time between contacting the subject and interviewing him was about 48 hours. This was a mistake; he hadn’t time to bring it up with his family, and he certainly hadn’t any way to really translate what I was up to. Meanwhile, his family basically found out about me when I showed up, and didn’t know what to think of me.

After a tour of his wonderful home, we sat down to conduct the interview. He signed the release form ahead of time (note to everyone in the planet: never do this) and we were about an hour into the interview when I heard a voice behind me:

“What is going on here?”

What followed then is really not something I’m comfortable describing in detail, but the result was: One massive domestic dispute, one documentary guy clinging to his equipment prepared to defend it from an onslaught of fists, a lot of apologies from a near-tears subject about the interview not going on, and a hasty shuffle out the front door I’d been welcomed in a couple hours before, carrying all my equipment with wires and papers bulging everywhere.

Through this little explosion, I am proud of one thing; I pulled the tape with the interview of the subject, took out the release he’d signed and gave both to him. He protested, and wanted me to keep the tapes.

But I said “You only have to live with me for a day; you have to live with your family for the rest of your life.”

“Professionals”, of course, would have taken the tapes, happy to use the “scoop” regardless of what damage and descruction it caused in their subjects’ lives. This is why I’m fine with not being called “professional”.

Naturally, the question you have is what could possibly be on those tapes that was so bad? What would cause people to turn on me and kick me out of their house?

The answer is either odd or completely expected: the subject had gone to prison due to his BBS.

I’d always been hesitant to make one of the episodes of the BBS Documentary be about hackers. This is because of the pure muck-pile that the whole “hacker” lifestyle/culture/mode of thinking has been dragged through in the last 25 years. I think at this point a solid number of folks are positive that hackers turn off heart monitors with iPods. It adds a nice false sense of “rebel” to the term but does little else other than attract a lot of media attention.

A lot. Of media attention. Enough that hackers end up being the only aspects of computing culture that get sizeable documentaries made about them (although gaming culture seems to be catching up). Why would I want to work so hard, just to make another one?

The result of my going for it anyway, HPAC, actually goes in a different direction, focusing on the positive, the people, the stuff that made kids or adults tick when they used “underground” BBSes and how they looked at it all. I think it’s all kind of pleasantly nostalgic, the way I took it on.

And this is without a doubt shaped by who wanted to be interviewed. Almost to a person (with a couple exceptions), these were people who ‘got underground’, dallied around as you might enjoy skating in pools (you know, trespassing), finishing that up, and moving on. High School. Summer camp. The first kiss. Just distant, happy memories. This was antithecal to most documentaries about hacking, so I went with it, and enjoyed doing so. It was refreshing (and I hope it is for the audience as well) to see a bunch of people going “I used to crack Apple II games. That was fun!” Without the “necessary” point of view of law enforcement bearing down going “these kids were responsible for one thousand gabillion dollars of lost revenue. They must be euthanized.” And then frowning.

And to a person, they basically are happy memories that they mention in their interviews. Sysop of OSUNY finished up his time with his hacker BBS, passed it along to some friends, and moved away. The Freeze got away from Apple II cracking, did some programming, and ultimately got into sales and marketing of inexpensive computer parts… and made a mint.

But in doing my research (and remember, I was researching this for years), I found many more stories, stories that were sad, infuriating, incredible, all around how people went to jail or had their lives basically ruined by BBSes.

Why didn’t I “tell the full story” and try and shoehorn these stories into the documentary? Well, for a little bit, I definitely did, with bonus material about the Ripco BBS seizure and a police “raid” on the SDF BBS, as well as general mentions of “busts”. But I didn’t go through blow-by-blow stories of some of the more henious crimes/situations because:

  • The people who went to jail didn’t want to speak about it.
  • The story was so complicated, it would need its own episode.
  • I was just feeding into the lurid crap at the expense of the “non-commercial” stories where people just had a good time.
  • The endings tended to be ‘And then they picked up the pieces of their broken lives and were doing pretty fine until you showed up with your camera, you media wang.’

What I think gets lost in the world is how absolutely horrible prison is. I don’t mean “boo hoo, I can’t watch my big screen TV” or “now I can’t go to the mall, wah”. I mean, take this approach:

Imagine that, in a week, you will have to go away. Away for a long time. Years. All your stuff, everything you own, that has to go somewhere. If you’re lucky, you have family who can put it into storage, but obviously not all of it. Your furniture, your books, your objects, they can’t come with you. It’s kind of like you died. Also, you probably owe a lot of money, because you hired someone to try and make it so you didn’t have to go away. But you do, and now you also owe them money. Maybe you can sell some of the stuff, your stuff you have to now get rid of, but it probably won’t add up to enough to pay off what you owe.

You are going to go away to a prison. In the prison, you will be locked up with bad people. They are often sent there because they keep hurting other people, people not unlike yourself. Your schedule is regimented, your sleep is fitful, and you are, generally, miserable.

You are in your early 20s. Maybe your 30s. Maybe you have kids and they’re growing up fast, but now you won’t see them outside of the box for years. Other people will raise them. If you’re younger, you’ll be raised somewhat by this box, this prison. You will be, in many ways, both alone and never alone.

Once you are out, by the way, you will be a different person. Your friends are years older, probably never really your friends again. If you had skills, they’re out of date (prisons are horrible about teaching people skills to help them when they get out). Your social skills are kind of weird too, since you were locked up in a highly regimented, vicious environment of people of your own gender for years. You are not trusted by many people, because you are an ex-con. You are, even though the walls are gone, alone and never alone.

Now imagine you are here, you are like this because you ran a BBS in 1991. Because you connected to a computer on a modem line whose administrator account had the password “computer”. Because you had a copy of “Print Shop” available for download, and it was downloaded a dozen times over two weeks. Because you had dirty pictures up for download.

In the early 1990s, there were a rash of BBS-related cases where people were arrested for BBS stuff, stuff that now, even 10 years later, wouldn’t raise too much of an eyebrow, and they went away for years and years.

I found a lot of these old cases, found the people who were behind them, talked to them or family members that now screen contacts by people like me. And they told me to get lost.

Many were understanding of my approach, and that I was an OK guy who, if not right-headed, was at least right-hearted. But they turned me down, often emphatically. They turned me down and made it clear: Those days are over. We are not going to discuss those days. That person, that part of that person is dead.

It opens old wounds to bring that stuff up, even if there are lessons to be learned. Even if I think that there’s something important to be brought up in recounting these stories, it is very mean to poke someone’s slowly-healing life with a stick and go “does it hurt? does it still sting?”

Because it does.

Prison does not rehabilitate. It decimates.

I see terms of prison suggested in current law and they are astounding. Five years, five years for videotaping a movie in a movie theatre. Twenty years for discussing certain types of drugs. Twenty years. That is, for all intents and purposes, a death sentence. The person that comes out is not the person coming in. The old person is gone.

As a “professional” I suppose I could have barrelled through, demanded to tell these stories, used re-enactments or “experts” or otherwise slogged in the story without the permission of the subjects. But I didn’t make this documentary so I could cease sleeping peacefully. I did it to tell stories that should be told that were waiting, by the subjects, to be told. There’s hundreds of hours of footage; I wasn’t starved for stories.

I was going to go into detail here, about some really amazing examples of people whose lives were changed forever by BBSes, for the worse, and who carry with them the scars of a time that many have forgotten.

But not today. Some other time. I lose days to anger remembering what was done to these people. And DEFCON is coming up and I have to explain in my talk why documentaries have to be done.

But the next time some ill-thinking huckleberry swings around “put them in jail for years” over some infraction or behavior they do not approve of, I wish, just for a moment, they could feel the hell they propose to send others through, for nothing.


Bovine Ignition Systems —

The production company that made the BBS Documentary is called “Bovine Ignition Systems”. It’s a weird enough name that a couple people have actually stopped paypal orders and contacted me to verify that “Bovine Ignition Systems” is the company that they should be giving $50 to.

The name dates back to 1985, when I was in high school and my friend Jeremy Stone and I decided we should make a band, since that’s what you do in high school. Our original name for the band was “J S Squared” because “J.S.” was both of our initials. Oh, and as I’m explaining, there were only two of us in the band. And I couldn’t play any instruments.

So we started working on songs, and we knew that we would probably be mostly making music that was recorded (that is, we would put it on a 4-track recorder I bought) and not doing many live gigs. (We ended up only doing one.) So we came up with this elaborate set of backstories and ideas that would be behind the band.

To that end, we came up with really crazy “staff names” for our band, instead of “Musician” and “Guy who can’t make music”. We brainstormed a bunch of weird job names, of which I can remember two: “Rodent Manifestation Supervisor” and “Bovine Ignition Systems Engineer”.

We immediately decided “Bovine Ignition Systems” was a much better name than “J.S. Squared” and switched immediately.

Bovine Ignition Systems produced probably something in the range of 30 songs, of varying quality, neatness and length. Our hot period was 1985-1987, when we were sophomores and juniors in high school, although we actually recorded a couple more when we were in college. During this time, Jeremy really got into playing music, including buying guitars, effects machines, and keyboards. This improved our sound, but it also meant he was actually learning how to play. I, instead, went into a weird little thing called “Mods”, which are a little much to go into here. Suffice to say, my “Mods” didn’t sound as good as Jeremy’s “actual music”.

After college, Jeremy moved to Seattle to work for Microsoft. He even asked me to come with him, but I liked Boston and stayed there, where I am to this day.

While I worked at 100 temp jobs, a video game company called Psygnosis, a starup named Focus Studios, and the place I still work at, Jeremy stayed at Microsoft. He was a programmer, engineer, or team lead on such products as Internet Explorer, Flight Simulator, Combat Simulator, and even the instant messaging server.

Also, he continued to make music, playing with a couple bands, including one called “80 Something” that did covers of 1980s era pop music, with an ironic flair, and to a very large degree of success. A large enough degree that Jeremy played in front of thousands of people when he was in the band. He also switched his instrument interest from Guitar to keyboards to drums, and even has taken singing lessons and who knows what else.

I, however, stuck with “Mods”, a collection of which are here.

Our locations on opposite sides of the country, and our rapidly diverging musical tastes, and our very different approach to almost everything doomed Bovine Ignition Systems from continuing onward. A shame, because we had this very interesting, weird mix.

However, here we are 20 years after Bovine Ignition Systems first came into being, and I decided I wanted the name to live on in some fashion. So when I had to come up with a name for the company that would do the documentary, I named it after this band.

If you want to, feel free to browse the website I have about the band. It has most of our music, and I would say that you should start with “The Girl with the Biggest Hair” and go from there.

One other thing: Because of this weird band name, a lot of people associated us with cows. A lot. And we got a lot of cow things. Like, tons. I have over 1,000 cow-related items, and that’s not including stuff I’ve thrown away over the years because it broke or otherwise went off its best by date.

And it is also why I own COW.NET as a domain name, and why the Bovine Ignition Systems office number is 1-617-COW-TOWN.

Moo.


The Right Audience (and the Sequel) —

This entry has a ramble factor of 8. Please use caution.

I took an initial risk when I was plotting out this documentary and how I would approach it, and that was how “technical” the whole thing would get. When you do a documentary on a subject, there’s always a balancing act between making it “inside/dense” or “general audience/accessible”.

If you assume your audience has had absolutely no contact with the subject matter at hand and in fact has to be convinced they even want to sort of learn about it, then you are going to have to do two things.

First of all, you’re going to have to spend a lot of time explaining everything, all the little details and words and mentions and sort of slowly ramp everyone up. You’re basically pushing a big rolling ball of unaware folks up a tiny incline where you’ve got a nice Jellybean of Tasty Knowledge waiting for them at the end of this massive effort. (“Science Fiction people are just like you and me!”)

Second of all, once you’ve spent all this time setting up all the basic facts and making sure there’s no movie ticket left behind, you’re going to creep a little bit into the culture you’ve now exposed, but not really that far at all. In fact, if you want your work to be memorable, you’re going to have to go for the most broken and weird folks within that culture or event, so that they can stand out and make people feel like all this junk they learned about this phrase and that date was worth it. Traditionally, this is accomplished with a good solid death.

The advantage of such a relatively shallow approach is that you can sell your work anywhere, and to anyone, and you can market the hell out of it, since basically everyone is going to find something for themselves in it. Even if people who actually know “the real story” will find your work vapid, shallow and unenlightening. Sorry, experts! Your princess is in another castle!

The other approach is to aim for a tiny audience, one that is very much in the know. This approach is not often taken, but when it is, you find it much easier to make (since you’re not rephrasing everything for simplicity.) You can assume your audience knows exactly what the subject is, in fact they might basically be the subject, and are simply interested in seeing the stuff you’re filming for the purposes of learning material (new techniques) or comparisons (seeing themselves). Examples of this include skateboard videos and DJ competitions. I own a bunch of both, and you better know what’s so cool about scratching records or catching some air beforehand or you’re simply lost about what the big deal is. (Note that I am separating DJ Scratching competition videos from the excellent documentary Scratch by Doug Pray.)

The problem with this second sort of documentary is that you basically wipe out huge swaths of humanity as an audience, while making it particularly useful for a small subset of humanity. And if you’re in it to make money, then this is definitely not what you want to do. if you’re in it because you want the subject covered in a deep and meaningful (for the subject) fashion, then this is exactly what you want to do.

So I tried to strike a balance in going after the subject matter, putting in enough that a person could sort of self-start themselves into the subject of BBSes, but not make the thing so simplistic that anyone who ever actually used a BBS would be disappointed at the blandness. But my leaning is towards the people who are familiar with computers and the internet, so they could compare and contrast.

In other words, my film is not very good for people who don’t actually like computers. It’s horrible for people who hate them.

And here we get into a different problem: reviews. I find a lot of bad reviews stem from simply over-marketing of a film to places it never should have been in the first place. When a guy makes a slasher flick for no- or low-budget, that is for a specific audience: people who like slasher flicks. In fact, the flick might be created to almost comment on classic slasher flicks, and if you think there’s no such thing as a ‘classic’ slasher flick, you’re now in a very small, poorly lit torture chamber as this horrible slasher flick goes by. In other words, the best slasher flick in the world sucks as far as you’re concerned, even if it’s really the best of breed. You don’t like the breed.

Currently, I have the best BBS documentary in the world. Granted, it’s basically the only one of its kind, but I expect some others to show up of some type. In fact, I have gone on camera saying that I hope it ends up being the worst documentary on BBSes ever made, because ones that come after it can hopefully kick its ass. Get cracking folks; these guys are getting old.

I am, currently, too biased and unqualified to say where it stands in the tiny world of Computer Documentaries. Is it better than Triumph of the Nerds? Is it worse than the Blogumentary? Time and the opinions of others will tell. But if you hate computer documentaries, then my movie and all these other movies will be horrible to you no matter how good they are according to the genre’s goals.

Big blockbuster movies have to be made to appeal to the widest audience possible. That’s where the name comes from: lines to the box office that “bust” out past the length of a city block. People will not be encircling theaters to see the BBS Documentary. It’s not designed to be that general an appeal. But Hollywood films have to, to make back their enormous budgets.

On my side, and I know the people who were stunned I released this Creative Commons were wondering: I made back the budget of the film in two weeks. And this is because I knew who I was doing this for and that, when they saw that such a film was available, would jump at it.

For the audience that gets my film and also “gets” it, they are very, very happy. They are delighted, based on the hundreds of letters I am getting, on several fronts:

  • The subject matter is not watered down
  • There is a sense of covering many parallel aspects
  • Both “famous” and “unknown” people are side-by-side
  • I don’t beat people over the head with narration
  • The bonus material gets unbelievably technical
  • There is novelty in seeing people talking about BBSes
  • Everyone in it is treated with respect

For each one of these “positives”, however, there is a negative way of looking at all of them, and if this film is shoved down people’s throats as being something it is not, then they note that:

  • The subject matter is very dense and technical
  • It is unbelievably fucking huge
  • Who the hell are all these people
  • Where am I
  • Why am I watching this, let’s go see Howl’s Moving Castle
  • No I’m serious
  • Fine, bye, I’ll see you at work

And like I hope I’ve made clear, this is a “pushing it on people who shouldn’t have it pushed on them” problem, not necessarily a “content” problem. I didn’t really make the 8 episodes to not come together as a set, although of course people are bittorrenting and copying them separately. Some people will watch the first two episodes and make a judgement as to the other 6, others will go to the one they care about (HPAC and ARTSCENE seem to have this reaction a lot) and that’ll be about it. On one level that’s fine, but on another level it’s missing out on the whole crazy package I worked to put together.

But really….. I don’t have any control on “the right way” to see my film any more than people have any control on “the right way” I should have made the film in the first place. I made it “the right way” for me, and for a set of people in the world, which are making themselves known more and more to me every day.

In fact… there’s 1,200 of them. So far. Not bad, huh.

And of that 1,200 (plus a few thousand that have downloaded the film), there’s a tiny minority, probably less than a few dozen, who have said the most terrifying of questions to me:

“When’s the sequel coming out?”

It’s always bad to make declarations of any nature, so I’ll say this: I have absolutely no interest in making a sequel. Over the course of the future, I will be sorting through the hundreds of hours of interviews and making them publically available; this will add literally days and days of footage of BBS-related material out there, on top of the 5.5 edited-together hours I’ve now finished. If you want to think of that as a “sequel”, then great, but do not expect another pretty box with 3 DVDs (or more) to be coming out in 2008 or anything like that. Not happening. Not what I want to do with another bunch of years of my life.

I’m still involved in BBS history, of course, and I will be using the BBS documentary’s research and filmed hours to continue my work in this (still-fascinating!) subject, but my days of making a BBS documentary are over.

But.

And here I put this way down here.

I am working on another documentary. It will make this documentary look like a Hollywood blockbuster. It is of such specific nature that it’s weird talking about it.

Unlike the BBS documentary, I don’t need to contact thousands to research it, so the needs of it being “open” are much less. I’ve assembled an advisory team, I’ve got a mailing list, I’ve even got a site floating out there.

Likely, I will use a similar model to this documentary, that is, taking pre-orders and keeping people updated, and then using those pre-orders to get over the hump of affording equipment (like a high-definition camera and so on).

If this at all interests you, and you wish to be notified about it, just mail me.

See? It all has a happy ending.