Decades ago, The New Yorker and other magazines experimented with the journalistic form by introducing literary techniques into it. Writers aspired not just to document scenes but to recreate them for readers to witness. Though some writers criticized this practice for warping truth through interpretation, other writers flourished in it. Tom Wolfe, a practitioner and evangelist of the method, compiled exemplary articles in his book The New Journalism. According to Wolfe, using techniques of literary realism was like adding electricity into the otherwise mechanical machine of journalism. By using dialogue, point of view, and symbolism, writers could achieve “absolute involvement of the reader”.

The anthology includes a passage from Hunter S. Thompson’s nonfiction novel on the Hell’s Angels, which he wrote after a year of living with them. Thompson depicts a tense confrontation between the Angels and the locals of Bass Lake, the gang’s preferred destination for their Labor Day tradition of binge-drinking and mayhem-making.

On the day, Thompson’s newspaper editor requested “no more than an arty variation of the standard wire-service news blurb: Who, What, When, Where, and Why.” But in his book Thompson gives us much more. He doesn’t report the events in the cold, detached voice of the typical journalist observing from the sidelines. Nor does he simply list the facts and state the outcome. He recounts, in first person, the experience of being caught in a stand-off between outlaws known for their brutality and a makeshift militia of locals determined to defend their town:

The reader leaves not with memorizable facts, but a secondhand experience based on Thompson’s point of view:

Decades ago, The New Yorker and other magazines experimented with the journalistic form by introducing literary techniques into it. Writers aspired not just to document scenes but to recreate them for readers to witness. Though some writers criticized this practice for warping truth through interpretation, other writers flourished in it. Tom Wolfe, a practitioner and evangelist of the method, compiled exemplary articles in his book The New Journalism. According to Wolfe, using techniques of literary realism was like adding electricity into the otherwise mechanical machine of journalism. By using dialogue, point of view, and symbolism, writers could achieve “absolute involvement of the reader”.

The anthology includes a passage from Hunter S. Thompson’s nonfiction novel on the Hell’s Angels, which he wrote after a year of living with them. Thompson depicts a tense confrontation between the Angels and the locals of Bass Lake, the gang’s preferred destination for their Labor Day tradition of binge-drinking and mayhem-making.

On the day, Thompson’s newspaper editor requested “no more than an arty variation of the standard wire-service news blurb: Who, What, When, Where, and Why.” But in his book Thompson gives us much more. He doesn’t report the events in the cold, detached voice of the typical journalist observing from the sidelines. Nor does he simply list the facts and state the outcome. He recounts, in first person, the experience of being caught in a stand-off between outlaws known for their brutality and a makeshift militia of locals determined to defend their town:

The reader leaves not with memorizable facts, but a secondhand experience based on Thompson’s point of view:

As satisfying as it was to hear Herbie narrate the stories in his audiobook, it was frustrating to never hear his music. Music snippets would’ve expressed much more than descriptions like “gorgeous house of sound” and “river of gorgeous sound”. Instead of working with a ghostwriter to write a book, perhaps Herbie should’ve collaborated with Ken Burns, creator of the Jazz documentary series, to create something more.

To tell the story of jazz music, Burns uses images and sound: narration, interviews, photos, videos, and music. The documentary series looks like a great PowerPoint slideshow. It’s not flashy, but it’s illuminating. The narrator doesn’t have to shower us with adjectives for us to imagine the scene because we can hear it in the music and see it in the photographs. Words tell us what is true, but our senses convince us of it.

In the introduction to his new book, Our America, Ken Burns writes:

Like Burns, YouTube video essayists offer us raw material instead of flattening it into words. Thomas Flight’s Why Are David Lynch Movies Like That? is dense with samples of Lynch’s works, and much better for it. His description of Lynch’s worst work as “still [radiating] a unique quality” would be abstract, unclear, if it weren’t spoken over clips from Dune. Dubbing audio over video is so common on YouTube that it’s easy to overlook how well it works. Imagine What Song Are You Listening To? videos without the song snippets: suddenly it would be as awkward to watch as it probably was to record.

Like authors, journalists and essayists insist on writing things the reader needs to see or hear. Pieces like The New Yorker’s recent one on painter Florine Stettheimer lack samples of the visual art they talk about, leaving the reader to collect descriptions of the painter’s style — “feathery, ornamental…faux-naïf, fluorescent” — and try to hold them, as they spill out of mind like water out of cupped hands, until they can look up her paintings. Why work so hard? Is this the writer’s job or the reader’s? The piece leaves a faint impression compared to Affairs of the Art, a short film available on The New Yorker’s YouTube channel: a shiver-inducing yet hilarious piece that combines writing, narration, drawings, sound effects, and music.

This is not to say we abandon writing. But can we compensate for its weaknesses by exploring other formats?

The first song of Herbie Hancock’s Mwandishi is hard to describe. It eases in with watery synths and a muted trumpet, then a jagged riff played simultaneously on bass guitar and bass clarinet. The repetition of the riff becomes our steadying grip as the pace quickens and more instruments enter the flurry, each swirling in its own direction. For thirteen minutes, we follow Herbie and his crew as they chase the thrill of charting new territory.

Navigating Herbie’s diverse discography is just as difficult. A musical genius with a tinkering habit, Herbie composed jazz standards like Cantaloupe Island in the 60s, made funk classics in the 70s, and brought DJ scratching into the mainstream in the 80s. Often he’d reinterpret his old compositions using whatever new sounds he was experimenting with. The new millennium still did not slow Herbie. In 2008, he took home the Grammy for Album of the Year for a tribute to singer-songwriter Joni Mitchell. Now in his 80s, he tours the world playing his music. Spanning decades and genres, Herbie’s career almost makes more sense as the work of Herbie Hancock, Herbie Hancock Jr, and Herbie Hancock III.

In his memoir, Possibilities (2014), Herbie tells the stories that spurred his musical digressions. In the late 60s and early 70s, at a time when Herbie and his band engaged with Black Nationalist ideas of self-discovery and self-determination, Herbie’s music was spontaneous and experimental. Each band member adopted a Swahili name. Herbie became Mwandishi, meaning ‘composer’ or ‘writer’. The group improvised freely, unconcerned with reaching a wide audience. At their peak, their performances were spiritual experiences for the band and the small, captivated crowd.

One day, after a rare night of partying through sunrise with his bandmates, a sleep-deprived Herbie could not muster the energy to start the show. He figured Buster Williams — AKA Mchezaji, ‘skilled player’— could ease them in with the bass; but then the intro became a 10-minute solo that jerked the band awake. By the end of the night, audience members had tears in their eyes. Herbie demanded an explanation from his bassist, and the answer would change his life: Nichiren Buddhism.

The couple hours that the band had spent sleeping before the show Williams had spent chanting Namu Myōhō Renge Kyō, a Buddhist meditation aiming to “fuse your life with the mystic law of cause and effect through sound.” Until now, Herbie had only found spiritual philosophies preaching esoteric ideas, demanding blind faith, and promising little until the afterlife. Buddhism offered a simple practice to empower him as a musician in this world. So Herbie did what Herbie does: he experimented.

As Herbie delved deeper into Buddhist practice and Mwandishi came to a natural end, he discovered a desire to connect to a broader audience. He nurtured inspiration from The Pointer Sisters and Sly & the Family Stone, resisting the “musical elitism” that would have him look down on funk music. In 1973, months after releasing his last Mwandishi record, Herbie released the groove-riddled Head Hunters debut album, one of the best-selling jazz albums of all time. Actual Proof, a song from the second Headhunters album, is named after Nichiren Buddhism’s promise to benefit one’s earthly life.