The un-giving tree

Like many of you, I have a money tree in my backyard. Frankly, it makes things a lot easier. When the pile of bills gets higher than Amanda Bynes at Chateau Marmont, I can simply run out to the backyard, pick a few of the ripe Benjamins and take care of business.

Oh, huh, what...sorry, I'm always groggy when I wake up. I was dreaming about my money tree again. The problem is while I wish I had one, people who want money from me seem to think I actually do have one.

Like so much of life, timing is everything when it comes to the bills. In our house we have a system that looks great on paper, but clearly has its drawbacks.

There's a tray near the front door for the mail. All the mail for all four of us go into this tray. Then, when I get around to it, I separate my mail - which includes the bills - from everyone else's and put them in another tray in the dining room.

Here's the tricky part: sometimes (and by sometimes I mean always) bills get mixed in with other peoples mail in the first tray, and I don't discover them until after their due date. That due date also creeps up on the bills I've put in the second tray.

I really need to check that tray more often.

What usually happens is I forget about the bills, then start thinking, "Hey, look at all this money in my checking account." That thought right there? That's my cue to look at the bills.

The past due bills.

So I break out the checkbook and start paying the piper. But because I thought I had the money, I was spending the money. It runs out way before the bills do (due).

This is where the money tree comes in handy. Or would if I really had one.

What I need to do is provide a better role model for my children when it comes to managing money. I simply have to realize there's no money tree, and start organizing my bills in a more adult and responsible way to make sure there's enough money to get them all paid on time.

Right after I buy my lottery tickets.

The luckiest actor alive Part 2: Channing Tatum

Astonishing charisma. Gritty realism. Award-winning performances. Channing Tatum has none of these.

What he did have is what every other good looking kid from Alabama who spent weekends at the local movie house had: a Greyhound bus ticket and a dream.

Unfortunately his dream is every movie lover's nightmare.

Performance after endlessly dull performance, Tatum walks through movies, smiling and posing then calling it "acting." It's a bad imitation of the male stars he used to see in that dingy Alabama theater. It's also the way he thinks the character would act, if the character were a bored and boring individual getting by on his good looks alone. It's what I like to call "model acting." He knows how to walk around and look good. Worse, he thinks that's enough, just like it was when he modeled for Abercrombie & Fitch.

Every one has to start somewhere. But Ricky Martin's She Bangs video? Some people will do anything for $400.

You have to wonder who he has pictures of, or who he took pictures with. It's hard to figure out how the Hollywood fame lottery works. There are a million guys who look good and actually can act, but maybe they don't play the game as well as Tatum does.

It is amazing how many different types can be lucky in Hollywood. My last luckiest actor post was about Jonah Hill, who'll certainly never be mistaken for Channing Tatum. But at least, as he proved in Moneyball, has some acting talent besides being the funny fat guy.

He can also be the serious fat guy.

Tatum is quoted as saying, "I've been able to explore life, and through exploring it I've found that I love art, I love writing, I love acting, I love all the things that make sense to me."

I just wish it made sense to the rest of us.

A tip for restaurants

I enjoy going out to eat. Whether it's alone or with friends and family, it’s one of life’s little luxuries and I’m grateful I’m in a position to do it almost as often as I like.

I also happen to enjoy good service. It’s like great art: you know it when you see it. And when I’ve been on the receiving end of an attentive, prompt, knowledgeable, intelligent, humorous, caring, alert food server, I have no problem showing my appreciation by saying it with cash in the form of a generous tip.

What can I say. I’m a giver.

What I don’t need is a Gratuity Guideline on my check. Especially one that starts at 18%. If the service has been lousy, 18% is going to be an impossible dream for the server.

For me, this has exactly the opposite of the intended effect. Instead of being grateful for them doing the math for me, I resent the fact they want me to consider the tip at a certain starting amount, regardless of the quality of the service.

From what I can tell, most of the time the wait-staff is a little embarrassed by it as well.

If they’re going to give me guidelines on how much I should leave for a tip, I’d like to offer restaurants the following guidelines on how to run their business.

First, hire people who want to be there. Really nothing worse than a waiter or waitress who makes you feel like they’re doing you a favor by taking your order. Don't make me wait until the mood strikes you before you come over.

Make sure your staff knows the menu. Enough with “I’ll check with the kitchen.” They should know the menu as well as they know their next audition time. They should also know the ingredients in every item, if substitutions are allowed, and what the specials are.

Remember the reason we’re there is because we’re hungry. The fact their job description has the word “wait” in it shouldn’t be taken literally. Whether they’re bringing the food or an expediter is, it should arrive promptly and hot if it’s a cooked item.

Clear my table as you go. I hate trying to navigate the battlefield of used plates, glasses, soiled napkins and silverware. No I don't want to "hang on to my fork." When you bring some, take some away.

Find a balance. Don’t come by every two minutes asking if everything’s alright, but don’t disappear entirely either. Strike a balance between being a good server and annoying the crap out of me by asking me questions every few minutes while I’m trying to enjoy my meal. And when you ask, it'd be better to do it when I don't have a mouthful of food.

Do laundry. Whether you wear your own clothes on the job or the restaurant provides a uniform, make sure it looks clean and crisp. It not only reflects on you but, in the same way a clean car runs better, it makes the food taste better.

Don't bring the check in the middle of the meal. And don't say, "I'm just going to leave it here. Take your time." When you bring the check before I'm anywhere near done, what you're really saying is, "Here's your hat. What's your hurry?" The other thing the check says is you're done with me. And I don't want you to be done with me until I'm done with my meal.

Stop upselling me dessert. I know this comes right out of the manual and you're required to do it. But be the William Wallace (look it up) of the dessert tray and strike a blow for independent thinking. If we've had enough food to feed an army, and look like we're going to explode, don't ask about dessert. Just bring the check.

There's definitely more advice I could dish out, but that seems like a good start. Don't worry about tipping me for it.

It's on me.

Twelve chairs

From agency to agency, as a freelancer you have to adapt to all kinds of situations: tiny workspaces, unreliable wi-fi, uncovered parking, bad agency coffee. However those are much more easily overcome than what I think is the worst mountain you’ll have to climb – the communal writing table (or its equivalent, open cubicle seating).

I just returned to an agency gig after a three-month stint on the client side. While there, I had something I haven’t had in a very long time – no, not a 32” waistline – an actual office. With a door. That closed.

Not only was it a trip down memory lane, it was also extremely helpful in shutting out the world and the noise that comes with it. It was significantly easier to concentrate on my writing, or to make that extra special personal phone call to my doctor, banker or wife.

In one form or another, besides the few actual offices with doors reserved for upper management, almost every agency today has an open seating plan. I like to blame Chiat\Day and it’s phenomenal failure, the “virtual office” experiment almost 20 years ago.

The idea was run an office like a college campus. No one had any assigned personal space. You’d come in, see the “concierge” and check out a powerbook and cell phone. You were then free to work from anywhere you liked in the office. What this lead to was petty turf wars, people scurrying for private space and a high absentee rate since you could literally phone it in from anywhere.

The thought was all this togetherness would foster a more creative, collaborative environment and improve the quality of the work.

It did neither.

The other thought was that instead of building out spaces and moving walls to accommodate titles, it'd simply be cheaper to throw everyone into the mix and let them fend for themselves.

Chiat abandoned the experiment when they moved to their current Frank Gehry-designed space in Playa Del Rey. It's wide open, but at least (most) people have desks to call their own.

Whether it's open space or communal seating, it's like trying to work in the world’s largest Starbuck’s, where 200 baristas are yelling orders and names non-stop, and it all echos off the open-ceiling, exposed duct design. Or as I like to call it, Chiat-lite.

Maybe I’m just nostalgic for a time when effort was better spent doing the work instead of trying to block everything else out so you could focus on it.

Now if you'll excuse me, I have to throw these babies on and get back to it.

Danny

I don’t know if other industries are like this, but the ad community is a small one. Especially in L.A. Because of that, you wind up seeing a lot of the same faces at different agencies around town. Sometimes a good thing, sometimes not.

In the case of Danny Alegria, it was more than a good thing: it was a blessing.

Danny either worked in the studio or was the studio manager at three agencies I had the good fortune to work with him at: DBC, DDB and Y&R.

Ad agencies just love their initials don’t they?

Danny was always a bright light in what could be a dark environment. Being in the studio, he was ground zero for stressed out account and creative people throwing fits when it came to getting something they usually needed yesterday out the door to a client, or materials for a big presentation or new business pitches.

Regardless of the pressure and tantrums that came his way, he had a good word for everyone (something extremely difficult to do at agencies). And there was never a question about him getting what you needed done.

Even though I’d known him for years, I’d never really sat down and talked to him until one very slow day at Y&R about nine or ten years ago. We wound up sitting down and literally talking for over three hours. He told me about his time in the Navy, his background as a singer, his years as a jockey, exactly how horseracing worked (not the way you’d think or hope), his family and more.

I couldn’t believe this fascinating person had been steps away from me for years, and yet only now was I just discovering who he was and learning about him.

I had always loved horseracing. In fact, when I was in college I loved it a little too much, to the tune of rent money on occasion. Danny and I made an agreement we’d take a trip out to Santa Anita, and he’d give me the lowdown on the horses and be my betting Yoda.

Sadly, we never got to make that trip.

Danny was diagnosed with cancer. But like everything else in my experience with him, he handled it with grace, honesty and dignity.

He would post unflinchingly on Facebook about how he was doing - the progress of both the treatment and the disease.

As to be expected with cancer as widespread as his had become, there were good days and bad days. But even on the bad days, the really bad ones, there would be a thread of optimism.

On one of his good days, he invited me to come see him give what he knew would be his last singing performance. I wouldn't have missed it. Not only did I get to see Danny perform, I got to see a lot of long, lost friends from agencies past we'd worked with over the years, who were also out in force to show support for him, and his talent that we didn't get to see nearly enough.

Danny was in great form that day, but it tired him out. It was easy to see the toll his cancer was taking.

I would text back and forth with him. I told him I'd come out to where he lived in Riverside and take him to lunch, or if he wasn't up to going out, bring it to him and we'd eat at his place and talk about the race track. I believe he was confined to his bed at that point, but even so he just told me he wasn't feeling well, but as soon as he rallied we'd do it.

Shortly after that conversation, on July 10, 2012, Danny died at the age of 60.

For me, it's certainly a personal loss, as I know it is for his family. But it's bigger than that: it's a global one. The world simply can't afford to lose people as decent, caring and loving as Danny always was to not just his family and friends, but everyone he encountered.

His Facebook page is still active, and every now and then I find myself re-reading some of the posts he put up as he was going through his ordeal. They are honest, inspiring, funny, heartbreaking and hopeful. I'm also friends with his daughter on there, and though I've never met her in person I feel as though we have a strong connection.

She is funny, bright and optimistic. Just like her old man.

Not a day goes by that I don't think about Danny and the meal together I was so looking forward to.

It's comforting knowing he's finally resting in well-deserved peace.

And that he's making heaven a much more rockin' place.

Dig it

There are some days when I think to myself I could be putting my time to better use. Like the ones when I’m just vegging out on the couch, watching Source Code for the thousandth time on cable and doing my impression of a vacuum cleaner slamming Thin Mint Girl Scout cookies down my throat.

But then I think at least I’m not out digging a hole looking for Jimmy Hoffa.

I don’t actually think that, but I could.

Once again, the FBI has a tip about where the body of the former union leader may be buried in Detroit. And once again, they’re breaking out the backhoes, shovels and forensic kits and going looking for him.

I think we know how this expedition ends.

This time it’s thanks to a tip from a former mob underboss named Tony Zerilli. He was the second in command of the Detroit mafia when Hoffa disappeared. While he doesn’t have direct involvement in the crime since he was in jail the day Hoffa disappeared, he alleges he found out the location of his body once he got out of prison.

By the way, Zerilli is 85-years old now. I'm not in the FBI, but if I were I'd have a lot of questions about how reliable his memory is.

The other question is who gains and who loses in the search? The FBI does both. Their inability to solve the Hoffa matter has been an embarrassment to them for over forty years - that’s why they keep trying. If they find his remains, their perseverance and skills are rewarded. If it turns out to be like Geraldo and The Mystery of Al Capone’s Vaults, they lose. Again.

At this point, no one else besides them and whoever is left in Hoffa's family really cares. The chances are just as good Hoffa was tossed in an incinerator and there’s not even a body to find.

Still, it makes for good folklore and so-so movies with Jack Nicolson.

Father's Day 2013

I don't usually re-post on here, but today's my day and one of the perks is that I don't have to write a new post if I don't want to. Especially when this one will do just fine.

I think you dads know what I'm talkin' about..

Since today is Father's Day, I thought I'd take a minute to pay tribute to the great dads of our time. No, not the real ones, the tv ones.

It occurred to me as I was looking for these pictures that the fictional dads are as varied as the real-life ones are.

The difference is that they make great decisions almost all the time. And even when they don't, they get to resolve the situation properly in a half hour or an hour.

Sometimes they're just as much a mystery as the real ones are. For example when they appear to us after they've died and we've crashed on an island. As they so often will.

And sometimes, the people you think are least equipped to be a dad turn out to be great ones.

I used to joke that ninety percent of the job was just showing up. But two teenagers later - while it's still a big part of it - I've learned the percentage is way off.

To all the real world dads, who need more than thirty or sixty minutes to make things right, who are there for their kids at breakfast, after school, after dinner and in the middle of the night, doing their best day in and day out to provide everything and more for their kids, Happy Father's Day.

Why I Love Costco Part 4: Big wieners

As you already know from parts 1, 2 and 3, for me there's no shortage of things to love at Costco. But so far everything has been inside the store. This time, the object of my affection is waiting right outside the front doors.

Big wieners.

Like everything else at Costco, when it comes to their hot dogs size matters. These huge frankfurters are not only filling, they're also delicious and in demand. People are lined up like it's the DMV to get their hands on these wieners.

After all, again like everything else at Costco, the price is right.

For a mere $1.50, you get one of these giant wieners, all the toppings you want and a large soft drink. If I were a homeless person - and of course, being a freelancer I'm always teetering on the edge of that - I'd hone my panhandling skills so I could score at least a $1.50 a day to eat at Costco.

I'd be the fattest homeless person at the offramp. But I'd be the happiest.

Next time you're at a Costco, after you're done shopping and have worked up an appetite pushing that mammoth shopping cart overflowing with gallon jars of mayonnaise, a two-year supply of toilet paper and 42-inch flatscreen TV, set yourself down and enjoy a cheap, delicious, filling meal.

Believe me, nothing's more satisfying than a big wiener. Especially at Costco.

I didn't do that ad. Why do you ask?

Campaign ideas don’t want to be bad, but like Jessica Rabbit said, sometimes they're just drawn that way.

The fact is an idea can often look good on paper, then get lost somewhere along the way to executing it.

And I'm just man enough to say that sometimes bad work happens to good writers: the lousiness of some of my spots has been my creation and mine alone.

For example, the am/pm mini mart spot where I made a joke about the son in the family being adopted. Immediately after it aired, they started routing all the complaint calls from adoption advocacy groups to me so they could tell me, in very raised voices, why adoption jokes weren't funny. I listened patiently, then told them I was adopted and I thought it was hilarious.

I’m not, but sometimes you just want the noise to stop.

Then there was the absolutely awful campaign my partner Doug and I presented for Suzuki cars using the cast of LOST. There were several spots, but the highlight (lowlight?) was one where instead of a blue VW van, we had them discover a Grand Vitara on the island. We liked the show and we wanted to go to Hawaii, so sue us.

It's a good thing it never went anywhere. It wouldn't have been nearly as good as this one:

I don’t remember this, but my wife swears years ago I wrote a radio spot where the characters were building a house out of meat (SFX: Hands slapping ground beef). This was pre-Lady Gaga. Obviously I was way ahead of my time, which is so rare (see what I did there?).

This isn't the first time I've written about good and bad ads. I posted a piece here about it.

But I'm beginning to think putting up posts running down the list of bad ads I've done is probably not the most career-enhancing move I can make. So forget you've seen this.

Just like you did with all those bad ads.

Hurts donut

This is why the terrorists are going to win. We're going to do it for them.

A chef named Charlie Boghosian at a place called Chicken Charlie's (it gets more appetizing by the second) wondered what would happen if he crossed a Krispy Kreme donut with a Sloppy Joe sandwich. You're looking at his answer.

Coming as absolutely no surprise, Charlie is a vendor of fried foods at the San Diego County Fair. And this little beauty sits right next to his other deep-fried culinary creations: Twinkies, bacon-wrapped pickles and fried Kool-Aid (you heard me).

Spokespeople for the Krispy Kreme corporation have been frantically denying they have anything to do with this abomination of a sandwich. As heart-stopping good as it may be, apparently they don't want to sully their reputation for healthier fare.

I have to admit I'm curious. Not for an entire one, but I have to say I wouldn't mind taking a bite. You know, for the same reason I saw Sinatra before he died.

Just so I could say I did.

Anyway, I don't know if I trust Charlie entirely. Sure he fries everything he comes near in the kitchen, but he does it with a fervor that might be bordering on crazy.

In fact, the last person to buy one insisted he had a glazed look in his eyes.

It's showtime. Almost.

This is going to seem hard to believe, but unlike fairy tales and stories about unicorns, leprechauns, insightful account planners and consumer engagement, this one is absolutely true.

Once upon a time, people used to go to movie theaters and, not including movie trailers, there were no commercials or advertising before the movie. None. Zilch.

Then, someone at the L.A. Times had an idea about how the paper could get into the movie business. They decided they’d give a discount on media placement for theater listings to the theater chains if they’d run an L.A. Times commercial before the movies started.

It was a great deal for the Times. Captive audience, big screen and a theater extortion plan they knew the chains would go for.

When these commercials started appearing years ago, it didn’t matter if you were seeing a movie at the Village in Westwood or the Gardena Cinema. They were unanimously and loudly booed. People threw popcorn at the screen. The audience could get commercials at home on their televisions. It wasn’t what they were coming to the movies for. They hated it and they weren't going to sit for it.

Except that they have.

Fast forward to today. Since no one looks in the newspaper for show times anymore, the L.A. Times commercials are a quaint memory (and the paper might soon be as well). But what’s taken its place are theater owners who’ve co-opted the idea to generate revenue for themselves.

You know those pre-show, pre-packaged group of ads, shorts, trailers and interviews you see before movies? The ones that are usually bundled as First Look or The Twenty (short for the 20 minutes prior to showtime)? Yes it's paid advertising. But it's the theaters themselves who are bringing it to you.

The three major chains - Regal, AMC and Cinemark - have together formed National CineMedia(NCM) to show preshow ads in their theaters. Here's an idea how much they're making off it:

And you thought all their profit was coming from $4.75 cups of Coke.

It's actually amazing they manage to have the ad sales they do. Here's the pitch from their website:

If by fully engaged audience they mean a theater full of people talking, checking their phones, texting, playing games, looking for seats, at the concession stand buying $5.75 buckets of popcorn, then yes, they're fully engaged.

Fully engaged isn't the only promise they make that they aren't keeping.

Did you see it? It's the part at the end about loving the brand? I'm pretty sure being shown commercials in a theater has just the opposite effect. It's one thing when you see a bad commercial on television. But when you see one (or the same one) on a 60-ft. screen in 70mm with Dolby sound, the badness just scales up. So does the resentment. Even if it's a good spot, it's holding you captive before your movie.

There are two problems here. First, as always, is the money. Like the fees the airlines charge for what once was free, the theaters are making way too much from these commercials to get rid of them. And second is a passive audience who has just come to accept the first fact.

I usually like a theater as quiet as possible.

But I do miss the booing I used to hear the minute the commercial started playing.

Drive she said

I wouldn’t go so far as calling myself a Disneyphile (although it would be one of the nicer things I’ve been called). But I did grow up in L.A., and probably spent an equal amout of time between school and Disneyland (well, maybe a little more at DLand).

I’m a California boy, and I do love Disneyland.

As a card-carrying Deluxe annual pass holder, I’ve done the math to figure out I have to go there at least 6 times during the year to make it pay for itself. No problem: between DLand, its sister park California Adventure, and summer it'll be a cinch.

The beauty of it is I can go anytime I want (except for a few blocked days) and pretty much forget the outside world and have a good time. Until I have to pay real-world money for food in the park (seriously, would it kill them to include a few meals in the annual pass fee).

But I recover quickly.

Anyway, last Saturday night it was time for my daughter and me to renew our annual passes. Instead of doing it online, which wouldn’t have given us any excuse to go into the park, we made the 15-minute drive to Anaheim and did it in person at a Disneyland ticket booth.

Disney cast member Linda from Laguna Niguel - who may or may not have been an audio-animatronic robot - efficiently and pleasantly helped us.

Afterwards, we thought we’d take the new annual passes for a spin. So we went into Calfiornia Adventure, got the passes scanned, and visited the newest land: Cars Land.

When Disney decides to wow you, no one does it better. Radiator Springs is the spittin' image of the fictional cars town in the movie come to life. It is incredible. Visually rich and detailed, stunning in its vibrancy, it actually is the only Disney "land" that feels like you're in another world entirely.

We waited an hour to get on the Radiator Springs Racers, the roller coaster ride that simulates the race in the movie. It leisurely takes you through the town of Radiator Springs, then suddenly you're at a starting line with another car full of people.

You get the green light, and you're off. It's not nearly a long enough or fast enough race, but it is fun. It has just enough of what I call "Disney Danger" on the curves to make you want to immediately go on it again. If the line wasn't a two hour wait when we got off we would have.

We went on a couple more rides, and then headed home. No need to do it all in one night.

We have all year.

Don't ask: Moving

You have to look closely to see it. This is a picture of me helping you move.

I know what you’re thinking: it looks like a couple on a tropical beach, enjoying a few beers and some special time together, far removed from all their cares. And yours.

Yes. What I said. Me helping you move.

I don’t know exactly when it happened, but at a certain age - maybe around 40 - I made the decision there were just certain things I wasn’t going to do anymore. Like help you move. In fact I decided I don’t have any friend I like well enough to help move.

So don't take it personally.

Sure, there was a time when renting a van or borrowing a friends pickup, dragging your stuff down the flight of stairs from your old place up the flight of stairs to your new place, and being rewarded with cheap pizza and beer at the end of it all sounded like a good time.

But that time has come and gone. Now it just sounds like lousy pizza, warm beer and a bad back.

I'll be happy for you and your new place, and I'd absolutely love to come over and see what you've done with it once you're moved in. Which actually should be pretty easy since there are over 25,000 moving companies in the United States.

It's just that now, I'm not one of them.

This is what advertising is like

So many metaphors, so little time.

Not too long ago, 20 people boarded the Windseeker ride at California's other amusement park, Knott's Berry Farm. It takes riders up 300 feet, spins them around, takes their breath away and then lowers them safely back to the ground. All in about three minutes start to finish.

I have a big appreciation for things that take 3 minutes start to finish.

Anyway, that particular day was a little different than every other day because the riders got stuck at the top for over three hours until ride mechanics rescued them.

This is exactly what advertising is like.

At first you're whisked away to dizzying heights, and what with big production budgets, location shoots, vendor lunches, comp subscriptions and days at a time out of the office, the view is spectacular. In fact, you can't see another job you'd want for miles and miles.

You start to think it'll be like that every time, but then one day you get stuck. Fighting for the work. Fighting for the budgets to execute the work you've been fighting for. Fighting the client to get them down to one thought instead of ten in a :30 second spot.

The bad news is no one's coming to rescue you. You have to do that yourself.

It often involves getting off one ride and hopping on another. And another. And another.

It's an odd way to manage a career (pause for laughs for using the word "career"), yet it's just standard operating procedure.

Besides, when it comes to amusement, you can't beat it.

What took so long

I’ve written about the death penalty several times before: here, here, here, here, here and here. So I won’t make this a long post.

It’ll be just long enough to ask why Richard Ramirez, the infamous Night Stalker serial killer, was given the death penalty then allowed to live another 24 years until he died yesterday of natural causes (and I thought there wouldn’t be any good news yesterday).

He'd been sentenced following his conviction for 13 murders, 5 attempted murders, 11 sexual assaults and 14 burglaries. During the entire 24 years after his conviction, while taxpayers were footing the bill to house, feed, clothe, educate, exercise, medicate, marry (yes, he got married in prison to a woman with very questionable taste in men) and fight appeals for this monster, ironically all 13 people he murdered remained dead.

Their due didn’t come until yesterday. And even at that it only came in the form of circumstance, not the justice they and their families waited for and were promised.

Ramirez, and people like him – Scott Peterson, the Menendez brothers – fade out of the headlines once their trials are over. It's easy to forget they continue to enjoy breathing the air for decades, while appeal after appeal slog through the overburdened court system. And their victims families have to live with the injury of the loss, and the insult that their tax dollars are supporting the killer years after they’ve been sentenced.

I've mentioned it in other posts, but it seems worth mentioning here again. The argument that somehow putting him to death as a punishment for his crime, and the murders he committed have some kind of moral equivalency is ridiculous by any civilized method of reasoning. It simply isn't the truth.

Richard Ramirez didn’t deserve to die of natural causes. He deserved to die shortly after his conviction, in a chamber filled with gas or with a needle in his arm and the families of his victims as witnesses.

He deserved to die younger than he ever thought he would, and terrified beyond words.

Just like his victims did.

Rat-tastic!

I once read a review for the remake of Willard, the movie about a guy who had a legion of rats at his command. The review called the movie “rat-tastic!” I thought it was a pretty funny way of putting it.

Much funnier than the made up words used daily by ad agencies on commercials.

In my mind’s eye, I imagine an agency dungeon where copywriters are chained to their chairs, their overlords whipping them mercilessly until they find a way to merge two words that have absolutely no business being made into one. The lingual equivalent of a square peg in a round hole.

It’s bad enough no one in real life talks the way people do in commercials. But at least they’re speaking words from the dictionary (most of the time).

When was the last time you described a strong, soft toilet paper as stroft? When was the last time you described toilet paper at all?

Hampton Inn now offers us Hamptonality!, a cross between the name and hospitality - in case you didn’t know what business hotels were in.

Hyundai has told us in the past that their finely crafted Korean automobiles are made with pure Powercision.

There are also what I like to call the fallback suffixes: -licious, -tastic, -esque, -able, -apolooza, -centric. Just add a word in front of them, and presto! You have a vocabalicious new word.

The unfortunate part is this practice has spilled over into other areas as well. Dog breeders were among the first to pick up on the trend. If you can't decide between a labrador and a poodle, you can pick up a Labradoodle. If the kids want something more their size, get them a cross between a cocker spaniel and a poodle. You know, a Cockapoo.

No matter what industry it shows up in, it just means the people perpetrating this assault on the language couldn't come up with anything better.

Which if you ask me is all just a cross between a bulldog and a shihtzu.

Word

Like a lot of writers living in Southern California, I’ve worked on many car accounts. From top end $90,000 luxury vehicles to $14,000 coffee-grinders, I’ve written it all.

Commercials, collateral, radio spots, print ads, online banners, interactive content, Twitter posts, Facebook posts, outdoor, customer kits, dealer kits, CPO kits, sale kits, employee bonus kits, warranty kits.

Oddly enough, no matter the price or quality of the car, they all have something in common. The words used to describe them.

Pick a car, any car. I bet it’s exhilarating. It’s probably also a leader in innovation. No doubt it’s been engineered to maximize your driving experience, and designed to turn heads as well as corners.

Let’s not forget the fact it’s also loaded with state-of-the-art technology, as well as class-leading aerodynamics whose job it is to keep you connected to the road. How else could you get a car that makes setting the standard, standard.

But there's no point to any of it unless you're around to enjoy it. That's why the car you're thinking about is loaded with the latest active and passive safety features.

The cars come with airbags. The agencies come with windbags.

Differentiating parody products - different brands with the exact same features - has always been a problem in advertising. Often the only thing that does it is the quality of the creative idea, the consistency of the execution and the personality it establishes for the brand.

I bet you know what BMW builds. But I'm fairly sure you aren't nearly as familiar with the tagline Toyota - which builds awesome cars for all income levels - just spent millions to introduce.

Unless there's a real product difference, almost every category from athletic shoes to cars to fast food use the same words to describe their product. Which makes it even harder to tell them apart.

Sort of like ad agencies.

Because I don't want to

If you know anything about me, and really, if you’ve been following this blog you probably know more than you want to, it won’t come as any surprise I have no problem saying no to things I don’t want to do.

I've found it's the only way I can have some sense of control and balance in my life, and make time for the things that are most important to me.

I can't imagine having a job where I didn't have that option. It’s one of the reasons I like freelancing so much.

As a freelancer, there are a lot of ways to say no. If the situation allows, the best way is to just say it. For example, like the time I got a call from someone who’d gotten my name and number from a friend(?) and offered me a gig writing about the many involving and fascinating aspects of waste management. Naturally I got the call while I was in the middle of lunch.

Anyway, I told him that as attractive as waste management sounded, I wasn't the right guy for the job. Thanks but no thanks.

I’ve also turned down jobs I didn’t want in other ways. I've priced myself out of the gig (“Yes, you heard right: $5000 a day.”) Of course the risk with that is they have the money and might actually say ok. In which case I retreat to my fallback refusal tactic: availability.

If a client's willing to throw the vault at me on a job I don’t want to do, I follow it up with a question I know I can always answer to my advantage: “When do you need it?”

Hey, sometimes the timing just doesn’t work. Especially when I don’t want it to.

I don’t mean to sound like all I do is find ways to avoid work. I don’t. I like working and all the benefits it brings to my family, my life and my bank account. But I am past the point of taking any job just for the money, and writing for any client who happens to find my number.

By the way, if you didn't flinch at that $5000 day rate, I'm available whenever you want me.

Curing cancer

Every once in awhile, I'm reminded in no uncertain terms that we do very important work in advertising. Very important. It’s obvious isn’t it? If the work wasn’t life or death - which it apparently is – then why would some people in the business treat it that way? People in advertising wouldn’t lie.

Nah, I’m just funnin’ ya. It isn’t. And they would.

I’ve said it before, and I’ll say it again: people take themselves too damn seriously in a business that’s supposed to be fun. Not fun in the ha-ha sense, but fun in the working hard, producing something we can be proud of creatively and that moves sales for the client sense.

There’s also award show and media girl fun, but that’s for another post.

Just today, a friend of mine asked what happened to, “Here’s a great idea, we love it, here’s a shitload of money now go produce it.” Good question.

The answer of course is fear. Fear is what happened to it. Fear of making a decision, and fear of taking responsibility for that decision. Fear of losing your job over that decision. Fear of telling a creative team to just go produce an idea without a room of 12 strangers who know nothing about it to back them up.

I’ve never been one to be accused of overthinking the work, and that may explain two things: first is my unfrightened attitude. For some reason, when you don’t take things as seriously as other people do it really bothers them. They feel like you’re not a “team player” (by the way, whole other post about that phrase coming soon - oops, may have tipped my hand).

And second, it’s the reason I prefer freelance. Going on staff means one thing and one thing only (hint: contrary to popular belief it's not job security). It means you have to take it seriously.

Don't misunderstand, I know full well there are serious aspects to what we do. Millions of dollars are spent, and clients, understandably, expect to results from it. Careers and reputations are often made and broken on one decision. But those things are the price of entry of being in the business, and everyone at the door waiting to come in knows it.

The thing is, after everything you've given and sacrificed and struggled through to get in, there's still a constant demand for a blood oath to show how serious you are about it.

For example, I’m not sure when it happened, but somewhere along the way the powers that be decided if creative people were really going to be serious about it, they should be on call 24 hrs. a day, like doctors (who actually are curing cancer and making a real difference). And they should be on call with their personal cell phones without reimbursement.

That seems fair.

There are agency cultures that live and breathe by the if-you're-not-here-on-Saturday-don't-bother-coming-in-Sunday credo. I've worked for them, we all have. But like my pal Rich Siegel at Round Seventeen so aptly put it, I didn't drink the Kool-Aid. No need to linger after school if I have nothing to do just to make sure I'm seen after hours.

If I'm not there, start without me.

Here's what I know for sure. We're creating a disposable product no one outside of the client is asking for. Occasionally it does some good. Once in a while it's extremely creative. And when it moves product, whatever that product is, it's a great thing for all involved. Don't get me wrong: just because our product is disposable doesn't mean there aren't great commercials deservedly burned into the public conscious for the right reasons. For example, Apple's "1984" spot.

But for every "1984" there are a thousand "Mucinex in. Mucus out." spots.

Which is hard to believe, given all the seriousness that went into them.

Night calls

I’m in the minority, but I feel sorry for M. Night Shyamalan. I know, it’s hard to feel sorry for a Hollywood wunderkind who showed the kind of promise, made the kind of money and then crashed and burned the way he did. But I do.

I thoroughly enjoyed three of the ten films that Night’s directed. That’s at least one more than most people.

Like almost everyone, I loved The Sixth Sense. Even though I knew the secret from the very first time I saw the trailer (Haley Joel Osment looks at Bruce Willis and says, “I see dead people.” Hello? What do you need, a roadmap?), the mood, writing, look and secrets in the film were spellbinding.

His next, Unbreakable, was also a keeper. For any comic book or superhero fan such as myself (Comic Con again this year?! Why yes), the ending and reveal of who Samuel L. Jackson really was didn’t exactly come as a surprise. But it was still thrilling, as is the idea of the long-talked about sequel.

This third film is where I part ways with almost everyone I know. Signs. I liked this story of a man, Mel Gibson, who once was a man of the cloth but now finds himself questioning his faith. That’s what the movie was about, despite the fact it was sold as an alien invasion, sci-fi film. There is nuance, genuine heartbreak (SPOILER ALERT: I dare you to keep a dry eye as Gibson is talking to his wife before she dies) and redemption.

With these first three successes (yes, Signs made money), Night was allowed to write, produce, direct and often give himself larger acting roles in his films than he should have, seemingly without any supervision from the studio. From The Village (a rip-off of this Twilight Zone episode), to The Happening (which wasn’t), to The Lady In The Water, to The Last Airbender, each film stunk up the place more than the next.

Part of the problem was Night tried to duplicate the big twist/reveal ending of Sixth Sense in each of the subsequent films. He couldn’t.

He fancied himself a Spielberg. He wasn’t.

The studios thought they’d make buckets of money using his name as a brand. They didn’t.

What I don't understand is the extreme hate. When his name comes up on a film, people boo. Or laugh. Or groan. Why is he box office poison any more than Kate Hudson or Jennifer Aniston or Kathryn Heigl, all of whom seem to keep finding work. I think every Adam Sandler film deserves the same reaction (except for the laughing part). Maybe that's the reason the only place Night's name shows up for his latest film, After Earth starring Will Smith and his son, is on the poster. (By the way, it's been getting eviscerated in the reviews, and has a bottom-dwelling 13% on Rotten Tomatoes).

At least he's consistent.

Not that he asked me, but if I were him I'd walk away from the genre for a while. I'd direct something totally out of character and unexpected. Perhaps a comedy, which he's shown some real flair for in portions of some of his films. And I'd give myself a cameo, because as director it's fun to do that. But I'd make it a real cameo - the kind Hitchcock gave himself, usually about two seconds of screen time.

There are already a million Sixth Sense jokes, and even a YouTube video, about the secret of Night's career being that it was already dead. There's also a book about how he crashed and burned.

I can't say I've enjoyed a film of his in a long time.

But I'm still hoping the story of his career has a surprise ending.

Checking into St. Elsewhere

You might want to read this - stat! Before medical dramas on television were taken to new heights by ER, Grey's Anatomy, Doogie Howser and Chicago Hope, they had St. Elsewhere to show them how to do it.

Thanks to my wife, who introduced me to the show (and who in fact introduces me to most of the shows I become a fan of) I was a huge fan of St. Elsewhere. With it's stellar cast including a then unknown Denzel Washington, Mark Harmon, Ed Flanders, Norman Lloyd, David Morse, Ed Begley Jr., William Daniels and, as Dr. Fiscus, Howie Mandel to name a few, St. Elsewhere was to medical dramas what Hill Street Blues was to the cop show: groundbreaking.

For the first time, characters died. So did patients. Dream sequences were surreal, scary and violent. Topics that hadn't been taken on before like autism (one of the main characters had an autistic son), rape, AIDS and mental illness were intelligently written about and sensitively portrayed.

The show had a brisk and dark humor which made it all the more appealing. It was produced by John Masius and Bruce Paltrow, Gwyneth's dad.

I liked the show so much I did something I'd never done before: I wrote a letter to Brandon Tartikoff, then head of programming at NBC to tell him how much I enjoyed the show. In the letter, I asked him if it would be possible to visit the set, and to my ever-lasting surprise and gratitude, he said yes. He had his second in command, and eventual successor, Warren Littlefield call me and schedule the visit.

When I got to the set, Masius and Paltrow were my guides. They personally toured me around, showed me the script they were shooting that day and introduced me to a few of the actors.

While we were talking over coffee at the craft services table, Bruce Paltrow casually asked me how I knew Brandon Tartikoff. I said that I didn't - I'd just written a letter he liked. Paltrow laughed, and said it must've been some letter because Tartikoff had given them direct orders to treat me like I was his mother.

Next comes one of the biggest regrets of my life. I've never spoken about it before because it's just too embarrassing, but here it is.

In that same conversation, both Masius and Paltrow asked what I did, and I told them I was a copywriter. Then Paltrow asked if I'd ever written any television, and I told him I hadn't. He then asked me if I'd like to. Let's just say at the time I was much more enamored of advertising than I am now, and gave him an answer which I regret to this day. I'll regret it for all my days.

But enough about my bad choices.

The series ended on a controversial note. It turned out that the entire six seasons had been the imagination of the autistic character I talked about earlier. A lot of people thought it was a cop out, including me at the time. But as I watch the scene now, and the alternate reality it presents for the characters, and what it says about what's going on in the head of an autistic child, I like it.

For some reason only the first season is available on DVD. When they're all finally released, I'll curl up with the wife and we'll spend a weekend or two watching them all again to see the characters we love, and the moments we remember most.

Holland & Tony

As some of you may know by now, I decided to take a trip to New York a few weekends ago. I hadn't been there in a number of years, and for a variety of reasons it felt great to be back.

Not the least of which was the main reason I went in the first place: to see my friend Holland Taylor in ANN, the play she wrote and stars in about former Texas governor Ann Richards.

You know that feeling when you have an expectation about a show and hope the reality lives up to it? And you know that other feeling, the one where it wildly exceeds your expectations?

The second one.

The play was beyond whatever it was I'd imagined it would be. With the turn of a phrase, or a subtle change of tone or expression, Holland would have me laughing hysterically one minute, then crying the next. It's a performance filled with subtle nuance only a talent of Holland's caliber and experience could pull off, in the writing and the performance. A tour de force - one you come out of with the immovable conviction that the actor you've just seen is the only one you could ever imagine in the role.

The other thought I had was what a remarkable woman Ann Richards was. Outspoken, straight-shooting, wicked sense of humor and a low threshold for fools made her entry into politics an even more intriguing choice. It's not hard to see why Holland was drawn to her given their many common traits.

Anyway, to the surprise of absolutely no one who's seen her in the show, Holland is now nominated for Best Leading Actress in this year's Tony Awards. I keep telling her she needs to start working on her acceptance speech, and she keeps shushing me.

But she really needs to start working on her acceptance speech.

I know what you're thinking: I'm going on and on because she's my friend. How can I possibly be objective? It's a valid question.

Well, here's the thing about a once-in-a-lifetime role and an unforgettable performance: everyone can agree on it.