LTB video

Finally! The video I put together for the Laura Thomas Band is up on the Youtubes.

You can see them at the Rockwood Music Hall in Manhattan this friday, June 29.


creatures of the deep

Yesterday (Saturday, June 23, 2007), I finally went to the Coney Island Mermaid Parade. I managed to forget sunscreen on the back of my neck, so that's feeling pretty brutal at the moment.

But I did get a few good pictures.


eat it


Don Red is a culinary genius for inventing the following sandwich (hereby known as the Don Red):

  • Tuna
  • American Cheese
  • bacon

It also appears that I'm going to go see Moby's DJ set at Nublu on June 15th. Shut up, I have a good reason.


aaron, it's just not working out

NBC is in the process of dumping the remaining episodes of Studio 60 on the Sunset Strip onto the air and cablewaves, and I couldn't help but look. It's like a car crash.

Studio 60... may have, with its most recent episode, ascended into the grand ranks of Worst Television Shows of All Time.

Let us recall that Studio 60... is ostensibly a show about what it means to make television in this, the first decade of the 21st Century. There's a lot to be said on this topic, and it seemed like excellent fodder for Aaron Sorkin's obsession with telling the stories of elite professionals at the top of their game. Unfortunately what this show became was a staggeringly clumsy monument to Aaron Sorkin's ego.

I have already covered, in previous posts, the descent of the show into inane soap opera built around characters we're given no reason to understand, empathize with or care about. This is largely due to Sorkin's cathartic fictionalization of his stormy relationship with Kristen Chenoweth (in the guise of Matt Albie and Harriet Hayes) while, one assumes, fantasizing about finding true love and fulfillment via the ludicrous schmaltz of the Danny Tripp + Jordan McDeere fiasco. This left turn into outrageous soap opera has been exceeded as a source of terribleness, however, by what I can only call the "oh, the Humanity!" factor.

Studio 60... has, in its desperate flailing, resorted to elevating every single major character on the show to the highest possible level of cosmic drama. Let's take a look at the various plot points on display in this past week's episode.

  • Tom Jeter (Nate Corrdry) has had his soldier brother kidnapped by the Taliban in Afghanistan, and the Media has gone and effed everything up by revealing the hostage's connection to celebrity. The military dispatches two no-nonsense officers to visit Tom and "assess his level of trauma". Meanwhile, it turns out that the sexual harassment case lawyer who's been throwing herself at Matt happens to have shadowy connections to the paramilitary underworld and can dangle the carrot of ransoming Tom's brother in front of everyone.

  • Matt and Harriet are forced to relive their constant fighting about faith and reason by Tom's crisis, and we're treated to a "through the years" montage featuring highlights of their battle. This montage ends, with Matt pounding his fists on the desk, rocketing to his feet, slamming his chair back and shouting "we've been having this fight for two thousand years!!!" It might possibly have been the hammiest moment of Matthew Perry's life, the poor guy. And this on the heels of being forced to channel his real-life struggle with drug addiction into the incredibly simplistic and patronizing portrayal of Matt Albie swallowing "anything" he could get in order to keep writing the show. Because, you know, he's not going to make choices about what type of drug experience he wants to have, he's simply On The (ever unnamed) Drugs. Conveniently for us, the audience, Albie's assistant is keen to the signs of addiction that are completely invisible in Perry's performance because of her hypertragic past with her suicidal mother.

  • Meanwhile. Danny and Jordan are at the hospital, where they discover that the umbilical cord is wrapped around the baby's neck and an emergency caesarian section must be performed. Danny proposes marriage. Yes, Sorkin has included a pregnancy, a pregnancy in danger AND a potential marriage all in the first season. And what's worse is that he believes he can get away with this pile of horrible television cliches (as in previous episodes) by merely commenting on the fact that he is employing terrible television cliches. This is some of the laziest, most asinine writing I have seen on TV in years and Sorkin really, truly expects to get away with it.

To recap: we have staggering family tragedy, earth-shattering international incidents, The Great Debate impeding True Love, pregnancy, endangered pregnancy and a marriage proposal all in one episode. What really galls me to the core is Sorkin's apparent belief that he's earned the dramatic right to impose these monumentally huge stakes onto every character. Characters, mind you, that he has largely failed to make us care about at all.

Why can't we explore what we were promised, namely the thorny realities of making television in the modern age? Why must we instead be presented with some of the most over-the-top inanity this side of a Tom Clancy novel? Aaron Sorkin, why are you such a dick? Seriously... when did you decide to flip this series into a tribute to yourself? Your cosmic relationship woes, your supposed ability to employ classic television cliches, your reknown for tackling The Big Issues, the sweeping, unnecessary and ridiculous SCALE of it all.

Take some time off, Aaron. Maybe spend a while on the Internet, that medium you go to such lengths to minimize and deprecate and ignore. Deflate yourself, maybe take a vacation. Mull on this spectacular failure of a television series, and maybe in five to ten years you can come back and create a show about a man who was so good at his job that nobody ever understood him. That poor genius bastard.



It's taken me a long while to pin down my off-putness at the popularity of The Secret. On the face of it, the mere fact that it's facile, bland pop-metaphysics pushed at frustrated middle class strivers by Oprah should be enough for me to want nothing to do with it, but I still couldn't quite decide what made it so objectionable.

Now, before you write me off as a curmudgeonly empiricist who enjoys telling small children that Santa Claus is merely a symbol, I will declare that I have hoodooish leanings of my own. I do believe that human consciousness is intertwined with the greater universe beyond our bodies in ways that we're only beginning to understand, for example. I find a lot of resonance and verisimilitude in many of the ideas of Taoism and Zen practice (I only wish I had the discipline for that practice). So, in sum, I am loathe to simply write off the idea that one's mental state affects the greater world around them.

However, in my estimation the ultimate point of any spiritual practice is to further empathy and identification with one's fellow human beings. The impression I get from The Secret, however, is more of an "every man for himself" sort of vibe. If your situation is less than optimal, it seems to be suggesting, well it's all your fault. Dare I say this smacks of (shudder) "conservatism"?

Author Daniel Pinchbeck seems to have cut to the heart of the matter in a way that was heretofore unclear to me, and therefore I will quote him. (the entire article can be found here)

From this perspective, the individual's psychic state determines his or her physical reality, and the occult laws of attraction can be utilized to increase one's bank account or sexual magnetism. If you haven't cashed out, it is because you are not using your psychic powers at their maximum rate. If other people aren't getting their's yet, it's not your problem, but their bad karma. This is a metaphysics suited to the narcissism of the baby boomers and the "Me Generation," whose lifestyles have denuded the planet's rainforests and ripped big holes in the ozone layer. bold added by me for emphasis

So yes, people of my parents' generation, this taps into my low-level ire at you: those who utterly failed to prevent the various potential environmental and political catastrophes everybody with a brain has seen coming for decades. Could we expect anything other than The Secret and its pseudophilosophy-for-profit ilk?

My friend Rebecca was kind enough to point out that my germ of a thought here has been better elucidated by finer writers than I. There's an excellent Salon.com article about the insidiousness of The Secret here.

Here at the end, though, I suppose I must turn toward positivity. Perhaps exposure to The Secret will inspire Joe and Jane Suburb to explore their own minds and know themselves better than they would have otherwise. Perhaps an orgy of "enlightened" self interest will bring peace and prosperity to the globe. Perhaps David Byrne said it best:

He would see faces in movies, on t.v., in magazines, and in books. He thought that some of these faces might be right for him. And through the years, by keeing an ideal facial structure fixed in his mind... or somewhere in the back of his mind... that he might, by force of will, cause his face to approach those of his ideal.