Not piling on, I swear!

Perhaps I shouldn't follow my thoughts on fact-checking with my noticing an error in UrbanEye (ne Urbanist), The New York Times' answer to hip email newsletters everywhere, but this morning Melena Ryzik, editor of the daily newsletter, points readers to The Factory Retooled, her article about 205, a hip new club that looks like Warhol's famous Factory on the inside. She says,

"[Monday]’s killer karaoke night is still more or less under the hipster radar. It has, however, been discovered by celebrities like Ed Norton, Liev Schreiber and Rosie Perez, who — surprise, surprise — can really belt it. If you can, too, stop by."

Mas problema. As New York magazine's Daniel Maurer blogged this morning, 205 was shuttered by the NYPD because of Warholian allegations of coke and other drugs being dealt in its hallowed simalcra-quered halls. So, one can assume, Monday night karaoke, it probably didn't happen.

Doing a daily email like that must be a royal pain, but the last time UrbanEye/Urbanist caught my attention was when Kampuchea was reported as being open for business on a night they had not yet opened. I had called the restaurant, as I was planning to review it for the New York Press, and confirmed that their opening night was indeed postponed.

Of course information posted on the web goes out of date, but a daily email about events in New York should be pretty well vetted before going out, otherwise doesn't it risk sounding like so much marketing spiel? Before using UrbanEye as a guide to go anywhere or do anything, it might be a good idea to pick up the phone and confirm. 

 

Not to nitpick, but…

As someone who is a sometimes freelance fact-checker for a national publication, (Enough qualifiers? Trust me, they're all necessary.) I've done my homework on the history of the field. For example, did you know that in the UK there are no such things as fact checkers at magazines? The fact-checking is handled newspaper style: between the writer and the editor, everything is supposed to be verified as accurate. Facts aren't explicity checked; if the editor reads something that raises an eyebrow, the writer provides backup. If the writer lied about it, and it makes it to print well, they are in deep shit, my friend. There is no system in place to bail them out, like there is in the US.

Here in New York, if a writer fumbles a fact in a story that's made it to press, it's the fact-checker who typically gets interrogated first. And if the erroneous detail cannot be accounted for by said staff member, it's THEIR ass, not the writer's. Sure, the magazine may choose not to work with the freelance writer who submitted the lie anymore, but if they are writing for the glossies, they are probably going to be able to drum up work. The fact-checker, on the other hand, is a magazine staff member, and if they make too many errors in a year (depends on the pub, but some places say 3 is the max), they are fired, out on their ass. And their colleagues and competitors know exactly why, making finding more work in the field a challenging proposition at best.

A major problem is while this system is designed to eliminate publication of erroneous information, it also encourages feature writers to flub and exaggerate their stories. If they slip one past the goalie that makes their story sound much more dramatic, it's to their benefit! If later, the facts are called into question, it's the staffer that gets in trouble, not them! The more cunning or unscrupulous (or just lazy) the writer, the more the fact-checker has to be on guard. And working with my fact checking colleagues, boy have I heard some stories of malfeasance. Entire legs of trips forged (don't forget to check the expense report for a plane ticket where there should've been a car rental). Composite characters created out of scratch. Interviews written to sound intimate, that were a bit more like a keynote address at a conference. The writer inserting himself into events, only to omit key facts or misreport those events (best to find out there was a major power outage in Italy BEFORE talking about how great a time you had there last year. It's comical if sad.

Most writers certainly don't try to exploit the system, but even so, errors slip through. And thus, Adam Gopnik's insightful football piece in The New Yorker (The Unbeautiful Game, not available online) contains two errors, neither serious, certainly neither purposeful, but nontheless a rare  example of mistakes in an article screened by the world's most vaunted fact-checking department (one I'd like to freelance for, if anyone who reads this can drop a dime).

First, Mr. Gopnik paranthetically states that suits are not permitted to be worn by coaches on the sidelines. As the great site Uni Watch mentioned often, and ESPN reported, two NFL coaches, Jack Del Rio and Mike Nolan, were allowed to wear suits this season on the sidelines. For marketing purposes, Reebok wants coaches to wear all branded/logoed usually awful looking gear, but these two won permission to buck the trend and wear suits twice during the season. As late as the start of this season, this was no certainty. Thus, I bet this article was sat on for a while until the timing was right (the playoffs starting, for example), and then run. When, in that timeframe, the article got vetted, who knows, but anyone doing research in the last two months would run into multiple sources stating that these two coaches were permitted to wear suits. So this one appears to have slipped through the cracks.

More questionable would be Gopnik's assertion that Brian Billick, head coach of the Ravens, is defensive-minded. Yes, Billick's Ravens are known for their smashmouth, in your face, defenses. They won the 2000 Super Bowl playing lights-out D and just enough offense. But Billick's history is as an offensive genius. From his bio: "Prior to becoming the Ravens' head coach, Billick spent five years as Minnesota's offensive coordinator, where in 1998, the Vikings' offense scored an NFL single-season record 556 points." So the key here is phrasing. Gopnik's sentence about Billick as the subject of a book described him as: "…a tight-lipped, humorless, defensive-minded coach…" (nothing omitted changes the meaning of that phrase). 

Now maybe I'm being humorless, but as soon as I read that sentence, my jaw dropped. After all, this isn't just an offensive-minded coach, this is a coach who, as coordinator, set the NFL record for points scored in a season. He's in the books as an offensive genius. He came up through the ranks on the offensive side of the ball. Chuck Noll, who Gopnik compares him to in that sentence, was a Pittsburgh coach, a team known for its Steel Curtain Defense. Noll's teams allowest the fewest yards in an NFL season four times in his career! I will soften my own argument by saying that Billick's Ravens allowed the fewest points in league history in 2000. But, one year, even a record setting year, does not undo a career spent as an offensive assistant, especially since Marvin Lewis was running the defense in Baltimore pretty much without interference from Billick, nor does it legitimize the comparison between Noll and Billick.

So, the point of checking facts is to maintain a tone of accuracy in reading. When I came across these two statements within a few paragraphs of each other, I was blown away, and my enjoyment of Gopnik's analysis (and his writing style which I enjoyed in Paris to the Moon was kind of shot. I still think he's a good writer. I still think The New Yorker's fact checking department is beyond compare. But I was, to borrow the football theme and be a bit overdramatic, blindsided by the hit.

 

Restaurant Review: Kampuchea Noodle Bar

Have you ever really, really wanted to like someone, but just couldn't? Like, no matter what they said or did, or how cool they were, this person just rubbed you the wrong way? And you're kinda pissed off at yourself because you don't think you're a very judgmental (at least not in a  harsh, calculating sense) kind of person, but, regardless, there it is. You don't like 'em.

Well, when I reviewed Kampuchea Noodle Bar for the New York Press, that's sort of how I felt. As much as I wanted to settle in at a table and slurp up all the goodies and flavors I had come to associate with Southeast Asian cooking, in the end, I just left the place feeling a little flat. I hope to see this place come around, but for now, if you want to know what I'm talking about, have a click on my review above. Thanks, and enjoy.

Restaurant Review: Meskel

Today my New York Press review of Meskel, a cute Ethiopian spot in the East Village, ran. If injera's your thing, if you (doro)wat some good eats, have a read. Thanks!

An Open Letter from Pluto to the Astronomers of Planet Earth.

If Pluto were a gangbanger. This was written a long time ago.

Yo, esse. Why you gotta mess with my shit, yo? Ain’t you got like asteroids you needs to be peepin?You all up in my grill, like, is you a planet, or ain’t you? What’s it matter, yo, when I can kick your ass any day?Now you talkin trash, callin’ me a “trans-newtonian object?” Listen, bitch, I ain’t no orchestra playin christmas tunes. The only tunes I play go like this: crack crack crack of my Gatt.Yo, I been reading some books about your shiznit, and hombre, what up? I may be a banger, but I got my jimmy hat on. You got, like ozone dis, and global warming dat, and you all up like, “mothafucka, we gonna done be exctintified up in this piece!” Scared ass punks.Try my piece out for size: negative 369 degrees fahrenheit EVERY DAY. They ain’t no Triple Down Goose made for that. But you know how we do. Ain’t no whinin’ about no sunlight dis and dat. Just gots to make them warm lovely comets come my way when I want some heat. Yeah, if I was bigger, a little more gravitational force would keep my shit toasty at all times. But I ain’t ever heard no complaints. No whinin’ on Pluto, that’s fo damn sure.Planet Earth astronomers, you a bunch of busted ass fools. Oh yeah, go run home and tell moma you scared. Oh, you forgot I have a mass of (1.305±0.007)×1022 kg? Maybe you should thought of that before you called me a dwarf. What’s PhD stand for, Pluto-hatin’ dickhead?Planet Earth man, that’s the joke. You a trans-idiotic mess. Damn.

Who is Borhane B Cherif? A Carne Vale / “Carthage Palace” Followup

According to the court documents, Borhane B Cherif is the president of a company, Carthage Palace, that declared bankruptcy in 2004.

According to the New York State Liquor Authority, Cherif is the current license holder at Carthage Palace, a business operating at 46 Avenue B in Manhattan.

These facts, however, do not check out with the reality on the ground. 

Upon visiting 46 Avenue B, one finds no Carthage Palace. Instead, one finds Carne Vale, a restaurant and nightclub that is known to be owned and operated by two brothers, Markus and Sameh Jacob (or Yacob). Eater has covered this restaurant, its sister restaurant Le Souk, and the misadventures of their clientele. I wrote my piece on the businesses after witnessing the fly by night opening of Carne Vale, which seemed impossible given the bar crackdown taking place in Alphabet City.

According to the State Liquor Authority's website, the license for 46 Avenue B is still in possession of Carthage Palace and Cherif. There is no "trade name" on the license, which is used in cases where a company's legal name differs from the name used to promote the business. Yet August 3rd, 2006, Carthage Palace applied for a license renewal, which was granted, extending the license term until 2010. Strangely, public records indicate the license is not effective until October 1, 2006, and there is no other active license listed on the website. Previously, according to a saved copy of the web page, Carthage Palace's license was set to expire on Sept. 30 2006. How did a business with the wrong name on the license, whose licensee is no longer associated with the premesis, get a license renewal?

According to New York State law and Manhattan Community Board 3, a "license transfer hearing" is required before a liquor license may change hands among businesses, or be used to operate by anyone other than the original licensee. According to publicly available records, no such transfer hearing has ever taken place.

When asked by a local resident to comment on the ownership and licenseing of Carne Vale, Markus Jacob responded, "we are Carthage Palace." However, according to the bankruptcy documents provided to me by a loyal friend of Eater, Carthage Palace ceased to exist. Legally, I'm not sure what would happen to its license, but without proper transfer, it's extremely likely that Carne Vale is operating on a license that belongs to a non-existent company, in the name of a person who does not own or operate the business.

 I'm not a liquor license expert, nor am I trying to indicte Carne Vale. I like bars. I like nightlife. Maybe not Carne Vale or Le Souk's scene, but hey, if they follow the laws, keep the stereo below 120dB, and keep their patrons from being menaces to the 'hood, I respect their right to do business. It's when they don't do those things that this kind of scrutiny is needed.

When a bar sets up shop in New York City, it's expected they've met the legal requirements for operating. If there's a complaint against the business, who gets it, the phantom Borhane B Cherif? An underage drinking lawsuit or DUI? Etc. There's a reason the right names have to be on the license, isn't there? And a reason one business can't just go bankrupt and have a different company swoop in and take over that license without any sort of notification to the community or the state.

So, to answer these questions, I'm going to turn to a few sources, and hopefully they'll comment here or I will post their comments on the situation. I'm going to email, for comments:

  • Susan Stetzer, CB3 manager, to find out what if any notification she's had about Carne Vale and their license applications/renewals/transfers.
  • The New York State Liquor Authority Public/Press Relations address, for comments on the legality of Carne Vale's operation and why their license says Carthage Palace
  •  Hopefully, Markus Yacob, to clarify what he means when he says "we are Carthage Palace."

Lastly, I'm going to try to find Borhane B Cherif, where or who ever he may be. Borhane? Borhane? Anyone?

Definitely more to come on this one.

Can Eating Olive Oil Really Make Me Skinny? Examining Seth Roberts’ Shangri-La Diet.

So, we've gotten fat. As you probably noticed at the grocery store, on the airplane and in the stands at your son's Little League game, we're not alone. If you're an adult in the United States, 65% of the population including yours truly, are brothers-in-donuts. I for one never have to worry about being stranded on the highway, thanks to my spare tire. On my 6'3" frame, I'm easily carrying an extra twenty pounds of fat. The neighbors can attest to the sucking sounds that emanate from me every time I try to put on an old pair of jeans. What's a guy to do?

This is a rejected article. It's a piece I researched, developed and pitched with every hope of placing it in print as a freelance writer. If you read it you can probably guess the markets it was written for. I'm proud of this story and hope publishing it here will get it in front of people that are interested in it. Enjoy, and feel free to comment. Perhaps I'll add a postscript to the comments later on.

Enter the diet. It's an American concept, a guilty atonement for the indulgent excesses of meals, snacks and noshes past. It is penance for cheesecakes, nachos, and anything that emerges from a deep-fat fryer. We announce that we are going on one to our spouses, our coworkers, and our waiters. It's commonly estimated by journals that at any given time, one-quarter of the adult population is on a diet. If that's accurate, diets must hardly ever work. A plump 91% of us have tried to lose weight at least once in our lives.

Needless to say, if we had kept if off, 65% of us wouldn't still have a weight problem. So how is it that the diet experts can't seem to help us lose weight, and more importantly, keep it off? Most diets involve eating according to some arcane plan, plenty ofself-denial, and strategic cut backs on carbs, sugar, fats, or all of the above, depending on what particular diet guru's Kool-aid you're drinking. Besides the psychological effects, the logistics of staying on track tend to derail your social life and your daily routines in favor of a tightly regimented eating schedule. In the heat of a diet, it's a thin line of shoestring potatoes that keeps us from flipping out when our server is confused by our order of a hamburger, no bun, no fries. Thus, the dichotomy of dieting: we adhere to strict and unintuitive rules in an attempt to lose weight, only to eventually find ourselves back where we started. But, what if it wasn't that hard to get skinny, albeit the diet was even weirder than a typical weird diet? Would you try it, like I am right now? Seth Roberts, author of "The Shangri-La Diet", was trying to solve his own weight problem when he hit upon something even more American than the diet: the quick fix.

As something of a blogoholic, it's hard to pinpoint exactly where I found Roberts' Shangri-La diet. I do know that skipping across the blogosphere one day last month, I stumbled into a network of sites dedicated to it, which felt something like falling down a rabbit hole into Wonderland. Blogger after blogger extolled the simplicity and sense of the diet plan, emphasizing that it wasn't so much a diet as a reprogramming of the mind. After finally finding and reading the instructions, I was sure something was missing. The basic rule of the diet, if you can really call it a diet, is simple. In fact, here it is. Drink, twice a day, in the middle of a two-hour window of noteating, a few tablespoons of flavorless oil, or a solution of sugar water.

Then, according to the bloggers, watch as the pastry case at Starbucks releases its death grip on you, as the dessert menu goes unread, as you barely finish half your lunch, as you have no desire to raid the vending machine for a mid-afternoon snack. Roberts claims that you will feel full after having eaten less food, which means you will cut your caloric intake without even thinking about it. Rather than having to deny yourself the fries on your plate, you just won't be interested in eating them, unless you want to feel bloated and sick afterwards. I can't help but think of it as gastric bypasssurgery for the mind.

It's pretty safe to say that if Roberts was my friend, Berkeley professor, Ph.D. or not, had he told me about this theory of his, I would've listened, nodded politely while eating my chocolate cake, and remembered to check his medicine cabinet for unusual drug combinations the next time I came over for a visit. But before allowing skepticism to set in, before understanding how his diet scientifically worked, I came across dozens of bloggers who are trying it and losing weight. Roberts shrewdly links to pretty much every blogger he can find doing the diet, and provides a forum wherehe encourages others to tweak his plan to fit their needs. Instead of being a diet guru, Roberts is a diet tour guide, allowing his tourists ample time to wander the grounds of Shangri-La and customizehis theory to fit their individual tastes and goals.

The substance of Roberts' discovery of his diet, and the focus of much of his book, is his research background, his penchant for self-experimentation, and an accidental realization that drinking soda in Paris left him feeling completely full and unable to eat. Roberts determined that his lack of hunger was due to his body lowering its set point, that is, the weight it wants to be, in response to the foreign (to him) taste of sodas in the City of Light. Using what he knows about the intersection of psychology, physiology, and hunger, he developed the diet plan, lost over 30 pounds, and has kept it off for five years. Even if Roberts is a walking laboratory, the research studies he cites in the book are peer reviewed, with control groups and blinds, e.g. careful experiments with verifiable results. His eureka moment was to connect theories of phsychology, weight loss, appetite and taste in such a way that his diet seems less a wild-eyed hunch and more an elegant solution to a thorny and complex problem.I decided it was time to try it, just as soon as I could overcome my physical aversion.

Thinking about it– thinking about having less appetite, picking at my food, and drinking oil bothered me to no end. I had a queasy reaction to the concept. I mean, drinking oil. After discussing the diet with my girlfriend and several friends, they had similar reactions. On some instinctual level, they all thought it would work. But in practice, not one of them was willing to go at abottle of Wesson Oil armed with just a tablespoon and a chaser glass of water.

Re-reading Roberts' book and website, I realized, in a way, aversion was the last barrier my mind was putting up to losing this protective fat. Roberts argues that our primitive brains make us horde and overeat tasty food when it's in abundance, to give us a shot at staying alive in leaner times. The problem is that in modern times food always tastes good, and there are no leaner times during which to burn off fat stores. Our bodies haven't caught up to the fact that sitting in an office chair is the new hunting caribou. It seemed my inner caveman was appealing to my sense of reason one last time,before I dosed it back into the stone age with extra light olive oil (ELOO, as Roberts riffs on Rachael Ray's EVOO).

What made me finally decide to push the button and move the canola oil from the back of the kitchen cabinet to the front was Roberts' accurate assessment of his main critic, UCLA Medical School professor John Ford. In responding to the criticism on his blog, Roberts makes an argument I can believe. Most of us are already taking in at least a few tablespoons of oil and sugar every day. If eating those calories separately will lower our set points, reduce the amount of food we eat, and, Roberts claims, make us hunger a more balanced diet (less junk food), there is probably no medical risk to those few hundred calories of sugar or fat. Slamming the door shut, he goes onto say, "For a long time, medical school researchers have contributed no useful ideas to our understanding of how the average person can lose weight." In fact, the more complicated and esoteric diets have become, the more Americans, myself included seem to be gaining weight without being able to lose it.

The diet is a non-diet, and I admit, it appeals to my intellect. It's a mental trick that fools our bodies into shedding pounds of fat that were once a security blanket for sustaining life, but are now more like heavy winter jackets in, well, Shangri-La. Ten days in, my hunger is reduced and my tendency to snack is gone. Drinking the oil (I haven't yet tried the sugar water) is actually as easy as tilting my head and shooting it back. I felt the effects within 8 hours, as I bought a takeout sandwich walking home on the first day, and forgot about it for an hour after I arrived. When hunger hits, I eat, but so far, much less than before. I should probably start bringing my own Tupperware when dining out.It's far too early for me to have accurate results (Roberts lost his weight over the course of about 100 days), but so far, I like how I feel.

As a "serious eater", to quote Calvin Trillin's "Tummy Trilogy," the idea of eating less bothered me, but it now seems that I was eating way too much. By turning the diet from a puritanical exercise into what feels like a video game cheat code, Roberts seems to have hit upon the underlying Ur diet that explains why other diets work at first. All that remains to be seen is whether instead ofWeight Watchers cards, we all start carrying around portable ELOO shooters.

The Freewheelin’ Bob Dylan Night at KGB Bar: Anatomy of a Disaster

This is the scene: My girlfriend and I walk over to KGB Bar to attend a forum featuring Ben Hedin author, Bob Levinson scholar, Mary Lee Kortes of Mary Lee's Corvette, Robert Polito scholar, David Remnick, New Yorker editor and Alex Ross, New Yorker music critic. They are there, we've read, to discuss the new Bob Dylan album, "as well as his place in American culture and myth."If I were David Remnick, I would never participate in a forum like this ever again. By the end of the abbreviated discussion, it was pretty clear that the night had been a failure and the "experts" for whatever reason, were unprepared or unable to discuss Dylan or the album in any meaningful way.

"People want to find a 'meaning' in everything and everyone. That's the disease of our age, an age that is anything but practical but believes itself to be more practical than any other age."
Pablo Picasso

In the tomato sauce colored bar, we were packed like sardines. After all, this night got alot of press and the panelists were certainly, on paper, qualified to be there. It's not often the Editor in Chief of The New Yorker makes a free roundtable appearance in a forum not directly related to his writing or magazine efforts. The panel was assembled by Bob Dylan anthology editor Ben Hedin. We're in good shape, no? No. By the end of the night, all we had, dear readers, was a mouthful of their titles to swallow, as the panelists, with small exceptions, gave us nothing else worth appreciating, yet plenty of hot air.

Apparently Hedin, who put this night together, did not bother to create an agenda or give any of the panel any sort of prompts or ideas on which they might have prepared themselves for discussions. After showing a movie (no introduction, no explanation of its point), they sat down, introduced themselves, and starting talking in obnoxious, overly reverential and superficial soundbites, exactly the sort of bullshit that makes talking about Dylan in any sort of worthwhile manner so difficult and usually worthless.

If assembling a half-dozen Dylan experts to analyze him was the sole point of the evening, the panel needed to find an intelligent, unpretentious way to explain and parse the effect that he's had on music and society. It's profound. It's worth talking about. Yet it's not something easily discussed, because it's wrapped up in a cult of personality problem. Talking about Dylan almost invariably sounds like "talking about Jesus." Discussions are full of circular logic, ad hominem arguments, and tautologies. Take, for instance, the bizarre ramblings of guys like AJ Weberman, who at various points cursed at Remnick, told the panel they knew nothing about Dylan, hypothesized every word in Dylan's lyrics really stands for another, secret word, and went on to illustrate his hypothesis by telling the assembled that Bob Dylan was out to get him for once throwing a birthday party on Dylan's front lawn, forcing Dylan to move. Whatever drugs Mr. Weberman has been on, it's obvious he's done far too many of them for far too long. And yet this voice carried above all others on the panel.

One of the writing professors turned into the A/V guy and almost got into a fight with the bartender (who seemed to be content in opening bottles and chuckling at our collective obnoxiousness) while attempting to cue up a few tracks for the crowd to listen to. Mitch Blank, the music archivist, brought along an old Bing Crosby track to compare to Dylan's new CD, but the explanation and logistics of comparing the two tracks were completely ignored, so the crowd instead sat in silence as the writing professor fumbled with the sound system. Then we listened to the wrong track and the bartender muttered to himself about 'fucking jerks who are trying to sound important.' 

If one person on the panel avoided fitting that description, it was David Remnick. His opening statement was a personal story of growing up in Jersey listening to Dylan on WNEW, which, when I was in high school, was still playing Dylan. (Oh how I miss the old 102.7.) Remnick tried to steer the discussion towards something meaningful: the personal impact of music on the listener. No one needs to hear, as other panelists decided to say, that Dylan is a force in music, a, truly great musician, a seminal artist, etc, ad nauseam. It's obvious we would not all be packed into a bar, collectively sucking in our stomachs, to talk about him if that were not the case. Tell us, panelists, what Dylan means to you. Or talk about these three topics, which I've bracketed to indicate they aren't part of the review but rather my own thoughts.

Tell us why Dylan named an album full of old timey arrangements "Modern Times." It seemed lost on everyone that maybe Modern Times referred not to our times, but the times of literary modernity, of Woolf and Eliot (and thankfully Remnick mentioned Eliot at one point, but no one parried with him to expound on why.) No one seemed to think it ironic and maybe a joke that "Modern Times" is a CD full of the antithesis of the bleak, surrealistic movements of art and literature and music from the period that Dylan is sampling here (the 20s-40s, some say 50s). It's CD of backroom populist numbers, no jazz or soaring orchestral arrangements. What's modern about these old sounds? 

From there, what about the musical omnivore Dylan has become? He rode in on folk, turned electric, went through the whole loop of guitar and now organ driven music, and is now mining the past, relentlessly looking to discover what he might've missed the first time around. It's amazing. Did anyone think, when listening to Blonde on Blonde in the 60s, that Dylan might ever put out anything that sounds like this?

How about the Jonathan Lethem article in Rolling Stone, the one where Dylan says the last twenty years of music are shit? How about how Springsteen and Pete Seeger might factor into that equation? How about Louis Menad's writeup on a new compedium of Dylan interviews in The New Yorker? How about something, damnit, other than self-importance and reputation standing in the place of thoughtful discussion?

The panel conversation ended 45 minutes early, (thankfully) because everyone on stage had run out of things to say. A bizarre final comment by Mary Lee Kortes had something to do with rape or women in rock or something, I can't even recall anymore because at that point the wasted opportunity of the evening had really draped over the entire room. No one was into it. As Hedin abandoned ship, everyone mingled, except Remnick, who understandably tried to get the hell out there as fast as he could. I should note I was expecting to see a Town Car idling outside, but didn't. Does he take the subway? 

The problem, in the end, was that this was treated as a lark by Hedin and most of the panelists. It's very easy, I admit, to sit at my laptop and criticize a free program from a remove. But just because it was free doesn't mean one shouldn't get some satisfaction from it. Just because it's free doesn't mean it's not worth doing a good job for. I write for free every day, and I try my best to make it substantive. The underlying problem was that Hedin and his panel really had no reason to do a good job. Quite frankly, I'd rather have seen 6 record store clerks up there.

Addenda: Beers were $5 and there were no bar snacks. Someone's knee was in my back for most the night, and crazy AJ Weberman was directly behind whoever owns that knee. The projector screen had a crinkle in it, so the anonymous Dylan movie we watched looked even artsier thanks to the rip and shadows. A couple of the panelists looked like mobsters. Hedin looked like he was trying really hard, but he was much younger than every other panelist and as such seemed like the wrong person to be in charge.

Success! (or, Success?)

Something I wrote a while ago, which I submitted to Timothy Mcsweeney’s Internet Tendency was sadly, unfortunately, not right for that publication. John Warner, the editor there, actually gave me wonderful advice on tightening the piece up, for which I thank him. But it still didn’t make their site.

Enter The Rejection Show. I reviewed one of their live shows at Mo Pitkin’s right here in this very blog. (See if you can find it!) I submitted this piece, since it was rejected, to Jon Friedman, the founder of the show. It was accepted! By The Rejection Show! (Just for the blog, not the live show.) As you can tell, if you read my review, I have alot of respect for the talented people that perform and run the show. The fact that it’s based around rejection doesn’t really bother me; it was damn funny, and I’m happy to have them run my rejection. It feels less so like one now.

So, for your viewing pleasure: Ask a Struggling Freelance Writer, By Paul Smalera: The Rejection Show

And the reviews of this piece are already in:

“It was pretty entertaining, for something of yours.” - Andrew Smalera, my brother

HOW CAN YOU NOT WANT TO READ IT NOW? I ask you. How? Please enjoy my foray into the comedic arts.

So it’s Come to This

This is funny, in a tragic sort of way. I exert much energy daily to get my name and ideas in front of editors who might be interested in taking a chance on me and allowing me to write for them. This is hard. I only recently remembered that I have been rejected before. In college, for about two months, I had a weekly column in the independent student paper The Hatchet. (Get it? George Washington? Cherry Tree? Hatchet? Haw Haw. But seriously it wasn’t an awful paper.)

My problem, in writing this column, was that I was living far off campus, taking a full courseload, working almost full time (at a real job in web development, not one where I could study), and if I recall, moving to a new apartment. Full plate, anyone? While I tried my best to creative, I never gave myself the chance to be alone with my ideas. I just banged em out and hit send.

And, if I may be so indelicate, I never really had the support of the staff (being an outside commuter who knew no one and was never in the office.) That said, they gave me a shot, but just didn’t like what I had to say; they’re not to blame. After 3 or 4 tongue in cheek columns like the one below, I wrote 800 words (I still remember) about a guy named Ron Howard (not Opie), a GW administrator who had recently died. He was a really amazing guy who very few students knew about, since his role was working with alumni. Unfortunately, the remembrance didn’t go so well– the column was dropped, and it never ran. Oh well. Life goes on. Still, picking up that first issue, opening to page two and seeing my name and headshot–what a rush.

Column - Cola Wars come to campus - Opinions (September 18, 2000)

by Paul Smalera

When will Coca-Cola’s tyranny over GW end? All I see these days is the red cup glaring like a communist banner. There seems to be some revisionist history at work: a year ago, it was the faux-iced over Pepsi cup - albeit in a cooler blue - that dominated the GW landscape. Yet today, it seems that Pepsi cup never existed. I wonder if there are any photos of Pepsi cup-wielding students in the administration’s glossy publications. Have they been airbrushed to reflect our school’s new contract?

Don’t get me wrong; I think the Coke-Pepsi battles were great. Every candidate had to declare whether they were pro-Coke or anti-Coke. Some Student Association candidates ran their entire campaigns on the theme (and if elected, I promise to bomb Pepsi back into the Stone Age), but now that the war is over, what do we do?

If this were post-WWII America, the answer would be easy: build houses and breed like rabbits. But we are an urban college - no room for houses. And I doubt anyone wants to breed like rabbits around here, which is a good thing. Instead, we worry about other things like education and quality of life. Though cola still weighs heavily on my mind.

To keep our future SA candidates busy, I challenge them to run on a pro-Pepsi platform in the coming election. You know the SA wonks are already gearing up for the next one even though it’s in April; they live for this stuff.

Maybe it’s unrealistic to think GW will tear up its Coke contract after one year, but there is good reason to do so. Why not spend some cash on our own soda fountains and have Coke and Pepsi next to each other? Safeway sells Coke and Pepsi, and sometimes RC Cola, too! So why can’t the MC Store - or whatever they call it this week - sell Coke and Pepsi, too? It’s a buyer’s market, people!

Besides, can you imagine the Zen-like oneness that will follow from seeing the red and blue Coke and Pepsi logos side by side? It would be like seeing the sun and moon in the same sky every day! Perhaps in the era of two-party systems, of Democrats and Republicans, of Macs and PCs, of Coke and Pepsi, we also need a third party, to round out the choices. Maybe we need the Green Party, Linux, and yes, maybe we even need Royal Crown Cola.

Is there anything wrong with a little choice in our beverage selections? Truth be told, I usually head over to Au Bon Pain and buy an Orangina or an iced tea. I don’t even really like soda. But if I do decide on an icy, carbonated beverage, is it so wrong for me to walk to a soda fountain and pick the soft drink I prefer? I think not!

I wonder, too, what GW gains from signing one contract with a specific distributor rather than purchasing any brand it chooses at any time? Who is really benefiting from this arrangement? Surely not the students whose choices are limited by the decision to stock only one brand.

The cola companies and distributors are the ones who benefit. But no longer will we let them dictate our drink of choice. Let�s show them that we will drink whatever we damn well please and we will drink it wherever we want. Coke drinkers next to Pepsi drinkers next to RC Cola drinkers, all singing a happy song: Cola �round the world, baby, cola where I want to. Throw Surge in there, too - what the hell, I’m feeling generous.

Forget the Pepsi challenge I issued to any SA candidate this spring. Here’s a better idea: the unified cola ticket. Lets have a little more cola unity and a little less cola divisiveness.