Q & A with Bryan Cranston

What a delight meeting Bryan Cranston last night at a Q&A after a screening of Argo. He was gracious, forthcoming and very funny. He spoke on everything from his new film Argo, to his Breaking Bad co-star Aaron Paul, to the Yankees.

On Argo –

 “It’s the best bad plan we have.”    - Jack O’Donnell in Argo.

As soon as he read the script, he wanted the role.  After 33 years in the business, he says it’s all about the script, the writing.  “A role like this is like catnip… you’ll kick and scream to get it.”

Prepping for the role, he sat down with four different CIA agents and found it refreshing they didn’t look like James Bond.  At first they were all reticent – their jobs after all are all about not talking, not divulging what they do, their missions.  “Actors would never be in the CIA,” he joked, “because they can’t get credit (publicly) for their work.”  

But soon, the agents opened up to Cranston. He discovered their jobs, what they deal with, are not that dissimilar from other professions… they have a boss who’s a jerk, the coffee in the break room is stale. They’re devoted, dedicated. “I find them heroic,” he said.

At first, Cranston had prejudice against Ben Affleck… from his playboy days, but then saw that he’s very intelligent and in fact was a Middle East scholar in college so he was very determined to get the story right. Ultimately, “he set a lovely tone on the set. He’s a great director.”

Cranston says Argo is a celebration of transcending all differences, all parties, for the right thing. “It’s humanistic in scope. Maybe Congress can learn from this and stop finger pointing. The film is about the potential people have when there’s a greater good, a greater cause, and what they’ll do against, and in spite of, the odds.”

If you watch carefully, you’ll see the real Tony Mendez, the Ben Affleck character, in a cameo appearance in an airport scene.

Cranston pointed out the film is based on a true story, but it’s not a documentary.  His character Jack O’Donnell, for instance, is a fictional character and the dramatic final plane chase scene “is Hollywood.”

On Breaking Bad –

Cranston was intrigued by the story of a good person changing to a bad person in the course of the series, something he doesn’t believe has ever been done before.

On Aaron Paul –

Sweet, talented kid from the Midwest, not corrupted yet, “always feel like I have to protect him like a little bird.”

On secret ambition –

Always wanted to sing on Broadway. Why? “Because it scares me.”

On how he became part owner of the Cinemas Palme D’Or movie theater -

Twelve years ago Cranston wrote a script for his wife as a birthday present. When he gave it to her, she absolutely loved it and asked him, “So when are we making it?” He was gob smacked.  It hadn’t actually occurred to him to make the film. But, well, why not? So he stepped up and started raising money for the film and ended up making it. They shot in the desert mostly, Yucca Valley, Pioneertown, Palm Springs. It was called Last Chance, and screened at the Palm Springs International Film Festival.

“But if you thought writing a script, fundraising for the film and shooting it was hard,” he joked, “try selling a movie!” But he did end up getting it on Showtime and WE channels.

One day during his Last Chance filmmaking adventure, he bumped into an owner of the Cinemas Palme D’Or Theater and they started talking. The guy told him about his theater and how they were expanding and what his plans were for the venue. It sounded interesting. Plus, as a boy, Cranston always thought it would be cool to own a movie theater because then he could watch as many movies as he wanted to for free.  So he jumped in and partnered with the owners of the theater. All well and good, dream come true, but it turned out to be one of his most expensive endeavors ever.

On the Yankees –

“Nothing pleases me more than seeing the Yankees struggle.”

Next up  -

Shooting  final season of Breaking Bad.

His next role is a blind, Polish hit man.

And he’s written a script, a murder mystery with a family drama backdrop.

Finally, a TV Showcase for Short Films

About three months ago, a gem of a weekly television program called Shorts Showcase began airing on KVCR. The brainchild of Producer/Director Leanna Bonamici, the program is exactly what the title says - a showcase for short films.    Bonamici says the show, hosted by Filmmaker Christian Sesma, now reaches 18 million homes twice a week. It's terrific exposure for short films that rarely receive featured presentation outside of film festivals, and brings extended life to the films after filmmakers have exhausted the festival circuit.  Although youtube and other online video sites have download and screening opportunities, Shorts Showcase offers a place to screen without having to sort through millions of personal entertainment videos, a big plus for agents, producers, directors and film enthusiasts seeking festival quality short films.  The half-hour shows average two to three shorts, and include Insider Tips, Inside Biz and/or Calendar segments in the final four-or-so minutes. After the shows air, they can be viewed online at www.shortsshowcase.com and viewers are encouraged to vote for their favorites.  The top voted films are given awards and screened at The Camelot Theatres in Palm Springs twice a year.   "The Lifter Upper" Some of my favorites so far are "The Lifter Upper" by Micah Chambers-Goldberg, "Anything You Can Do" by Evan Wolf Buxbaum, the score by Sigur Ros on "Breadwinner," and the entire Show #13 featuring the excellent films, "The Big Sayonara" by Don Hamilton and "The Election" by Padraig Reynolds, plus an interview with actress Lin Shaye (from "The Election") at the end.  Actor Ray Wise, Director Padraig Reynolds, "The Election" The show seems to be getting better and better with each episode.  It airs on PBS SoCal station KVCR Tuesday evenings at 10:30 p.m. and again on Friday at 12:30 a.m. For info on how to submit a film, and to watch all the shorts you desire, go to www.shortsshowcase.com.  Here are the first 2-1/2 minutes of the 15 minute film, "The Big Sayonara:"

Whimsical Pet Paintings Raise Funds for Animal Shelter

Palm Springs Artist Shawn Savage is a busy guy. He has his hands in lot of projects, including a new series of Pet Paintings which he originally launched last October to support the Palm Springs Animal Shelter.

"Summer is the time of self reinvention for me and the 'Savage' brand," he says, "and I am very excited about the momentum that we are creating going into the new season." 

The new paintings are true to the whimsical Savage style, but are distinctly different from last year's bold color paintings.

Drawn on recycled paper, such as old Thomas Guide map pages, they reflect a looser style, but convey as much punch and fun as the color designs. They're also framed and ready to go. 

Some of the paintings from last year's series can still be found hanging at the PS Animal Shelter. They're available for sale with a portion of the proceeds going to the Shelter. 

Savage says he's creating an entire line of products for the new drawings so if you can't afford an original painting or drawing, you can still get yourself a little pet whimsy on greetings cards, pet ware or t-shirts. The new series and design line are expected to be available later this month, and last I heard, Shawn is planning a showing at the Blu Print Green Gallery in Palm Springs. The date is not yet confirmed, so keep your eyes and ears open for that. A portion of the proceeds from the new series will also be donated to the PS Animal Shelter. 

But that's not all Savage is working on. This summer he's also teaming up with local craftsmen and launching a new furniture line that will include Sculpture Fountains. 

"The first pieces from my line will be two crendenzas, coffee and end tables and wall sculptures inspired by mid-century styling and Palm Springs architecture." 

Launch party for the furniture line is expected in late August or early September. 

Of course, if you're not in the Palm Springs area, you can always go online to check out the latest from Shawn Savage's many projects and designs.  

http://www.thesavagegallery.com/

http://www.sculpturefountains.com/ 

Film Art in James Bond Opening Sequences

James Bond endures. What a character. What a franchise. Who hasn't seen at least one James Bond film? Maybe not if you're a member of some far flung isolated tribe, but even then I wouldn't be surprised to find a Bond film poster on a thatched wall.

A constant with the 007 film franchise is the debate over who has been the greatest James Bond. Was it Sean Connery, Roger Moore, Timothy Dalton, Pierce Brosnan, or Daniel Craig? Or Barry Nelson, David Niven, or George Lazenby who also had short stints as Bond. Dalton didn't impress, although some say he was the most underrated. Moore could be suave, but compared to Connery, really? Brosnan has a sexy edge. Craig, yea, he's okay. He's got it going. But for me the all time best Bond was the original, Sean Connery. (For Bond trivia experts: True, the first Bond was Barry Nelson, but he portrayed Bond in a television show, not in the film franchise.)

Another constant with James Bond films are creative opening credit sequences. In celebration of these sequences is a new exhibit at the Los Angeles County Museum of Art called "... Is James Bond." (Art of the Americas Building, Level 2, through September 9.) Co-organized by the LACMA and Loyola Marymount University's School of Film and Television, the exhibit pays homage to the 22 opening sequences, created by Maurice Binder, of the James Bond films. 

For Bond fans, it's an exhibit made in James Bond heaven. For film fans, it's an interesting look at opening film sequences, the part of a film often overlooked, or not overlooked so much as rarely examined on its own. Watching the Bond opening sequences today, they may not seem so extraordinary, but when Bond films first hit the screen, the sequences were occasionally groundbreaking. Watching the openings one after another, it seems Binder got his stride and style early on and the later films' sequences are somewhat... familiar. But the exhibit is a fun, visual treat. And when you've had enough, you can always head to the bar for a martini, shaken, not stirred.  

Jazz Celebrated at SF Fillmore Jazz Festival

I'm not necessarily a jazz afficionado, but I like jazz. I appreciate jazz. I also enjoy a good street festival, so on a picture perfect, gorgeous San Francisco day I headed over to Fillmore Street to check out the 28th Annual SF Fillmore Jazz Festival.

Granted, SF is not part of the SoCal arts scene, but despite the title of my blog, I can't ignore some of the great things going on all over California, including NorCal, and my all time favorite, San Francisco. No matter how many years have passed since I lived in SF, it always feels like home when I return for a visit.

The Fillmore Jazz Festival is known as the largest free jazz festival on the West Coast and thousands came out to enjoy the sweet sounds of dozens of bands and musicians performing on three stages along Fillmore Street. While I was there, the Wayne De La Cruz B-3 Organ Band with Pamela Rose (above photo) were performing at one location while TSP: The Song Project (below photo) were on another stage. 

When The Song Project took the stage, almost immediately they had the audience in their pocket. They certainly had me. Many festival goers who were walking up and down the boulevard stopped in their tracks to catch more of their sounds. They were fun to watch, really into their music, having a great time on stage, especially trumpet player Mark Rapp and guitarist and vocalist Derek Lee Bronston. 

What I like about the band is their willingness to tread non jazz waters to create their signature jazz sound. What other jazz band is performing the White Stipes song, Seven Nation Army? Sure, there's Cole Porter and Miles Davis in their repertoire, but there's also AC/DC, Radiohead, and here's their version of Paul McCartney's "Let Em In" from a performance at Joe's Pub in NYC earlier this year:

Fillmore Street has a rich musical history. Jazz clubs dotted the avenue as far back as World War II. Billie Holliday, Duke Ellington and Count Basie were among the greats who performed on the street.  Legend has it that Louis Armstrong checked out Charlie Parker at the Fillmore Street club Jimbo's, which supposedly was the only time they were under the same roof. I don't know if this year's Jazz Festival ranks near that sort of milestone, but it sure was fun. 

Gus Van Sant Shines in Palm Springs

Gus Van Sant is a multi-talented artist who excels in several creative arenas. He's a filmmaker, painter, writer, and musician. It would be annoying if it weren't for the fact that he's so unassuming. He was at the Palm Springs International Short Film Festival recently to receive the Spirit of Short Film award, and participate in a Q&A and screening of some of his shorts. At one point during the discussion, moderator PSISFF Director Darryl Macdonald mentioned his work as a musician and proded him to a little self-promotion, asking him to tell everybody where they could purchase his albums. Van Sant declined the opportunity and moved the conversation forward.

His mainstream success with films like Drugstore Cowboy, To Die For, Milk, and Good Will Hunting, has not altered his experimental filmmaker heart. He continued to make shorts even after his box office success with feature films. One of his more recent shorts, Ballad of the Skeletons features a close up of Allen Ginsberg reciting his poem against a backdrop of archive film and music by Paul McCartney. The provocative 4-minute piece must have been one of the last things Ginsberg did since it was made in 1997, the year of Ginsberg's death.



Van Sant also collaborated with William Burroughs. He talked about being a longtime Burroughs fan after reading Naked Lunch and other Burroughs selections and he took a liking to a story called, The Discipline of DE. He thought the story would make an interesting short film. So he tracked Burroughs down and it didn't take much tracking. He found him easy enough in a New York phone book. This was in 1982, a time when you could still track down a literary icon in a phone book. When he told Burroughs he wanted the rights to the story so he could make a short film based on it, Burroughs made a sarcastic comment about what a non-money maker that would be and gave him permission free of charge. Thus began their friendship.  

The storyline of The Discipline of DE is about "DE" - about going through life in a "Do Easy," extremely efficient fashion. It's droll and feels dated (even earlier than '82), but got into the New York Film Festival and Van Sant says it was a "big start" for him.  

Burroughs had a memorable role in Van Sant's 1989 film Drugstore Cowboy as Tom the Priest, but it wasn't the end of their collaboration on shorts. In 1991, Van Sant made A Thanksgiving Prayer with Burroughs.  It features Burroughs reciting an Allen Ginsberg poem with music by Phillip Glass and Paul McCartney.  It isn't your grandmother's Thanksgiving prayer, that's for sure. It's pure Burroughs and Ginsberg. One of the more mild lines is, "Thanks for a country where nobody is allowed to mind his own business." (The film can be found on youTube.) 

Out of the all the shorts screened, I most enjoyed the two video diary pieces. They were raw and funny, and Van Sant was in them. They're two of seven 2-1/2 minute films he made once a year in the '80s while he was in New York trying to save money for his first feature. He describes the shorts as basically "one liner jokes" that cost him about $50 a piece. Interestingly, they are very much like a million other short films found today on youTube that showcase any silly thing about a person's life, but Van Sant's were made in the mid '80s. 

One of them, called Junior, could easily have been the first viral cat video if youTube was around then. It shows Van Sant's cat, Junior, chasing a circle of sunlight dancing on the ground while Van Sant plays guitar. 

Van Sant took question after question from the audience at the Palm Springs screening. He talked about his music videos (he wrongly thought music videos would be easier than making commercials); the turning point in his career ( Drugstore Cowboy was his first real job - "before that I hadn't made an honest living"); the serendipity of fnding his actors (he found the four boys for his short 4 Boys in a Volvo at a Grateful Dead concert); and how sometimes it's easier to direct a multi-million dollar feature film than a short with a bunch of friends ("it's harder to get your sister to do something on film than someone like Nicole Kidman"). 

When it comes to Van Sant's approach to filmmaking, possibly the most telling remarks he made that point to his willingness to still pursue the experimental were comments he made about cinematographer Christopher Doyle who he worked with on Paranoid Park (Doyle is on the left in the photo above). He told a story about how he was looking at some of the film Doyle shot and noticed it was out of focus. He mentioned this to Doyle. Doyle brushed off his concern and shouted excitedly, "Focus sucks!" And that was when Van Sant knew he was going to enjoy working with Doyle. He laughed at the memory.

Wall Tapestries a Visual Story of Israeli Culture

There are quilts, and then there are wall tapestries. Israeli artist Noa Eshkol created the latter. I came across her textile art work at a new exhibit at the Los Angeles County Museum of Art.

The multi-disciplinary exhibit features Eshkol's wall tapestries, or wall carpets, and her dance compositions in a film installation by Los Angeles multi media artist Sharon Lockhart. 

(I'll write write about Eshkol's choreography in a separate post.)

Eshkol was 83 years old when she died in 2007. During her life she created about 1,800 wall carpets, which she began making in 1973 during the Yom Kippur War.  By this time she was well known in Israel for her innovative dance work and people throughout the country sent her clothing, aprons, umbrellas, and scraps of fabrics for incorporation into her wall carpets. Eshkol only wanted to use recycled materials, clothing no longer being used. Every scrap had its own story. No new clothing or fabrics were used.

Eshkol's process was about using the textiles with as little alteration as possible. So although seams were undone, the clothing pieces were left as whole as possible when sewn into the tapestry design. When you look closely at some of her tapestries, you can clearly see a skirt, a shirt, a collar, etc. 

LACMA explains her pieces as "evocative of the fragmented and disorienting experience of war, the layered fabrics bring together divergent and overlapping stories, cumulatively resulting in a map of Israeli material culture."

Although her work tells an Israeli story, it could easily be mistaken for American quilting. The American folk craft of so-called crazy quilting results in similar displays of mix matching and wild combinations of fabric and

design.

Given Eshkol's dance background, the movement in her designs is not surprising. Los Angeles multi media artist Sharon Lockhart was drawn to Eshkol's tapestries and her choreography. She apparently saw a correlation between the two, resulting in her film installation currently at LACMA, which brings together both of Eshkol's talents.

The Ghost of Jack London

Up to 70 California state parks are slated to close in July due to budget cuts unless rescued by non profits or other agencies willing to take them over. Luckily, some of the parks have been saved from closure.

One of the most recent parks to come off the closure is Jack London State Historic Park north of Sonoma where the writer lived until his death in 1916. I recently visited this historic park and am happy to hear it will remain open for others to visit. The park is a beautiful forest of redwoods, oaks, and Douglas Fir trees, creeks, canyons and wildlife, the place London fell in love with in the early 1900's. 

London was only 26 years old when he became internationally famous for his novel The Call of the Wild in 1903. He became the highest paid and most popular American author of his day. He was also a media darling, a celebrity, and handsome bon vivant not immune to controversy. But he was not a white gloved dilatante. He was an adventurer and nature lover.

He discovered Sonoma County's Valley of the Moon during a visit in 1903 and purchased his first property there in 1905. In the ensuing months and years he continued to buy parcels of land and eventually owned 1,400 acres of pristine Sonoma County forest.

One of the most interesting and tragic remnants of London's life at Glen Ellen, where the park is located in the Valley of the Moon, are the stone wall remains of Wolf House, London's "dream home" which was destroyed in a fire just days before Jack and his wife Charmian were to move in after two years of construction. Ironically, London and his architect Albert Farr, were influenced by the great SF earthquake and took great pains to build a rustic yet fireproof design that used local volcanic rock, boulders and unpeeled redwood mounted on a concrete foundation that could hold a 40-story building.

It's fascinating to walk the site and see that, yes, it was fireproof, but only to a point. Wolf House was a 4-story, 15,000 square foot house with 26 rooms and nine fireplaces. For its day, 1913, it was going to be a state-of-the-art home with hot water, heating, electric lighting, refrigeration, and indoor pool.

The cause of the fire remains a mystery although there are two main theories: (1) London was betrayed by a close friend or workman who started the blaze, or, (2) it was spontaneous combustion from building materials. Some say London never recovered from his shattered dream although at the time he vowed to rebuild. He died three years later from kidney failure at 40 years of age.

After Jack's death, Charmian built a smaller home on their property where she lived the rest of her life. The home now houses the House of Happy Walls Museum.

Inside visitors will find much of the home's original design and furniture, and of course the story of London's life with his books, short stories, and a model of his beloved boat, the Snark, which London and Charmian spent 27 months aboard sailing to far flung places.

Here's how Jack described his love of Glen Ellen and his ranch:

“I ride over my beautiful ranch. Between my legs is a beautiful horse.
The air is wine. The grapes on a score of rolling hills are red with autumn flame.
Across Sonoma Mountain, wisps of sea fog are stealing.
The afternoon sun smolders in the drowsy sky.
I have everything to make me glad I am alive.”

 What a shame it would have been if the park closed and no one could learn about Jack London on the property where he lived, and where he was buried. The rescuer is Valley of the Moon Natural History Association who signed a five-year deal to keep this historic park open.  

In SoCal, talks are currently underway to keep open Palomar Mountain State Park, Santa Susana Pass State Historic Park in Simi Valley, Pio Pico State Historic Park in Whittier, and Los Encinos State Historic Park in Encino. Hopefully the talks will be successful, and more non profits and agencies will come forward to rescue the dozens of other state parks in Southern and Northern California that are on the closure list.


You can find out more about which parks are on the list and what you can do to keep them open at
http://savestateparks.org/.

Calling All Angels



Artist Robert Morgan told me about a very cool event happening Saturday evening at Siren Studios in Los Angeles. It's called GET ART 5 and raises money for Project Angel Food whose mission is to "nourish the body and spirit of men, women and children affected by HIV/AIDS, cancer and other life-threatening illnesses." They deliver more than 13,000 meals every week to people in need.

That's a lot of meals and in order to fulfill their mission, they need funds. GET ART 5 is one of their main fundraisers. It's a live art experience with music, hosted cocktails and hundreds of original artworks for sale at affordable prices. Morgan is one of dozens of artists participating.

The photo at the top of this post is by Andre Chambers and shows artist Alex Schaefer painting a portrait of Robert at GET ART 3.

Below is artist Gregory Siff painting for last year's event at Siren Studios. The video was directed by John Wellington Ennis and was shot from 8:30am to 4pm.

As Robert says, "Get ready, get set, GET ART!"
Find more info about the event at http://www.getart.org/.

A Folk Art Environment

During a recent road trip along the coast of California, I came across the story of Arthur Beal, the creator of Nitt Witt Ridge. Beal spent over fifty years building his beloved “poor man’s Hearst Castle” on two and half acres of hillside land in Cambria.

Having long ago visited Hearst Castle, I decided to find out what a “poor man’s Hearst Castle” looks like and took a short drive from Moonstone Beach in Cambria to Nitt Witt Ridge. The ramshackle, fenced off site is easy to find.  It’s hard to see a lot of the structure detail from the street, but a closer look reveals abalone shells, beer cans, car parts, and other reclaimed and discarded items.

Beal purchased the property at 881 Hillcrest Drive in 1928. He was a garbage collector for the town in the 40’s and 50’s and apparently used a lot of the trash he collected for his building materials. Initially it was a one room shack, but using a pick and a shovel, Beal built out the property into sprawling “castle.” As the years passed and Beal’s home expanded, he became well known around town as an eccentric by some and a nut case by others. His notoriety soon brought media to his door and he was featured in several news stories.

Beal died ten years ago, but before his death Nitt Witt Ridge was declared California Historical Landmark, No. 939, as a thematic landmark in connection with the Twentieth Century Folk Art Environments. The plaque reads:

Nitt Witt Ridge, one of California's remarkable twentieth-century folk-art environments, is the creation of Arthur Harold Beal (Der Tinkerpaw, or Capt. Nitt Witt), a Cambria Pines pioneer who sculpted the land using hand tools and indigenous materials, inventiveness and self-taught skills. A blend of native materials and contemporary elements, impressive in its sheer mass and meticulous placement, it is a revealing memorial to Art's cosmic humor and zest for life. California Registered Historical Landmark No. 939. Plaque placed by the State Department of Parks and Recreation in cooperation for saving and preserving arts and cultural environments with the Art Beal Foundation, non-profit and educational corporation. June 26, 1986.

The site is currently owned by Michael and Stacey O'Malley who bought the property in 1999. They offer tours of the site, but reservations are required.  The number to call is 805-927-2690. 

Color Splashed Retail Incubator Delights

A blast of bright color greets visitors when they enter Raymond/Lawrence in Palm Springs' Uptown Design District. The brainchild of entrepreneurs Raymond McCallister and Larry Abel, the space is a "retail incubator" with an art gallery and innovative vendors selling wares from clothing to real estate. Abel says it was a three month pop up store idea that became a permanent lifestyle destination.

The store's tag line is "Where Creativity Comes to Play," and only the most sour cranky puss would not catch the fun bug once inside. Larry says the idea behind the concept is to offer space for new brands to set up shop without the high risk of leasing a store on their own before knowing how their products will be received in the area. It's not a co-op, but the space enables vendors and artists a test run in the marketplace in a creative environment with other forward-thinking merchants.

I found the most striking and eye-catching designs in the store the acrylic pieces made by Abel and McCallister. Abel says they're drawn to the material because of its potential for a crisp, sharp and modern look. Their unique take on the synthetic combines traditional styles with a modern twist. They use the material to create everything from frames, vases and bowls to furniture and colorful eye-popping decorations.

With about twelve vendors set up in the shop, there's a rich variety of products. One of the vendors is Slip, a lamps and lighting company. Slip's aesthetic is "witty, modern, and sophisticated," and a good fit at Raymond/Lawrence. Soup Home, a home furnishings business, uses certified organic and sustainable materials that are "conceptualized, designed, and merchandised in a cross-category lifestyle philosophy." Crate of California, LA Sporting Club, and Katelyn Grayce are a few of the other vendors in the mix.
If you're yearning for European magazines, there's also a small newspaper stand.         

Just about everything in the store conveys artistic expression. If you look closely at the wood display shelving for glassware (above), you'll notice the martini and wine glass cut-outs.
 

                   

A giant tree sculpture is the current centerpiece in the art gallery, a project space operated by Royale Projects. The tree is a stunning work by Pontius Willfors who created the work from multiple avocado tree branches and using chains and buckles to connect the pieces. It's pretty spectacular and for $26,000 it can be yours. 

Abel and McCallister are busy entrepreneurs. This is not their only venture, only their latest venture. They have five other businesses. Their decor store Art Style Innovation, known as ASI, has been in Palm Springs since 2009.

 

One of their most successful ventures is an event business. They produced 187 events last year in Southern California, including a party for the popular Fox show, House. Taking a cue from the story line of the protagonist's prescription drug abuse, portrayed by Actor Hugh Laurie, the couple created large pop-art style pill bottles for party decorations. The bottles were a hit and and have been a big seller ever since.             

                              

Abel says there will be at least five new companies coming to the showroom this summer including a unique San Francisco gift shop, and lighting and window treatment vendors. 

It's not difficult to find Raymond/Lawrence. Just look for the bright orange and green mailbox waving to drivers outside the front door on North Palm Canyon Drive in Palm Springs.