Upsetting that I’m now the prime demo for The New Yorker but not quite as upsetting as Luke’s chill at the prospect. I mean, c’mon, that’s a big favor by Chewie.

Zolpidem’s reputation for outlandish side effects may be inflated by gossip—by the interaction of medication and the Internet. Thomas Roth, the director of the sleep center at Henry Ford Hospital, in Detroit, who has consulted for Merck and other pharmaceutical companies, told me he has not yet seen persuasive evidence that there is more of this behavior among Ambien users than among the rest of the population (which includes drinkers).

Laughing both out loud & in loud at Thomas Roth, who, despite being director of a goddamn hospital sleep center, seems unaware of the subculture recreationally abusing zolpidem. There’s a webcomic character canonized by the New Yorker for heaven’s sake!

Ian Parker: The Search for a Blockbuster Insomnia Drug

“Drew Fairweather, an online cartoonist, has described the phenomenon in a popular series of panels in which a walrus addresses a human companion with such suggestions as ‘Take some more Ambien and cut off all your hair, man. Let’s do this.’”

sure sure these are ridiculous drugs with way too little understanding of the side effects by the general populace but oh my god The New Yorker just canonized the Ambien Walrus

Ian Parker: The Search for a Blockbuster Insomnia Drug

The third track was a piano-heavy instrumental in need of a vocal. Preston teased out a melody: “I’m a lighthouse,” he sang. “I’ll guide you back.” He tried a few variations, then settled on one. Afrojack liked the vocal line, but he wasn’t sure about the song’s structure. “It’s a thirty-second verse, a thirty-second pre-chorus, and a thirty-second chorus,” he said. “Is that right for a radio song?”

“You don’t go by time,” Preston said. “You go by bars.”

Afrojack cocked his head. “What’s ‘bars’?”

One of my favorite DJs, Afrojack, offers me some hope, as we are both guys who really love music and have no idea how to play or write it.

The article, exploring the rise of Vegas DJ residencies, is available in the New Yorker Archives.