NYT weighs in… on SHECKYmag post?
Someone identifying himself as “Jason Zinoman” commented on our “Brill makes a ‘Kinsley gaffe'” posting (scroll down). “Jason Zinoman” is the name of the New York Times columnist that wrote the article on Eddie Brill which set off a chain of events that resulted in Brill’s dismissal as talent coordinator for Late Show. (We have no way of knowing if it’s really Jason Zinoman.)
Our commenter says:
So Shecky, let me get this straight. Previously, you argued that comedy shouldn’t have an independent columnist at the Times. Now you say that the conflict of interest issue that was reported on by the comedy columnist at the Times was real and important and while you knew about it, you didn’t write about it because of fear of criticism. That sounds to me like a counter to your original point, no?
Let’s take this point-by-point.
We never argued “comedy shouldn’t have an independent columnist at the Times.” We said that a column such as Zinoman’s…
…will have an effect on comedians, on consumers of comedy and on the business of comedy. And not all of it will be positive. Much of it may be negative.
And later on in our posting, we said:
Our biggest fear is that comedians will start changing to conform to what they perceive as the features necessary to receive the blessing of Zinoman (or other reviewers). The logical outcome of such a scenario is that comedians will slowly begin to sound, act and look the same. Already, we’ve heard from one comedian who cautioned that we should go easy on Mr. Zinoman, not anger him. The theory is that standup needs columnists. We’re not convinced. And such subservience gives the reviewer added, unearned power which might warp the creative process.
Emphasis ours.
So… we never said that “comedy shouldn’t have an independent columnist at the Times.” We stated that we weren’t convinced that comedy needs such a columnist, as some of our colleagues have suggested. And we urged folks to temper their joy with caution and we theorized that comics might take it upon themselves to change– not that the columnist might actively undertake to change the comics. Big difference.
“Jason Zinoman” also says that we were silent on Eddie Brill’s seeming conflict of interest regarding his workshops “because of fear of criticism.” This is not so.
This magazine is mainly for comedians. We rarely, if ever, cater to those who are casual observers of comedy. Our readers are comedians, industry people and perhaps a handful of rabid fans. And they all knew about Brill’s workshops. Many of our readers have taken the workshops! Brill conducted these workshops and publicized them and advertised them openly. We’re not sure what purpose it would have served to make a stink about such a conflict of interest. Like we said– we were appalled, privately. We didn’t see the upside to publicly airing that particular opinion. And, obviously CBS and Worldwide Pants had no problem with the arrangement. We are but a lowly online blog run by two comics/authors. The only result (from our perspective) would have been the “raft of shit from the comedians who would inevitably defend Brill’s practices in the hopes that doing so would make Brill more favorably disposed to slotting them on the show. Like we said, Brill is a politician. And there are plenty of amateur politicians out there. It’s an exhausting game.” Weariness, not fear, is what often motivates us.
Our silence on this matter is in no way a contradiction of any of our previous opinions on the splendor/horror of an NYT columnist dedicated to comedy. We told our readers to be “careful what you wish for.” And, significantly, we said that the worst result might be not what the critic does but what the comedians do in response to the critic. This is a subtle thing. (And something that a culture critic for the NYT should easily grasp… which is why we have our doubts that our commenter is actually Jason Zinoman.)
We are rarely, if ever, motivated by fear. As some proof of this we might point out that we kinda/sorta trashed comedy’s independent columnist at the Times! Were we motivated by fear, we probably would have jumped on the “We Love Jason Zinoman” bandwagon and heralded his assignment with tears of joy and expressions of great relief. (Perhaps in the hopes that Zinoman might turn his attention to our book, which was released just weeks before Zinoman’s debut as the Times’ comedy critic.) Instead, we urged our peers to be cautious. (And we highlighted some of Zinoman’s egregious and gratuitous slams at us– “most of those comedians are ordinary or bad” and “a majority of male stand-ups are neurotics nursing anxieties.”) This doesn’t sound like the words or actions of fearful people.
We are puzzled when “Jason Zinoman” refers to the conflict of interest “issue” as “real and important” and says that he “reported on it.” We suppose that this is true in the strictest sense. It seems to us, however that the conflict of interest wasn’t the thrust of the story. Indeed, it was but a paragraph (the seventh!) in a story that had 19 paragraphs. And, in a story that totaled 1,114 words, the “real and important” “issue” took up a whoppping 46 of them. If we don’t count the words of Anthony Jeselnik, who, we are helpfully reminded in the parting graf, just might have an ax to grind by virtue of an (“unsolicited”) diss from Brill. If anything, it could be argued that the columnist created a protective bubble around Brill by treating the COI so cavalierly and subtly portraying the “skeptical” Jeselnik as disgruntled, thereby leading the reader to discount his criticism and the criticism of others.
In the end, Jason Zinoman (the real one) has made our point for us. We have no doubt that Brill thought that he would come out on the other end of his encounter with Jason Zinoman with a nice, glowing clip in the most influential newspaper in the country (nay, the world!). Instead, he ends up unemployed with his ethics questioned. Of course, Brill must take the majority of the blame for his predicament. Regardless of whether or not his comments were taken out of context (as he claims), had they appeared in the Des Moine Register or the The Oregonian, all would be sunshine and lollipops for him on this Tuesday morning. But he spoke to the independent columnist for the New York Times— great care should be taken when speaking to such an awesomely powerful publication. If you dare to speak to them at all, you should endeavor to appear modest and benevolent and you should, like a master chess champion, try to think several moves ahead. We’re somewhat surprised at the lack of savvy displayed by Brill.
We’re not surprised at the fallout.
5 Responses
Reply to: NYT weighs in… on SHECKYmag post?
Hey guys,
Just wondering, did Eddie ever claim that doing his workshop will lead to a shot on the show? I’m trying to figure out how kids just getting into the comedy world are being taken advantage of? Though I’m a believer that you can’t ‘learn’ how to be funny, didn’t hearing stories about the industry and maxims about stage time, stage time, stage time and be original and honest, the usual, help all of us? Was Eddie really being a predator? Look, many years ago I was up for the segment producer job, after they fired Gannon (I think they hired Kellison; David didn’t want anyone with a magazine background and didn’t want to hear from Morty that LaughTrack wasn’t the Saturday Evening Post, the job Gannon had before going to Late Night). And I cannot imagine doing what Eddie does. Why doesn’t he want to be home on weekends? What’s wrong with the Hamptons or City Island? But I don’t see his activities as harmful, only as an obsessive love for comedy and maybe for the kind of attention his doing these things can bring. Am I crazy (specifically about this, I know I am in the general sense)?
No, to our knowledge, Eddie never “claimed that doing his workshops will lead to a shot on the show.” That would be totally unethical and reprehensible. But he conducted a workshop and billed himself as the talent coordinator for Letterman. We could say that there was an implication, but not a claim. So, there is the appearance of impropriety. And, as we all know, appearance is everything.
And there is the matter of charging for such a seminar or workshop. We wouldn’t have any problem with a talent booker making appearances, imparting wisdom and perhaps even travelling far and wide to judge contests or oversee a festival here or there. But, were we him, we would probably only charge the venue (and then, only for expenses). And, perhaps, were we to get ourselves booked at a comedy club, we would charge a fee for our performances (naturally) and maybe do a seminar on the weekend, free of charge. We assume that the talent coordinator for a network television show (who also does audience warmup) in New York City, is being paid quite handsomely. So charging for such seminars– regardless of the eventual content of such a seminar– is… unseemly.
We could even make the case that conducting such a seminar– and offering it to a venue or a festival as a “value-added” attraction, thereby making it more tempting for the venue or other entity to book me– is slightly hinky.
We suppose what we’re saying is what we said once already– were we the talent coordinator for a network television show, we might not go anywhere near a stage. We would pretty much say goodbye to paid gigs for the duration of our tenure. Charity events? No problem. Showcases in NYC for gas money? Bring ’em on. Above and beyond that, it gets ethically sticky.
After all, we assume that he’s already getting paid for watching comedians, analyzing their acts, dispensing advice. Charging for it twice seems a bit like “double-dipping.” Now… if there is some sort of agreement between Worldwide Pants (or CBS) and Brill that he be paid only for audience warmup (and that his talent coordinator position is a hobby or a sideline or a favor), then we stand corrected. But we find it hard to believe that anyone would strike such a deal, as such an arrangement would lead to a situation where a talent coordinator would feel compelled to do what Brill has been doing. And it would lead people to believe that they’re paying for access to someone with a very powerful position on a network television show.
One can indulge in activities out of “an obsessive love for comedy and maybe for the kind of attention his doing these things can bring,” but one can also do it for free.
And, if the subject of the conflict of interest was brought up by Zinoman– and if Brill addressed it, but Zinoman didn’t include Brill’s defense in his article– then Brill is owed an apology by Zinoman. Although we suspect that Brill would have made such a defense in his comments to Mirth, which he did not.
You’re not crazy, Rick, either in the general or specific sense.
I’ve twice paid for and taken Eddie’s seminar when I was a much newer comic. Eddie makes it clear that the seminar is NOT an audition for the show.
And maybe one comic in the two dozen between the two seminars thought he’d impress Eddie enough to get on the show, and Eddie remembered the video the comic had sent, and told him something like You’re not ready for the show (and I’d agree).
Frankly, even if he keeps an open mind, it’s gotta be in the back of his head that if you’re paying a few hundred dollars for a comedy class you’re not at the level where you’d be ready for a spot on an 11:30 talk show.
Oh, and if I’m the comic you referred to as saying to go easy on the columnist, well, I wrote a letter to the Times criticizing his first column and they published it. I think that we comics are not beyond critiquing, and I stand by my belief that a regular comedy columnist will draw more positive attention to what we do. There’s no reason Broadway (and dance, and music, and art, and sports…) should have regular reviews but not comedy.
As much as Brill might stress that the seminar is not an audition for the show, it might appear as such.
BTW: That “one comic in the two dozen between the two seminars” is the one comic who would admit to thinking that he’d impress Brill enough to get on the show. To deny that there were many others is to deny human nature.
To quote Joe Schultz from “Ball Four”: “It just looks horseshit.”
P.S.: We never said that standup comics are “beyond critiquing.” You insult us by implying that we said anything of the kind. And your “belief” that a regular comedy columnist will draw more positive attention to what we do is beside the point. (And, after what happened to Eddie Brill, counterintuitive.)
We never said that standup should not have regular reviewers. And we’re not sure why we have to keep repeating this, as we’ve been fairly reasoned and articulate about this. If you need to, go back and read our posts on the subject entitled “Careful what you wish for” and “Careful what you wish for, Pt. II” and try to figure it out.
And, please, try in the future to refrain from comparing standup to Broadway and dance… we just ate.