Dopesick Nation Premieres Tonight On Viceland!

Tonight is the premiere of the show I spent my summer working on, Dopesick Nation. It airs starting tonight at 10 p.m. on Viceland, and we're pretty proud of it. The opioid crisis (and the homeless crisis, which we're addressing in our documentary 90291: VENICE UNZIPPED, so it's been a heavy summer) in this country is at epidemic proportions - pandemic, really - and our hope is that maybe once people see how bad it really is, it will compel us all to really DO something about it.

Our main characters, Frankie and Allie, search out addicts to try to help them get clean, and it's some of the saddest, darkest stuff I've ever seen or heard of. In fact, I've heard stories that I'll never repeat because I don't want to put them in someone else's head. I've cried nearly every day ... but I've also felt hope. And it all begins with empathy. Addiction is a disease, and these people deserve our compassion, not our judgement. We all need to look out for each other, these days more than ever. Check out our trailer:

It's also a very scary time to be an addict, because the drugs have changed. Dealers have begun cutting it with fentanyl (what killed Prince) and carfentanil (what kills elephants), and people are dying off of one hit. I've heard of two people in L.A. o.d.'ing (dead) so far from COKE laced with fentanyl. Consider this a P.S.A. for those of you who still think it's fun to snort coke (gross), even just once in a while ... you can't tell it's got fentanyl in it, and you might die from one sniff. That simple. Up to you. Better to just say no. For real.

Please tune in tonight and every Wednesday for the next ten weeks, as the more people who watch, the more people we can help with another season of T Group/Viceland's Dopesick Nation.

Thank you!

Dopesick Nation airs 10 p.m. Wednesdays on Viceland.

An Evening With Leon Bridges At The Grammy Museum

I've been a fan of Leon Bridges and his music for a while now, but hadn't seen him play live, so when given the chance to check him out at The Grammy Museum last night - off I went. I was there just last week to catch Greta Van Fleet for the first time too, so I've been learning a lot thanks to this excellent venue.

The two acts - and the vibes in the room - could not be more different, but there were a lot of similarities too. Grammy Museum Executive Director, Scott Goldman, introduced Bridges to the sold out Clive Davis Theater audience, and we settled in to get to know him better. A native of Fort Worth, Texas, Bridges was there to discuss his new album Good Thing. Decked out in a sweater with stars in rasta colors, Bridges was soft-spoken and thoughtful with his answers, and the energy from both him and the crowd was MUCH mellower than for the Greta Van Fleet guys last week ... but they're both very young, they both have influences like Sam Cooke and Otis Redding, and both acts are doing things their own way.

Bridges' debut album, Coming Home, blew him up right out of the gate, with it landing at #6 on the Billboard Top 200. That retro-soul sound placed him on all the tastemaker's lists, but Good Thing is the album he always wanted to make. He said the theme during the recording of this sophomore effort was "Blood on the mics", meaning he was all in, and not at all settling for what was comfortable. He considers himself a crooner, but heard comments like, "Oh, that's for white people," admitting that black audiences were more of a challenge. For this record, Bridges teamed with producer, Ricky Reed, which was a big switch, coming from doing nearly everything himself his first time out. Arthur Alexander had a singing style that Bridges connected to, so Reed encouraged him to go for it with his falsetto, but his lead track on the new album, "Ain't Worth The Hand" has a more Curtis Mayfield "The Makings Of You" feel.  As Bridges said, "I've matured ... it's sexier." That got a laugh, and Goldman had to say, "I'd say there's a little more swagger, are you feeling yourself more?" Bridges answered, "Totally." (He said that a lot, actually).

Regarding the "sexier" part, Bridges' mom said, "I don't know about that 'Mrs.'", (a racier track) but now she's cool with it. Goldman mentioned that "Lions" was his favorite track, a spare, raw one that features Bridges alone with just a beat and claps. "Yeah, I wanted to get weird with the flow on that track." I respect an artist the most when they do exactly what THEY want to do musically, and Bridges seems to do just that. "Honesty and truth are very important, and what I want to chase as a songwriter."

Goldman said that "Georgia To Texas" was like his life story in 3 1/2 minutes, and Bridges agreed, saying that he'd started singing at 12 years old after his Mom brought him to Texas from Georgia. He cracked everyone up when he admitted that he had been obsessed with Sisqó at that age, singing all of that dude's songs, and then really started going for it at around 20. He went to church every Sunday, but never sang in the church, interestingly. Bridges went to school to pursue dance (also interesting), but picked up a friend's guitar, and "now I know three chords." That led to open mics around Fort Worth, where it was heavily country music oriented, and he'd be this "black kid with a guitar."  He was inspired by a band called the Texas Gentlemen and soon met co-writers Austin Jenkins and Josh Block at a bar, through a common love for Wrangler denim. Jenkins said, "I'd love to record your music in all analog." Bridges was like, "Great! But I didn't know what analog meant."

Bridges did a lot of Sam Cooke covers ("Because they were easy chords"), and found his own sound along the way. Before he knew it, he was opening for Harry Stiles in arenas, which was crazy, as he said, "His fans have a lot of energy." His understatement got a knowing laugh. Likewise, when Bridges said his hotel room info in Argentina got hacked and posted on Instagram ... "That was a great tour." I bet.

You'll find Bridges these days listening to Young Thug, Kendrick Lamar, and Chance The Rapper, and he's also made his first foray into acting, with the tall order of portraying Gil Scott-Heron reciting his "Whitey On The Moon" in the upcoming Neil Armstrong movie, First Man. Wow. After that revelation, Goldman opened up the floor for a Q and A from the audience. The first guy asked if Bridges' faith had been affected by fame. "I still hold to spiritual values. It's shifted, but I stand firm in my beliefs. Someone asked about dancing, and Bridges responded that he emulates Michael Jackson, Gene Kelly, and Fred Astaire - the high bars. Asked about past and future collaborations, Bridges said, without hesitation, "Past - Bobby Womack. Present - Drake." I bet we'll see that happen. Some wise guy asked what was his favorite Sisqó song. "'Thong Song', man, c'mon!" Awesome.

Someone asked Bridges to recite "Whitey On The Moon", and he did it perfectly - as much as he could remember on the spot like that.  Asked what else Bridges would like to achieve, "I'd like to win a Grammy" - I see that happening too, and it couldn't hurt that he was in the Grammy's house.  More impressively, he concluded, "I'd like to use what I've been blessed with to help other people." Again, kind of like Greta Van Fleet! The musical future is bright, everyone!

Goldman wrapped up the conversation part of the evening by asking about Bridges' collaboration with the eyeglass company, Ahlem. I was delighted to find out that the proceeds from the sales of these glasses go to our very own Westminster Elementary in Venice! How wonderful! I also learned that Goldman lives in Venice too - Huh. Bridges himself bought a house in Fort Worth - "Being with family and friends is a nice way to stay grounded." With that, it was time for the much anticipated performance part of the night, and a full band (sans drummer) and backup singers joined Bridges on the stage. "Here we go!"

"If It Feels Good (Then It Must Be)" was up first, and as funky as the bass was, it felt a bit low energy (especially when the latest show I saw in this room was the all-out rock explosion from Greta Van Fleet). When they finished, Bridges said, "Our drummer just quit on us today, sorry about that," explaining what I had been wondering. Whoa ... I wonder what they're gonna do for their show at The Greek Theater tonight? "Bad Bad News" was next - and also real funky, finger snaps and all. The room was very quiet, which I read as respectful, but it was also a little awkward. It felt more like we were listening in on a rehearsal ... really good, just a little low-key.

The groovy "Shy" was next, and had all that good old R & B soul that makes a record timeless. That also goes for "Coming Home", that featured both crooning and smooth moves. I can see Prince getting behind "Mrs." with its kind of horny licks, that afterwards had us all answering "Great!" to the "How you feeling?" question posed. Excellent, really. "Beyond" was really pretty, showing both shades of Bridges country-adjacent past, and his super romantic side. It's the one currently getting a lot of play on KCRW, for good reason. It's great.

Bridges strapped on a guitar and stood alone save for a female backup singer to deliver my favorite number of the night, "River". I choked up, in fact, it was so gorgeous. I hadn't been feeling very well, just off and strange, and I swear, after this song I felt a little better. The power of  music to heal! I believe! That earned Bridges a standing ovation ... and earned us another song! This was the longest set I've seen at the Grammy Museum, and the room was more than grateful. "Thank y'all! We're gonna do a rock and roll one." That meant "Flowers" and its chorus, "I wanna tell you about the good news (good news)!" At a time when we all need good news perhaps more than ever, this night of music and learning together was just what was needed. There was another standing ovation, and then Bridges was off ... probably to go find a drummer for tonight's show at The Greek.

I'm so glad I got to chance to see this super talented artist in such an intimate venue for the first time. What a privilege ... and a healing! Thank you to the Grammy Museum, and to Leon Bridges and his band, for a night that truly moved the soul - with soul.

*Photos courtesy of The Recording Academy/Rebecca Sapp for WireImage.

The Hollywood Bowl Celebrates New Orleans' 300th With Harry Connick, Jr.

New Orleans has its Tricentennial this year, and the Hollywood Bowl had a three day party to celebrate, featuring the sounds of the Crescent City performed by New Orleans locals, Bonerama and my teen crush, Harry Connick, Jr. It was also the Fireworks Finale for the season, and we went on the third night, so people were ready to get DOWN. And get down we did!

Bonerama's guitarist, Bert Cotton, set the tone with a super funky Star Spangled Banner that had to be stood for. It was awesome, and then they got down with the heavily trombone based (hence their name) funky brass sounds that transported us to Louisiana for the night. A tribute to a legendary NOLA produce vendor, "Mr. Okra", gave us the local flavor from the start, and a real highlight was their cover of Zeppelin's "The Ocean" that has never sounded groovier.

Erica Falls came out to join the brass boys to belt out a few numbers that brought people to their feet if they weren't already on them. This lady can SING! Wow. By now we were all warmed up, and feeling the New Orleans vibes that you can only really know if you've been there, but these super talents brought you about as close to being there as L.A. could ever get.

And speaking of super talents ... after a lengthy feeling intermission (maybe because a lot of wine drinking got done in there), here came Harry Connick, Jr.! I had a BIG thing for him when I was a teenager (and he was probably the only one my Mom really approved of, because he sounded like Frank Sinatra vs. a Metal screamer!), and this was surprisingly my first time seeing him live. Well, HCJ, it was worth the wait! What a guy! He plays like every instrument there is, and could not possibly be more charming. The crush is back.

Connick, Jr. spoke about how he was said that his New Orleans Saints had lost their season opener that morning (while I was happy that the Vikings had won theirs!), but he felt better because he was playing three nights at one of the best places in the world, the Hollywood Bowl (Agreed. It's one of the very best places ever to catch a show). He was born and raised in New Orleans, and began performing with that city's musical greats when he was just five years old. One of his favorite songs was "Dr. Jazz", which he didn't realize until he grew up that it was about a drug dealer ... and then he and his band played it, and we all got why it was one of his favorites. Connick, Jr. can play piano, drums, one-handed trumpet (while holding the longest note ever and turning the thing all the way around on his lips) ... and sings like an honorary member of The Rat Pack. And looks kind of like a buffer Young Elvis. He's truly got it all.

We were the best crowd of the three night stand, and we know, because Connick, Jr. told us. First night crowds are the eager ones, second night crowd was all industry and too cool, but the third night folks are the fun ones - and you could feel it. Also, this guy is an American Treasure, so it was easy to let loose and party with his infectious way of letting the good times roll. We got a couple of numbers from Connick Jr.'s excellent When Harry Met Sally soundtrack, "Our Love Is Here To Stay" and "It Had To Be You" that were both so dreamy it was just silly. And then he had to go and remind us that he's been married to model, Jill Goodacre, for 28 years and their three beautiful daughters were there. Charlotte, Kate, and Georgia Connick came up on stage to be introduced by their supercool Dad, and you could feel the pride between them all. Special. And I'm not jealous at all.

Baptist churches were big in Connick Jr's upbringing (though he was raised Catholic) because "You WILL feel better" when you go. And he brought us there, with his "favorite Gospel singer in the world" Jonathan Dubose, Jr., only Dubose, Jr. sang with his shredding guitar. They played "How Great Thou Art" as funky as it's ever been played, prompting a group clap-along that I don't think I've ever heard done to that old spiritual chestnut. So so good. "Can I play a little New Orleans piano for y'all?", asked Connick, Jr. next, and the answer was YES. "It's all about the left hand ... if you keep your rhythm through your life, you'll be fine." Then he sat down at his piano and showed us all why he's been considered a virtuoso since before he reached double digits. He's something else.

Oh, and then the guy can tap dance on top of it all! HCJ brought out an awesome tap dancer, Luke Hawkins, who tapped it up with Harry, and then  had a tap off with the drummer, trading beats and steps in a frenzy of motion that still has us buzzing about it today. THEN we got a "Jazz Funeral" and the dirge processional turned into a second line for  "When The Saints Go Marching In" that wound all through the crowd, giving everyone an up close look at one of the coolest dudes ever as he banged a drum strapped over his shoulders.

Back on stage, now the group was about to get even funkier! Connick, Jr. sat down at the electric keys, and played his wonderful and positive, "Yes We Can Can" as the Bowl lit up with its Fireworks Finale! The music and the visuals were glorious, and then got even more so when Connick, Jr. played two keyboards, one with each hand, AND drums at the same time, while singing "Big Chief" DURING Fireworks. Talk about a slam bang finish! There wasn't much that could top that, and Connick, Jr. shimmy danced off the stage, the lights came on, and we all just looked at each other like "WOW".

What a way to wrap up the Bowl Summer Season, and what a way to finally see Harry Connick, Jr.! I'm humming and shimmying myself today, and am quite sure I'll never forget this fantastic celebration of New Orleans' 300th Birthday! I feel so lucky. Thank you to all!

*Press photos courtesy of the L.A. Philharmonic

Tom Freund's East Of Lincoln Album Out Today!

Longtime Venice resident and friend Tom Freund, like many Venice locals, finally had to make the move to the dreaded East Of Lincoln, and his new album with that title comes out today on Surf Road Records. The multi-genre covering new work tells the tales of what is happening in Venice (and the world, and in relationships) and how it's been changing so much - and not necessarily for the better.

The title track includes the line, "I know I'm no Saint, but I know when something is good, and when it ain't" - referring to the wealth and greed taking over our bohemian beach community. It's sad ... especially when it replaces the people who truly love and care about a place, with people who are merely seeking status and ... well, I don't know what they want, really. Who in their right mind would want to ruin such an eclectic and special place? All I know is they don't belong here in this wonderful, creative vortex that has nurtured so many artists and writers and musicians ... who use it as their muse - as Freund has done here with this beautiful, touching, obviously close to the heart production.

In "Abandoning The Ship", Freund compares it all to jumping ship and swimming for a new shore ... wherever the place we might fit in now might be. Featuring world-class players and peers of Freund, the album's musicianship is top shelf, and your ears will notice. Folks like Rami Jaffe (Foo Fighters) and Ben Harper show up to support their friend on multiple tracks, and you can hear the inspiration of another Tom - Petty - all over the thing. That's good company, for sure, but Freund's lyrics and playing are so deeply personal that the resulting work is unmistakably Freund ... a guy who a mutual friend once described as "Most other musicians would be lucky to carry his equipment." High - and well deserved - praise.

East Of Lincoln is deeply Venice, and another love song to California that would be a perfect Golden State road trip accompaniment. When you're listening to it ... REALLY listen. You'll hear echoes and feel those mellow vibes of what Venice used to be like - and that you can still find if you really try. This soundtrack will surely help.

East Of Lincoln is available everywhere today. 

https://itunes.apple.com/us/album/east-of-lincoln/1424269818

Greta Van Fleet Blows Minds At The Grammy Museum!

I'd heard Greta Van Fleet on the radio, and their strong resemblance to Led Zeppelin is unmistakeable. To the point where some dudes I know diss them for it, but I think sounding just like Led Zeppelin could hardly be a bad thing. Especially when the oldest of these guys is 22! I was invited to check them out in an evening of conversation at The Grammy Museum, so I went to get to the bottom of this band taking the world by storm.

There was a BTS (who?) concert going on at the Staples Center last night, and there were so many people camped out in tents on the sidewalks around the venue that I thought Skid Row had grown even bigger. It turned out that this Korean pop band has a four night sold out stand at Staples - what?! The more you know ... ! Anyway, downtown was packed because of this phenomenon I knew nothing about, and I mention this only because I don't think it will be too long before it's Greta Van Fleet having their own multi-night stand at Staples ... because they are AWESOME.

I'm getting ahead of myself. The Grammy Museum was also sold out, and the Clive Davis Theater was also packed, with rowdy rock fans ready to hear this super-young quartet talk and play. Grammy Museum dude Scott Goldman welcomed everyone, mentioned upcoming events at the Museum (everyone got applause but Shawn Mendes - silence - interesting), and then introduced the three siblings and their childhood friend from Frankenmuth, Michigan that make up Greta Van Fleet (who got their name from an 87 year old woman who lives in their town). Goldman said, "Bob Seeger said 'Give me that old time rock and roll', and that is Greta Van Fleet" ... right on.

Jake (lead guitar) and Sam Kiszka (bass and keys) and Daniel Wagner (drums) took the stage in flashy duds, but could otherwise be extras in Dazed And Confused. Fresh faced and voices still cracking at times, the friends explained that lead singer Josh Kiszka was upstairs resting his voice for the performance part of the night. That seemed a bit diva-like to me, considering he could just sit there with his band and let them do most of the talking, but whatever. The three guys more than impressed without him, speaking eloquently and intelligently to every question posed to them.

The very young men got signed in high school and their Black Smoke Rising EP blew up, with their single "Highway Song" soaring all the way to #2, leading to gigs opening for cats like the Foo Fighters. A dream come true for four kids from Michigan, who never thought this would be their lives. They even met Bob Seeger himself ("It was so surreal, it might not have really happened"), who voiced his approval. Wagner said, "It proves music is a superpower. He's 73 and rocking ... my Grandfather would not be the same." They all grew up in a "vinyl playground", honing their musical tastes on such disparate sounds as Elmore James, Sam & Dave ... and John Denver. "John Denver is actually really important in our upbringing. It was sung around the campfire. It's freedom. It's nature. It's love - which by definition IS very rock and roll.", said the very well spoken Sam (my favorite. Girls always have a favorite member of the band. Only this one I could be his Mom. Weird.). This depth was met by "WOOOOO!" from the crowd - as most everything said and played was.

The guys aren't as impressed with contemporary artists, aside from Lewis Del Mar (who I now have to go look up) and Fleet Foxes and The Black Keys. "Music from the past is so good because it stood the test of time," said Sam in maybe the best defense of their sound ... not that any is needed. They played a lot of bars and a lot of covers as young kids (highly illegally), and would go into bathrooms saying "Please don't be a drug deal, Please don't be a drug deal. I just want to sit and read Tolkien." (Haaa. These guys are also crackups. We loved them all.) They began writing their own material "so our self-identity comes into play", and their first original song was "Highway Song". Wow.

Their writing process "happens organically" with each member bringing in ideas that are pretty close to formed, "and then Josh goes into a closet and writes lyrics in ten minutes." There isn't much sibling rivalry, aside from the usual trying to one up each other that goes down within families - although there have been several broken windows and doors in their home between Josh and Jake (the twins). "Josh is the velvet glove to my iron fist," cracked Jake. They all still seem incredulous that this is all happening ... "We had no idea we'd be professional, we just love it. Not one sliver of thinking this, it's one in a million - and it just happened! I can't imagine a better job for myself - or anyone," said Sam as a matter of fact.

Goldman asked about the "800 pound gorilla in the room", the inevitable comparisons to Led Zeppelin. Wagner answered that they all learned their instruments individually, and we come at each other until it sounds like us." Zeppelin was an inspiration, of course, but it's really because they grew up listening to the same American blues and R & B that Zeppelin did.  Greta Van Fleet's debut full-length album is coming out soon (which they revealed to be titled Anthem Of A Peaceful Army - rad), and "It will be new ideas when the album comes out," explained Sam. Can't wait. Of Josh's unreal ROCK voice, Goldman asked, "Did you know he could sing like that?" "No." "He told me in private one day," cracked Jake. Sam added, "We had no idea what he sounded like until we scrounged up enough money to get a P.A." Well, he sounds like a hybrid of Robert Plant and Geddy Lee - who probably wish they sounded like HIM. For real.

The boys in the band are extra mature for their years, saying, "Knowledge and practice breeds evolution. We've had time to mature." Which is kind of funny because the twins are still just 22 - but their manager, Al Sutton, has finely tuned these guys to the point where they can kind of shrug at opening for the Foo Fighters in front of 150,000 people. "He's a genius", said Sam, to which Daniel said, "Whoa, whoa, whoa ... TOLKIEN is a genius!" (They're big fans of the Lord Of The Rings trilogy). Sam went on to say, "We went from 15 year old kids who didn't know how to record an album to 17 year old kids that do." "He reels us back in when we say 'What if we have 100 oracles chanting in the background?" You just want to hang out with these dudes. You'd be highly entertained the whole time - and wouldn't even have to play a note.

They spoke about covers they do, like "A Change Is Gonna Come" (Sam Cooke), "Meet On The Ledge" (Fairport Convention - "That was Dad"), and "Rolling In The Deep" (Adele) - showing the depth and breadth of their musical backgrounds, and willingness to try anything -and it works great. They speak a lot about unity and love, being kind and treating each other better. "Treating each other right is unity. Music is about seeing old guys in the back, young guys in the front at the same show, and it wouldn't happen otherwise - unless it was a family reunion or something." Wise beyond their years, I told you.

Goldman opened the floor to questions, and the first one was what is their opinion of artists who use programming on stage in live shows and don't really play. Sam replied, "I won't be violent to them, but I don't believe in it." Word. Another audience member asked what albums they're enjoying now. That would be Paul Simon Debut and Elton John's Elton John. "Do you have other favorite films besides Apocalypse Now? "No." Haaa. Though they do also enjoy the Coen Brothers. Right on. Asked about advice for up and comers (funny, because they are), Sam the good public speaker said, "Stay in school, don't do drugs ... but really, Parents - encourage your children, because we wouldn't be here without their encouragement." Their parents must be SUPER proud, not only for the rock star stuff, but for what good and kind people their kids seem to be. Asked what else they'd be doing, Jake answered, "Probably this." He knows they're meant to be doing exactly THIS.

"They say you're the future of rock and roll," said Goldman, to which Sam said, "One person cannot wear that crown ... It takes an army." He went on to say, "I didn't know rock and roll was dead, but if you're giving us the responsibility of bringing it back, we'll gladly take it." That was met with cheers, and we broke for a moment for them to set up to PLAY.

OHHHHH, MAN! This band took the stage, and I don't think the Clive Davis Theater has ever been so loud. It was arena rock in your living room, and it was incredible. Josh Kiszka joined his bandmates now (and he is a perfect blend of a young Bob Dylan and Little Steven Van Zandt, for real), in long feather earrings and a headband, and the moment he opened his mouth, it was just HOLY SHIT from thereon out. This kid was born to be a lead singer in a rock and roll band. Period. He has a gift on a Chris Cornell level, and that's me really saying something big. He might even surpass him ... what?! He has a gift that is truly jaw-dropping, and ours were hanging wide open from his opening scream on "Highway Tune". They tore the place up, with still kind of gawky kid movements while playing, while sounding like MEN. We kind of laughed looking at Josh's ink-free, not that buff arms - so far - and wondered how long until he gets a slew of tattoos. It will be interesting to watch the ink progress ... ! Hobgood said, "I can see his cock." ... so he's already clearly very comfortable in the rock star role. Good for him.

The second song was "When The Curtain Falls" and was more grooving and bluesy, and you could see that the guys were having a blast playing it. Jake's guitar playing was super animated, going all out - but then, they all were. Sam began the next one with a nice Zeppy organ intro, and his brother Josh said, "It's called 'Flower Power'", so you know this one was all the way up my alley. Now Hobgood said, "He can fucking SING!" and she was not wrong. My notes are all just "WOW." "Let it WAIL!" and "CHILLS." They built it all the way up until the arms raised crescendo, and then the organ outro. They're already such pros, it's ridiculous. "RIPPING, DUDE!" After that one, Josh said," Is it loud enough?" with tongue in cheek, but some guy in the crowd was like, "LOUDER!" Of course.

They didn't even need to play another one after that, but then they let rip with "Black Smoke Rising", and Josh again just BELTED it. This one sounds very Geddy Lee, and just held those high notes until the room erupted into whistles and shouts of HELL YES! They closed with the big hit "Safari Song" that was what first made people go "Zeppelin" - for good reason. But dare I say, BETTER Zeppelin? Like Zeppelin for NOW. People were standing up and dancing in their seats with arms raised, punching the air, and I have NEVER seen that at the Grammy Museum - and I've been there a lot. And these boys deserved it.

They milked the last chords and drum bangs to put an exclamation point on the greatness of the performance, and the resulting standing ovation (though everyone was already standing) was deafening. Greta Van Fleet took their bows, all smiles, and left us all in a sort of shell-shocked state of having our faces just rocked off. We just all kept saying "Holy SHIT!" and are still humming that "Safari Song" right now. Believe the hype. We felt lucky to see them in such a small venue, because they're right on those BTS heels (again, WHO?), arena ready. It's sure gonna be fun to watch the long road in front of these ultra-talented, peace and love loving guys, doing their best to unite this crazy world through music.

LONG LIVE ROCK AND ROLL! And Thanks to Greta Van Fleet for giving it mouth to mouth. WOW.

*Photos courtesy of Rebecca Sapp for Wireimage.com

Venice Families Needed!

Back to school! Back to business! And that means we're shifting into high gear with 90291: VENICE UNZIPPED. Everyone is coming back from Summer holidays and lazy days, and we're making a BIG casting push to find the right families to tell their stories about living in Venice within different income brackets - and the time is now, as we're about to commence filming this month.

You've probably seen the flyers up all over town ... We still need a lower income/possibly homeless family, a middle class (whatever that means anymore, and that is part of what we're exploring), and a wealthy 1% type family, all sharing the same community. We'd like them all to have kids, and now that school is back in session, to see how they different backgrounds affect the young ones as well.

Ideally, the families would love Venice like we do, understand how special this place is, and want to live here for that reason. Venice is a creative vortex, so really, may the best background stories win!

Income inequality is really THE topic of our times, in my opinion, and obviously contributes to the vast homeless crisis that Los Angeles as a whole is currently embroiled in. We want to hear from real Venice people, and hopefully come up with solutions together.

Please helps us find the very best families to represent our Venice ... and then look for the stories to be told on the big screen when 90291: VENICE UNZIPPED hits theaters near you!

Please contact 90291casting@gmail.com with any suggestions and/or for more information.

THANK YOU!!!


Flyer info:

Do you (or anyone you know) live in Venice? Do you have an interesting story to tell? Do you know a family who might be interested in participating in a provocative feature documentary 90291: VENICE UNZIPPED about our growing income divide in Venice and America? Please contact 90291casting@gmail.com for more info, and please fill out the casting questionnaire here: https://90291casting.wufoo.com/forms/zsi4g3v0xivbj1/

Award-winning filmmakers are searching for three families to profile in their film - one homeless, one middle class, and one wealthy who all live in the Venice CA 90291 zip code.

• looking for families with unique/ unusual stories

• diverse backgrounds a plus

• families must live in Venice CA

• families should have one child under the age of 18

• filming begins late Sept onwards

• filming will take place intermittently over the next year

• project will require approx 4-5 days total of filming (1 day every couple months)

The documentary's point-of-view is investigative, fact-based, and compassionate. We are long-time Venice residents and will be extremely conscientious of people’s space and time! We want to humanize and personalize the struggles, challenges, and joys of three diverse families who share the same 90291 Venice zip code.

Link to a “sizzle” video about the project is here: https://wdrv.it/5b54d127c

Thank you for your support & please spread the word!

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Maestro Of The Movies - John Williams Live At The Hollywood Bowl!

Composer and Conductor John Williams celebrated 40 years of making movie music with the L.A. Philharmonic this Labor Day Weekend with a three night stand at The Hollywood Bowl. Hollywood is the birthplace of film, and movie fans loved every moment. Williams had Steven Spielberg there to help him celebrate, and their unparalleled film collaborations made for an evening of oohs and ahhs as we looked back on their iconic film moments with their scores played live by the wonderful L.A. Philharmonic. After wanting only to be at the beach this weekend, it took this to get me back across town on a holiday weekend ... and it was WELL worth it.

After the National Anthem (that my friend Deb and I took a knee for  - or stayed seated, rather - out of solidarity for Colin Kaepernick this weekend), Conductor David Newman opened the program with the Williams composed Olympic Fanfare and Theme, accompanied by clips from the big Olympic moments over the years. I love the Olympics, so this was a rousing and emotional way to start. I had a lump in my throat all night, if I'm honest, and the U.S. Army Herald Trumpeters only made it worse. SO many nostalgic moments came up, and reminded us once again about the GOOD things in these United States - which have been harder to recall of late. This night was all about the good stuff.

"The Cave Sequence" from Raiders Of The Lost Ark was next, and one guy next to us was so excited and gasping I'm pretty sure he'd never seen the film. I barely remember Minority Report, but its "A New Beginning" piece was awfully pretty. I definitely barely remember Hook, but the same goes for its beautiful "Flight To Neverland", shown with a great montage of flight in cinema (including my favorite from Out Of Africa). To celebrate the Centennial of Leonard Bernstein, we heard a rousing To Lenny! To Lenny! composed by Williams that would have played excellently at Tanglewood. Newman wrapped up the first half with the Bernstein's overture from West Side Story (with film clips) and his suite from On The Waterfront. Both were sublime, and brought us to the intermission that allowed us to break out the wonderful cheese platter that Deb had created. We started our friendship 25 years ago on the set of Little Big League, so I was especially happy to be there with my friend who is my friend because of the movies. It was special.

After filling up on cheese and charcuterie (and wine), it was time for the Maestro himself to take the stage. His "Boss", Steven Spielberg, joined him (after introducing him as "The preeminent Maestro of film music" (there really is no one else who even comes close) to share their stories from their 45 years of working together on their classic films. They began with a lesser known, but tear-jerking piece from Lincoln, "With Malice Toward None", that featured trumpet soloist Thomas Hooten. It was so beautiful you couldn't even move, you just had to sit there and take it in. It, as most of the clips did, made me want to immediately re-watch Lincoln.

When the applause for that one died out like an hour later, the dynamic film duo took us into a film class, showing how differently a piece of film comes across without its score. They played the "Circus Chase Scene" from Indiana Jones and the Last Crusade (the one with River Phoenix as a young Indy), and showed it once with no music ("It's starting to feel like a Sundance film." - Spielberg aside), and then the L.A. Phil charmed it all up playing the music that would later join the work. It was remarkable to see the difference the score made to the scene, and further illustrated just how important this epic collaboration has been over the last four decades of cinema. It was also fun to hear Spielberg's little tidbits like, "This was the first time we introduce the whip."

"The Duel" from The Adventures of Tintin (never saw it) was lovely, and a montage of famous swashbuckling scenes played over the music. It was cute to hear what people cheered for: Johnny Depp in Pirates Of The Caribbean. Puss N Boots. Tom and Jerry. Kermit The Frog. Nostalgia runs deep! The orchestra played so seamlessly that you several times actually forgot that you were hearing it live. There was no mistaking that the theme from Schindler's List was live, as violin soloist Bing Wang was there to break our hearts with her plaintive strings. Wow. I can hear it in my head now, and it feels no less emotional. What a masterwork. For real.

The best was saved for the finale, when they played the Finale from E.T. The Extra-Terrestrial. Spielberg introduced it by saying, "I can direct bikes to fly, but the music makes it soar." They proved this soundly when that famous scene came on, and you can still hear people gasp when the bikes take off from the hill. I believe I teared up. It's just so awesome. Still. People were going crazy, but then they REALLY went crazy, when as the real finale, they gave us Star Wars. The entire Bowl was filled with glowing lightsabers, and everyone was conducting along with Williams. The music was from Episode 8, I believe The Rebellion Is Rising. The military brass was back, and gave us the ominous Darth Vader theme that everyone knows and loves. It's so cool to turn around and see the whole place filled with people waving their light sabers and loving life.  Williams himself was presented with a lightsaber when it ended, bringing on yet another standing ovation. There were FOUR curtain calls, but no encore, as Williams did the hands to side of your head sleep sign, signaling that now it really was over. No one wanted it to end (What?! They're not gonna do Jaws?!"), but all good things do.

What a Labor Day weekend highlight! Getting to see all the wonderful Hollywood film music IN Hollywood where it all came to life was extra cool, and gave a sense of renewed pride in the business, and in the town. Film touch so many lives, and good stories make up our lives. Thank you to the Hollywood Bowl for another fantastic summer night of music under the stars! It's the very best summer tradition we have in Los Angeles, and this one was a perfect example of why.

May this Force be with us all for a very long time.

*Photos Courtesy of The L.A. Philharmonic.