Thursday, November 15, 2007

"Mister Rogers & Me" Pittsburgh Shoot Schedule


I've spent the last three days juggling the day job, the the benefit cd, and the documentary. It's been an interesting flirtation with schizophrenia.

Not really. I'm kidding, of course.

Some of this weekend's Pittsburgh plans have fallen through, but here's the deal for now.

SATURDAY:
1) Davy Rothbart's "There Goes The Neighborhood" performance (Future Tenant, Pittsburgh)

SUNDAY:
1) Davy Rothbart interview
2) Pittsburgh & Latrobe b-roll
3) Fred Rogers Center exteriors

MONDAY:
1) Children's Museum of Pittsburgh "Mister Rogers Neighborhood" exhibit

It's a busy weekend. I'm psyched.

Moreover, it looks like I might have a minute to enjoy an Iron City Beer and catch up with with my brother, which, much as he'll miss Jennifer, Ethan and Edward, and I'll miss Abbigail, was probably part of Mister Rogers' plan too.

Tuesday, November 13, 2007

Mister Rogers, Music & Me


Fred Rogers was, perhaps above all, a musician.

My mother was seeking her MA in theology when she met Mister Rogers. She was sitting on the bay reading Martin Buber. He passed by en route to his daily swim. Conversation, and friendship arose.

My mother is nothing if not proud of her sons, and at some point, I assume, mentioned that her youngest (me) was a singer-songwriter who worked for MTV News.

Music and television (or, Music Television), then, brought us together.

It's little wonder that my acoustic guitar was slung over my shoulder as I headed towards the Crooked House for that first afternoon we spent together in September 2001. Just a few moments after arriving, I sat in front of The Rogers' great bay window in their otherwise cool and shadowed back room and performed "Summer's Gone" from my then-forthcoming CD, "Crash Site."

And so, as Christofer and I approach our final shoots and consider the start of editing, I am beginning to develop a sense of the soundtrack.

The opening (yet-to-be-shot) scene of me rushing through through Times Square will be set my cover of David Byrne's "Glass, Concrete & Stone." The song is a delicate, almost ambient one chronicling (to my ear, anyway) corporate life in our accelerated culture.

    I'm puttin' on aftershave
    Nothin' is out of place
    Gonna be on my way
    Try to pretend, it's not only
    Glass and concrete and stone
    That it's just a house, not a home

My colleague, Rich Sancho, is producing the track. I'll sing it.

There's a lot of driving to voice over in the film, so -- while I don't know which track I'll use where -- I do know some of the tracks I want to use.

Rich is recording a cover of Air's "Mike Mills." This instrumental electronic track is one of my favorites. I sounds like forward motions feels, and is one of the most-played songs in my iTunes collection.

I've asked Amy Hollingsworth's son, Jonathan, if I can use on of his original composition's, "October's Farewell (Matthew's Song)." It's a beautiful instrumental acoustic song that sounds just like it's titled. It's a gorgeous recording from a great kid who's still in high school.

I fully expect, of course, to dip into my songbook. In addition to "Summer's Gone" (which, budget and timing notwithstanding, I hope to re-record), we've already used "Hollywood Arms" and "Dark Blue" on the trailer.

As I've said before, Mister Rogers influenced my songwriting by helping me feel more comfortable with my sincerity, earnestness, and simplicity. I stopped censoring myself, or trying to write "cool" songs. Neither "Stay," "Promise", nor my most recent song, "Breathe In" could have been written without him. So I'm sure they'll be included somehow.

My bassist, Tony Maceli, has offered to help score some tracks. I'm sure I'll tap my pal, singer-songwriter Chris Abad, as well.

And while I haven't broached licensing yet, I hope to tap my mother (herself an accomplished pianist) to re-record some of Mister Rogers (and his longtime musical companion, Johnny Costa's) songs.

I know, of course, just how the final scene unfolds (though I'm not going to tell you), and exactly how I want to leave the audience as they watch the credits and leave the theater: inspired. I've considered a few songs to that end, including covers of Aimee Mann's "It's Not Safe" ("All you wanna do is something good") and Stevie Wonder's "Higher Ground." We'll see.

No matter what, we'll leave you singing.

How could a film about Mister Rogers do anything less?

Sunday, November 11, 2007

Mister Rogers, "A Family Holiday" Benefit CD & Me

This weekend's 826NYC shoot, regretably, fell through. We are endeavoring to re-book a visit to the Brooklyn chapter of the youth literacy non-profit with founder David Eggers and volunteer/supporter Sarah Vowell sometime in the first few days of December.

Relatedly, though, the "Family Holiday" Benefit CD I've been compiling with my pal Wes Verhoeve has a release date and venue, as well as track listing. Proceeds from sales of the CD will be donated to 826NYC.

Liberated Matter & Hot Rocks Present:
"A Family Holiday" CD Release
Wednesday, December 5th 8-12pm
The Delancy (168 Delancey Street)

All: "Do They Know It's Christmas"
The Undisputed Heavyweights: "Baby, It's Cold Outside"
El Jezel: "Workin' On Christmas"
Misty Boyce: "The River"
Seth Kallen: "The Dradle Song"
Tarrah Reynolds: "What Child Is This"
Jeff Jacobson: "Frosty The Snowman"
Casey Shea: "My Holiday Song"
Flying Machines: "Right Around Christmas"
Wynn Walent: "Little Drummer Boy"
Chris Abad: "Feliz Navidad"
Wakey Wakey: "Oi! To The World"
Benjamin Wagner: "Christmas (Baby Please Come Home)"

Next Saturday, Christofer and I head to Pittsburgh to interview Davy Rothbart, shoot his Found Magazine: There Goes The Neighborhood show, visit Mister Rogers' birthplace in nearby Latrobe, and -- if all goes to plan -- visit the Mister Rogers' Neighbohood exibit at the Children's Museum of Pittsburgh.

Thursday, November 01, 2007

Mister Rogers, 826 NYC & Me


There's a bit of a nail biter going on here in "Mister Rogers & Me" land.

Chris and I have a bunch of shoots in pencil approaching very quickly on our schedule. Which is a good thing. Problem is: they're in pencil.

I may have told you about the lovely and talented Jennifer Snow, 826NYC's Director of Development. We've been exchanging email like mad (including more than one sent from my wedding and one from my honeymoon -- the show must go on!), though we've yet to nail down any specifics.

    826 NYC (and The Brooklyn Superhero Supply Store) is a nonprofit organization dedicated to supporting students ages 6-18 with their creative and expository writing skills, and to helping teachers inspire their students to write. Our services are structured around our belief that great leaps in learning can happen with one-on-one attention and that strong writing skills are fundamental to future success. With this in mind we provide drop-in tutoring, field trips, after-school workshops, in-schools tutoring, help for English language learners, and assistance with student publications. All of our free programs are challenging and enjoyable, and ultimately strengthen each student's power to express ideas effectively, creatively, confidently, and in his or her individual voice.

Awesome, right?

Author David Eggers ("A Heartbreaking Work Of Staggering Genius") founded 826. There are now seven chapters around the country. It's exactly the sort of grass roots, hyper-local good work to which I endeavor. And exactly the kind of place my pal Kristan Flynn was talking about when she asked, "Is there somewhere closer to home or someone who's not a celebrity that can profile?"

Well, we're trying to split the difference. (David is working with director Spike Jonze on a live-action adaptation of one of my all-time favorite books, Maurice Sendak's "Where The Wild Things Are.")

If we're lucky, author, "This American Life" contributor (spot a trend here?), 826 volunteer and supporter Sarah Vowell is going to give us the tour there. If we can move the shoot from the "pencil" to "ink" column.

There's also another cool idea afoot with 826. Here's the email I sent Jen:

    This one came to me one sleepless night in the Maldives (ideas are why I don't sleep): A youth songwriting program!

    Me, my singer/songwriter friends, and maybe even more prominent artists would review songwriting history from Cole Porter to the Brill Building to The Beatles and Bob Dylan, then facilitate kids' writing and recording of their own songs! They'd end the term with their own single!!!

Jen was enthused, and it seemed like it'll come to pass. Which is kind of awesome. And, I think, exactly the path Mister Rogers intended to set me on.

Tuesday, October 30, 2007

Mister Rogers, Bo Lozoff, Abbigail & Me

Like the top of this site says, "There is something of yourself that you leave at every meeting with another person." And you may never really know what it is.

In the case of meeting Mister Rogers, the ripple affect has been massive. I like to think of it as a 1° change in trajectory. Over time and through space, even a one degree creates a significant angle over a flat line.

Moreover, though, he unwittingly (or was it conscious? I often wonder) connected me a whole constellation of people I might not have ever met or known: Linda Ellerbee, Amy Hollingsworth, Davy Rothbart, and Bo Lozoff.

My very first conversation with Mister Rogers, there on the back porch of The Crooked House, involved a man he called "my friend Bo." Today, I am going to be bold and call him the same.

More than a friend, though, Bo has come to be something of a mentor or advisor. We exchanged dozens of emails prior to his presiding at Abbigail and my wedding covering everything from songwriting to solitude. Prior to his arrival in South Carolina, I told Abbi I was more nervous about Bo than almost anything else. I hold him in very high regard. He is a deep, thoughtful, wise man. I feel very young and silly standing next to him.

Fortunately, then, one of my fondest memories of that wonderful weekend is sitting across from him on the front porch of my cottage just a few hours before our wedding ceremony. Here's what I wrote on benjaminwagner.com:


In just three hours Abbi and I were to exchange vows beneath a three hundred-year-old live oak on the edge of the Pocotaligo River.

I was driving myself to lunch through a full-on monsoon. My Jeep was kicking up a speedboat's wake through the pond-sized puddles. The windshield wipers were completely overwhelmed by the downpour.

'This,' I thought, 'sucks.'

Three hours later, I was locked inside the front bathroom at The Inn at Brays Island reciting my vows aloud to the mirror.
"I promise..."

Christofer and Sibby were queued just outside the door. James -- who'd facilitated all three of our conversions from a rookie half- to the more classic full-Windsor, stood alongside Bo Lozoff, our officiant.

"It's gonna be fine, dude," my brother said.

I wasn't worried, really. Not about whether or not I wanted to spend the rest of my life with Abbi, or whether we'd nail the scripting, staging or blocking.

Still, I was wound like a top, all short breaths, nervous prattle and heavy palpitations. Like before a rock show. Which -- let's face it -- Abbi and my wedding was: three bands, two tents, open bar, a light show.

It's easy enough, one discovers, to be swept up in such things -- portraits, poses, place settings -- at such an affair. It's easy enough, one discovers, to focus on the celebration but miss the ceremony. And while everything and everyone unwittingly conspired to that end, Abbi and I were aided and abetted by our self-described "Depth Protector," Bo.

***

My cell phone began chirping at 8:16. Sibby was sawing logs in the adjacent twin bed as I tried in vain to rest (sleep, I'd decided after an hour of tossing and turning, was a lost cause). I read Bo's name on the display and began worrying (more succinctly, I was already worrying; I just began worrying about something new).

Was he pulling out? Had he fallen ill? Food poisoning? Fever? Ethical dilemma?

I left the call unanswered and went for a walk along the edge of the property. The tide was out, leaving narrow, muddy shallows through the deep green reeds. On the lawn beneath the great tree that would act as our alter, a flock of white egrets picked at the soil.

I walked through the thicket to the dock as Abbi and I had two nights prior when -- in a moment of rare and wondrous synchronicity -- a pod of dolphins swam past. I sat there on the edge of the dock a while taking in the river's slow bend through South Carolina Low Country.

The sky was bruised purple and deep blue. The river was gray like lead. I reminded myself that my worrying would not affect the weather, and then continued worrying about it.

It's difficult even now with nearly three week's distance, to characterize what I was feeling, but I'll try.

I felt serious. Grave. Pensive. I was trying to slow down time, to take in every glance, wink and smile, plus every note of soil, sand and salt on the air. I was trying to let this most massive transition settle in, to understand the spiritual ramifications of the day. Moreover, I was discerning -- more tangibly than ever -- what the rest of my life might feel like.

Walking back towards my cottage, I spotted Abbi's father racing off to his tee time. I heard women's laughter, then turned to see Abbi -- from whom I'd been quarantined the night prior -- and her girlfriends trot off on their "Bride's 10k." I smiled for the first time all morning, went back to my room, and listened to my voicemail.

"Benjamin," Bo said in his raspy, Johnny Cash baritone, "I've been up since 430 thinking about you, and Abbi, and the ceremony, and I realized that we just didn't spend enough time together yesterday. There are a few more things I think are important to discuss without anyone around."

I called him back, expressed my enthusiasm for his intent (wisely deferring to my wife-to-be for the timing), and then pulled on my running shoes.

While the ladies kept to the road, I set off along the river. Everything around me was green and gray, wet with a light morning fog. A hawk circled overhead. A blue heron stood motionless in the shallows. Tiny stone crabs scurried clear of the muddy path before me. In the absence of my iPod's raucous report, I listened to my breath, my heartbeat, and the thump of my feet on the earth.

I hadn't planned to run alone; I'd hoped to run with my groomsmen. This was not to be, though, so I relished the solitude and reflection.

Later, as Bo and I sat on the front porch facing one another in rocking chairs, I was grateful for the quiet in my soul.

"I was reflecting on Abbi and your vows," Bo said, "And I'm not sure they're explicit enough about your commitment to one another."

"Yours are beautiful and lofty and poetic and very personal, which is great. But Ben, as I just told Abbi, love is not always beautiful and poetic. It can be querulous and difficult and you may want to give up on it."

I watched Bo closely weighing his every word.

"In our culture, there are plenty of voices that might say, 'Do what's best for you.'

He paused.

"But we don't wear a ring on our finger to show our commitment to. A job, or to a place, or to anything except our commitment to one another."

I looked to my vows, some 300, oft-edited, well-pruned words. They began with a quote from Rainer Maria Rilke's Letters To A Young Poet ("There is nothing happier than work. And love, because it is the extreme happiness, can be nothing else but work.") -- my attempt to reflect my understanding of the work a life-long commitment might demand. Save for the phrases, "for all time" and "all of the days of our lives" though, they lacked the explicit language of foreverness.

"Yunno, Bo, the bulk of my spiritual and psychological work -- and the reason I waited so long and weighed this committment so thoroughly -- has been all about work and commitment and longevity. I want to be explicit," I said, "100%."

"This is "'Til death do us part' stuff, for sure."

Wednesday, September 26, 2007

Off To See The Wizard...

I'm not entirely sure anyone out there is following the progress of this film as it unfolds, but I like to think that someday -- when it's all shot, edited, scored, released, and lauded -- a whole bunch of people will find all of the things I wrote here and rediscover it in retrospect.

So... welcome! Here's the latest.

I'm getting married in South Carolina in nine days, then disappearing for two weeks to a series of atolls in the Indian Ocean. Bo Lozoff -- of who I learned on the back porch of The Rogers' Nantucket home -- is presiding, which is pretty awesome. And I hope that he'll be asking everyone to spend a minute remembering everyone that "loved them into being,"just as Mister Rogers used to.

Prior to departing, though, I have some producing to do. Because Chris is taking the first half of December off to begin editing. We're aiming to have the film cut and scored for the Nantucket Film Festival's March deadline. prior to our December edit, we're planing on two more shoots.

1) 826 Brooklyn: Months ago, my friend Kristan Flynn suggested I change my focus from Garrison Keillor and Bill Moyers to more loca, more approachable examples of "deep and simple." Enter 826, David Eggers' youth literacy organization. There we hope to interview 826 publicist and Mister Rogers fan, Jen Snow, organizer Sarah Vowell, as well as some kids and volunteers.

2) Pittsburgh: Davy Rothbart, Nicki Gottlieb, and I are road tripping to Pittsburgh in November to meet Mr. McFeely and tour the "Mister Rogers Neighborhhod" exhibit at the Children's Museum of Pittsburgh. There, we'll interview all of the above, and stop through Latrobe, Mister Rogers' birth place.

I like to think of it as some sort of "Wizard of Oz" ending to this great journey. Except -- I'm pretty sure about this one -- there is no Wizard. The Wizard is us.

None of it's definite, yet, but confidence is high; I'm pretty sure that we we have help from above.

Monday, September 24, 2007

It's Christmas Time (There's No Need To Be Afraid)

Band Aid's "Do They Know It's Christmas" was the right song at the right time.

I was a newly-minted teenager when Bob Geldof and Ultravox's Midge Ure rounded up Paul Young, Phil Collins, Sting, Bono et all to record the first-and-definitive benefit single on behalf of African famine relief.

MTV was a nascent entity then too. It amplified and super-saturated my already Rolling Stone-distorted perception of rocknroll. Here was an awkward and flawed (they all did, after all, spend sufficient time on the couch -- allbeit at The Ritz in Ibiza -- smoking cigarettes and discussing their childhoods) group of singers being celebrated for the flaws and their singing! I had flaws. And I sang!

Moreover, my worldview was changing. At thirteen, I was allowed to take the bus to King of Prussia Mall or the train to Ardmore Square.

It was at a record store there that -- lulled into blissful consumer submission by the all-star music video played on near-repeat -- that I joyfully laid down my allowance for the vinyl 45.

As a song, Ure's four minute Anglo-centric plea for empathy is an odd one. There is no refrain, per say, just a galloping synth beat adorned with tubular bells building towards a rousing, repetative finish.

Didn't matter to me; I held constant vigile for the video, scampering into our mustard-colored TV room as soon as I heard those clanging bells.

Fast forward: December 23, 2006. I'm in my home studio brainstorming my annual online holiday single. 'Hmm,' I thought, '"Do They Know It's Christmas" made for a genius encore at The Nadas' Silent Night benefit concert in last year. Maybe I should call all of my New York City friends to record a version of our own.'

My watch read 11:23 pm. Christmas was mere hours away. Much as Casey, Chris or Jeff have my back,' I thought, 'There's no way I'll get 'em out on Christmas Eve.'

And so it is that I rallied some fifteen or so local singer/songwriters/musicians to record our version this weekend. The "Family Records Holiday" aggregates the idea behind "A Very Special Christmas" and "Do They Know It's Christmas." Fifteen local singer/songwriter/bands have contributed one holiday track each, and plus our version of the Band Aid single. A music video will do online pre-press for a December release and performance. The entire thing will benefit 826NYC, a youth literacy program.

Chris Abad, Casey Shea, Tony Maceli, Ryan Vaughn and I met up at Travis Harrison's Serious Business Studios in the heart of SoHo (Spring & Lafayette) as a hard rain began to fall Saturday morning. A few hours and many cups of coffee later, we had our basic track (drums, bass, acoustic guitar and scratch vocals). Langhorn Stoneburner Shea and Hot Rocks hostess Jenny Piston showed up with DV cams to begin shooting the music video. Casey -- due to depart for London with the rest of Sundown, laid down his vocal. "It's Christmas time," he sang perfectly in one take, "There's no need to be afraid."

And we were off.

Attorney's guitarist John Wlaysewski showed up with his bandmate William Ryan George and nailed a nuanced-but-powerful guitar part. The Wakey! Wakey! frontman Mike Grubbs showed up and -- between bites of veggie burger and fries -- nailed the now-famous, completely memorable hook. Less than six hours in, the basic recording was done. We left the studio two hours ahead of schedule as disk fell on Manhattan.

I spent the bulk of Sunday morning watching the video over and over on You Tube trying to assign the right parts to the right people (knowing already that a) Casey had already played the part of Paul Young, and I was laying claim to Bono's big line). Travis, Chris, and I re-assembled at noon. The chorus, as it were, began to trickle in one by one: Wynn Walent, Tarrah Reynolds, Kailen Garrity, Seth Kallen, Jeff Jacobson, Misty Boyce, William Ryan George and John Wlaysewski (The Attorneys), George & Jess Jezel (El Jezel), Wes Verhoeven (Undisputed Heavyweights), plus Mike and Gene Adam (Wakey! Wakey!). We rehearsed along with the track a half-dozen times, then began knocking out individual parts.

Later that afternoon, as we stood crowded around a single, omni-directional Neumann microphone drinking 20 ounce Budweisers, I laughed at Chris and Jenny (who have been staunch supporters from the start). "We did it!" I mouthed silently between "Feed the world!" and "Let them know it's Christmas time!!!"

We did it.

And it sounds totally freakin' bad ass.

Wait 'til you hear it.

Just like a thirteen-year-old in a dusty record store, you'll believe in blind optimism all over again.

Thursday, September 20, 2007

There Goes The Neighborhood



So Davy Rothbart's "There Goes The Neighborhood Tour" was in New York Friday Night. So Chris, Abbi and I met up after work, and headed down to the Upright Citizen's Brigade Theater on 26th Street.

I'd texted Davy earlier in the afternoon to call off the shoot. We were gonna' do a bot of meet and greet, but decided that -- since we're going to Pittsburgh together in November -- we could hold the thought 'til then.

The event was sold out. We were surrounded by thirtysomething literate-types as we waited in line near next to Gristede's.

"These are our people, man!" I told Chris. "If we can get these people in every town, we're golden!"

The venue was kinda' sketchy: dusty, black walls, exposed plumbing, rockity theater seats. I loved it. It felt vital, collegiate, like there was nothing to lose.

I coaxed Abbi and Chris into the front row. There was no stage, per say, just 3/4 of a rectanglular space without seats. So our feet were basically on stage. When the lights went down, we never fully faded into theatrical blackness; our reactions would be part of the show.

Davy walked in from the wings, unloaded a thicket of Xeroxed pages onto a pair of barstools, and began reading.

Davy and his brother, Peter, put on a hilarious show. It's basically a rock 'n roll reading that happens to be comedic. Found Magazine is, well, a magazine full of found objects: love letters, receipts, photos. Many of which are humorous, especially out of context. Peter brings the music, like his boy band send-up based on an actual love note, "Booty Don't Stop."

Davy also happens to be a marketing genius. He effortlessly weaves his mailing list and promotions for upcoming shows, back issues of the magazine, books, and CDs into his shtick. The amazing thing is that the whole thing feels so earnest and real, not commercial.

At the end of the show, as Davy was thanking a few people, he mentioned his buddy, "This American Life" producer Alex Bloomberg, and congratulated him on his recent marriage. Then he looked at me and said, "And thanks to Benjamin Wagner who's about to get married." That little gesture made me feel pretty special. Later, when someone told me that This American Life host Ira Glass seated behind Abbi, Chris and me, I exclaimed to Abbi, "Ira Glass knows my name." Which, as ridiculous as it sounds, is kinda' the beauty of this whole Mister Rogers-inspired journey of mine.

Later that night, I met Davy at The Park, a scene club on 18th & Tenth. I thought I was meeting him and a few friends. I walked into a table of twenty. Davy -- bless his heart -- introduced me as "The deepest guy I know." I pulled up a chair between a Pakistani journalist and Random House designer. I talked about God, Britney Spears, and "The Secret Lives of People in Love." Like I said to Chris, these are our people: the ones who burn for conversation, substance, solutions. The ones who want to change the world.

Well after midnight, I peeled off as Davy's friends tumbled out of the club towards its next destination. In the few minutes there as the party dispersed on the street, a fellow reveler told me, "Oh yeah, Mister Rogers used to come into the country store I worked at during summers."

"Bartlett Farms," I said.

"Yeah," she replied.

'He still up there connecting us,' I thought from the backseat, smiling all the way up Tenth Avenue.

Monday, September 03, 2007

Nantucket '07: Time After Time

I woke up just after sunrise this morning.

Stepping into the living room I was gob smacked by the sea shining through the picture window. The only sound in our cottage, Watcha Dune, was the ticking of the old novelty clock on the wall that reads, "Who Cares."

I grabbed the DV and began shooting right away. Soon enough, I was on the beach, the tripod wedged level in the sand. A seal was splashing around in the waves a few hundred feet off shore.

I turned the camera towards the waves zooming in on the slow-rolling water there before it crested and capped and broke. Then I turned northwest and shot the sunlight sparkling on the waves as they lapped onto the shore.

Everything around me had a pulse. Everything around me beat the rhythem of time. I stood there, my toes in the water, and thought to myself 'This is why Mister Rogers loved it here.'

Increments of time feel both more minute and more infinate here.

The island changes with each passing season: inlets deepen, sandbars grow and homes fall into the sea. Someday, perhaps, it will all wash away.

It is the steady march of time. Unlike Times Square, Copley Plaza or Piccadilly Circus, where the horns and the sirens and the lights and the crush of the hawkers, barkers and hustlers, is relentlessly distracting. Each wave, each soaring gull, each blade of grass blowing in the wind, actually means something.

Slow.

Down.

* * *

I am eatting bluberry pie for breakfast now. Because I can.

Saturday, September 01, 2007

Nantucket '07: A Thousand Hues


Christofer pursuaded me to bring the HDDV to Nantucket this weekend to shoot b-roll for the film on account of the fact that he wouldn't be joining Abbi and me at my mother's.

He and Ethan came by my office Friday at noon as I scurried around tying up loose ends. MTV's Video Music Awards are next weekend. I'm flying to Las Vegas straight from Nantucket.

I walked Ethan around the floor, showing him off like a proud uncle.

In the newsroom, my colleague, Tim Kash was reading the news. He invited Ethan on set, and encouraged him to read Teleprompter. Ethan just smiled when he saw himself on the monitor.

He was quiet, except to tell me my office was too small ("I would need a bigger room," he said) and that we needed to find a bigger window through which to look at the river.

The car service called at 12:30. Chris and Ethan walked me downstairs and through Times Square. I gave him a hug, and headed off, waving to him through the crowd.

I pecked away at my Blackberry as we crept up Sixth Avenue towards Abbi's office, and I wondered to myself if all of this seemed normal to Ethan: working three hundred feet in the air in jeans, sneakers and a sport coat at a major media company, newsrooms, DV cams, Times Square, and car services.

As I wondered, I looked up and spotted my first boss in New York City, a guy named Brian Donlon who hired me to launch Lifetime Television's first web site was back in 1995. He did a double take, but I didn't say anything. I just smiled and thought, "Wow, you've come a long way."

Three hours later, our jet landed in Nantucket. Where New York City had been warm and sunny, ACK was cold and rainy.

Since then, the sky has cleared. The wind has picked up. And the ocean has changed a thousand hues.

I've left the strum and dirge of the city behind, and grabbed some beautiful b-roll of Madaket Harbor, Millie's Bridge, and the sunset over Smith's Point.

I feel blessed, and grateful, and wish Mister Rogers were here so I could tell him all about it.