1

You’ve got to be a boomer (or older!) to know who this guy is.

Maybe youngsters have heard the name, maybe those ensconced in college level film studies are aware of his work, but Godard is definitely in the rearview mirror. Dying of assisted suicide, he was a man out of time.

How to set the stage for the sixties… As time has gone on, the decade has been decried, as degenerate and excessive, but if you lived through the times you know otherwise.

Anything was possible.

That was the environment we grew up in. The fifties were in black and white, the sixties were in color. And it was all happening, everything was up for grabs.

Today we sympathize with youngsters and their college debt and lack of career opportunities. They can’t make it here. As for those in film studies, they’re the minority, most are pursuing careers. Don’t confuse film studies with going to USC to learn how to MAKE films, I’m talking about analyzing the art form itself, that’s the goal. No one wants to analyze anything anymore, they just want to plow ahead blindly, pledging allegiance to a list of beliefs that they never question.

So the turn of the decade began with the Kennedy/Nixon election. I remember going to school the next morning and arguing with my second grade classmates as to who won. Sure, this situation was trumped in 2000, with Bush and Gore, but instead of the end result leading us back to the past, Kennedy emerged triumphant and started ushering us into the future, from day one. He didn’t wear a hat at his inauguration, his wife was a babe who spoke a plethora of languages, and what is overlooked is that when he took office he was 43. A mere pup. Whereas today out of touch septuagenarians fight for power and no one wants to give it up, doing their best to exclude the younger generations and hold back progress.

But you might speak of the Biden legislative victory just recently. Kudos to him, but Jackie Kennedy took network TV viewers on a tour through the White House, focusing on art.

Because art was everything. There were no billionaires. There was plenty of racism, but the wheels were turning there too.

Our rabbi went down south to protest. It was the opposite of mine for me. The goal was to lift everybody up. No child left behind. Ultimately it was not only about civil rights, but the right to pre-school, the right to meals in schools, the right of opportunity. All those initial tech seers, from Steve Jobs to Bill Gates? They were boomers, they were raised in a can-do world.

And there was the race to the moon and…

There was cinema. People even stopped calling it “the movies.” The discussion became about FILM! And you’ve got to credit Jean-Luc Godard as a progenitor of the movement. The French New Wave. They questioned what cinema was and what it could be.

Meanwhile, Hollywood was turning out dreck, depressed about the power of television, the studios went broad and movies had less impact on the culture until…

All those young filmmakers were exposed to Godard, et al.

Once again, it was about possibilities. Rules were made to be broken. Even narrative arc. You didn’t watch a movie and instantly forget about it, you left the theatre thinking and…

You definitely went to the theatre, it was a religious experience. It’s where the action took place.

And in 1964 there was a concomitant great leap forward in America with the Beatles. Music and movies drove the culture, it was undeniable. 

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So the first Godard movie I saw was “One Plus One (Sympathy for the Devil).” Yes, it starred the devil himself, Mick Jagger, along with his merry band of night crawlers known as the Rolling Stones. But it wasn’t a Stones flick, they were just in it, AND GODARD REFUSED TO INCLUDE A COMPLETE PERFORMANCE OF THE SONG!

Eventually the movie came out with a complete rendition of the opening track on “Beggars Banquet at the end” but this was against Godard’s wishes.

And it took a while for the film to be released, such that when it came out, it was the era of “Let It Bleed.” However, one thing is for sure, it was not the typical movie, it didn’t even hang together, it was an experience, a statement, that you were trying to figure out as you watched it, not wanting to write your interpretation in indelible ink for you weren’t exactly sure, you had to mull it over, not only discuss, but argue about it, with your friends.

Yes, we argued about movies.

I saw “One Plus One (Sympathy for the Devil)” at the County Cinema, where I’d previously seen a double feature of “Dr. No” and “From Russia With Love.” This was right after “Goldfinger,” when the entire nation, the entire world, was Bond crazy. Turned out we were too young to get in, so my sister called my father FROM A PAY PHONE, he came down and bought a ticket, ushered us in and then went back on the street to resell the ducat. There were no child restrictions in our household. Nothing was too prurient or intense for us to experience. It was a great big world and if anything our parents wanted to expose us to it.

The County Cinema was a single theatre. And it was a dump. Almost all of the theatres were. When the lights went out what difference did it make? It was all about what was on screen.

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So when I was in college I took a course in French film. We used to laugh about this, there couldn’t be a course in American film at Middlebury, that was too lowbrow. And I remember first seeing Georges Méliès’s “A Trip to the Moon,” and soon thereafter Truffaut’s “Shoot the Piano Player” (before Elton released an album with a similar title), and seemingly every picture featured Jean Gabin, previously unknown to me or my classmates, he was our new hero. And there was the slight yet intense Jean-Louis Trintignant, and there was Marina Vlady.

WHO?

She was the star of Godard’s “Two or Three Things I Know About Her,” however we referred to it under its French name, “Deux ou trois choses que je sais d’elle,” after all, it was Middlebury.

And the thing about Marina Vlady was…she was not an American movie star, slick and made up to be flawless. She skewed normal, albeit attractive. And the film had no conventional narrative arc. The fourth wall was broken. And, AND, as the professors who taught this course couldn’t stop emphasizing, THERE WAS A 360 DEGREE PAN!

You see that nowadays, but not before Godard, and not that often thereafter. Godard didn’t care about the rules, he wanted to create art unfettered, do it his way, DO YOU KNOW WHAT AN INSPIRATION THIS WAS TO US?

Not far different from the late sixties and seventies in music. The acts gained control of their music. They recorded in studios far from the corporate tentacles, and oftentimes they could cut whatever they wanted and the label had to release it. And let’s not forget they gained control of the covers and inner sleeves!

The artists were king. And as long as the money was pouring in…

Yes, labels had house hippies to explain the music to the execs.

As for Godard and the French New Wave… It took a while to reach Hollywood. Film students were all over it, but they had no access to 35mm film, they couldn’t afford it. Movies have always been expensive to make, Godard, et al, made them cheaper but it took a while for the major studios to loosen the purse strings.

And we first got “Bonnie and Clyde” and “The Graduate.”

And then the youngsters came to the fore, Coppola, Bogdanovich, the list is endless. If you wanted to know about society you had to go to the movies.

And we did. Many of us multiple times a week. Films were platformed, they opened in New York and L.A. and then spread to the rest of the country over months. And conversation about them lingered too.

And you went to see the foreign films. The art houses flourished.

You not only had to see Godard and Truffaut, but Chabrol, Rohmer and Resnais. And Ingmar Bergman too. We saw “The Seventh Seal” at Middlebury, talk about leaving the theatre with more questions than answers… (Worst was “Last Year at Marienbad,” which we also saw in that class.)

And “The Seventh Seal” introduced us to Max von Sydow, long before he gained notoriety in Hollywood productions.

And it wasn’t only Bergman, it was Jan Troell. His “Emigrants/New Land” films illustrated how Scandinavians moved to Minnesota, to find a place with weather just as bad as the place they’d left (I stole that joke from comedian Diane Ford).

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Now foreign film didn’t die in America until the turn of the century. Along with all film. First it was Hollywood productions. The internet ushered in an era of cacophony, but at least we had the movies in common, you went just to have something to talk about with others.

But the movies were so bad, people stopped going.

Some still go to the art house for foreign flicks on the weekend, but there’s a plethora of product oftentimes at high expense and…

No one argued over the cost in the days of yore. If you have an opportunity to see godhead are you gonna say no?

Not that it was always godhead, but we were building our mental library. We were becoming experts without even trying.

And today?

Well, you’ve got to see Iranian filmmaker Asghar Farhadi’s 2011 flick “A Separation.” Forget what comes after, even if it’s been nominated for an award, “A Separation” sits far above the rest of us work.

Yet, the dream died.

But the dream used to be alive.

We used to know who ran the studios. Who gave the green light. Do we get “The Godfather” without Robert Evans? Well, he’d tell you no.

Now we don’t know and we don’t care.

Godard stood in solidarity with the protesters in France in 1968. Today, anybody with dough wants to stand on the sidelines, they don’t want to jeopardize their career.

Jean-Luc Godard talked the talk and walked the walk.

But he did come from a rich family.

Wealthy families… They produce a huge number of entitled nincompoops, but they also produce many of our artists. Without having to worry about food and shelter, they test the limits.

At least they used to. Now it’s all about capital preservation and lifestyle. The scions of the rich are risk-averse.

Now it’s about the gross as opposed to the art.

5

So you can see a facsimile of the Grateful Dead on the road, but most of what was huge in the sixties isn’t even a sideshow. Boomers grew up with the films of the thirties and forties, today’s youngsters believe anything made before this century isn’t worth watching.

Some gods have been completely forgotten. The Marx Brothers? Kids don’t even know who you’re talking about.

But they can tell you all about Elon Musk and the other financial titans. And sure, it’s great that the means of production is in their pockets, but they’re not making art with their iPhones, but commercials for themselves, their greatest desire is to become an influencer.

The whole world has flipped. All those liberal arts majors who sustained the artistic community? They’re laughed at. College is to get a job, not to broaden your mind.

We’re old.

But we remember.

And sure, it’s nostalgia, but…

The history of tech in the last two decades far surpasses that of film and music. Hands-down. Things change, and in the entertainment world the corporations regained control of the “art” form and they have no intention of relinquishing it.

As far as rebelling… God, you can’t even get noticed these days, that’s the hardest part, never mind start a movement.

Not that it can’t happen, but…

It did happen sixty years ago. And one of the leaders was Jean-Luc Godard. Not always an admirable man in his personal choices and behavior, he lived for what was on screen.

And we did too.

And when I saw Jean-Luc Godard passed away something died inside of me. Maybe it was that hope and possibility I was referencing above. That belief that there is honor in being the freak, the outsider with the unpopular opinion spewed from the heart. Someone’s got to take chances, someone’s got to go against the grain, otherwise we have stasis.

Which is what we’ve got today.

But those old films still exist.

You’ve got nothing to learn from the superheroes in the blockbusters. But you’ve got plenty to learn from the work of the true superheroes of yore, people like Jean-Luc Godard who pushed the envelope. Thank god their work is still available for people to see and be influenced and inspired by.

I certainly was.

Thanks for writing this Bob.

What has been core for Wesley and Jeremiah from the beginning is that they are true songwriters driven by creating full ALBUMS. In our age of disposable content they are consistently producing art that will live far beyond any one moment. That authenticity translates, fans feel it and own it. It also materializes into a captivating show that can move tickets because the set is not driven by any one song.

In 2012 in one of your newsletters you made mention of the band with the context “They’re on Dualtone!!”. Ten years and four albums later, they still are and we couldn’t be prouder.

Kudos to any incredible team and a once in a generation band.

Paul Roper

Dualtone

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Hey Bob –

I am glad you caught the article and took the time to shine some light on the recent successes of The Lumineers. I wish I could say you have just been out of the loop, but you captured the exact reaction I’ve been hearing about the band for over a decade.

This year in particular the band has risen to another level and I’ve made a point to cover a lot of shows and get industry folks out to see it in person, and the comments are always the same…

“Holy shit I had no idea”

“This is a SHOW”

I think the disconnect has been due to the fact that artist development isn’t flashy. It is hard work.  It doesn’t get press.  It doesn’t get clicks.  These guys have worked their asses off for 10+ years to get to this point and did it the most difficult way possible.

And while you mentioned that it is all about the music, and that is true, it is only a half-truth.  It is all about the SHOW.  That has been the key to the band’s touring development.  That is the special sauce.

Wes and Jer’s vision has always been crystal clear when it comes to the live presentation.  Every last detail about the show is considered and mulled over, and that comes through in the final performance.  The music and show are more in line with Tom Petty and Springsteen than anything else.  Authentic, catchy, well-crafted songs and the live show to back it up…

And we’ve always kept ticket prices reasonable, knowing that if we got people in the room they would be converted.  I can say with 100% confidence there is not one person who has been to a Lumineers show that felt like they didn’t get their money’s worth.  They may not love the music, but nobody is leaving the show saying “I can’t believe I paid $X for that.” Live music is supposed to be entertaining.  So, if a casual fan leaves a show feeling they got a good value on their experience, there is a strong chance they will come see the band again.  That’s it…it’s not complicated. It just takes a LONG time to get to the point of playing stadiums.

It also helps, as you pointed out, that the team is a well-oiled machine all pulling in the same direction, which is very rare.  Not only Activist and MTG, but Dualtone (their label since day one), Jim Merlis (their publicist since day one), Richard Grabel (their attorney since day one), Rit Venerus (their business manager since day 1.5), and Sara Full (their TM/PM).

If you’re trying to build a career slowly over a decade, it only takes one bad apple on the team to poison the well; to cast doubt on decisions made or someone playing politics to try and further their own agenda with the band.  We all know how that goes…

So, when we started looking at 2022 touring Coors was a no-brainer.  We had sold 55K+ tickets at Fiddlers on the last cycle. And when the idea of Wrigley came up, we decided it was time to make a statement.  And I hate the term “statement play”, because most of the time it isn’t.  But the guys (and team) put their asses on the line when we decided to play Wrigley.

I don’t know if you noticed, but there wasn’t another show at Wrigley the weekend we played, and you have done this long enough to know what that means.  It ain’t cheap to play a stadium.  And it is damn near impossible when you aren’t sharing expenses with another show.  There was a real possibility we could do 60%-70% business and the guys would be going home with a payday that was more in line with playing The Riv than Wrigley.

But to the band and team’s credit, we knew it was time to make people notice.  We had been flying under the radar for so long when it comes to industry attention, the entire team was on board with taking a shot.

And it worked. (phew)

The Pollstar article isn’t mainstream, but we didn’t need mainstream coverage.  Fans know about the band and the show. The story needed to be told to folks like yourself.  People who have been doing this for decades and didn’t know what this band was about.

You asked who put the Pollstar thing together.  Besides our publicist, Jim Merlis, the reason that issue is so thick is because of Louie and his team, Sara Winter-Banks in particular.  She found out what the record number of ads was for a Pollstar issue and she was on a MISSION to beat it.  I watched her badger a venue GM to sign a napkin committing to a full-page ad.  She burned up the phones, laying down just the right amount of pressure to get everyone on board.

And I feel like that is where Louie and MTG differ.  When they are in, they are IN.  And they aren’t “in” on many acts, so their team is more dialed than any other when it comes to the nuts and bolts of making a tour successful.  When they are on board, they take ownership and pay attention. Louie is a larger-than-life figure, an absolute legend in the industry who makes shit happen.  But you don’t get there (or stay there) without a team than can execute the finer details at the highest level.  And he will be the first to point his finger towards his team when asked about the success of The Lumineers.

So again, thanks for taking the time to give the band some ink.  It is what we have been missing.

Hope to see you at Soldier Field!

Best,

Joe

JOE ATAMIAN

WASSERMAN MUSIC CHICAGO

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Regarding the Lumineers and “paying their dues… starting out at the bottom” –

I grew up in the town next to them, we’re about the same age. Wesley and Jeremiah are actually from Ramsey, NJ. It’s a small, compact area in the shadows of NYC, where really – sports are king. Especially for the youth and gaining notoriety within your local community. A county high school athlete of the week is illuminated in the brightest of lights while the artists were considered the freaks, which was totally fine by us because it was the freaks who rose above while many of the athletes ultimately fell hard. But Wesley & Jeremiah woodshed and then woodshed some more. Quietly. In turn, it proved how passionate and sincere they were about their craft.

We had a mutual friend who owned a bar in a neighborhood area of the city. It was a sports bar, of course. The Lumineers would play there, just to have a chance to play. Often to a handful of people. Sometimes for only staff and passersby. Then…. they moved to Denver (W & J), the music became simplified, refined and clear. The launch of Mumford & Sons helped in terms of timing. But my point is, the Lumineers just never stopped. People were and are attracted to them because of the no frills. What you hear on the record can also be played on an acoustic alone, outside of the ball park. They touch important subject matters and have forged genuine relationships. One of them happens to be with a younger group called CAAMP, a band the Lumineers have now taken under their wing, and happen to be in a very similar genre. Go figure.

Your letter poses a question. Where we are to think there’s a confusing or complicated answer. But really – it’s very simple. The Lumineers are just sincere. I highly doubt they’d ever want another “Ho Hey”. They’re storytellers who are happy to share an old one, but seem more excited to tell new ones that are based off fundamental strengths.

Where we are? I don’t know where we are. But it will be okay.

– Jeff Gorra
Artist Waves

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Bob, I’m a community college teacher/writer/filmmaker. This week once again I screened the Lumineers’ short film The Ballad of Cleopatra for a couple of my classes. It’s 24 minutes long, it strings together a few music videos, but it’s NOT a music video. It’s a film. It’s worth your while if you haven’t seen it.

It’s here: https://www.youtube.com/watch?v=tXsQJhoauxc

They tried it again with their album III with less success. It’s longer and darker.

See it here: https://www.youtube.com/watch?v=oPO_UfJieKs

My point is the Lumineers aren’t just doing the same old thing. Not only are their albums old school ALBUMS, but they’re telling cohesive stories.

I haven’t connected as much with their latest release–and I’m not sure if there’s a film to go with it. Can they do it another time?

Check these out if you haven’t, particularly the first one. I keep exposing college students to it because I want to spread the word. Most of them know the Lumineers, but they’re blown away by the film.

–Joe O’Connell

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I’ve probably seen over 1000 shows in my lifetime and The Lumineers at MGM last month in Las Vegas was one of my favorites. Their music is a feeling, a vibe, that to me I associate with road trips through America. Their production and visuals were top notch.The whole experience was very cinematic. A true performance where the music itself spoke louder than all the outside BS artists use to cover up what they lack. It’s classic storytelling with a classic sound that is built to last the depths of time. Their music will never get old to me, which is saying something when nowadays I’ll rip through an album once and never go back. The Lumie’s music will be around for a long time, and hopefully the band too.

Cheers,

Blake Nania

Co-Founder We The Beat

Las Vegas, NV

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I ended up seeing the Lumineers because my daughter was sick and had to took her friend. I was blown away. The dynamic and the delivery of their music was powerfully simple and completely captivating in the arena setting. They made the room feel small. To be clear, i change the channel when Ho Hey comes on because I’ve heard it too many times. But live…they’re incredible. They totally won me over and I’m jaded. I believe the reason why they’re selling stadiums as large as they are is because they have a deep connection with their fanbase and it’s been growing for 20 something years.

Matt Butler

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Hi Bob, we just saw The Lumineers in Austin (the new Moody Center) last month and it was an incredible show — one of the best acts we’ve seen over the few years.  You read it well. They create a vibe. And while we love their music, it took us by surprise. We had seen them 8+ years ago when they broke and their stage presence and performance has improved SO much. Wesley Schultz, Jeremiah Fraites and the entire band put everything into their show, running around the stage, dancing, etc. to every song. Unlike many bands where only the singer comes alive, everyone in the band is energetic, comes out front to play for the crowd and pulls the audience into the show. There’s an authenticity to the band, even if they play the same setlist at every stop.  They have honed their live act so much over these past years. So it’s not a surprise to me after being there that they are selling out stadiums now.

It’s so rare these days for bands to put that much into a show night after night….

Bands can learn a lot from The Lumineers live.

Dave Kroll

Austin, TX

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Because they put on a great show! They convert the side liners. I was one but I went with my wife 6 years ago and was blown away by their show which was not flashy in any way shape or form.  It was for the fans and they played their freaking hearts out.

Good for them.

Jeff Sackman

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I got to The Lumineers through a beer spot.

Phil Brown

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They play long, they sound great live and they connect with the audience. What else do you want?

Thanks, Tom Quinn

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I think that their popularity has remained partially because their songs seemed to have been played at every wedding since 2012.  Wedding DJs can keep bands alive. It certainly is the case with Bollywood tunes in Asia.

Kevin Connors

They’re playing STADIUMS?

I’ve seen this band. Earthy, roots-based, completely different from what’s in the Spotify Top 50.

And it’s not like there’s any buzz. They haven’t had a radio hit in YEARS!

Welcome to the 2022 music business, which now resembles the movie business William Goldman wrote about…NOBODY KNOWS ANYTHING!

For years we’re subjected to articles about the brilliance of Merck Mercuriadis and his Hipgnosis song empire. A masterstroke, perfect timing, and then the FT prints a takedown so severe that anybody paying attention is now aware the company has been unable to purchase new songs for a year! We keep reading that publishing is burgeoning, but…

It really all comes down to numbers. The investment versus the stock price. It’s all financial. That’s why everybody invested in it! Hipgnosis is not like the entertainment vanity investments of the past, rolling the dice in the hopes of making money but fully aware the odds are long…no, people expected a good, steady return from Hipgnosis.

When interest rates were low. And despite the ups and downs of the present stock market, having crashed just today, there are much better places to put your money than song publishing, unless you’re looking for a steady return for the long haul. Then again, no one can predict the lifespan of a song, however everybody on the inside does know that avenues of revenue keep increasing.

As for the charts?

Completely skewed by physical product. The biggest act of the year, of the past twenty months, is Morgan Wallen, but you see no “Vanity Fair” spread, he’s still toxic to the media intelligentsia, but the fans love him!

So back to the Lumineers…

They haven’t had a hit since 2012, their very first one, “Ho Hey,” nearly a novelty song that one would think would live and then die like the engine on a Blue Origin rocket.

Sure, there’s some success on Rock radio, but that’s like being big in Peoria… Who the hell knows? I mean who are the Luddites listening to rock radio? They’ve got no Sirius, they’ve got no Bluetooth, they really want to endure the formatted playlist and endless commercials?

Oh, that’s another thing I’ll tell you, everybody is number one somewhere. I know, because they e-mail me. Like I’m #1 in the banjo played in the bathroom category of advance orders on Amazon. Chart numbers have become ever more worthless.

Except for the Spotify Top 50, the true definition of what is listened to most in America. However, you don’t see the Lumineers featured therein, nothing like them, what is going on!

I mean the dinosaurs can sell tickets. And the WSJ told us that young acts can sell big venues, but they’re talking phenomena, like Bad Bunny and Billie Eilish, most people can’t even name the two key members of the Lumineers, they’ve got no idea there are two key members, they’ve got no idea how many people are in the band!

But the promoter is Louis Messina.

Who believes in…

Work.

Who knows what keeps this septuagenarian going, it can’t be money, then again, everybody can use more money. And it’s not like there’s a public chart where he shines. Almost none of America knows who he is. But Louie has vision. He works with a small number of acts, and builds them up to huge numbers.

Of course there was George Strait, never mind all those decades back in Texas at Pace, but really the eye-opener was Kenny Chesney. This country bumpkin is selling out stadiums in the north?

And Taylor Swift would not be as big as she is without Louie.

And then Louie picked up Ed Sheeran after he opened for Swift. Louie told me about talking to Ed in the bus, closing him, in that folksy way he has with an iron fist in a velvet glove. Louie doesn’t push, he just lays it out there and you feel the magnetism, you’ve got to join forces.

And then there was Eric Church and…

It’s a juggernaut I tell you. BUT THE LUMINEERS?

Every other act Louie has worked with in the past decade or so had a slew of hits, but not the Lumineers.

Who are managed by Bernie Cahill. A man with a law degree and a friendly yet upscale demeanor. But my point here is he’s not known as a force of nature who burns up the phone lines, who instills fear, who trades favors to help build his act. This is not David Geffen, this is not old school. The Lumineers are more akin to Dave Matthews than a usual suspect.

And Coran Capshaw build the DMB into a monolith. But let’s not forget there were those VH1 hits…

And it’s not like the two Lumineers are poster boy youngsters. One is 39 and the other is 36. When the major labels specialize in promoting those just crossing the line of puberty. There’s no flash…THERE’S NOT EVEN ANY PAN!

Not that I knew the Lumineers were selling out stadiums until I read the latest “Pollstar,” which is thicker than the magazine has been in years.

You see everybody who’s ever worked with the Lumineers had to buy an ad, to ensure that they’d work with them again in the future!

But who put this all together?

You see it’s not the information in “Pollstar” which is so interesting, it’s the COMMITMENT! That’s what the movers and shakers look for, they want to know the act and its team are committed to breaking the artist and keeping them on top, they want to believe that the light is on somewhere, and it’s not at a Motel 6.

Then again, paying your dues, starting out at the bottom.

There’s an article by Roy Trakin talking about a TikTok connection on “Ophelia,” which made it all the way up to #66 when it was released back in 2016. Although it did go to #5 Rock, and I do remember hearing it on SiriusXM’s Spectrum, but…

But, “Ophelia” now has 800 million streams on Spotify. Maybe TikTok did help, it does have a more active user base than any terrestrial radio station.

And it’s not only “Ophelia,” the Lumineers have seven triple digit million tracks on Spotify. Not that anybody ever talks about them.

Isn’t that today’s law, stay in the game? God, I did hear the Lumineers mentioned once in the past month, but before that…IT WAS EONS!

What is going on?

IT’S A SEVENTIES STORY!

The act’s career arc is disconnected from the usual suspect outlets, it’s not about radio or TV, it’s about the band and its bond with its fans, who keep increasing in number.

But it’s really about the music. A type of music that gets almost no ink, no kudos… The only rock we hear about is the Foo Fighters, other than the legends, and the Foos are paint-by-number not for the ages but maybe the best in a very shallow pool.

How can we live in a hip-hop nation if the Lumineers are selling out stadiums?

Well hold your horses here, it was only two stadiums. One in their hometown of Denver but the other was in Chicago, James Bay was on the bill in the Windy City, but he’s not going to bring all those fans to Wrigley Field.

It was the Lumineers.

All the rules have been broken, there are no rules.

Except for one…

IT’S ALL ABOUT THE MUSIC!

And if you want to last, almost definitely you’re going to start small and grow. And you’ve got to play so many gigs that you learn how to put on a show, that’s more than a rote recitation of the record. And you’ve got to have a well-oiled machine behind you, not only Louie and Bernie but the band’s agent, Joe Atamian.

This is the opposite of everything we read about. Where it’s got to happen fast. And if you have a brain and it doesn’t, you give up and go to graduate school. Hell, play music and you could miss your entire twenties, maybe thirties, and never be able to catch up with those who were once your peers. It’s a walk into the wilderness.

We read all about social media marketing plans. All this stuff they say is necessary, how you have to promote yourself, but the Lumineers don’t do this.

And it doesn’t matter if you don’t like the Lumineers’ music, this is about those who do! We no longer live in a monoculture. Those who you like and those who you don’t like can live side by side in today’s world and their audiences may never intersect, or maybe they will.

Then again, those who go to see the Lumineers expect the show to be live, not on hard drive. They’re not looking for choreography, they are looking for energy, they’re looking for the music to set them free, to take them away from this crazy world we live in. And that’s harder to do than it appears. Because to truly succeed you’ve got to go against the grain in a me-too society.

Something is happening here. I just wanted to hip you to it.

“Blackstone-backed song rights machine suffers growing pains – Rapid expansion of Hipgnosis Songs Fund stalls as higher interest rates start to bite”: https://on.ft.com/3qCxqrg

“Look Out Boomers: The Next Generation of Arena Stars Is Coming – While the Stones and Springsteen show few signs of slowing down, newer and younger artists are selling out massive venues.”: https://on.wsj.com/3eOlS1f

Trailer: https://bit.ly/3U3ZQrH

The cast: https://bit.ly/3U2srh4

You’ve got to watch “Edge of the Earth” on HBO. It’s produced by Teton Gravity Research, which made its bones in the ski world, but that was a reason I was going to skip it, I mean I’ve seen so many of their productions.

But nothing like this.

There are four episodes. It’s not a huge commitment. And to be honest, I haven’t even seen the fourth one, about surfing, I keep up on the water sport, I read that Kai Lenny story in the “New Yorker”: 

“Kai Lenny Surfs the Unsurfable – The big wave surfer tackles some of the most fearsome swells on the planet. On the surface, it looks like he’s just having fun”: https://bit.ly/3BcdfoO

The article is written by William Finnegan, who wrote 2015’s “Barbarian Days: A Surfing Life”: https://amzn.to/3xhHUjz This is a cult book, albeit a large cult, the printed word equivalent of “Endless Summer,” and if you’ve ever been in the water you’ll dig it.

And the first story is a skiing one. Featuring Jeremy Jones and company in Alaska. This is very cool, primarily because I’ve been there, it’s so forbidding. And snowboarder Jeremy Jones is doing god’s work, he’s had his own climate change lobbying group, Protect Our Winters, for years: https://protectourwinters.org

But it’s the second episode that will have your eyes truly bugging out. Kayaking a never before navigated stretch of river in the Ecuadorian jungle. You truly start to get scared.

But not quite as scared as you will be watching that woman solo climb that peak in Kyrgyzstan. I mean the falling rock alone!

And wanting more of this, I decided to check out “Edge of the Unknown” on NatGeo, which I pay for via my Spectrum subscription.

Good luck getting my Roku to see it. I got in on my iPhone, but that screen’s too small, and once you’re in on your iPhone you can’t keep setting up the Roku… I gave up, end of story.

But in an outdoor mood, I switched to Outside TV, which I get via my “Ski” subscription. Long story, you pay extra for more articles and then they dropped all the physical issues but one and it’s a giant rip-off but you can watch Warren Miller movies, and I like the old ones, so I put in about a half hour, but then I was getting bummed, feeling so old, so I decided to go to Netflix, to check out what was going on.

I do this on a regular basis, on all the services, to check out their interfaces, to see what they’re promoting, and I was scrolling down and I saw…

“Indian Matchmaking.”

I knew there was a buzz on the first season, and having a second season means people watched it, and I doubted Felice wanted to view it, and since she was out of the house I dove in.

I was immediately hooked.

This is not the show you think it is. Arranged marriages. Rather, it’s the story of single Indians whose parents think they’re too old not to be married so they hire a matchmaker and…

What you’ve got to know is nobody is poor in this story. A small percentage are in India itself, most are in America, their parents have immigrated and…

There’s an hilarious story of a guy in Nashik, a few hours from Mumbai. NOBODY WANTS TO LIVE THERE!

But who’d want to live with this guy anyway. He loves chickens, all he talks about is chickens. His family makes equipment for farms. He’s got an American MBA, but no wife.

That’s another thing about the cast, you get the impression they all did what their parents told them to do. They’re not liberal arts majors, they’re not artists, they’re all professionals, in search of the big bucks. and other than the cardiologist, THEY’VE GOT NO SELF-KNOWLEDGE!

Let’s start with Nadia. She’s a babe. But emotionally stunted. An adolescent. The funny thing is they’ve all hired Auntie Seema, the matchmaker, who flies in from Mumbai, which everybody keeps calling “Bombay,” which flummoxed me, to get them a partner. So they haven’t figured out the relationship game and Nadia’s hooked up with the perfect guy, but she blows him off because he wasn’t physical enough with her. But then he says she told him from the start to go slow, to stay away!

Yes, the odds of any of these people hooking up…

And then Nadia goes for someone totally inappropriate, years younger, Auntie says no and…watch to see what happens.

And then there’s Viral, an only child in North Carolina. Who keeps telling us how successful she is. Flies all over the country for work, owns her own home, has no debt, and wants someone…

Exactly like her.

Now anybody who has ever been in a relationship knows that you don’t want someone exactly like yourself, it never works, but Viral is delusional. She lists so many criteria!

And then Auntie comes back with the matches’ “biodata,” a glorified Wikipedia page on each potential date. Viral’s complaint? She googled the guy and he didn’t look exactly like he did in his biodata photo. PICKY!

Oh, they’re all so picky, except for the aforementioned cardiologist, Arshneel, in Cleveland. He’s up for anything.

First date?

A woman in the Bay Area who works in finance. But she’s never ever been on a date with an Indian before, and Arshneel wears a turban, how is that going to work out?

And then Auntie hooks him up with this dentist in Chi-town and… She’s only been in America for a decade, so despite being cute and alive, will she blend in with his friends?

Shital is a babe. 38. With no prospects for marriage.

Like everybody else on this show, she wants it all. And, once again, no one could fit all her criteria.

And then there’s Vinesh in Miami. He’s a nice guy. His family is constantly cracking jokes, which bugs Auntie, but turns me on, I’d feel right at home, and…

He’s set up with a nurse from L.A. and…

Sure, there’s rejection and heartbreak, but there is some connection. And the most reasonable people are punted and…

The number one criterion is that the date get along with their intended’s family. Usually, that’s the first meeting, you’re thrown directly into the fire. But…

The Indians have something right here, getting along with the family is very important. Siblings talk about in-laws who will take them to appointments and… It’s much more than looks.

But everybody wants that too.

And then, interspersed throughout the series, you see people who’ve been married for a long time who got hitched via arranged marriages. Sometimes they only saw their spouse-to-be for five or fifteen minutes. AND THEY’RE ALL SO HAPPY! Maybe this is a selected group, but…

I forgot to mention Aparna!

Not a guy alive would want to be involved with this woman. Never mind no one being good enough for her.

Her friends are more broad-minded, especially Sophie…

Aparna grew up with Sophie in Houston. Sophie is Korean-American, but she moved to India and…she’s uber-into astrology.

They all are, it’s a key factor in determining compatibility!

And the face reader! I used to think I could judge a book by its cover, I found him fascinating.

And the one wedding was such a to-do, you’ve got to see it.

But really you’ve got to watch “Indian Matchmaking” to see the delusional yuppies who want to get married but really don’t. Auntie keeps telling them they can’t have 100%, that 60-70% is great, but they keep saying they’re entitled to have it all!

And no one is backing down, they defy Auntie all the time.

This ain’t a fake show, like the “Bachelorette,” rather it’s the story of America with an Indian twist. We work hard to lift ourselves up, and we emerge above and find out we’re alone, and too many people think they can find a spouse just like they got an “A” in the course. Like relationships are school.

Then again, they have so much to learn.

God, you know if you’re a candidate for this show, if you’re into GOT and “Lord of the Rings”…chances are this won’t be your cup of tea.

But when it comes down to the nitty-gritty, it’s only about people. We’re all the same, looking for the same stuff. And it’s so interesting to watch other people fumble trying to figure it out.

I CAN’T WAIT FOR THE NEXT SEASON!