If you want to be truly intimidating,
If you want to make an impact,
If you want to have strong connections with others
just be sincere.
Sarcasm is not an attitude, and it’s not a personality trait. It’s a style of rhetoric meant to be used occasionally to highlight a larger point. Saying you’re a sarcastic person is like saying your favorite cuisine is salt. Sarcasm is easy because you never have to take a stance. And that’s just the problem; It’s so noncommittal.
When you see someone you’d like to have a conversation with, here’s how you really make your impression felt. I promise you’ll be remembered for it: “hello.” I don’t know when the lines got crossed and it was deemed attractive to be ambiguous and critical. Girls don’t like it when guys do it and guys don’t like it when girls do it. I live in a city of cool people with the absolute worst PR representatives: themselves.
Be yourself, even if that means being unsure or uneasy. Let someone else put you at ease. Meet them in the middle. Be sincere.
Thursday, December 8, 2011
Be Sincere
Have I ever mentioned before how much I adore John Mayer? If you didn't know, perhaps his latest Tumblr entry will shed a little light on why I feel the way I do.
Monday, December 5, 2011
Going Back in Time in LA
If I'm in a large city packed with skyscrapers and landmarks, I always look up to catch glimpses of the tile work, carvings, columns, inlays, sculptures and other bits of beautiful craftsmanship. Sadly, we live in a world where the unique and beautiful has been replaced by the simple and practical so are subjected to more and more plain, cinder block, prison-inspired buildings, which is why I get so excited to spend time with historic, artistic buildings.
This past weekend, I got to spend time marveling at some of the most-beautiful buildings in LA's historic Broadway District thanks to the Los Angeles Conservancy. For a few hours Saturday morning, I wandered in and around old theaters, movie houses and business hubs, some refurbished, some in desperate need of love and attention.
The tour featured stops in the Million Dollar Theater, Bradbury Building, former Cloons Theater, The Orpheum and a former Panteges Theater. The Bradbury Building and Orpheum are in fantastic shape, having been painstakingly restored by current owners willing to invest the millions is takes to keep 100-year-old buildings looking good as new. The Million Dollar Theater is still being used and maintains a lot of its original grandeur.
Exterior of the Million Dollar Theater
The Bradbury Building decorated for Christmas
The Orpheum's marquee
The Cloons and Panteges theaters haven't fared as well. Once the longest-running movie theater in the area, Cloons is now an electronics store, but walk through a curtain behind the register into the storeroom and the projection room and screen still remain.
Cloons exterior
Old screen at Cloons
The former Panteges, one of more than a dozen theaters built in Los Angeles bearing the name, is now a jewelry mall. Though the floor was leveled, the stage, curtain, balcony, boxes and decorated ceiling still remain, frozen in time above the jewelers' stalls.
Exterior of the old Panteges
Walking through those two buildings makes me wonder about the other hidden gems inside of downtown LA shops.
Following the more than two-hour walking tour, I drove a few miles west to Angelus Rosedale Cemetery, founded in 1884 and final resting place to notable Angelenos. It's also the final resting place of my great-grandmother and great-great-grandfather.
My maternal grandfather lost his mother when he was just 7 years old. She died during the Spanish Influenza epidemic that followed World War I. I know very little about her and didn't realize she had lived, died and been buried in Los Angeles until I got a packet of genealogy records from my paternal grandmother that included the burial certificates for my great-grandmother and great-great-grandfather.
I found my great-great-grandfather, a Civil War veteran, first. He's buried in a special section dedicated to the Grand Army of the Republic. In his section are rows of dozens and dozens of Civil War veterans, all marked with the same simple headstone listing their name, company number and battalion. Some of these markers are more than 100 years old so the names have pretty much disappeared. Looking at marker after marker, trying to make out whatever letters remained, I started losing hope that I would find my great-great-grandfather.
Honoring the Grand Army of the Republic
I did have a clue, though, I knew he was in plot 23. I kept my head down looking for markers, feeling more and more hopeless halfway through my third row when I saw a marker that said 23. I was getting somewhere! Right next to the marker I saw the name, so clear of, of my great-great-grandfather.
Lucky number 23
My great-great-grandfather's marker
It was an overwhelming moment for me and one that I was so grateful to have.
Finding my great-grandmother wasn't as easy. I circled around the cemetery several times trying to find her section. Finally, I found someone who worked at the cemetery to help me. I gave him my paperwork and he located her plot on a large map in a staffroom. He led me to her section at the furthest end of the cemetery, and we started looking for names.
He took one row and I took the other. He asked if she had a marker and I said she must, though it had been so long I didn't know what shape it would be in (the cemetery looked like it took quite a beating in the recent wind storms, so many headstones had been toppled and broken). I looked at the last marker in the row, right next to the fence bordering the street and saw the word "Mama," then the name of my great-grandmother, who was listed as my great-grandfather's wife, and the years of her birth and death.
My great-grandmother's marker
She was 35 when she died and left behind two small boys and a husband.
I thanked the man for helping me find her and then sat quietly for a while as dusk approached. I thought about my grandfather who I still miss so much and how hard it must have been for him to lose him mom, how much he must have missed her his whole life.
I still have so much to learn about my grandfather's family but feel like this trip did start me on the path to discovering so much more about them and our shared history in Los Angeles.
I took 115 pictures on Saturday. Thanks to the wind storms, the sky was bright blue and gorgeous. Drop me a line if you'd like to see more.
This past weekend, I got to spend time marveling at some of the most-beautiful buildings in LA's historic Broadway District thanks to the Los Angeles Conservancy. For a few hours Saturday morning, I wandered in and around old theaters, movie houses and business hubs, some refurbished, some in desperate need of love and attention.
The tour featured stops in the Million Dollar Theater, Bradbury Building, former Cloons Theater, The Orpheum and a former Panteges Theater. The Bradbury Building and Orpheum are in fantastic shape, having been painstakingly restored by current owners willing to invest the millions is takes to keep 100-year-old buildings looking good as new. The Million Dollar Theater is still being used and maintains a lot of its original grandeur.
Exterior of the Million Dollar Theater
The Bradbury Building decorated for Christmas
The Orpheum's marquee
The Cloons and Panteges theaters haven't fared as well. Once the longest-running movie theater in the area, Cloons is now an electronics store, but walk through a curtain behind the register into the storeroom and the projection room and screen still remain.
Cloons exterior
Old screen at Cloons
The former Panteges, one of more than a dozen theaters built in Los Angeles bearing the name, is now a jewelry mall. Though the floor was leveled, the stage, curtain, balcony, boxes and decorated ceiling still remain, frozen in time above the jewelers' stalls.
Exterior of the old Panteges
Walking through those two buildings makes me wonder about the other hidden gems inside of downtown LA shops.
Following the more than two-hour walking tour, I drove a few miles west to Angelus Rosedale Cemetery, founded in 1884 and final resting place to notable Angelenos. It's also the final resting place of my great-grandmother and great-great-grandfather.
My maternal grandfather lost his mother when he was just 7 years old. She died during the Spanish Influenza epidemic that followed World War I. I know very little about her and didn't realize she had lived, died and been buried in Los Angeles until I got a packet of genealogy records from my paternal grandmother that included the burial certificates for my great-grandmother and great-great-grandfather.
I found my great-great-grandfather, a Civil War veteran, first. He's buried in a special section dedicated to the Grand Army of the Republic. In his section are rows of dozens and dozens of Civil War veterans, all marked with the same simple headstone listing their name, company number and battalion. Some of these markers are more than 100 years old so the names have pretty much disappeared. Looking at marker after marker, trying to make out whatever letters remained, I started losing hope that I would find my great-great-grandfather.
Honoring the Grand Army of the Republic
I did have a clue, though, I knew he was in plot 23. I kept my head down looking for markers, feeling more and more hopeless halfway through my third row when I saw a marker that said 23. I was getting somewhere! Right next to the marker I saw the name, so clear of, of my great-great-grandfather.
Lucky number 23
My great-great-grandfather's marker
It was an overwhelming moment for me and one that I was so grateful to have.
Finding my great-grandmother wasn't as easy. I circled around the cemetery several times trying to find her section. Finally, I found someone who worked at the cemetery to help me. I gave him my paperwork and he located her plot on a large map in a staffroom. He led me to her section at the furthest end of the cemetery, and we started looking for names.
He took one row and I took the other. He asked if she had a marker and I said she must, though it had been so long I didn't know what shape it would be in (the cemetery looked like it took quite a beating in the recent wind storms, so many headstones had been toppled and broken). I looked at the last marker in the row, right next to the fence bordering the street and saw the word "Mama," then the name of my great-grandmother, who was listed as my great-grandfather's wife, and the years of her birth and death.
My great-grandmother's marker
She was 35 when she died and left behind two small boys and a husband.
I thanked the man for helping me find her and then sat quietly for a while as dusk approached. I thought about my grandfather who I still miss so much and how hard it must have been for him to lose him mom, how much he must have missed her his whole life.
I still have so much to learn about my grandfather's family but feel like this trip did start me on the path to discovering so much more about them and our shared history in Los Angeles.
I took 115 pictures on Saturday. Thanks to the wind storms, the sky was bright blue and gorgeous. Drop me a line if you'd like to see more.
Tuesday, August 23, 2011
Autobiographical
I'm not sure how many CDs I have, but am certain it's into the hundreds (not record-breaking but substantial). I have them fairly neatly organized in the order of purchase or acquisition by artist. Basically, Guns 'n Roses comes first because I got the band's CDs first, and any new CDs I get from Guns 'n Roses are added to the end of those CDs rather than me grouping each band's CDs by title or date of release.
I guess it's a bit like the scene in "High Fidelity" where Dick visits Rob is his apartment just after he's taken all the LPs off his shelves and is in the process of coming up with a new organizational system. Alphabetical? Chronological? "Nope … Autobiographical."
When I first got CDs as part of a for-the-time-massive Christmas present from my high school boyfriend—the stereo I still own (whose remote I've only had to change the batteries on twice in about 15 years) and about a dozen new and used CDs—it made sense to keep the CDs in the order I got them and add any new purchases onto the end. I did contemplate changing that order when I moved and had to box the whole works up but realized my way still makes the most sense to me so kept it.
The term "autobiographical" is a pretty good description for the way I organize my CDs, each time I search for a disc in one of the two shoe shelves I repurposed for CD storage, I remember the time and place I bought it. For instance, Everclear's beautiful and underrated "So Much for the Afterglow" is right alongside the "Romy & Michelle" soundtrack and The Bangles' best of because I bought all of them on a trip to Rhino Records my junior year of college, and I remember that because I used to play those CDs on the player in the school newspaper office on deadline nights.
"Autobiographical" is also a pretty good way to describe the music in my life. At this moment, I'm listening to U2's "All That You Can't Leave Behind," a CD I've listened to well over 100 times since I first bought it used at Rhino in 2001, so on every listen that year pours over me, the job I had, the route I took to work, the Elevation show at Staples Center that changed my life, the Elevation Tour DVD I watched when I housesat for my brother while he was on his honeymoon, the friends I made, the outfits I wore, the problems I had, the tears I cried, the color of the sky on certain days, the time I spent on online forums, and on and on.
And that's just one of the CDs I have. I know I could easily come up with similar lists and connections and memories for every other CD I own, which I why I came up with the idea a while back of listening to every CD I own, in order, and doing weekly updates on my progress and reactions for this blog. The idea has kicked around for more than a year but hasn't landed until now, now seems to be the right time to dive back in, rediscover lost gems, reconnect with old favorites, reconsider the growers and maybe even resell a few that haven't stood up to the test of time.
It will take a bit of discipline on my part but I think this will be a fun, challenging, insightful and emotional experience—a bit time travel, a bit self-analysis, a bit of an excuse to crank some amazing music. I won't get to U2 until the very end (my three largest artist collections are for U2, Madonna and Elvis Costello, so those three are pulled aside from the rest of my collection, though I do still add new CDs in the order of purchase rather than chronologically or alphabetically for those three artists) but it's a nice treat to have waiting for me in the distance, especially with headphones. I've never before listened to "All That You Can't Leave Behind" with headphones and, wow, I've missed so much—guitar parts, backing vocals, keyboard flourishes. Amazing.
Even after so many listens to a much-loved CD, there are so many more things to discover. I'm excited to discover the mysteries and hidden treasures in all of my other CDs, too.
For your enjoyment, the record collection organization scene from "High Fidelity." I find it quite "comforting."
Sunday, July 24, 2011
'You Know That I'm No Good'
As soon as I heard the opening line of the news report, I knew the ending. "Amy Winehouse, the British singer who … " How else is a story like that supposed to end? I put my hand to my mouth and teared up a bit before the NPR reporter was able to say "dead at 27."
What a waste. What a tragedy. Every story has had pretty much the same angle, this tiny girl with a supernatural voice and chaotic personal life who became as famous for her exploits as for her talents. All true but way too simplistic.
I flipped around the top 40 and adult contemporary stations that played her music nearly nonstop when "Back to Black" came out almost five years ago, but couldn't find her anywhere. I did have to laugh, though, when I tuned to the local news station and heard them play the first few lines of "Me and Mr. Jones" unedited, "What kind of fuckery is this?" at noon on a Saturday. Did anyone catch it? Did anyone complain? Score 1 for Amy Winehouse.
The fantabulous Q magazine introduced me to Amy Winehouse. She was the talk of the United Kingdom long before the United States caught on. I was blown away the first time I heard "Back to Black," nudged by Q's recommendation, it's amazing mix of the Wall of Sound, 1940s supper clubs, "Little Britain" and the wrong side of the tracks. It was fun and cool and sad and stunning. She deserved every award she got for that record, and more.
It seemed that her triumphs and disappointments came in equal measure. As she swept the Grammys, she was banned from entering the United States to attend the awards ceremony. She had an inspiring whirlwind romance with a guy who turned out to be a junkie tool, selling her out from prison as she professed her love and devotion. Oh, Amy.
Because of her voice, her hair, her makeup, her slip ups, people couldn't help paying attention, diagnosing, weighing in, poking fun. She was built for the 24-hour tabloid world, seemingly the result of a scientific experiment where Ronnie Spector was crossed with Courtney Love to create a girl who would answer the dreams of both the music industry and the tabloid press.
They won, she lost. The pundits will gather, sharing their "educated" opinions on a girl they knew only from the TV, the grocery store checkout, but rarely from the music, except to constantly play the chorus from "Rehab." It's just so easy to call out someone who's fallen so far.
I didn't want to hear any of that yesterday, I just wanted to hear her. God bless KCRW for starting its Saturday afternoon music block with three Amy Winehouse songs, reminding everyone who was listening why we cared in the first place. Though the craziness kept her name in the papers, it was her dream-girl voice that got it there in the first place.
For her sake, and the sake of her family, friends and collaborators, I hope more people remember that. As for me, this is how I remember Amy Winehouse today, with my favorite song from "Back to Black."
Thursday, June 9, 2011
U2, Lenny Kravitz & Moonalice at the O.Co Coliseum in Oakland
It was at my 11th U2 show, Tuesday's 360 stop in Oakland, that I crossed the line from fan to fanatic. I became one of those people who jumps and hollers with the thrill of recognition after just a few notes of a song are played. I was in heaven.
I've been waiting 20 months for this show to happen. Our tickets were purchased in October 2009 and the show was supposed to have taken place last June. The wait, though excruciating at times (more so for people who had made non-changeable travel plans last year and could no longer afford to go to the rescheduled shows) but the band's performance Tuesday more than made up for it.
The set list got a big overhaul from the fall 2009 leg. Gone are a big chunk of the "No Line on the Horizon" tracks, which I guess makes sense with this tour no longer being about promoting that album, and in are quite a few Zoo-era classics, thanks to the upcoming 20th anniversary of "Achtung, Baby" (and, yes, there's going to be a special edition remaster of that to ask Santa for).
"Breathe," which was the opener last time around, is one of my favorite tracks on NLOTH, so I was sad to see it go, but switching it for "Even Better Than the Real Thing" is nearly even for me. From there, the band powered through four more songs. The guys came to rock, and they did.
A tiny interlude came after the incendiary "Until the End of the World" with Bono talking about Lou Reed and how he influenced U2 to do recording in Berlin, sessions that wound up on "Achtung, Baby" and "Zooropa." It's just Bono and Edge on the stage at this point, Bono talking about the development of a particular song, Edge armed with an acoustic guitar. "They're going to do 'Stay,'" I thought. As the story progressed, I knew it for certain; Bono and Edge were going to play one of my all-time favorite U2 songs.
I was over-the-moon thrilled. The rest of the audience took that time to sit down. Same thing happened when the band played "Miss Sarajevo." I know neither of those songs are big hits, but both are beautiful and deserve a little more respect, to my ears, anyway.
The set list was a great mixture of the must-hears ("Pride," "One," "Streets") and little gems ("Zooropa," "Scarlet," "Hold Me Thrill Me Kiss Me Kill Me"). Even though now I can think of some songs I wish had been included, there was nothing glaring that night. At no point did I feel gipped of anything.
As strong as the set list was, the band was even stronger. Bono has gotten himself back into fine fighting form after undergoing emergency back surgery last year. He ran and jumped and kicked and even swung from a microphone. Larry was loose and peppy and even took to the microphone at one point—talking, singing and smiling. Adam was cool as always. Edge was phenomenal in every way, his playing was electric (the changes to "Mysterious Ways" were so dirty and fantastic), his performance confident. As I texted my friend, he was in FINE form Tuesday night.
I have two more U2 shows to look forward to next week, shows 12 and 13 for me. I can't wait to see and hear how the guys top Oakland for me.
Tuesday's Set List:
Even Better Than the Real Thing
I Will Follow
Get On Your Boots
Magnificent
Mysterious Ways
Elevation
Until the End of the World - Anthem - Where Have All the Flowers Gone
Perfect Day - Happy Birthday
All I Want Is You
Stay
Beautiful Day - Space Oddity
Pride
Miss Sarajevo
Zooropa
City of Blinding Lights
Vertigo
I'll Go Crazy (remix) - Discotheque - Life During Wartime - Psycho Killer
Sunday Bloody Sunday
Scarlet
Walk On
Encore 1:
One
Will You Love Me Tomorrow - Where the Streets Have no Name
Encore 2:
Hold Me Thrill Me Kiss Me Kill Me
With or Without You
Moment of Surrender
Sunday, June 5, 2011
Debbie Reynolds: The Auction
I've probably loved Debbie Reynolds my whole life. Watching "Singin' in the Rain" or "Tammy and the Bachelor" (the only "Tammy" movie worth watching, trust me) or any of her other movies or television appearances, it seems unnatural not to.
For as long as I can remember, Debbie Reynolds was looking for a home for the staggering collection of costumes, props and memorabilia she'd amassed. Plan after plan for the Debbie Reynolds Hollywood Motion Picture Museum fell through and now she's auctioning off the collection.
The Paley Center for the Media in Beverly Hills is currently showcasing pieces from the collection and I went there Saturday, opening day, to check it out.
Even though the exhibit represents just a sampling of everything that she's saved, it's staggering. Camera equipment, furniture, props, accessories, posters, lobby cards and some of the most-recognizable costumes from movie history.
Among the costumes at the Paley Center were pieces from "Singin' in the Rain," "How the West Was Won," "Desiree" and "Gigi." The most-famous of the bunch has to be Marilyn Monroe's subway dress from "The Seven Year Itch."
Because Saturday was the first day of the exhibit, not everything was out yet and not everything had a tag. Workers from auction house Profiles in History were running back and forth putting on everything, grabbing pieces from a storage room that was bursting with stuff. Two men carried a garment box from that room and when a visitor asked if that was the dress, he was told that it was the dress.
Debbie Reynolds' son Todd Fisher got to do the honor and put the subway dress in its display case. The visitors started applauding and then people gathered around to take pictures with this iconic dress with a $1 million reserve.
There were a few times I thought I was going to cry. First, it is a little overwhelming to be standing next to the green dress Debbie Reynolds wore while singing to Gene Kelly or the first version of Dorothy's blue pinafore and ruby slippers. Mostly, I was sad for Debbie Reynolds and the thought of her having to let go of this life-long mission of saving little bits of Hollywood history in the hopes of one day finding a home for all of it.
I hope that whoever places the winning bids on these pieces understands everything she went through to gather this collection together and will cherish whatever they acquire as much as she has.
You can get more information about the exhibit and auction here.
My pictures from the day:
Tuesday, May 24, 2011
'When I'm in Ben ...'
Back in March, The Paley Center for Media hosted its annual Paleyfest, a month of panels paying tribute to classic and emerging television shows. I'd wanted to attend one of these panels for years, but there was never any particular panel that was a must-see for me.
Until this year.
One of the panels was a "Freaks & Geeks"/"Undeclared" reunion, bringing together the casts and creators of the two hilarious, touching, painful, honest and wonderful Judd-Apatow-produced television shows. I bought my ticket and eagerly anticipated the evening.
I didn't make it to the panel. Instead, I drove around Beverly Hills for 45 minutes trying to find parking and, when unsuccessful, drove home, nearly on the brink of tears as I looked at the clock and thought of all the fun those who had made it in were having.
Last night was my redemption night. Friday afternoon, "Parks and Recreation" posted to its Facebook page that the show would have a panel at the Television Academy and fans were welcome. All you had to do was call the RSVP line and you were in. After five tries, I was able to leave my message.
I made it to the Television Academy's North Hollywood headquarters with time to spare. The parking was free. Check-in was a cinch—name crossed off the list, no bag check or body scan, and in I went.
Show co-creator Michael Shur kicked off the evening by introducing a special extended producer's cut of the season finale. Traditionally, never-before-seen clips are shown at these panels, but since the season just ended and the writing staff had its first meeting for the fourth season Monday, we got to watch the "L'il Sebastian" episode with bonus scenes (which you can watch online here).
Of course it would have been cool to see new stuff, to get scoop on the upcoming season, but I don't think anyone in the theater was disappointed. I have decided that I would prefer to watch all television shows on a giant screen from a comfy theater seat with a few hundred other people to laugh and clap along with. "Parks and Recreation" is still a little under the radar, I don't know many people who watch it, so it was nice to be in a room with people who dig it at least as much as I do, if not more.
After the episode ended, the cast and show creators were brought up for their panel discussion, which was moderated by an editor for New York Magazine's TV Vulture (I can't remember his name, which is probably for the best because I really wasn't that impressed with his questions or moderating skills. He was trying to be so clever and push the envelope, and most of the time that just comes off snarky and desperate. Last night was one of those times.) I was on the aisle so as the cast was introduced, they each came sprinting past me—Amy Poehler in fragile steps because she was wearing giant sling-back peep-toed platform shoes; Aziz Ansari leaping three or four steps at a time and nearly clobbering Amy Poehler; Adam Scott, all cool and dignified in his dark suit.
At the panel were:
(front row) Nick Offerman, Aziz Ansari, Michael Shur, Amy Poehler and Greg Daniels (co-creator)
(back row) Jim O'Heir, Retta, Adam Scott and Chris Pratt
The cast really seems to like each other, gently ribbing each other and picking up one another's stories. Amy Poehler, who also writes for the show, and Michael Shur answered most of the questions about the history of the show, the direction of the characters and so forth. Everyone did get their chance, though, because this is an ensemble show and every character had a fan in the audience.
During the Q&A session, the panelists talked about the universe of Pawnee (Michael Shur mentioned that a book about Pawnee will be released later this year), that the role of Ron's first ex-wife Tammy 1 hasn't been cast yet and the writers are taking suggestions, that the cast does do quite a bit of improvising (Chris Pratt is apparently one of the best at this, he came up with the line, "Leslie, I typed your systems into this thing up here and it says you have 'Network Connectivity Issues,'" a line so good that Michael Shur said it made him reconsider his career path), that the casts' gift of improvising lead to the show's habit of using jump cuts where characters list a bunch of different things (the ideas are sometimes so good, the producers don't want to choose what to keep or what to edit, such as when Tom lists business ideas or his nicknames for food).
Adam Scott had one of my favorite bits of the night. The moderator asked Chris Pratt how he prepares for each work day (he says he lives less than 10 minutes from the studio so roles out of bed a few minutes before he has to be on set, doesn't shave or brush his hair, and then eats a 40-pound breakfast on set) and then asked which of the cast members does the most preparation. Everyone singled out Adam Scott, who then went into full "Inside the Actors Studio" mode, taking a deep breath, putting his hand to his mouth and then saying, "When I'm in Ben …"
I laughed so hard. I understand that acting is a craft, but I do get irritated at all that talk about "choices" and "generosity" and so forth that James Lipton lives for, so I definitely enjoyed listening to a really good actor completely rip on that, especially when he added, "I look in the mirror and I don't know who I see, but I know it isn't me."
After taking a few questions from the audience, the evening was over. I hung around for a bit to avoid getting caught in the exiting herd and saw the cast was sticking around to sign autographs and take pictures, so I got a water bottle signed by Amy Poehler, Adam Scott, Aziz Ansari, Retta, Chris Pratt, Jim O'Heir and Greg Daniels that will be included in the African Well Fund's Got Water? auction in November.
I used to watch Chris Pratt on "Everwood" and I was so happy to be able to tell him how much I enjoyed the show and that he had one of my favorite lines ever, a line I still remember and use from time to time, "I have to get my crap in a pile." He was so nice and laughed a bit, then said, "Thank you so much for that."
All of the conversations between the actors and the fans were like that. Amy Poehler kept saying, "Everyone's so nice, all of our fans are so nice," as people asked her for pictures, told her how much they enjoyed the show and gave her gifts. I was impressed at how nice the cast was. When I was headed for my car, I saw Jim O'Heir walking back from the parking lot. He waved to me and said, "Have a good night!"
Once I got my bottle signed, I walked back to the lobby, which was now a dessert reception. I was sure this was just for Academy members, so I thought I should clear out, when a waiter offered me a waffle (as Leslie Knope says on the show, the three most-important things in life are waffles, friends, work, or friends, waffles, work). Yeah, the food and drinks were for everyone.
Did I mention this was a free event? I didn't have to pay for parking. I didn't have to pay to attend the panel. I didn't have to pay for reception. Wow!
I'm now following the Television Academy on Facebook because I would absolutely attend one of these panels again.
Some more of my pictures from the night (my camera isn't the greatest, but these came out OK).
Chris Pratt
Michael Shur and Amy Poehler
Nick Offerman and Jim O'Heir
Retta
Aziz Ansari, Michael Shur, Retta and Adam Scott
The Burns and Allen Tribute
The Jim Henson Tribute
The Jack Benny Statue
Until this year.
One of the panels was a "Freaks & Geeks"/"Undeclared" reunion, bringing together the casts and creators of the two hilarious, touching, painful, honest and wonderful Judd-Apatow-produced television shows. I bought my ticket and eagerly anticipated the evening.
I didn't make it to the panel. Instead, I drove around Beverly Hills for 45 minutes trying to find parking and, when unsuccessful, drove home, nearly on the brink of tears as I looked at the clock and thought of all the fun those who had made it in were having.
Last night was my redemption night. Friday afternoon, "Parks and Recreation" posted to its Facebook page that the show would have a panel at the Television Academy and fans were welcome. All you had to do was call the RSVP line and you were in. After five tries, I was able to leave my message.
I made it to the Television Academy's North Hollywood headquarters with time to spare. The parking was free. Check-in was a cinch—name crossed off the list, no bag check or body scan, and in I went.
Show co-creator Michael Shur kicked off the evening by introducing a special extended producer's cut of the season finale. Traditionally, never-before-seen clips are shown at these panels, but since the season just ended and the writing staff had its first meeting for the fourth season Monday, we got to watch the "L'il Sebastian" episode with bonus scenes (which you can watch online here).
Of course it would have been cool to see new stuff, to get scoop on the upcoming season, but I don't think anyone in the theater was disappointed. I have decided that I would prefer to watch all television shows on a giant screen from a comfy theater seat with a few hundred other people to laugh and clap along with. "Parks and Recreation" is still a little under the radar, I don't know many people who watch it, so it was nice to be in a room with people who dig it at least as much as I do, if not more.
After the episode ended, the cast and show creators were brought up for their panel discussion, which was moderated by an editor for New York Magazine's TV Vulture (I can't remember his name, which is probably for the best because I really wasn't that impressed with his questions or moderating skills. He was trying to be so clever and push the envelope, and most of the time that just comes off snarky and desperate. Last night was one of those times.) I was on the aisle so as the cast was introduced, they each came sprinting past me—Amy Poehler in fragile steps because she was wearing giant sling-back peep-toed platform shoes; Aziz Ansari leaping three or four steps at a time and nearly clobbering Amy Poehler; Adam Scott, all cool and dignified in his dark suit.
At the panel were:
(front row) Nick Offerman, Aziz Ansari, Michael Shur, Amy Poehler and Greg Daniels (co-creator)
(back row) Jim O'Heir, Retta, Adam Scott and Chris Pratt
The cast really seems to like each other, gently ribbing each other and picking up one another's stories. Amy Poehler, who also writes for the show, and Michael Shur answered most of the questions about the history of the show, the direction of the characters and so forth. Everyone did get their chance, though, because this is an ensemble show and every character had a fan in the audience.
During the Q&A session, the panelists talked about the universe of Pawnee (Michael Shur mentioned that a book about Pawnee will be released later this year), that the role of Ron's first ex-wife Tammy 1 hasn't been cast yet and the writers are taking suggestions, that the cast does do quite a bit of improvising (Chris Pratt is apparently one of the best at this, he came up with the line, "Leslie, I typed your systems into this thing up here and it says you have 'Network Connectivity Issues,'" a line so good that Michael Shur said it made him reconsider his career path), that the casts' gift of improvising lead to the show's habit of using jump cuts where characters list a bunch of different things (the ideas are sometimes so good, the producers don't want to choose what to keep or what to edit, such as when Tom lists business ideas or his nicknames for food).
Adam Scott had one of my favorite bits of the night. The moderator asked Chris Pratt how he prepares for each work day (he says he lives less than 10 minutes from the studio so roles out of bed a few minutes before he has to be on set, doesn't shave or brush his hair, and then eats a 40-pound breakfast on set) and then asked which of the cast members does the most preparation. Everyone singled out Adam Scott, who then went into full "Inside the Actors Studio" mode, taking a deep breath, putting his hand to his mouth and then saying, "When I'm in Ben …"
I laughed so hard. I understand that acting is a craft, but I do get irritated at all that talk about "choices" and "generosity" and so forth that James Lipton lives for, so I definitely enjoyed listening to a really good actor completely rip on that, especially when he added, "I look in the mirror and I don't know who I see, but I know it isn't me."
After taking a few questions from the audience, the evening was over. I hung around for a bit to avoid getting caught in the exiting herd and saw the cast was sticking around to sign autographs and take pictures, so I got a water bottle signed by Amy Poehler, Adam Scott, Aziz Ansari, Retta, Chris Pratt, Jim O'Heir and Greg Daniels that will be included in the African Well Fund's Got Water? auction in November.
I used to watch Chris Pratt on "Everwood" and I was so happy to be able to tell him how much I enjoyed the show and that he had one of my favorite lines ever, a line I still remember and use from time to time, "I have to get my crap in a pile." He was so nice and laughed a bit, then said, "Thank you so much for that."
All of the conversations between the actors and the fans were like that. Amy Poehler kept saying, "Everyone's so nice, all of our fans are so nice," as people asked her for pictures, told her how much they enjoyed the show and gave her gifts. I was impressed at how nice the cast was. When I was headed for my car, I saw Jim O'Heir walking back from the parking lot. He waved to me and said, "Have a good night!"
Once I got my bottle signed, I walked back to the lobby, which was now a dessert reception. I was sure this was just for Academy members, so I thought I should clear out, when a waiter offered me a waffle (as Leslie Knope says on the show, the three most-important things in life are waffles, friends, work, or friends, waffles, work). Yeah, the food and drinks were for everyone.
Did I mention this was a free event? I didn't have to pay for parking. I didn't have to pay to attend the panel. I didn't have to pay for reception. Wow!
I'm now following the Television Academy on Facebook because I would absolutely attend one of these panels again.
Some more of my pictures from the night (my camera isn't the greatest, but these came out OK).
Chris Pratt
Michael Shur and Amy Poehler
Nick Offerman and Jim O'Heir
Retta
Aziz Ansari, Michael Shur, Retta and Adam Scott
The Burns and Allen Tribute
The Jim Henson Tribute
The Jack Benny Statue
Monday, May 16, 2011
Making Farming Fabulous
For most of my professional career, I've written about business. The working life I've carved out for myself is a far cry from the one I imagined when I was a journalism student spending late nights in the school paper office certain that all those long, thankless hours would no doubt get me into the offices of Rolling Stone one day.
Business isn't music, but it can still be a great thing to write about. I think the reason why there are so many magazines and books and, now, television shows about starting and running a business is because that process is so interesting. For the small businesses I'm so familiar with, so much is on the line, it's their houses and relationships and futures that small business owners are fighting for every day. The dramatic possibilities are endless.
It's that drama that my favorite reality show is all about. "The Fabulous Beekman Boys" follows a couple from Manhattan who buy a farm in Upstate New York as a weekend home and then get the idea to turn it into a business and lifestyle brand. In the process, their lives and relationship are turned upside down. The show's second season comes to an end tomorrow night and Planet Green is running a Season 2 marathon that afternoon.
If you haven't seen the show yet, tomorrow's a great day to start.
Josh Kilmer-Purcell, an author and advertising agency executive, and Dr. Brent Ridge, a former Martha Stewart advisor, are The Beekman Boys. They've been together for more than 10 years and have sacrificed pretty much everything to make Beekman 1802—the farm, the line of goats' milk cheese and other products, the store and the website—a go.
The story of the couple's first harrowing year on the farm, in which they both lose their jobs, almost give up the farm, and almost give up each other, is honestly and openly detailed in Josh's memoir "The Bucolic Plague." I enthusiastically read the book in a few sittings during my vacation last year. I'd already gotten to know Brent and Josh a bit after the watching the first season of the TV show, but the book goes into details a half-hour of television just can't.
The first season of the show takes place the year after the book ends, the "Year of Sacrifice" where Brent stays on the farm to start and grow the business, and Josh spends his weeks in the city, earning a living that will support himself and Brent, and pay for their two mortgages and other expenses. At the end of the first season, the business hadn't yet grown to the point to where Josh could move to the farm full time.
The last episode of the season closes out with Josh speaking directly to the camera about knowing when sacrifices are worth making and deciding to push ahead. I know that's a realization so many small business owners have had to make when all doesn't go according to plan—do you give up or forge ahead?
The second season of the show started with the business now enjoying a national profile thanks to the television exposure, the publication of Josh's book and national media coverage. That, sadly, isn't enough to bring Josh to the farm full-time so a second "Year of Sacrifice" is underway. Is two years spent away from the love of your life, burning the candle at both ends to build something you might not be able to enjoy really worth it? Brent and Josh spend the entire season fighting that out.
Every episode of this show offers a peek inside a growing business, a quirky small town and a thriving relationship. It has fun moments and serious moments, offers laughs and occasional tears. Most of all, it tells the truth about how hard it is to start, grow and run a business with the person you love, an adorable cast of goats, one diva llama, and the support of your family, friends and community.
Business isn't music, but it can still be a great thing to write about. I think the reason why there are so many magazines and books and, now, television shows about starting and running a business is because that process is so interesting. For the small businesses I'm so familiar with, so much is on the line, it's their houses and relationships and futures that small business owners are fighting for every day. The dramatic possibilities are endless.
It's that drama that my favorite reality show is all about. "The Fabulous Beekman Boys" follows a couple from Manhattan who buy a farm in Upstate New York as a weekend home and then get the idea to turn it into a business and lifestyle brand. In the process, their lives and relationship are turned upside down. The show's second season comes to an end tomorrow night and Planet Green is running a Season 2 marathon that afternoon.
If you haven't seen the show yet, tomorrow's a great day to start.
Josh Kilmer-Purcell, an author and advertising agency executive, and Dr. Brent Ridge, a former Martha Stewart advisor, are The Beekman Boys. They've been together for more than 10 years and have sacrificed pretty much everything to make Beekman 1802—the farm, the line of goats' milk cheese and other products, the store and the website—a go.
The story of the couple's first harrowing year on the farm, in which they both lose their jobs, almost give up the farm, and almost give up each other, is honestly and openly detailed in Josh's memoir "The Bucolic Plague." I enthusiastically read the book in a few sittings during my vacation last year. I'd already gotten to know Brent and Josh a bit after the watching the first season of the TV show, but the book goes into details a half-hour of television just can't.
The first season of the show takes place the year after the book ends, the "Year of Sacrifice" where Brent stays on the farm to start and grow the business, and Josh spends his weeks in the city, earning a living that will support himself and Brent, and pay for their two mortgages and other expenses. At the end of the first season, the business hadn't yet grown to the point to where Josh could move to the farm full time.
The last episode of the season closes out with Josh speaking directly to the camera about knowing when sacrifices are worth making and deciding to push ahead. I know that's a realization so many small business owners have had to make when all doesn't go according to plan—do you give up or forge ahead?
The second season of the show started with the business now enjoying a national profile thanks to the television exposure, the publication of Josh's book and national media coverage. That, sadly, isn't enough to bring Josh to the farm full-time so a second "Year of Sacrifice" is underway. Is two years spent away from the love of your life, burning the candle at both ends to build something you might not be able to enjoy really worth it? Brent and Josh spend the entire season fighting that out.
Every episode of this show offers a peek inside a growing business, a quirky small town and a thriving relationship. It has fun moments and serious moments, offers laughs and occasional tears. Most of all, it tells the truth about how hard it is to start, grow and run a business with the person you love, an adorable cast of goats, one diva llama, and the support of your family, friends and community.
Saturday, May 14, 2011
Kiss Me
Ben and Leslie finally kissed on "Parks and Recreation" this week. Following what has often been a very weak and tired tradition, the show played with the "will-they-or-won't-they" theme, putting together two people who are clearly perfect for each other and waiting to see if they realize it or not. Unlike most shows that have attempted this, the writers and actors on "Parks and Recreation" succeeded with this story line, I've actually come to care about these two characters and have been on pins and needles the past few weeks waiting see if they would finally end up together.
There were no false starts and misunderstandings and set ups, and all the old tired ploys writers have been using for years to bring together and pull apart your favorite characters. Instead, these characters were allowed to act like adults, slightly goofy under the influence of budding crushes, but still in control of their lives and actions. They actually had an honest conversation about their feelings for each other and the ramifications a relationship would have for their careers (staff fraternization is frowned upon at Pawnee city hall).
On Thursday night, it seemed like that might be that, that like many stoic characters throughout literary history, Ben and Leslie would sacrifice happiness for duty, and just get in with their lives. Instead, this happened:
That was a damn fine first kiss, passionate, deliberate and realistic. They didn't push each other up against a wall, nothing was swept off the desk. I can't find the exact quote, but I believe it was Entertainment Weekly who wrote about how great the first kiss was between Luke and Lorelei on "Gilmore Girls" because it was all about two adults who knew exactly what they wanted, as you can see below.
That was the Ben/Leslie kiss, so built up and so worth the wait.
I've watched "Parks and Recreation" from the beginning, interested to see what the people behind the American "Office" would do with local politics. The show started off as a pure "Office" clone, the characters and situations in Pawnee having equal counterparts at Dunder-Mifflin. Toward the end of the first season, the show found its own quirky yet optimistic voice and has become one of my favorite TV comedies.
This season's addition of the characters of Ben and Chris, two state government bureaucrats brought in to save the floundering town, has made the show only stronger. The Ben/Leslie relationship has been the icing on the cake. As an adult, it's nice to see grownups have grown-up relationships, not all swoony and silly but not all tortured and angsty either. As "Parks and Recreation" climbs in the ratings and garners more critical praise, maybe other writers will take notice and bring us more honest relationships to get caught up in every week on our favorite shows.
To go along with this fabulous kissing theme, New Found Glory's goofy, fun version of "Kiss Me."
There were no false starts and misunderstandings and set ups, and all the old tired ploys writers have been using for years to bring together and pull apart your favorite characters. Instead, these characters were allowed to act like adults, slightly goofy under the influence of budding crushes, but still in control of their lives and actions. They actually had an honest conversation about their feelings for each other and the ramifications a relationship would have for their careers (staff fraternization is frowned upon at Pawnee city hall).
On Thursday night, it seemed like that might be that, that like many stoic characters throughout literary history, Ben and Leslie would sacrifice happiness for duty, and just get in with their lives. Instead, this happened:
That was a damn fine first kiss, passionate, deliberate and realistic. They didn't push each other up against a wall, nothing was swept off the desk. I can't find the exact quote, but I believe it was Entertainment Weekly who wrote about how great the first kiss was between Luke and Lorelei on "Gilmore Girls" because it was all about two adults who knew exactly what they wanted, as you can see below.
That was the Ben/Leslie kiss, so built up and so worth the wait.
I've watched "Parks and Recreation" from the beginning, interested to see what the people behind the American "Office" would do with local politics. The show started off as a pure "Office" clone, the characters and situations in Pawnee having equal counterparts at Dunder-Mifflin. Toward the end of the first season, the show found its own quirky yet optimistic voice and has become one of my favorite TV comedies.
This season's addition of the characters of Ben and Chris, two state government bureaucrats brought in to save the floundering town, has made the show only stronger. The Ben/Leslie relationship has been the icing on the cake. As an adult, it's nice to see grownups have grown-up relationships, not all swoony and silly but not all tortured and angsty either. As "Parks and Recreation" climbs in the ratings and garners more critical praise, maybe other writers will take notice and bring us more honest relationships to get caught up in every week on our favorite shows.
To go along with this fabulous kissing theme, New Found Glory's goofy, fun version of "Kiss Me."
Wednesday, March 23, 2011
Making a Difference
Today, Gwen Stefani personally made a $1 million donation to Save the Children's Japan Earthquake-Tsunami Children in Emergency Fund. Additionally, Gwen will be hosting a charity auction, a fundraiser and sell limited-edition Harajuku Lovers shirts through NoDoubt.com to raise even more funds for the charity.
"I've been inspired by Japan for many years and have a true love, appreciation and respect for the Japanese people and their culture," Gwen said in a statement posted on NoDoubt.com. "The disaster in Japan is beyond heartbreaking and I want to do anything I can to help. I would never be able to make a gesture like this without the love and support of all the fans over all these years."
Even for someone as successful as Gwen, $1 million is a lot of money. To the kids in Japan dealing with the aftermath of the earthquake and tsunami, the impact that gift—and the publicity surrounding it—will have on their lives is immeasurable.
Like I said on Facebook, this is yet another reason to adore Gwen Stefani.
I don't have $1 million to spare, but if I did I would donate to a cause close to my heart, just like Gwen did. For me, that cause is the African Well Fund, an organization dedicated to the mission of funding clean water and sanitation projects in sub-Saharan Africa that I've been supporting for nearly nine years and serving on the board of for nearly five years.
Yesterday, AWF launched the Build a Well for Bono's Birthday fundraiser, aiming to fund clean water and sanitation projects at girls' schools in Benin. AWF was founded in 2002 by a group of fans inspired by Bono's work in Africa so each year we raise money in honor of his birthday to thank him for setting such a good example for all of us.
Now Gwen Stefani, a bit of a Bono protégé, is doing the same thing.
What I've learned from the example set by globally minded celebrities like Gwen and Bono and Madonna and John Lennon is that it isn't important how much you do, how much you give, but that you do and that you give. Gwen has the ability to give $1 million to her favorite cause. Bono has the ability to meet with global leaders to plead the case for aid and fair trade. Madonna has the ability to start a girls' school for Malawi orphans. John Lennon had the ability to stage concerts and events that raised awareness.
I don't have any of those gifts, but I can donate my time to helping promote AWF's good work and donate the money I raise by saving pennies in the jar I keep on my desk. While my contributions are small, I know they make a difference.
Whatever your cause, whatever your action, know that every time you post about an important issue, write a letter to your representative, buy a charity-linked product, make a donation, take part in a march, stuff envelopes, you, too, are making a difference in the world.
"I've been inspired by Japan for many years and have a true love, appreciation and respect for the Japanese people and their culture," Gwen said in a statement posted on NoDoubt.com. "The disaster in Japan is beyond heartbreaking and I want to do anything I can to help. I would never be able to make a gesture like this without the love and support of all the fans over all these years."
Even for someone as successful as Gwen, $1 million is a lot of money. To the kids in Japan dealing with the aftermath of the earthquake and tsunami, the impact that gift—and the publicity surrounding it—will have on their lives is immeasurable.
Like I said on Facebook, this is yet another reason to adore Gwen Stefani.
I don't have $1 million to spare, but if I did I would donate to a cause close to my heart, just like Gwen did. For me, that cause is the African Well Fund, an organization dedicated to the mission of funding clean water and sanitation projects in sub-Saharan Africa that I've been supporting for nearly nine years and serving on the board of for nearly five years.
Yesterday, AWF launched the Build a Well for Bono's Birthday fundraiser, aiming to fund clean water and sanitation projects at girls' schools in Benin. AWF was founded in 2002 by a group of fans inspired by Bono's work in Africa so each year we raise money in honor of his birthday to thank him for setting such a good example for all of us.
Now Gwen Stefani, a bit of a Bono protégé, is doing the same thing.
What I've learned from the example set by globally minded celebrities like Gwen and Bono and Madonna and John Lennon is that it isn't important how much you do, how much you give, but that you do and that you give. Gwen has the ability to give $1 million to her favorite cause. Bono has the ability to meet with global leaders to plead the case for aid and fair trade. Madonna has the ability to start a girls' school for Malawi orphans. John Lennon had the ability to stage concerts and events that raised awareness.
I don't have any of those gifts, but I can donate my time to helping promote AWF's good work and donate the money I raise by saving pennies in the jar I keep on my desk. While my contributions are small, I know they make a difference.
Whatever your cause, whatever your action, know that every time you post about an important issue, write a letter to your representative, buy a charity-linked product, make a donation, take part in a march, stuff envelopes, you, too, are making a difference in the world.
Tuesday, February 15, 2011
I'm Everywhere but Never Right Here
I've wanted to go to a show at The Hotel Café for several years, ever since I first caught Tweets from John Mayer a few hours late announcing that he would be playing a last-minute show at the club while he was working on "Continuum." I finally got my chance to attend a show at The Hotel Café this past Friday with Bryan Greenberg + as-yet-unnamed band's tour-closing show.
The club is really tiny, which is a total bonus considering the acts that play there. Sadly, it was also a major downside Friday thanks to the miserable crowd. As a native Southern Californian, I take exception when people talk about how lame and horrible LA crowds are, but in this case I have to agree. People talked and texted and Tweeted and Facebooked throughout the entire 90-minute set, and at least three glasses were broken, all of which sucked for me as an audience member, so I can only imagine how distracted and disappointing it was for the band.
As for the band, amazing! Sadly, I haven't been able to track down the names of the drummer, guitarist/bassist/harmonica player and guitarist/pianist/keyboard player that joined Greenberg on this tour, but they were flawless and energetic. Greenberg asked for band name suggestions on stage (something he's done on other stops this tour), so I'm hopeful that's a sign this foursome becomes a permanent thing because the guys worked so well together.
This was my third time seeing Greenberg, an actor/musician maybe still best known for "Prime" and "One Tree Hill," though "How to Make It in America" did catch quite a bit of buzz last year. My first show, back in 2008 at the Canal Room in New York City, was the most fun, with the majority-female audience there to have a good time and enjoy the musical stylings of Greenberg and his fellow guitar-toting singer-songwriters Graham Colton and Michael Tolcher. My second show at Largo at The Coronet in LA in 2009 was the best room, everyone in the tiny theater in rapt silence during the three acoustic sets (Curtis Peeples solo followed by Bryan Greenberg trio and Graham Colton solo). Friday's show was the best performance.
The show was billed as an album release party for "We Don't Have Forever," Greenberg's new indie release, but the set featured a nice balance of songs from that album and his debut, "Waiting for Now." I was excited to hear the songs I knew, especially the dreamy "Someday," which has become Greenberg's signature song after being featured in "October Road" and in various other places, and the completely wicked "Sorta Have a Girlfriend," a song I'd probably enjoy a great deal less if I was his girlfriend.
The new songs flowed well with the old songs. Greenberg definitely has a style, low-key, stripped-down, sincere, so every new song I heard just sounded like him. I bought "We Don't Have Forever" at the show and am liking what I'm hearing.
For now, Greenberg has put his guitar down. Filming on the second season of "How to Make It in America" begins next month, so it will probably be a while before he's playing live again. I do plan on catching his next tour, hopefully in a much-better room to a much-more deserving crowd than what we both got Friday.
Here's a video of Bryan Greenberg and band performing "Someday" Friday night. The video gives you a taste of how great he and his band are, and how crappy the audience was.
The club is really tiny, which is a total bonus considering the acts that play there. Sadly, it was also a major downside Friday thanks to the miserable crowd. As a native Southern Californian, I take exception when people talk about how lame and horrible LA crowds are, but in this case I have to agree. People talked and texted and Tweeted and Facebooked throughout the entire 90-minute set, and at least three glasses were broken, all of which sucked for me as an audience member, so I can only imagine how distracted and disappointing it was for the band.
As for the band, amazing! Sadly, I haven't been able to track down the names of the drummer, guitarist/bassist/harmonica player and guitarist/pianist/keyboard player that joined Greenberg on this tour, but they were flawless and energetic. Greenberg asked for band name suggestions on stage (something he's done on other stops this tour), so I'm hopeful that's a sign this foursome becomes a permanent thing because the guys worked so well together.
This was my third time seeing Greenberg, an actor/musician maybe still best known for "Prime" and "One Tree Hill," though "How to Make It in America" did catch quite a bit of buzz last year. My first show, back in 2008 at the Canal Room in New York City, was the most fun, with the majority-female audience there to have a good time and enjoy the musical stylings of Greenberg and his fellow guitar-toting singer-songwriters Graham Colton and Michael Tolcher. My second show at Largo at The Coronet in LA in 2009 was the best room, everyone in the tiny theater in rapt silence during the three acoustic sets (Curtis Peeples solo followed by Bryan Greenberg trio and Graham Colton solo). Friday's show was the best performance.
The show was billed as an album release party for "We Don't Have Forever," Greenberg's new indie release, but the set featured a nice balance of songs from that album and his debut, "Waiting for Now." I was excited to hear the songs I knew, especially the dreamy "Someday," which has become Greenberg's signature song after being featured in "October Road" and in various other places, and the completely wicked "Sorta Have a Girlfriend," a song I'd probably enjoy a great deal less if I was his girlfriend.
The new songs flowed well with the old songs. Greenberg definitely has a style, low-key, stripped-down, sincere, so every new song I heard just sounded like him. I bought "We Don't Have Forever" at the show and am liking what I'm hearing.
For now, Greenberg has put his guitar down. Filming on the second season of "How to Make It in America" begins next month, so it will probably be a while before he's playing live again. I do plan on catching his next tour, hopefully in a much-better room to a much-more deserving crowd than what we both got Friday.
Here's a video of Bryan Greenberg and band performing "Someday" Friday night. The video gives you a taste of how great he and his band are, and how crappy the audience was.
Monday, January 24, 2011
Lonely and Dreaming of the West Coast
A year ago I wrote about the complete awesomeness of Jay-Z and Alicia Keyes' "Empire State of Mind" and wondered why a state as great as California hasn't inspired the same intense musical love that New York has.
I still stand by that earlier assessment, but the NPR show "The California Report" is doing its best to dissuade me. In collaboration with listeners, producers of the show have compiled a list of more than 80 songs about the Golden State that is now streaming online. The list seems somewhat heavily weighed toward Northern California (which makes a bit of sense seeing as "The California Report" is produced in San Francisco) and is by no means complete (no Bad Religion? only one Red Hot Chili Peppers' song?), but it's a decent list that spans about 100 years of popular music.
In honor of my beloved state, another song that was sadly left off the list, but always ranks highly with me, Everclear's "Santa Monica."
I still stand by that earlier assessment, but the NPR show "The California Report" is doing its best to dissuade me. In collaboration with listeners, producers of the show have compiled a list of more than 80 songs about the Golden State that is now streaming online. The list seems somewhat heavily weighed toward Northern California (which makes a bit of sense seeing as "The California Report" is produced in San Francisco) and is by no means complete (no Bad Religion? only one Red Hot Chili Peppers' song?), but it's a decent list that spans about 100 years of popular music.
In honor of my beloved state, another song that was sadly left off the list, but always ranks highly with me, Everclear's "Santa Monica."
Friday, January 14, 2011
Pointy Hat Made of Felt
Wow, it's been a really long time since I last posted here. I still intend to run down all the concerts I went to in 2010 because I went to quite a few and they were all awesome. In the meantime here's something I posted nearly six years ago on my old blog.
I found it in an issue of Esquire in 2005, laughed myself nearly sick the first time I read it and had to share it. All this time later, it still makes me laugh.
This is dedicated to all the working stiffs out there. I hope life is treating you well and that you're able to take full advantage of the holiday weekend.
Quiz: Time to Quit Your Job?
Sun and surf beckon. Is it time to bag the office life? Take this useful test and find out.
I found it in an issue of Esquire in 2005, laughed myself nearly sick the first time I read it and had to share it. All this time later, it still makes me laugh.
This is dedicated to all the working stiffs out there. I hope life is treating you well and that you're able to take full advantage of the holiday weekend.
Quiz: Time to Quit Your Job?
Sun and surf beckon. Is it time to bag the office life? Take this useful test and find out.
By Brian Frazer
1. When the alarm clock goes off in the morning you’re …
A. psyched to hop in the shower and start your day (1)
B. cursing. (2)
C. crying. (3)
D. wishing you were handicapped so you’d never have to leave your bed. (4)
2. Which person is most like your boss?
A. Gandhi (1)
B. Ben Affleck (2)
C. Hitler (3)
D. Paula Abdul (4)
3. How long is your commute?
A. Less than a half-hour (1)
B. More than a half-hour (2)
C. Long enough to contemplate driving into oncoming traffic three times (4)
4. What is your mandatory work outfit?
A. None, thank you very much! (1)
B. Suit and tie (2)
C. Suit and bow tie (3)
D. Pointy hat made of felt (4)
5. What do your coworkers do for your birthday?
A. Lobster lunch with champagne and cake (1)
B. Ignore you (2)
C. Punch you in the arm while counting off your years (3)
D. Light you on fire (4)
6. What percentage of your day is spent doing something a nine-year-old retarded girl could do?
A. None (1)
B. 3 percent (2)
C. 50 percent (3)
D. Uh, how severely retarded? (4)
7. What is the number-one benefit you get at work?
A. Learning stuff and whatnot (1)
B. Health insurance (2)
C. Krispy Kremes (3)
D. Black Lung (4)
8. What do you see while you’re working?
A. An amazing view of the city. Crikey, is it beautiful! (1)
B. Lots and lots of graffiti (2)
C. The back of someone’s dandruffy mullet (3)
D. Nothing since the bleach accident (4)
Answer Key: Add up the points assigned to each answer you chose.
1 to 9 points: Stay where you are.
10 to 19 points: Start working on that résumé.
20 to 26: Get fired: collect unemployment.
27 to 33: Apply for a migrant-worker gig.
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