Pigs On The Wing

In late 1979 at the age of 11, I bought my first Pink Floyd record. It was the 7" single "Another Brick In The Wall, Part 2". The record was a huge hit in the United States, reaching number one on Billboard's Hot 100. It was all over the radio and I had to buy a copy to play at home. The song was pulled from the band's album released that same year called The Wall, band leader Roger Waters' semi-autobiographical tale of his journey from fatherless child (his father was killed in World War II) to international rock star and what the journey had done to him.

I had no idea who Pink Floyd was. No clue. I didn't know about their place in rock history or any of their songs or albums. I couldn't have told you if it was one person (which one's Pink?) or a band. I didn't even know they were British until kids asked me (as a recent immigrant to the United States from England) to say or sing "we don't need no education" while I was at school. Completely oblivious. 

I would eventually figure it out. When I was a freshman in college, I watched director Alan Parker's 1982 film adaptation of The Wall album and I was hooked. I'd never seen anything like that movie and I'd never heard anything like the music that was in the film. I got the album on CD for Christmas in 1986, put it on cassette tape and listened to it over and over and over again. And I do mean that. I was relentless. I drove my freshman year roommate crazy with that album. 

That last part was OK. He drove me crazy with other things.

Eventually and quickly, I'd become pretty well obsessed with Pink Floyd. I bought other albums and listened to them with the same fervor and dedication that I applied to The Wall. Dark Side of the Moon. Wish You Were Here. The Final Cut. Meddle. Atom Heart Mother.

One of my favorite Floyd albums was Animals, a five song concept album with a 17-minute long song called "Dogs" on side one. "Sheep" and "Pigs (Three Different Ones)" graced side two to extend the mammalian theme of the album title. The cover art of Animals featured a giant inflatable pig floating above a large brick building with four tall white chimneys. 

That pig was a source of fascination, and the stories about it intrigued me. Apparently, the band brought the pig on tour with them and had it floating around the arenas they played. In the late 1980s, all we could do was read second-hand accounts in books or magazines. There was no internet or treasure trove of pics or videos at fingertip access. The accounts of that pig amounted to something akin to myths or legends. It all added to the mystery about the band. Eventually, I'd see a facsimile of that pig at Roger Waters concerts. I loved it all. All of it. I still love Pink Floyd to this day.

An updated version of the inflatable pig (top left) from Roger Waters' 2022 concert in Washington, DC.

That large brick building with the four tall white chimneys? It's real. It sits on the south bank of the Thames River in London. And since we were in London to see a Tottenham Hotspur match and launch our week plus trip through Wales...time to visit a Pink Floyd album cover.

Considering all the times I've been to London in my life, I'm a little surprised that I have never visited the building that graced the cover of Animals before. I've spent time (and nights) in London in 2014, 2016, 2018, 2024 and way back in the 1990s. And the building was there each time I was there in those years. So sure, it wasn't always open and available to visit like inside the building. But the album cover isn't shot inside. 

So what is this magnificent structure? It's the old Battersea Power Station. It was designed in the art deco style during the 1920s by celebrated British architect Sir Giles Gilbert Scott and was built in two phases (it's actually a double power station) in the 1930s and 1950s. At its peak, it provided twenty percent of the city of London with power. But in 1983, Battersea was closed, no longer needed as an essential cog of London's electric grid. It would sit vacant for decades.

Then it got bought. Then it got re-opened four years ago as a mixed use development featuring a retail, office and residential program and which included brand new structures around the Power Station as the development's centerpiece.

I don't necessarily expect you to know who Sir Gilbert Giles Scott was but if some context is necessary, he designed both the red telephone booths that used to be all over England and he designed the former power station which is now the Tate Modern Museum in the center of London. He has some legacy.

What that re-development means for the actual Power Station today is that it's a giant shopping mall. I'm serious. But it's a pretty darned handsome shopping mall. 

I'm serious. The exterior shell is intact. The interior art deco detailing that graced the interior spaces in the building are still there in all their glory. And those four tall white chimneys are standing magnificently against the skyline of London. They were actually torn down and re-built starting in 2014, so it's probably a good thing I didn't try to visit Battersea that year.

The program of the mall is centered around the two old turbine halls in the building, multi-story spaces with glass skylights running down the entire length of the halls. They even left the old trussed bridge cranes in place as a tribute to the former function of the building. Those spaces, but particularly the west hall, are spectacular. 

We did not shop. Although we did go to Starbucks.

When they reprogrammed, repurposed, rebuilt and everything else "re" about the building that they did to it over the last 15 years or so, they added something called The Chimney Lift to the building. They took the northwest chimney and made it into a giant elevator (lift in England) that you can ride to the top of in a custom-built mostly glass enclosure. 

THAT is why we had to get inside of the Battersea Power Station on this visit. So sure, the Floyd thing was super important (and we WILL come back to that) and yes, the architecture of the Power Station is just amazing from a number of perspectives but mostly that they would spend this much making a power plant look this good, but it was the Chimney Lift that drew us in. 

And truth be told, we had to go twice. It was our first and last destination of our trip. Our very first stop on this trip after we checked in to our hotel was the Battersea Power Station. The Chimney Lift was broken. And facing a situation with no reliable un-broken time or date, we left. After our time in Wales, we flew back home out of Heathrow Airport so our very last stop on this trip right before we ate our final dinner in London was also the Battersea Power Station. And this time the lift was fixed.

A ride on the Chimney Lift costs about £20. It appears based on a look this week that it's dynamically priced, although honestly, I remember it being a flat rate but maybe that's because we bought in person as walk-ups. Not sure about that.

The experience before the ride takes you through some exhibits and facts about the building and if you are so inclined you can stop and take one or two touch screen quizzes. Then there's some waiting in a waiting area and some more waiting in another spot before you get to climb some steps to the lowest level of the lift. Along the way there are facts and video animations related to the Power Station...the Chimney Lift goes up 109 meters...the building used to burn 10,000 tonnes of coal a week to generate electricity...other stuff.

Yikes on that last one by the way. And a tonne is 2,200 pounds, if you were wondering. A staggering amount of coal.

The time on the Lift itself is about 15 minutes. The view is tremendous and that includes the aerial view of Battersea itself and the other three chimneys. But you have to hustle to take it all in because before very long, you are going to be descending so they can get the next lot of Chimney Lift-ers up to the top of the northwest chimney. I'd never been in that part of London really and certainly not really up in the air (so to speak) so the view was appreciated.

Was it worth it? I'll put it this way...I wanted to go on this ride to feel a deeper connection to a band that I love and I can afford it. Sometimes, things aren't what you expect and that's OK. I think it was worth it for me. But I wouldn't necessarily want to take a family up here, especially if I had no connection (via Pink Floyd or anything else) to the building. Again, the view was awesome; it was just too short. There have been bigger disappointments on vacation before. I'm fine with the Chimney Lift.

Beyond the Chimney Lift, we got a great Pink Floyd story out of our visit. And this counts for a lot.

Maybe I knew this story and I forgot it from some Pink Floyd book I read a long, long time ago, but I swear this is a new story for me. 

As much as the cover of Animals looks like a painting or drawing, it's not. It's a photograph (OK...so actually two photographs combined). That meant the Battersea Power Station actually had a giant inflatable pig floating over it while it was photographed on behalf of Roger Waters and Co. 

The shoot was scheduled for three days in December of 1976 and in case the pig somehow got free (meaning broke loose from its moorings) the band or record label or whoever was coordinating the photography hired a marksman as security for the event. And by that, I mean he was supposed to shoot the pig in case it got loose. 

How anyone thought this was a good idea is beyond me. I mean, bullets that go up have to come down, right? And shooting a rifle at an airborne balloon over the city of London doesn't strike me as a particularly bright thought to me. 

So anyway, on day one of the shoot, the marksman shows up on a perfectly dark and gloomy day but it's too windy to feasibly take a picture of the pig so they just photograph the building. Day two comes around the marksman isn't there. They only hired him for a single day. And sure enough, it's still windy that day and the pig broke loose. Nobody to shoot it down (thank God) so it drifted, cancelling flights at Heathrow Airport to the west of the city and landing in a cow field in Kent.

They did actually manage a picture of the pig on day three, but the sky was apparently a gorgeous blue. So they took the pig from day three and stuck in on the background from day one.

That's what we got out of our trip to the Battersea Power Station. And yes, the pig was named. Algie, if you must know.

Battersea Power Station is really all about the chimneys. That's not really true. But it sort of is.

This is not the first place we've traveled where we visited the site of a Pink Floyd album cover. Although it was the only place we've traveled where we intentionally visited the site of a Pink Floyd album cover.

In 2022, we were in Los Angeles (or more accurately probably greater Los Angeles) on a studio tour of the Warner Brothers property in Burbank when the driver of our tour bus / enhanced golf cart / whatever it was we were riding around in casually mentioned that the view to our right was where the cover of Pink Floyd's Wish You Were Here album was shot. And sure enough after I got home and compared my hastily shot iPhone picture to the cover of Floyd's 1975 album (and precursor to Animals), he was correct. Not that I really suspected he was not.

Now we've been to two of them. And honestly and completely understanding Pink Floyd's album cover collection, I can't realistically see myself ever getting to the location of a third. And if we somehow found the house where the cover of Ummagumma was shot (if it even still exists) or the field where the cover of Atom Heart Mother was created, I mean why would we even want to? I think two is good enough here. 

That wraps up England and Wales for 2026. Canada up next! Again!

And this is the second post from this trip which takes its title from Pink Floyd's Animals. Enough Floyd. For now.

Hooray For Hollywood

I can imagine that a good number of people who visit Los Angeles for vacation do so because of Hollywood. Maybe they want to get close to where the movies or their favorite television shows are made. Or hop on a bus tour of movie star homes in Beverly Hills or Malibu or wherever those kinds of things take tourists to. Or maybe even spot some celebrities (OMG it's a celebrity!!!) doing whatever celebrities do in their average day, if it's even that much different than what you or I do in a typical day.

I've never particularly thought of Los Angeles equaling Hollywood, probably because I'd maintain that I'm not overly interested in the movie and TV industry that much. Or at least that's the way it seems to me most days. Give me a choice between watching something and listening to something, and I'll go with music over a film or show most any day. If Hollywood were packed with musicians it might be a different story for me.

Having said that, in my prior trips to the City of Angels, I have had my brushes with Hollywood and stars and some of it I guess was deliberate. I've been on the TMZ Celebrity Tour and it was truly awesome; we've eaten at Spago and spotted Jeffrey Katzenberg (one of the founders of DreamWorks along with Steven Spielberg and David Geffen) a couple of tables away from us; and yes, I have a celebrity encounter story with Keanu Reeves which I won't relate here but suffice it to say Keanu deals very, very well with complete strangers who don't necessarily know how to maintain personal space boundaries. He's as awesome as the TMZ Celebrity Tour in my book. 

It had been about six years since we'd been to Los Angeles and on this trip we decided to devote a bit more time to movies, television and all that stuff than I have in the past on trips to the left coast. Diversification of experiences is good, folks! We looked into a motion picture studio tour; some kind of museum experience; a Hollywood food spot sometimes visited by celebrities; and the crown jewel for us: attending a taping of some sort of show. We were pretty sure based on an initial look that we could get to the first three by just paying admission somewhere; getting to the last one would rely a little bit on someone else saying "yes" to a request.

The weekend we arrived in town was Oscars weekend. We had no idea. If we had, we might have stayed in town. Instead, our itinerary took us to Palm Springs for a couple of nights before heading back to L.A. the day after Will Smith slapped Chris Rock. We drove straight from Palm Springs to Burbank, home of Warner Brothers Studios. And home of the Warner Brothers Studio Tour.

There are a number of studio tours available to the public in the Los Angeles area. We looked into Paramount (closed because of COVID), Universal (accessible only with a visit to the theme park), Sony and Warner Brothers. Warner won out because of their catalog. Sony has Spider-Man, Jeopardy!, Wheel of Fortune and The Goldbergs; Warner has DC Comics, Friends, The Big Bang Theory, Harry Potter and a lot of current shows we watch. OK, maybe not me, but our household in general. Despite our preference for Marvel over DC, Warner's shows and movies won out.

The Warner tour has basically three components to it: a tour of the lot on a sort of massive golf cart like vehicle past and through various outdoor filming locations and then driving by a bunch of sound stages; a sort of behind the scenes / how it's all done type exhibit; and a museum with DC and Harry Potter displays. 

I figured there would be one or two moments that I'd feel some real connection to works of cinema that I loved on this tour. I did at one time, after all, religiously watch Friends sometime in the middle of the series. I came in after the departure of Marcel the monkey and stopped watching right before Chandler and Monica got married. I've also read all the Harry Potter books and watched all the movies (although admittedly not a huge fan of the movies - or J.K. Rowling really any more) and I've dabbled in the DC Comics movies. There had to be something of value here that would strike a real nerve, I figured. 

I was wrong. It was actually way better than I possibly could have hoped. It wasn't all Friends and Big Bang Theory and Harry Potter. Which was really good.

In addition to being entertaining (I mean, why wouldn't it be?) there is a ton of useful information on the tour, from the history of the actual Warner brothers founding the company to all sorts of information about how movies are made and put together to general fan type stuff like original props and being able to sit on the couch at a reconstructed Central Perk and get your picture taken. I'm going to skip most of that, including the history, which actually shocks me because I've written about history of whatever it is we've seen everywhere we've been just about every opportunity I've had on this blog. I'll just say that I loved seeing the actual models of the X-1 and Liberty Bell 7 from the movie The Right Stuff (aka the greatest movie of all time); I appreciated the storyboard section of the museum because I think it's crazy that people actually do that still; and yes, I loved sitting on the Central Perk couch. We have a picture of us on the thing that I'm not posting here but I'm happy we have that picture. 

Central Perk. Or a facsimile of a coffee shop that actually never was.

The first reason I'm skipping most of the Warner Brothers Tour is because the golf cart on steroids portion of the tour absolutely blew every other part of this experience away. 

The Warner Brothers property in Burbank is literally just one big recording studio featuring outdoor spaces created to look like cities or towns to film outdoor scenes and then interior sound studios to capture all other non-outdoors scenes. There are a series of offices and animation studios and shops on the campus as well but if you want to film anything using those buildings, you can do that too (hence like zero signage on all the buildings and offices that look like houses). It's also not exclusive to Warner Brothers films. If you want to shoot a scene for any movie on Warner's property, you can. Just pay the fee and put it back the way you found it if you need to modify the set in any way. We were told a story about a setup for The Last Samurai movie that took three months to get the scene just right for what ended up being about two minutes in the actual movie. Crazy stuff. On some level, I'm sure, a complete waste of money.

The majority of the places we were driven to were just fake streets or fake houses or fake town squares (complete with gazebo). The buildings and houses that make up these neighborhoods or communities or whatever they purport to be are generally not occupy-able. Maybe you can walk in the front door, maybe there's a room or two behind the façade or maybe there's a catwalk inside where an actor can poke his or her head out the window to talk to someone outside. It is amazing how generic these places are and it's incredible how many shows and movies they have appeared in. How do we not notice that we are looking at the same street over and over and over again? I guess they don't appear for long enough in enough different movies and shows that we can actually recognize the same place. 

We were driven down a street called Hennesy Street that was used in Annie, Friends, The Big Bang Theory, Batman and Robin, Living Single, The Mask and National Lampoon's Vacation. We were also taken to a town square that was recycled from picture to picture to picture. I guess the generic-ness of both of these places makes them impossible to actually be distinguishable as unique places. It's pretty impressive. I mean, I know the people filming on these locations make small variations but it still seems like we should notice. I know any time I see a movie with a town square with a gazebo in it, I'm going to be checking to see if it's the place we visited on our tour.

Hennesy Street (top) and what could be any town in the United States (bottom), but isn't.

But we don't travel to places like this so we can see generic. We travel to places like this to recognize signature moments on film that touch us deeply. And sure enough, there were some spots that actually did that. And I know it's stupid, especially considering the ephemeral nature of the scenes that transported me to some of the films that I love.  But I now know that I've been to some of the spots where a few minutes in a couple of my favorite movies ever were filmed. 

One of my favorite movies of the last ten years is Argo. I could watch (and have watched) that film over and over and over. I'm a sucker for movies based on reality and that movie is fantastically (in more ways than one) entertaining with a terrific cast (plus Ben Affleck, who is excellent in the film but is still...well...Ben Affleck). There's a scene in the film where Affleck's character, real life CIA star Tony Mendez, is sitting on some steps of a building talking with Alan Arkin's character, Lester Siegel. They are about to start making a fake film so Mendez can go rescue some Americans from Iran in 1980. We drove by that actual spot on our tour. We were right where that dialog between those two characters was filmed. I have to wonder how long it took them to film those 60 seconds for that scene. 

The Warner Brothers lot isn't all cities and towns, though. They actually have a little piece of jungle. And I mean that literally. It's so small, it's comical. There's a little cabin near a re-fillable or drainable (depending on what you need for your shot) lagoon of sorts that's been in all sorts of TV shows. There's also a little road circling that pool that's forested close to the road on both sides. It's maybe 25 feet long, if I'm remembering things correctly. And if I'm not, it's not that much longer than 25 feet.

It was used to film the iconic T Rex chase scene in Jurassic Park. Now, I know what you are thinking...that chase scene is way more than 25 feet long. It was. Apparently, the cast and crew got kicked out of Hawaii due to weather and needed to film that scene in a fake jungle in Burbank, no matter how long the set proved to be. So, they just filmed different parts of the scene in the same 25 feet of space over and over. Film. Back up the equipment. Film. Repeat. I looked at that scene when I got home. I can recognize the spot on the set where the T Rex bursts onto the path but the actual chase itself doesn't look like it was filmed in Burbank. These guys are good. That Spielberg guy.

Props from The Right Stuff. Goosebumps!!!

But that wasn't even the best part of the tour. And the best part isn't even from a film. It's from a still photograph. It was almost a side note on the tour while we were driving around the sound studios when our driver slipped something like "that's where the album cover of Pink Floyd's Wish You Were Here was photographed" into the narrative before he hit the accelerator and moved on. Hold up! What?!?! Camera out! A quick picture or two (both crooked but straightened with the edit function on iPhone Photos) and we were gone. 

But it's true. Check out the picture below. Now go pull Wish You Were Here out of your record or CD collection and match it up. It's right there. It's true. Why they would take that picture in that location is beyond me but it's totally where they shot it. Complete Easter egg. Never would have realized this if I hadn't taken this tour.

The second reason I am skipping the museum part of the Warner Brothers Tour is that if you want to do a museum experience, go to an actual museum. And the Academy Museum of Motion Pictures did museum-ing better than the Warner Brothers Tour. Much better.

So I'm a guy who claims (earlier in this very post) he doesn't care that much about movies or television and then goes gaga over seeing a model of an airplane and being near to where about 60 seconds of pretty well non-important to the whole movie plot footage from Argo was shot. So maybe I do love movies a little bit more than I claimed. Or being in Hollywood awakened something.

What happened on the Warner Brothers' lot kept going at the Academy Museum. There is so much stuff in that place for me to gawk at. I realized maybe a little bit just how many movies I love in this world. 

The Museum is organized around a multi-story exhibit called Stories of Cinema which basically describes how films come together. It spends time on the finished product, the actors, the directors, the costumes, visual effects, sound, makeup, modeling, animation, casting and pretty much everything else that goes into making a motion picture. Sprinkled in and around that main narrative exhibit are other smaller (and I suppose changing) displays which we probably found less valuable than the main exhibit.

The Academy Museum, Los Angeles.

I don't necessarily have a list of favorite movies beyond number one (The Right Stuff, in case you missed my worship of that three hour and 12 minute masterpiece earlier...) but if were to start to assemble one, I think I could get some ideas from my time in the Academy Museum. There are so many objects there related to pictures that have moved me. Storyboard from Grease. Storyboard from Escape From Alcatraz. Orc head from Peter Jackson's (awesome, amazing, fantastic) Lord of the Rings trilogy. The actual C-3PO and R2-D2 costumes used in the original three Star Wars movies (which, other than Solo - controversial take I know, are the only three really worth watching). Promotional models of the seven dwarfs to publicize Walt Disney's Snow White and the Seven Dwarfs. The actual fake shark from Jaws (Richard Dreyfuss is one of my favorite actors ever).

Snow White and the Seven Dwarfs, by the way, was the first movie I ever remember seeing in the movie theater. It was probably 1972 or 1973 and I'm pretty sure it was actually the first one I ever did see. I can't imagine my parents taking me to the pictures when I was younger than four.

We got some other great nuggets about the Oscars out of the Academy Museum. I mean, why wouldn't we? The first Academy Awards were presented in 1929 and covered the period from August 1, 1927 through July 21, 1928. It Happened One Night was the first film to win the "Big Five" (who knew there was such a thing?) awards of Best Picture, Best Director, Best Actor and Actress and writing. In 1940, the cinematography category was split into films made in color and those made in black and white (wonder how long that lasted...).

Storyboards for The Matrix (Warner Bros. Studio Tour) and Grease (Academy Museum).

Of course, what we wanted to know more than anything else is why the heck is it called an Oscar? We didn't get a definitive answer to this question. Instead we got a legend. Apparently, Academy librarian Margaret Herrick said, when she saw one of the statuettes for the first time, that the trophy looked like her uncle Oscar. Can this really be true? I mean, really? That's what the museum says. That's all I can say there.

Our Academy Museum visit was a morning event. We finished up just after noon. I get hungry about that time of day and was in no mood to kill my Hollywood buzz so we picked a lunch place with a Hollywood vibe: Pink's Hot Dogs. Not going to spend a ton of time on this one but Pink's is quite simply a Hollywood institution. They have been serving up hot dogs day and night since 1939. That's an awfully long time. They must be doing something right. 

So why Pink's on a celebrity fueled Los Angeles binge? Well because sometimes the rich and famous (or just famous, maybe) go to Pink's for some food, although not when we were there on this trip. No Keanu Reeves, no Nicole Kidman, no Mario Lopez, no James Corden, no Quentin Tarantino. Although signed pics from most of these stars and more are on the wall of the restaurant. I have to say this was not my first visit to Pink's. I went there years ago at night and waited three hours in line to grab a couple of dogs. A Tuesday afternoon was a bit quicker - less than an hour from parking to moving on. I'd hazard a guess that star-spotting at Pink's is more productive at night than during the day. But the Mulholland Drive Dog with jalapenos tastes just as good in the afternoon as it does at night. Although check that...maybe not after a few beers. Definitely would taste better then.

Pink's. And their wall of fame. A younger Jimmy Kimmel on the second row.

We needed Pink's. The wall of signed celebrity pics actually did keep our Hollywood buzz going. We didn't really expect to be chowing down on a hot dog and fries with Drew Barrymore or Patti LaBelle but hey...you never know. Pink's was a way stop on a drive to the main event for us on this trip: a live taping of a show. Yes, we made a request and yes, someone said yes.

Actually we made several requests. And someone said yes to one of them. American Song Contest? No response. Call Me Kat? Also no response. The Late, Late Show with James Corden? Also also no response. Jimmy Kimmel Live! YES!!! In all honesty, we probably got an affirmative response to the best option we requested. Actually, there's no "probably" about it. We got the best.

Two things about these in studio experiences. First, attending one of these takes a significant chunk of time out of your day. Not saying it isn't worth it because it totally is. But between traveling to Hollywood; being early because with L.A. traffic you never know; waiting in line; having the line be moved closer to the door; waiting in line more; clearing security and being admitted to the studio; waiting while everyone behind you is admitted; settling in; getting a bathroom break; and then the taping of the actual show itself, it can take hours.

Second, they are free. And that's honestly unbelievable. Here's something that people would likely pay a significant amount of money to do and it's totally free. You just have to be picked. And obviously since we got no response on three of the four requests we made to participate, that's not an automatic. There are many, many ways to part with your hard earned cash in Hollywood; attending the taping of a show ain't one of them. They even validate parking. That's actually kind of refreshing.

No pics inside the Kimmel Show so this is it for pics of this part of our Hollywood pilgrimage.

We made our own luck with the quality of our Kimmel experience. We got there early before any of the signs for the audience line were in place and asked some people hanging around there how it worked and although they were apparently unaffiliated with the actual attending the show thing, they steered us absolutely right about where to go and wait. That effort translated into a number one spot in line and being one of the first to be seated which as it happened was in the second row of the studio audience with nobody in the front row in the two seats before us.

When we sat down we noticed a star on the floor of the studio about 10 feet away from us and a giant camera just to our left. The star had to be Kimmel's monolog spot, right? Turns out it was, so we pretty much got the best seat in the house. Despite our proximity to the host for the opening segment, we actually didn't hear a bunch of the words he said because of the applause in the audience, which drowned out parts of the jokes. Didn't come through that way when we watched the show when we got home. It wouldn't be the only thing different about the broadcast from our in studio experience.

One thing about going to see a show like this is that the quality of the experience can sometimes depend on who's joining the host for the night. We got Donald Glover and Machine Gun Kelly. Glover is a writer, comedian, actor, filmmaker, hip-hop artist and probably about ten or twelve other things who most notably for me portrayed the greatest Star Wars character ever (Lando Calrissian) in the fourth best Star Wars movie of all time (Solo - had to get that one in again). Super excited. I honestly couldn't have told you anything about Machine Gun Kelly (MGK for those in the know) before I got to Los Angeles last month. But hey, I like music of all sorts so I could go for a live performance to open up my mind a little more.

These aren't the droids you are looking for...at the Academy Museum of Motion Pictures.

If there are potential audience members out there who have performance anxiety about being on a show like this, there's no reason to be at the Kimmel Show. That's because we were coached up ahead of time and told when and how to applaud and cheer and when to stand and sit. When Jimmy or guests enter, stand and go crazy but don't yell out anything specific or notable, no matter how well intentioned you might think you are being. No "I love you, Jimmy", in other words. Don't move out of your seat or you'll risk being forcibly removed (the forcibly was more implied than explicit). Don't stop clapping and cheering suddenly; bring it down slowly but DO bring it down. And most importantly, if you don't get the joke, laugh and applaud like you do anyway. It's Hollywood. Fake it!

Oddly enough, the first thing Donald Glover said when he sat down was "Do y'all stand for everybody? That was great!" Actually, yes. Yes, we do. That's exactly what we were coached to do. The guests have to know that, right? Right? 

Glover was great. That dude has so much going on. I don't know how he keeps it all straight with all the creativity outlets he has. I'd love for there to be some more Lando movies. I can always dream. He and Billy Dee Williams are totally different from my perspective but I'll take either guy in the role.

So...Glover in and out. Machine Gun Kelly into the guest seat and let's get ready for a performance, although honestly, we couldn't figure out where he was going to perform. There didn't seem to be a spot on the set for that to happen but they DID build Jimmy's carpet, desk and guest chair after the monolog during the commercial break so maybe they had it figured out? I mean, they do this sort of thing all the time, I guess. But legitimately setting up for a musical performance would seem a lot more complicated than setting up a desk for some discussion.

After Kimmel's talk with MGK (I'm catching on...), he left Kimmel there alone in the studio and we were then told something to the effect of "now you are going to hear Jimmy talk about something you are not going to see" and the tape rolled on Kimmel doing the intro to the MGK performance. And that was it. Show over. No performance. If you watch the show (or any episode of the show, I imagine), you see a performance with enthusiastic audience clapping after. It wasn't us. We weren't there. So I still haven't seen Machine Gun Kelly perform live (and probably never will).

The actual shark from Jaws. The least scary part of that movie is when we see the entirety of this thing.

It is difficult to say I was disappointed by anything about our experience at the Kimmel Show, including the lack of a musical performance. The whole thing was just awesome and really, really well done. But there had been a musician that I am truly into, I might have been a little stunned here. Good thing I don't have any MGK in my collection. 

We walked through the spot where the musical performances happen on the way out towards Hollywood Boulevard and realized that we had actually heard the performance earlier in the day. When we first got where we thought the line might be, we heard banging of drums and other general concert-type noise coming from the building. We figured it must have been a rehearsal. Probably now we think it was the actual performance that ended up on the show.

I'll say a few last things about this whole experience. The Warner Brothers Studio Tour was awesome and eye-opening. Having the background that things are not always what they appear to be translated well into our whole weekend experience. That tour paired with the Academy Museum worked well. Finally, if you get the opportunity to go to a taping of a live show, do it. It's some interesting stuff and it's free. For us, Kimmel was I think about the perfect thing for us to do. Jimmy's on the same side of the aisle as us I think on most issues, he's genuinely funny and doesn't seem like a complete jerk. That last piece is important. I'm hoping I'm right.

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How We Did It

The first three things we did on our Hollywood weekend (or more accurately Monday and Tuesday of a long weekend that included a trip to Palm Springs) were fairly straightforward from a logistical standpoint. 

The Academy Museum of Motion Pictures (which opened in the fall of 2021 so it's brand new as of this writing) is open every day of the week and advance purchase tickets are available. We did buy in advance and it made the admission process (which included a COVID vaccination check) super easy. If you do that, of course, you are locked into a time of the day which isn't always convenient when dealing with Los Angeles traffic. There is an add on experience at the Museum called The Oscars Experience which as we understand it is some sort of VR thing where you get your name called winning an Academy Award. We skipped that part. It's an extra $15 on top of the $25 admission price. Not cheap when buying both.

The Warner Brothers Studio Tour runs daily except Tuesdays and Wednesdays. We took the standard Studio Tour which was the only one running when we visited in late March 2022 (although other options are now available as of early April). We bought our tickets in advance for this like we did for the Academy Museum although it seemed like there were plenty of people there when we got there who hadn't. There was a television show called The Big Salad and a movie called Pinch filming when we were on the lot. It will be interesting to see if those things ever get released under those names and if we realize what was right near us when we were on site.

Pink's Hot Dogs is open daily from 9:30 a.m. to late (11 p.m. except Friday and Saturday when they are open until 1 a.m.). This is pretty basic food. Honestly, and I can't believe I'm writing this about a hot dog, I thought the food lacked salt. From my two visits to Pink's, I'll say it's way cooler and more of an experience to go at night (like you actually can make yourself think that some celebrity is going to join you in line) but way quicker during the day. 

The most complicated thing we did was go to the Kimmel Show. Tickets can be requested from a site called 1iota.com, which hosts ticket requests for a number of live shows and events as well as movie screenings (and not just in Los Angeles). You can pick the day of your request, which is good if you are limited to specific days like we were.

There's no guarantee (from our experience and talking to one other dude who was there trying to get into the Kimmel show who had also requested tickets through the site) that your request will be honored. In every request, there is what I'll call an essay question part, where you have the opportunity to advocate for why you should be in the audience. For three of the four requests we made, we were probably less enthusiastic than we needed to be. But for the Kimmel request, we (and by we, I mean my wife) pulled out all the stops trying to demonstrate a deep and historic love of all things Jimmy Kimmel. We weren't faking or anything; our desire to attend this show taping was genuine. It seemed to us that our response to the essay question part of the request made all the difference.

We made our requests about five weeks ahead of the show taping, although it didn't seem like there was any advantage or disadvantage to that timing. We heard back one week before the actual taping. We never heard back on our other three requests.

Our first-in-line experience here started at about 2 p.m. with our arrival in Hollywood in front of the theater. About 15 minutes later they started rolling out the signage for the show line which we stood in for about 90 minutes before we entered the theater. If you want to do this, have patience. You can't wander off and do other stuff once you are in line. Sometimes to do something exclusive you just have to wait it out. 

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