Will The Real La La Land – Please Stand Up!


I am exposing more of the abuse I suffered. I am reluctant because I got a death threat, and, I believe my last blog was hacked and a virus installed. It crashed. I lost all my work that took thousands of hours to research and author. I have talked twice to the FBI. Homeland Security has long been aware of me. The people that have harassed me have no book out about them, nor does anyone other then me want to make a movie about them. There are two books about my late sister, and a script for a HBO series. People close to me have worked hard to make sure no one of import is aware of me, and, I am never rewarded. Allegedly La La Land was written in 2010, the year I began to tell my friends about ‘Love Dance’ based upon the music of Love. Prove it!

It is alleged the author did not produce his story because  they wanted to make too many changes. I don’t buy it! This was not his first rodeo. The script is tried-and-true. It resembles my treatments – that is based on real people, and real Jazz Men. This was a complaint from lovers of Black Jazz Men, that they never get a real pay day. This was Kenny Reed’s complaint.  That Moonlight bumped La La off the stage is suspicious to folks who are nobody, who have nothing to lose for owning an opinion. My opinions have been severely oppressed!

Here is the skinny on LaLa before the award disaster. I married Thomas Pynchon’s ex-wife. Tom was a Jazz Lover and included Jazz notes and ideas in his books. A famous basketball player is using the word “racism”.


Here I am in front of Stone Cold Jazz holding up an image of Rena, who Marilyn’s daughter reads her poem Rena and I met in LA and the foot of the Venice pier. ‘La La Land’ is fiction, make-believe! This is the real deal, the real thing.  Izzy ask if Rena could be his muse, too. Izzy played a janitor in ‘Animal House’.

Marilyn and I went to the Granary together to hear Kenny, who I met in an elevator where his girlfriend lived. Marilyn caught his eye, and he followed her upstairs. They exchanged numbers. I was the designated rival. Too bad………….but not if you allow the True Story.

Jon Presco




My Letter From Homeland Security

bald2Below is my letter from Gary M. Bald who assured me there were no arrests or trial in regards to terrorist threat to Olympics in Sydney in 2000, a year before 911.

“The trial had earlier been told how Hambali provided Roche with access to al-Qaeda officials including Osama bin Laden, and how he travelled to Afghanistan via Pakistan to meet them. The notes of these meetings described how al-Qaeda had agreed to have three white Australian Muslims undertake firearms and explosives training in Afghanistan, while Roche co-ordinated operations in Australia.”

“Gary M. Bald Named Executive Assistant Director for Counterterrorism and Counterintelligence

In January 1999, Mr. Bald was detailed to the Criminal Division at Headquarters, and later to the Inspection Division, where he led the investigation of a high-profile Organized Crime/Corruption matter in the Boston Division relating to the James “Whitey” Bulgar case.

May 28,2004

“Dear Mr. Presco

By letter dated April 22nd,

Congressman Peter DeFazio forwarded your April 9th. e-mail regarding an alleged threat to the 2000 Summer Olympic Games in Sydney, Australia, to the FBI’s Office of Congressional Affairs. Your inquiry was referred to my office because
your concerns fall within the purview of the FBI’s Counterterrorism Division. We appreciate the interest which prompted you to write. Regarding your concerns that members of “Al-Qaeda were released after being caught with plans to blow up a nuclear plant, “near the site of the 2000 Summer Olympic Games, I can assure you that the Australian and U.S. authorities aggressively investigated initial report of this potential threat. However, it was later determined that no threat existed. Additionally, contrary to media accounts, no arrests were made because no crime was committed. The security for the 2000 Sydney Olympic Games was very
well organized and communication with the U.S. Government was unprecedented. I hope this information is helpful to you and will serve to allay some of your concerns. Sincerely yours,

Gary M. Bald

Assistant Director Counterterrorism Division.

1 -Honorable Peter DeFazio U.S.
House of Representatives Washington, DC 20515

Al-Qaeda targeted Olympics, By Martin Daly in Perth May 20, 2004

Al-Qaeda planned an attack during the Sydney Olympics and to target the Jewish community, according to notes revealed during the trial of an Australian man accused of plotting to bomb the Israeli embassy in Canberra. A notebook seized from Jack Roche’s Perth home in 2002 describes in Indonesian how al-Qaeda leaders in Afghanistan, Pakistan and Malaysia planned the attacks. The Melbourne Jewish leader, businessman and football identity Joseph Gutnick was identified as an
important target.

Greg 1963 2Prescos 1964 Family Gathering 3greg3

The Pierce Brothers Westwood Village Memorial Park Cemetery is a cemetery in the Westwood Village area of Los AngelesCalifornia. It is located at 1218 Glendon Avenue in Westwood, with an entrance from Wilshire Boulevard.

La La Land: A Musical Ode to Men Who Love Loving Jazz


Ryan Gosling and Emma Stone in La La Land. Photo: Dale Robinette/Lionsgate

With apologies to Cameron Crowe, no director has done more for the image of the Male Music Nerd in popular culture than Damien Chazelle. Following up on Guy and Madeline on a Park Bench (his 2009 debut, a jazz musical about whether a guy can date a girl who doesn’t “get” his music), and Whiplash (his 2014 ode to musical mastery and masochism), Chazelle now brings us La La Land: a heartwarming romance that boasts a Male Music Nerd not merely as the protagonist, but as the swoon-inducing romantic lead.

As any woman who has ever been on the receiving end of a musical mansplaining session knows, this is a disturbing development. It seems that Chazelle, himself a former jazz drummer, wants us to love not just jazz, but also to love men who love talking about loving jazz. Giving this role to Ryan Gosling — Earth’s most likable and charming man — is merely a sneaky way to redeem a terrible music-nerd archetype that should have been decisively retired somewhere between Almost Famous and High Fidelity (i.e., the year 2000).

La La Land is a whimsical old-fashioned Hollywood musical about two Angelenos with big dreams: Mia (a delightful Emma Stone), an aspiring actress and playwright, and Seb (Ryan Gosling), a jazz pianist with a chip on his shoulder. If you’ve ever dated in Brooklyn, you have dated a man like Seb. His most prized possession is a stool owned by Hoagy Carmichael, which nobody is allowed to sit on. He listens strictly to vinyl and cassette tapes. He dreams of opening his own club, a club that plays “pure jazz,” like they did in the good old days. He refuses to date women who don’t like jazz (as if dating in L.A. weren’t hard enough). He gets fired from his job because his boss won’t let him improvise on the Christmas songs.

Early on, after a few chance run-ins lead to a burgeoning flirtation, Mia makes a damning confession: She doesn’t like jazz. This is a big mistake. Only tell a Male Music Nerd that you do not like their preferred music if you have at least four free hours on your schedule to be taught exactly why you’re wrong. Seb responds by dragging Mia to a jazz club in the middle of the day. “It’s conflict and compromise,” explains Seb, talking loudly over the live band that they came to see. “It’s new every time … and it’s dying.” (I prefer Lisa Simpson’s explanation: “You have to listen to the notes she’s not playing”). Mia is ultimately convinced, seemingly not by the music itself (which Seb keeps talking over) but by the passion and enthusiasm with which he presents it to her. “People love what people are passionate about,” she concedes. As any woman who has been dragged to a Phish concert against her will can attest, this is not always the case.

Seb doesn’t just want to play jazz; he also wants to save jazz. “They always say, ‘Let it die.’ Not on my watch,” he declares, stating his intention to open a club that will resuscitate the genre, much as Chazelle has set about to breathe new life into the old-fashioned movie musical. (This is a complaint for another essay, but positioning Ryan Gosling as jazz’s white savior while relegating black musicians to the background left a sour taste in my mouth.)

While the film is carried entirely by Gosling’s winsome charisma and Emma Stone’s wonderfully intelligent and expressive acting, neither of them have much to work with in the way of backstory. Pretty much all we know about Mia’s life is that she’s from Boulder City and had a weird aunt who made her watch old movies. As for Seb, we know simply that he loves jazz, which functions simultaneously as career, passion, and catchall personality trait. Musical taste has long been used as a signifier for emotional depth, and Seb’s love of jazz is depicted as essential to his status as desirable romantic lead: He’s a throwback, a dapper romantic from another era with old-school tastes to match. He’s an uncompromising purist à la Llewyn Davis, which usually spells disaster, but here is used (mostly) as a marker of integrity. He’s talented, yes, but his technical skill is matched by his soulfulness and sensitivity. He’s discerning: a man who rebels against popular taste, and therefore is more desirable than the rest of L.A.’s basic bros. (“They worship everything and they value nothing,” he says dismissively of Angelenos at one point.) He is, in short, a self-serious bore, and Gosling’s performance is the only thing that elevates the role beyond cheesy emo-teen-movie stereotype — from Seth in The O.C. to Tom in 500 Days of Summer to Sam in Garden State (women, particularly Manic Pixie Dream Girls, long may they rest, are not immune to this affliction).

On stage, “La La Land” producers were approached by a man wearing a headset and holding an envelope.

Platt called producer Fred Berger to the mic next. As Berger began speaking, Beatty started heading to the mic, but Berger beat him to the announcement.

“We lost, by the way, but, you know…” he said.

Horowitz clarified: “I’m sorry, there’s a mistake. ‘Moonlight,’ you guys won best picture.”

Photos later confirmed that Beatty and Dunaway were accidentally handed the envelop containing the winner for best actress in a leading role.

Stone told press she was confused because she had the card announcing her win with in her possession “the entire time.”

Two partners from PricewaterhouseCoopers (PwC) — the accounting firm responsible for tabulating the results and keeping them confidential — prepare two briefcases with the envelopes used by presenters.

The pair stand backstage and hand envelopes to award presenters before they walk onstage. It was a breakdown in the final stage of this process that led Dunaway to announce “La La Land” as the winner

Behind Beatty, the two casts traded spots.

“This is ‘Moonlight,’ the best picture,” Beatty said.




So you can imagine my disappointment when I discovered that Gosling’s character Sebastian only has two – maybe three? — scenes in which he explains his love of jazz. The first one is a scene with Rosemarie DeWitt, wherein he establishes that jazz is his character’s passion and his raison d’etre. The second (sort of) one is his tete-a-tete with his boss, played almost with a wink by Whiplash‘s menacing jazz corporal J.K. Simmons. The third is the one that seems to rankle people the most. At the beginning of the film’s second act, Sebastian takes Mia (Stone) to his favorite jazz club in an effort to woo her to his side. He gives a brief impassioned lecture on the history of jazz and why it shouldn’t be discounted as boring background noise. Instead, it is collaboration and poetry in motion. It’s art made life. The scene doubles as a soft first date.

This last scene is supposed to be damning for the character which has left me scratching my head. Okay, sure, I’m fully prepared to admit that Gosling’s character may not be the best ambassador for jazz. The genre is a distinctly American — and by extension, black American — art form. However, when you look at the whole scope of the film, these scenes make sense. First, we see Sebastian as a man hoarding the symbols of his passion — he doesn’t want to compromise or share. When he starts to fall for Mia, he visits her on the Warner Bros. lot and asks her about why she got into acting. Then, he wants to use his love of music to build a bridge between them. He doesn’t count her out because she writes off jazz, but rather, he’s trying to invite her in. It’s not “mansplaining,” as much as it is forging a connection.

Also, if we want to parse it down, absolutely no “mansplaining” happened in that scene. “Mansplaining” is an idiomatic term that describes an awful habit wherein men lecture women on topics the women are certified experts in. For instance, this is mansplaining:

About Royal Rosamond Press

I am an artist, a writer, and a theologian.
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