Creative work, remixes and ripoffs

Once, in 1997, I was in a bar with my drunk friend. Even while sober, my friend was kind of a holier-than-thou hater. After the whiskey started to flow, well, you can guess.

“Tubthumping” came on. You remember: “I get knocked down / and I get up again.” I still have a good deal of fondness for this song, and for Chumbawumba generally, so it was clear I was enjoying myself. True to hater form, my friend couldn’t have that. So during the breakdown, where they quote lyrics from the old Irish traditional “Oh, Danny Boy,” my friend started to rant.

“They’re ripping off Irish music!” his spittle-flecked hipster screed began. I rolled my eyes and ordered another beer.

It was, of course, a meritless criticism. This was a remix of a classic in the public domain, a reinvention of the familiar into something new and different. Even if it was a pure “quote,” jazz musicians have been inserting bits of classic compositions during performances forever. (Besides, as I should have pointed out: Johnny Cash also covered “Oh, Danny Boy.” Hipsters love Johnny Cash almost as much as they hate being called hipsters).

Which brings me to the real topic of the day: creative work in general lends itself well to what might be called remixing. Collage artwork draws on existing visual work. Mash-ups pull audio into new combinations. Andy Warhol certainly didn’t create the Campbell’s Soup logo when he drew on the can for pop art. Even parody of pop culture phenomena might be considered a remix of a sort.

It’s parody of pop culture that I want to talk about today, and creative work.

There is nothing new under the sun. That dope idea I had last week? Some ancient Greek already did it better. That genius concept I based an entire freelance project on? Some dude in Cleveland or Chicago or Constantinople might already be working on it.

This is especially true when you’re talking about making pop culture references. You’re not the only person who has seen Deadwood, or Doctor Who, or Daredevil. It’s a big world out there, and there are more clever people doing creative work faster than ever before.

Sometimes I see people angry when they see a meme that’s a lot like the meme they made. Worse, I see fans of brands — or brand owners, or brand staff — leap to the conclusion that a similar design done elsewhere is a result of someone directly copying them.

Rip-offs absolutely happen, of course. I’ve had my designs taken by random people on Teespring and sites like that. If you look, you’ll see the repeat offenders are out there. That’s sad and gross, but those people will make themselves known soon enough.

Generally speaking, though, I think it’s more productive to make generous assumptions about people, particularly creative types. Remixes happen when we are more free with access to ideas, and remixes and collaborations can be mindblowingly cool. I hate to see potentially productive creative relationships poisoned by hasty assumptions.

Simply put, if you think your style got bitten, it’s the best practice to just assume you drank from the same well as the other guy — and hope that it wasn’t the well my hater hipster friend drank from in 1997.

Demian Maia and complete jiujitsu

Demian Maia is, by any measure, one of the finest representatives of jiujitsu. You probably already know this, especially if you watched his most recent fight with Carlos Condit. It was a masterful performance against an accomplished opponent where, despite Condit knowing precisely what Maia wanted to do, Maia achieved a submission victory while taking virtually no damage.

One apparent lesson from this: despite what you might hear in certain circles, jiujitsu is a complete martial art. One less-readily apparent lesson, which is no less important: fundamentalism in any form is dangerous.

To explain what I mean, let’s start with self defense. True self defense means we train to protect ourselves from harm. This means avoiding bad situations, but also preparing for when dangerous situations arise. Being locked in a cage with a UFC-caliber fighter certainly qualifies as “dangerous.” This is why Royce Gracie’s performances in the early UFCs so animated martial artists: here was living proof that, during a no-time-limit fight with effectively no rules, a smaller opponent skilled in jiujitsu could defeat huge, dangerous attackers.

During Maia’s last four UFC fights, he’s absorbed 13 significant strikes — fewer than four per fight, against the best mixed martial artists in the world. That’s protecting yourself. That’s further testament that jiujitsu — original complete Gracie jiujitsu — is still effective.

Just listen to Maia himself, ever humble about his own achievements, explain why it’s the art that’s doing the vital work of protecting him:

Most of us will never fight in the cage. But there are lessons there for each of us: jiujitsu a complete art composed of striking, grappling, takedowns, and standing self-defense, along with a philosophy of self defense. Inspired by the Maia-Condit fight, the past day I’ve been re-watching Demian Maia’s DVD about stand-up techniques. It might surprise some people that Maia has an hour-long instructional of this nature, but it should only be a surprise you if you view jiujitsu through the prism of ground grappling. Original jiujitsu was designed to be a standalone martial art, and that’s the jiujitsu Maia does. As he says:

“I’ve always believed in Jiu-Jitsu as a martial art and not only a sport. That’s why I have always trained all aspects of the art. Despite being a competitor for years, I never stopped training self-defense or takedowns. I still do the same with my students today.”

This is a consistent theme in Maia’s interviews throughout the years. He’s a jiujitsu world champion, Abu Dhabi champion, and UFC title contender — but he’s never stopped training the self defense aspects of Gracie jiujitsu. He still does it all.

To me, this is an important lesson for those who are competition-focused to the exclusion of all else. Competition is fun, but — whether we’re talking about sport jiujitsu or MMA — winning awards in a setting with predictable, mutually agreed upon rules is just a part of what the art is about. It’s certainly a far cry from the early UFCs, where virtually anything went, and you had to be prepared to stand, to fight from your back, to be on top on the ground, or any other situation.

In some ways, the growth of sport jiujitsu has created incentive to specialize: one effective means to win a strategic game is to focus intently on a subset of that game, then force your opponent to play it on your terms. It’s why we see complex, ever-evolving aspects of the modern lapel guards: if you can trap someone into playing that game, and you know that game miles better than your opponent, it’s a smart way to win. This incentivizes people who are exceptional at the berimbolo, for example, to get into berimbolo-ready positions, and drill those technique to the exclusion of others. But if you’re going to do that, and only that, you’d better be able to get to that position in every situation where you might have to defend yourself.

Can you imagine a position, in grappling or fighting, where Demian Maia would be lost? I can’t. There are reasons that his jiujitsu is the subject of much study for the masterful way he moves through positions. I can’t help but think his completist approach is a reason why.

When I hear people complain about training self-defense, it’s usually because they’d rather be doing something else — like sharpening their sport tools. There’s nothing wrong with working on your favorite techniques. There is, however, something wrong with failure to develop a well-rounded skill set. There is also something wrong with failing to see self-defense techniques for what they are: techniques designed to give anyone tools to protect themselves in common situations outside of sport grappling.

It’s no secret that I love sport jiujitsu. What I dislike is fundamentalism: the attitude that what I prefer is the only pure way. It impedes learning and progress. To return to Demian Maia, he trains original, complete jiujitsu, including self defense — and finds a profound template for success there.

There’s a flip side to this, though. Many self defense purists are skeptical — or even out-and-out hostile — to sport jiujitsu. My own experience tells me that competition is one of the most powerful tools for improving one’s self defense abilities.

But this is about Demian Maia. Maia competed from white belt all the way through black belt, entering sport jiujitsu tournaments at every belt level and winning the worlds at a couple of them. Indeed, despite his status as elite fighter, he even said he’d like to take a gi jiu-jitsu competition match if the situation was right.

He’s not alone. In the upper echelons of MMA, most of the top-tier jiujitsu fighters also competed successfully in sport jiujitsu while wearing the gi. (Only Frank Mir stands out as an exception, although it’s possible I’m missing someone.)

The anti-competition argument goes that if you train sport techniques, you’ll be unprepared for a real-world confrontation. I disagree with this, both at the premise and the conclusion levels, and my reasoning could be the topic of an entirely different post. In the context of this post, though, I think both the arguments against training self defense and to competing can be answered this way: a well-rounded martial artist should at least explore both. We can learn different things from different experiences, and to reject out of hand certain experiences seems like fundamentalism.

It’s not my usual tendency to tell people what to do without being asked. We all have different goals, and success should be defined according to those goals. For those of us who want to have complete jiujitsu, though, we have to remember that the art is rooted in self defense. And for those of us that want to have the most effective self defense possible, we should consider that competition can help — not hinder — our progress toward that goal.

Demian Maia, a truly complete jiujitsu fighter, is an example of this. We could all do worse than to emulate him.