So no, I'm not shaving my head because I'm going bald. I'm doing it because the boss lady likes it, and it saves me from even the pretence of a hairstyle I'd been sporting for the last two decades.
That cut, ideally executed every three weeks, was an even, no fuss trim with clippers.
For all the reasons offered here, that came to an end.
This photo was taken after seven razor-free days in Tobago, which now tells me how long it takes to go from freshly shaven to my old cut.
Basically, I have to shave to make myself presentable before every public engagement, which works out to about three times a week.
If you think stubble looks grimy on a face, it's about ten times as scrappy on my head.
After getting some great advice on my last post about my earlier experiences, I've settled on a regime of shaving gel for regular shaves, gel for major assaults on the hirsutism of laziness and the five blade is razor as my preferred instruments of follicle harvesting.
The only catch in all this was the staggering cost of replacement blades.
These razors may be affordable if you have lovely soft hair, but my stubble is brutal, particularly on my head. After a few shaving sessions, I'd start getting the telltale snagging of a razor past its prime.
Fortunately the boss lady sent me this important tip from Instructables, which has extended the life of my blades from just over a week to months.
Moving forward, that website will be the focus of all my BitDepth postings, though the archive here will remain the definitive collection of the column for anyone trying to find past installments.
Have a look at it to see what I've been up to, particularly if you have a serious interest in technology developments in Trinidad and Tobago.
It's early days yet and many changes will come over time as I develop the project.
Mas Colloqium Talk: One. Then five to fifteen.
Video: Carnival Stakeholder Conversations
BitDepth#929: A Carnival Coda
BitDepth#927: Lessons from the Socadrome
Guardian Editorial for March 10: More transparency in Carnival
PhotoBlog: Why I have nothing to say about your Facebook Carnival gallery
BitDepth#926: Carnival's stuttering progress
Guardian Editorial for March 02: The Geography of Carnival
BitDepth#925: How I would fix Carnival
Guardian Editorial for February 26: Elitism or Entrepreneurship?
BitDepth#924: Carnival Copyright Redux
Suggestions to the NCC for accreditation improvements.
Narend Sooknarine's experience with the NCC accreditation team.
Local Lives #17, a look at the production process of the band Tribe on the occasion of their 10th anniversary, is posted here.
The gallery has been expanded with the new images and the stories that accompanied the photos are to be found here and here. It wasn't designed as a Local Lives installment, but the layout of the images was good and a PDF of the published pages can be found here.
Here's my very first piece of mail from Google. Oddly enough, the all-digital company insists on sending a hard copy card to a physical address to verify a business listing on its service.
Naturally, that document doesn't have the savvy of Google search, so it quickly ran afoul of the expertise of TTPost, who sent it off on a tour of El Socorro before finally bringing it home.
A Trinidad Guardian review of the live talk is posted here…
Juma Bannister's photo gallery from the talk is posted here. I particularly like his photograph of Guardian reporter Josh Surtees and myself, which makes us look like real tough guys looking for action.
View this and many other intriguing slides on Wednesday August 14.
On Wednesday I'll be giving a talk about my career experiences in photography and with all the related engagements I've had along the way at Antony Scully's new photography space, Studio 30.
There will be a vidcast of the presentation, as with all my other talks, but you don't get to ask me difficult questions in person that way.
You'll find the space here…
30A Warren St., Woodbrook
(Opposite St. Theresa's Church - Cor. De Verteuil & Warren Sts)
Refreshments after the session.
As someone who personally had a Muslimeen gun pointed at his head on July 27, 1990 while in pursuit of my duties as the first Picture Editor of the Guardian, I've got to say that watching Yasin Abu Bakr and his cronies stroll along the streets of Port of Spain escorted by the police, I felt a real annoyance and resentment.
But then, that's what we fought for back then. Whether it was manning a large gun in response to the insurrection or publishing a newspaper from a building frequently peppered by gunfire, the only civil response to terrorism is ultimately the practice of constitutionally guaranteed freedoms, which include those that allow us to gather and represent our points of view, as unwelcome as they may be.
So Yasin Abu Bakr applies to the Police Commissioner for permission to march in the city, not only gets permission, but a protective escort. You may see affront. I see a success for democracy and free speech. We win.
Some other words on the subject...
A story for the Guardian in 2010 looking back on the coup attempt on its 20th anniversary.
A blog note from 2008, recalling the insurrection.
An editorial leader I wrote for the Guardian that year.
My review of Raoul Pantin's book on the coup attempt, Days of Wrath, written for the May 2008 edition of the Caribbean Review of Books.
A scene from the Differentology video directed by Nigel Thompson
I know now that I'm not the only person to declare themselves disappointed with the Black Ice Studios video for Differentology, Bunji Garlin's defining song for Carnival 2013.
It isn't just that it looks so much like this old 3 Canal video for Mud Madness, it's that it aspires to become something as mighty and evocative as the song and fails so dramatically.
I kept looking at it and thinking that it looked like one of this dreadfully ordinary photographs that people think get ennobled by dramatic Instagram filters.
Of course, that might be because so much of the video is layered with pointless color grading and hokey directing decisions.
Even a potentially powerful shot, of Bunji staring square at the camera, intense despite the goofy helmet and the mud people suddenly appearing to spring out of his body like a kind of exploding centipede doesn't have the impact that it should. They kind of sputter out from behind him, unsure of where to go next.
It's kind of weird looking at it. All the elements to create a good video are there. A dramatic location, costumes from K2K and Tribe, people willing to wallow in mud and get buried in earth, an attractive local MMA fighter in a loin cloth, swords and axes and a blasted horse, for goodness' sake.
It's a grocer's list of funky stuff that seems to have gotten stuck in a bad episode of Will it blend only to defy the whirling blades of in Nigel Thompson's edit suite.
I don't have any illusions that a music video should make sense. I have no problem with warriors from two entirely different centuries clashing in battle (though they mostly circle each other, waving swords about). Nobody makes videos that make less linear sense than Tool and their work is consistently fascinating and involving. Nothing about this video is any of those things,
I'm a big fan of Bunji, writing one of the first major evaluations of him as an artist in 2000 when I became thoroughly smitten with his five releases that year.
His work with Nigel Rojas on Differentology wasn't particularly surprising to me, though it pleased me as much as it did everyone else. I'd seen this side of young Mr Alvarez ever since that break-out year in his dramatically under appreciated collaboration with Walker, Woman. That was the first time I'd heard rock merged with rapso and I really liked it even if virtually nobody noticed it in the year of Bad Man and Gimme the Brass.
I submit that the backlash, growing quietly by the second, apparently, against the Differentology video isn't that it's a bad video, it's that it's the wrong class of video entirely for the song. For virtually any other song this season, the video would actually be just fine, maybe even a little ambitious. But Differentology demands the absolute best we have to offer in visuals, because for most of us who loved the song, it stirred our jaded souls and encouraged the very best in us.
Far from different, it's just too damned ordinary and that probably what grates on our collective nerve.