{"id":262063,"date":"2025-10-31T03:34:08","date_gmt":"2025-10-31T03:34:08","guid":{"rendered":"https:\/\/www.newsbeep.com\/us\/262063\/"},"modified":"2025-10-31T03:34:08","modified_gmt":"2025-10-31T03:34:08","slug":"cameron-crowe-on-the-uncool-memoir-of-his-teen-rock-journalist-years","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us\/262063\/","title":{"rendered":"Cameron Crowe on ‘The Uncool,’ Memoir of His Teen Rock Journalist Years"},"content":{"rendered":"

\n\tFor much of the world, he had us at \u201cJerry Maguire,\u201d or his \u201cFast Times at Ridgemont High\u201d script, or \u201c\u2026Say Anything.\u201d But for a select portion of his fandom, filmmaker Cameron Crowe<\/a> really had us at the hello that was his early journalism career. Crowe first came to a kind of fame as a leading rock journo for Rolling Stone who just happened to be an emotionally intellectual teenager at the time \u2014 the time being one of rock \u2018n\u2019 roll\u2019s golden ages in the 1970s, when he was tagging along on tour or in the studio with Led Zeppelin, David Bowie<\/a>, Lynyrd Skynyrd and just about every other major rocker of the period. It\u2019s an era he mined for semi-fiction in the movie and stage musical \u201cAlmost Famous<\/a>\u201c; now he\u2019s telling the even truer stories, and plenty he never got to before, about in his splendid new memoir, \u201cThe Uncool.\u201d<\/p>\n

\n\tCrowe arrived already so fully developed as the world\u2019s most precocious teen scribe in the \u201970s that it was hard to imagine he would ever get much better as a prose stylist, however many decades he might keep at it. But \u201cThe Uncool\u201d proves that he has, even with all the time taken away from concentrating strictly on the page to focusing on major motion pictures. It\u2019s the kind of a book where you want to blow a chef\u2019s kiss to sentence after well-honed sentence, written in a richly detailed, at times almost passionately epigrammatic fashion that he maybe could only have arrived at after exercising different muscles doing mostly screenplays for the last four decades. If it\u2019s stories about the greatest musicians of all time you want, come for the Allman Brothers and Fleetwood Mac, or a description of Gram Parsons\u2019 and Emmylou Harris\u2019 first musical encounter, then stay for the just-as-compelling stories of his family life growing up in Indio and San Diego. Both these sides were well-explored in \u201cAlmost Famous,\u201d but \u201cThe Uncool\u201d brings them to a light and life that dramatic rendering could only begin to get at.<\/p>\n

\n\tThe focus here is on memories, but we also asked about his immediate future, which includes a long-planned biopic of his friend Joni Mitchell<\/a>. (Instances of him returning to music journalism in recent years have included his interviews and liner notes for Mitchell\u2019s retrospective boxed sets.) Variety talked with Crowe before he embarked on his own first tour \u2014 a book tour that will find him appearing in a handful of theaters around the country, having conversations with guests ranging from Jake Tepper to Sheryl Crow to Kate Hudson. Meanwhile, \u201cThe Uncool\u201d is out this week.<\/p>\n

\t\tSome of the book has you tagging along with the great artists on tour dates, and some of it has you-are-there moments in the studio, like when you witness David Bowie making \u201cStation to Station.\u201d Is there a single project where you were kind of lingering around the edges that you most get excited to remember?\t<\/p>\n

\n\tWith some of the last movies that we\u2019ve made, the lunchtime experience in the editorial room had been about, like, \u201cWhat was Fleetwood Mac like around \u2018Rumours\u2019?\u201d And it turned into like the Garrison Keillor-ization of some of these stories. At a certain point, I just felt like I need to write all this stuff down so that I have it. And it was also just a chance to put people in a place where we\u2019re not looking back: We are with Glenn Frey in the moment, or we\u2019re with David Bowie, or trying to convince Jimmy Page to pose for the cover of Rolling Stone, to access the fear and longing to actually pull it off and what that felt like. It was an exciting chance to not say \u201cI remember,\u201d but just to be in the moment with the writing.<\/p>\n

\n\tI did really want to write about the Bowie experience, because I thought the kind of Wikipedia-ization of his life, as rapturous as some of the writing is, kind of missed the thing that I felt from him, which was a nervous brilliance but also a real warmth. I mean, the fact that he wanted to kind of help me along the path as a so-called artist was unimaginable at the time, that somebody would even think that there was that kind of voice to be brought out in the stuff I was doing. So I really wanted to write about that.<\/p>\n

\t\tI was thinking of what kind of description you could give people that would make a lot of people buy this book. And one of the things that came to my mind is this is \u2014 forgive this for being the most glib and reductive thing possible! \u2014 you could tell them it\u2019s \u201cAlmost Famous: The Novelization.\u201d\t<\/p>\n

\n\tKind of \u2014 the actual events and the novelization combined. It wasn\u2019t meant to be that way.<\/p>\n

\n\tI wanted to write about my family and the experience of how music found us and what it did, and the gift of my oldest sister, who I\u2019d never written about [in \u201cAlmost Famous\u201d]. Because over time I realized that so much of everything that I love as a writer and as a fan came from what she gave to me as a 9- and 10-year-old, before she died. [Crowe\u2019s oldest sister, Cathy, died by suicide after periods of being institutionalized while he was growing up.] To me, for a long time, she was a towering adult that left us too soon. Then as I got older, I realized she was a teenager who loved music and loved the way music could transport her and take her out of a painful adolescence. And that was her gift to me. Like, \u201cHere\u2019s your ticket to a certain special kind of transcendent experience. See what you do with it.\u201d There are people in your life that do that for you. And not all the time is it a sibling. But I wanted to write about her.<\/p>\n

\t\tIt sounds like this book might have started as an exercise in collecting and offering updates to your old pieces from way back then, and out of that branched your interest in doing an actual memoir, which this is. But the other book is still happening, it just got pushed back a little bit?\t<\/p>\n

\n\tIt\u2019s true, it\u2019s true. Well, I think they go hand in hand. But what I didn\u2019t realize is that there was so much that I still wanted to say about Southern California and what that life was like and the way music sounded and felt. And I loved \u201cJust Kids,\u201d the Patti Smith book. I thought the Patti book was a magic trick. It made me feel like I was right there with her, and there wasn\u2019t any kind of any soggy sentimentality about it. It was just \u201cCome meet these people.\u201d I loved the quiet generosity of it, and I just thought, \u201cYou know what? That\u2019s a great place to be.\u201d<\/p>\n

\t\t\t\t\t\t\"\"<\/p>\n

\t\t\t\t\tCameron Crowe\u2019s new book \u201cThe Uncool\u201d<\/p>\n

\t\t\t\t\t\t\t\t\tSimon and Schuster<\/p>\n

\t\tThe book has a finite time frame \u2014 mostly covering your rock journalism years, and your family life before and during that, and then ending with you writing the screenplay for \u201cFast Times at Ridgement High\u201d and being on-set, and then doing the 1983 Tom Petty documentary that recently got re-released. You do flash-forward at the beginning and end to being in rehearsals for the \u201cAlmost Famous\u201d musical in San Diego in 2019, and what was happening with your mom\u2019s health then. But how easy was it to decide not to move much past the early \u201880s? And will there be another book someday that covers the film years?\t<\/p>\n

\n\tMaybe so. I mean, yeah, I\u2019d like to do it. It\u2019s a different book. Things really do change at that point. I didn\u2019t want to do a book that was celebrity-heavy or that even might appear that way. And (being a film director) wasn\u2019t a life I ever imagined when I was 15, or until Tom Petty said, \u201cPick up a camera.\u201d It was a far away land. Just talking to Kris Kristofferson about the set of \u201cPat Garrett and Billy the Kid\u201d (a 1973 story recounted in the book), it felt like he was talking about a far away, magical place where only special people were let in. And it kind of is.<\/p>\n

\n\tBut that wasn\u2019t the feeling that this book is about, which is music and the way music informed everything that came after \u2014 including the movies in a big way. I wanted the characters to all have equal value. Like, Chuck, the guy that lived in our condominium complex, has equal value with Gram Parsons. These are all people that affect your life. And whether they\u2019re later to be super well-known or not, at that age, you imprint so easily and strongly that I wanted to write about that too.<\/p>\n

\t\tObviously you weren\u2019t trying to do a tell-all all of a sudden, but was there stuff that at the time, you didn\u2019t feel like you could write about in your articles about the rock stars, but now, it\u2019s appropriate?\t<\/p>\n

\n\tWell, the thing that I wanted to get across was what it was like to experience the music on stage or as it\u2019s being created or, or when you\u2019re close to that flame. In all those Rolling Stone stories, I wanted people to like have a front row seat with me. Sometimes I\u2019d seen, in things like Grover Lewis\u2019s piece on the Allman Brothers Band (which preceded Crowe\u2019s own feature on the group), that it was weird, snarky gotcha stuff. And I loved the Allman Brothers Band. I didn\u2019t get anything from reading his story except rage at how he sold out Duane Allman, one of my heroes. So I always wanted to write this story that made you meet those people and make a judgment yourself.<\/p>\n

\n\tIn-between the lines, obviously with the David Bowie stories, you could see that he was dabbling, at least, in satanism and drugs and things like that. You could feel it, and that was good enough for me. I wasn\u2019t trying to take the spotlight off the thing I loved, which is the opportunity to talk to the musicians about their actual lives and emotions and stuff like that. And I didn\u2019t feel like I was covering for anybody. They might\u2019ve kept stuff from me, but generally I always felt like I had come away from being on the road with Led Zeppelin or something with the experience of what it was like to be in that tight circle of guys. It wasn\u2019t a big entourage. There weren\u2019t a million little backstage coves. It was like one room or they all were on one plane, and I wanted to capture the closeness of this huge band. And so that was most important in situations like that.<\/p>\n

\t\tYou probably devote the most space of any famous figure in the book to Bowie. It\u2019s fascinating because it does seem like you had a very warm, even borderline-normal experience with him a lot of time. And then there are moments where he\u2019s telling you that Satan is in the swimming pool, and suddenly we\u2019re brought back to what a drug-fueled period this was for him. But generally he\u2019s very cogent and clearheaded and very affectionate and supportive toward you, so we get a sense of him as real person who may be going through a little bit of a weird thing at times. We have this kind of chilly image of him during that \u201cStation to Station\u201d period, so the fact that he\u2019s so warm toward you is almost shocking.\t<\/p>\n

\n\tYeah. He was relentlessly and restlessly creative, and he was always chasing\u2026 whether it was maybe finding a home in movies or writing his own autobiography, he was a seeker then. I think he judged himself more harshly than maybe anybody. When I last talked to him, I couldn\u2019t figure out if he actually did remember the period that well or if he chose not to. I wrote liner notes for a \u201cStation to Station\u201d reissue; I wrote about the sessions and stuff. The note I got back from him was: \u201cPlease write more about the music.\u201d And when I talked to him later, I knew why. He said, \u201cI can\u2019t vouch for anything that happened in that period. A lot of the stuff that you call great quotes to me now, I either don\u2019t remember or they feel like the insane and amphetamine-fueled ramblings of a young man lost with only drug dealers to take care of him. I\u2019m lucky I survived. I\u2019m lucky I\u2019m here to live the life that I\u2019m living right now, so I choose not to go back there. And I couldn\u2019t even get through your story when I tried to read it again this morning.\u201d<\/p>\n

\n\tThe thing that I was going back and forth on was, did he remember and just didn\u2019t want to, or did he legitimately forget what it was like in those times? And of course it was: he did remember. He just didn\u2019t want to or need to introduce that guy to his current life. That was over. So I was a little bit of a souvenir of an old suitcase that he\u2019d thrown away, and here I was going like, \u201cBut it\u2019s the greatest suitcase! It was like the best thing!\u201d He was like, \u201cNo, no, but at least I made some good music.\u201d I went back and listened to the tape recently of that conversation (from later in his life), and he\u2019s not wistful at all. It was like, \u201cThank you for your questions. I don\u2019t recall and don\u2019t think I will ever again.\u201d<\/p>\n

\t\tSpeaking of people who choose to remember or not remember\u2026 The most dramatic encounter you describe in the book is the one you had in the early \u201870s with Gregg Allman, which you fictionalized in \u201cAlmost Famous,\u201d where he seems to have taken you as his confidante but suddenly he freaks out and terrorizes you. As you note, he had his own memoir where he told a different version of the story that didn\u2019t make him seem nearly as scary. You recount how he demanded all the interview tapes you\u2019d done for a cover story and seemed intent on destroying them \u2014 which, for a journalist, makes for a pulse-pounding an anecdote. In the book, you go into how it was so depressing to think you\u2019d lost this cover story, you were thinking, \u201cOK, I am going to listen to my mom now and become a lawyer after all, this is so bad.\u201d\t<\/p>\n

\n\tYeah, if I even get out without getting beaten up or something. It all came back. I was scared. I just did the audio version of the book and it all came back. I had to stop and gather myself because it was so wrenching at the time, and I felt that I had scraped some wound (of Allman\u2019s) wide open again, and that I was gonna be repaid with violence, possibly. It was so hurtful, and I really did not realize how deep it even went until I started writing this and then later just doing the audio book. It was emotionally violent.<\/p>\n

\n\tAnd so seeing Gregg again decades later, yeah, I think he had a sense memory that he had roughed me up. But for him the story had grown to its tour-bus kind of funny punchline ending, so the lore was meeting the reality when I stood with him. And I could tell it was like, \u201cOh fuck. Something happened here and there\u2019s still something between us.\u201d So when we posed for a picture together, I really felt like we were finding some kind of place where I was appreciative for the experience and he was apologetic for the pain that had happened. It all happened in a moment and in a flash. You can see it in the picture. I\u2019m really happy to be there, and he\u2019s kind of like figuring out what this particular crossroads is. But I got to thank him for \u201cAlmost Famous,\u201d and he said, \u201cYou\u2019re welcome. You\u2019re welcome.\u201d<\/p>\n

\t\tLet\u2019s talk about your precocity at the time, and how you were perceived. Of course early on you talk about how nervous you were about being 14 or 15 and hanging with the rock stars. But after a certain point, we forget about that, and we\u2019re just thinking about you as this very mature, seasoned journalist. And then all of a sudden you begin one chapter with \u201cI was 14,\u201d and we kind of snap back to, okay, this was unusual. Even later on, you mention that Bowie asked you how old you were, because he was suddenly curious, and you were 18 but you answered \u201c19\u201d because you thought the extra year sounded good. Hours. Did you have a sense, when people weren\u2019t asking, that they had an idea of how old you were? Or did they assume you were older? And how old did you feel once you were into this life?\t<\/p>\n

\n\tIt\u2019s funny. At a certain point, by the time I was 17 or something, I did feel like a seasoned journalist. You know, there\u2019s a thing in \u201cHeartbreakers Beach Party\u201d (the 1983 Tom Petty documentary) where I\u2019m going like, \u201cI\u2019m Cameron Crow, and I\u2019ve been writing about rock for 10 years now.\u201d I\u2019m looking at it and I\u2019m just going like, \u201cYou fucking look like Opie, man. What are you (trying to prove) with this \u201c10 years\u201d? Gimme a break!<\/p>\n

\n\tBut at the time, I remember thinking, \u201cI\u2019ve done this a while.\u201d Because I thought loving Dick Cavett had punched a passport of some kind to having these conversations where we took each other seriously, even though I still had a baby face and was the age I was. I felt like after about 17 that I was okay and nobody was gonna say I was too young to be there, but I was still pretty young. And I think they did see a young person who was eager to know more, and for all the right reasons.<\/p>\n

\n\tNow, if we\u2019re making a movie and somebody shows up and they\u2019re like, \u201cI\u2019m so-and-so\u2019s assistant, and I just wanted to be close to movies, and I can\u2019t believe that this is how it\u2019s done,\u201d I see that person and I go, \u201cCome along to the next location, check it out. You\u2019ll be excited to see how we play music (on the set) and we do this.\u201d So the roles get reversed. You just feel that having that certain kind of person around is gonna make you a little more excited, because you can look in their face and see the excitement you had, and that\u2019s a person you want to take with you. And if you\u2019re kind of the player coach, you\u2019re like, \u201cHey, I\u2019m glad you ended up here. Check out how it works.\u201d<\/p>\n

\n\tBack then, a lot of people were \u201cCheck out how it works\u201d with me, and I\u2019m trying to be grateful to all of them when I tell their stories. Right down to Gram Parsons, who was really eager to answer my questions and not be a mystique-filled sphinx. It was really fun to meet some of these people at the time that I did.<\/p>\n

\t\tAnd the fact that they came to you sometimes, like, \u201cI heard you\u2019re a good guy\u201d or something \u2014 they had heard things or sensed that you were \u00a0welcoming in a way they weren\u2019t used to from journalists and would have this receptivity. Kris Kristofferson ends up dragging you along to family dinners and things because he wants to keep talking with you, even though Rita Coolidge and everyone are trying to drag him away from you.\t<\/p>\n

\n\tI loved listening. It\u2019s like Kristofferson says at one point, \u201cBoy, you\u2019re really a great listener. This is one of my favorite conversations I\u2019ve ever had.\u201d Which means, basically, \u201cThe less you say, the more I dig this conversation.\u201d But listening is an active part of a conversation, for sure.<\/p>\n

\n\tThe opportunities to stretch out and do big pieces were very limited. But still, people would spend time with me going over all this stuff. Talk about Pete Townshend. They had flown me to Atlanta to interview the Who for Playboy. Before we\u2019d done the interview, Pete said, \u201cI hope this isn\u2019t \u2018The Playboy Interview\u2019 [the famously long-form Q&As the magazine was known for].\u201d I was like, \u201cWell, I wish it was The Playboy Interview. He goes, \u201cI don\u2019t. The Playboy Interview is a tombstone for a career. That\u2019s what somebody does when you\u2019re James Baldwin or you\u2019re in the later stages of your career and you have something you want to say. I\u2019m still a young man. I don\u2019t want to do a big story with you. How about just a column? They\u2019d flown me to Atlanta and put me on tour for, and he\u2019s like, how about just a column?\u201d Then we go to his room and we sit down and do a four-hour interview that goes into every little crevice and nook and cranny of his creative life. He poured himself inside out for a column in Playboy that\u2019s going to be like 500 words.<\/p>\n

\n\tSo this was the kind of situation where I was spinning with joy and also the opportunity to do what my mom said, which is, \u201cSeek out your heroes, seek \u2019em out. It won\u2019t be bad.\u201d And it often was not bad at all.<\/p>\n

\t\tSpeaking of your mom: You have all these great characters in your book, but none greater than your mom. You\u2019ve mined her for material before, in the film and Broadway versions of \u201cAlmost Famous,\u201d but we get such a greater picture of her in the book. She\u2019s such a combination of being a total counterculture figure in one way and then a total square in another. She was all about \u201cdon\u2019t do drugs,\u201d which you mine for comedy, and even a whole comedic number in the musical. But then she\u2019s also this kind of wild feminist\/poet type of person, and possibly psychic, as you relate. Do you see a reflection of that combination in yourself? You title the book \u201cThe Uncool,\u201d so you can relate with kind of being the square man out. But then you really are part of the in-crowd, and you obviously love the power of rock and roll for all the freedom it represents. So where do you see those sides of your mom that are so polarized and fun to write about maybe reflected in yourself?\t<\/p>\n

\n\tHmm. I love the question. She was a combination of theater and teaching, and any opportunity to teach, she would do it. Every time I shuffled through stacks of stuff on her desk (after she died in 2019), there would be faxes and notes and things that she left behind that tend to weirdly just kind of say the right thing at the right time. Like, \u201cYou never know, good luck or bad.\u201d It was one of her sayings and it\u2019s so true. Sometimes bad luck turns to something truly great.<\/p>\n

\n\tAnd I try and pass her teachings along to people, just because I being a warrior for optimism is a really good place to be. And she did really love that I found a voice in the world of journalism. I think now she would be really anxious to inspire young journalists not to give up because journalism is under attack right now. Her feelings would be very current. But the thing about my mom that was fun to write about is she just wanted to protect brain cells. That was a big, big thing.<\/p>\n

\n\tAnd if there was a hint of intellectualism, if there was a hint of a lesson in something, well, then she\u2019d give it a try. \u201cYeah, come, come see this new folk singer, Bob Dylan.\u201d But you know, \u201cIggy Pop \u2014 who is that man? This is not somebody who\u2019s gonna teach you anything in this world.\u201d And that was where she drew the line. Dick Cavett blazed a path, because Dick Cavett would have real conversations with Jimi Hendrix and Janis Joplin and stuff. So I was able to throw him up as an example of, like, \u201cYou can find wisdom in the oddest places, Mom, you know?\u201d And I like making her a hero.<\/p>\n

\n\tBut the other thing is, my dad was a real hero to me too. And I liked bringing my dad into the picture. He was a more quiet presence. His birthday was yesterday and his effect echoes throughout the whole thing. He was a quiet, charming person who was a celebrated man in the military who left to kind of help our family and be present. And I wanted to give him the last word in the book, which, in a book that\u2019s so much about music, is: \u201cAlways treasure the sound of the human voice.\u201d I love giving that to him.<\/p>\n

\n\tOne last quick thing about that was so funny. My cousin came to see the \u201cAlmost Famous\u201d musical in San Diego, and he didn\u2019t know that my mom had died. He\u2019s like, \u201cWell, where\u2019s Alice?\u201d I\u2019m like, \u201cWell, besides in every performance of the play, she died.\u201d He\u2019s like, \u201cOh no.\u201d And I go, \u201cYeah, man. You don\u2019t know how many people come and see the play and look for my mom and then say, \u2018You look just like her. You\u2019re just like her, aren\u2019t you?\u2019\u201d And I said, \u201cI guess I am.\u201d And he said, \u201cYou really don\u2019t get it, do you?\u201d I go, \u201cWhat do you mean?\u201d He goes, \u201cYou are your father. Don\u2019t you see it?\u201d And that really lingered with me too. So I wanted to kind of explore that and it\u2019s really true.<\/p>\n

\t\tYou have a beautiful story near the end of the book about your dad staying up well past midnight on New Year\u2019s Eve while you\u2019re out at a party so he can tape a live Allman Brothers Band broadcast off the radio for you. It\u2019s a touching way to wrap up the book, and with a character we never got to meet in \u201cAlmost Famous.\u201d\t<\/p>\n

\n\tYeah. I mean, I like writing in that voice. With a (prospective) book about the years of making movies, I think there\u2019s so many stories to be told, but it\u2019s a different kind of path. It\u2019s probably a little less happy\/sad. This was the feeling I wanted to catch.<\/p>\n

\t\tBefore we go, can we ask the inevitable question that people want to know, about your Joni Mitchell movie?\t<\/p>\n

\n\tWorking on that baby, yes. We\u2019re gonna do it next year. And I just feel really confident that we are telling that story in a way that you wouldn\u2019t call a traditional so-called biopic. It\u2019s the telling of her story with amazing input from the artist herself, who is opening her life, her closet, her collection of instruments, her notes, her everything for us to make a movie that is as emotionally authentic as her music. I just feel really lucky to have spent the last few years finding the way to tell the story that will give you a physical body rush as well as loving her story. \u2026 I can\u2019t wait for you to check it out.<\/p>\n

\t\tAll those casting stories that have been out there about women who supposedly are in or out, is that all wild speculation, or is there\u2026\t<\/p>\n

\n\tNothing I can confirm. I\u2019m just grateful that people are talking about it and that I get to tell the story. The Joy Division movie \u201cControl\u201d for me was the high-water standard in terms of like telling a great story that also gives you the absolute feel of Joy Division, so that you go back through the music and go, \u201cHoly shit, now this music even means more to me.\u201d And to be able to do that with Joni Mitchell is a labor of love beyond my wildest dreams.<\/p>\n

\t\tMusic journalism today \u2014 do you recognize it? Does it seem like a foreign thing to you? You often use the phrase in the book \u201cthe promise\u201d in terms of what rock \u2018n\u2019 roll felt like in the 1970s at the moment you are capturing it. Is there a role for music journalism 50 years on from whatever that promise was? How does it it feel, as someone who\u2019s just reading this stuff and not really doing it now?\t<\/p>\n

\n\tWell, I feel like I\u2019m writing about music in different ways, in the movies that we\u2019ve made, too. And that\u2019s been fun. But, you know, I love music writing when it\u2019s committed and passionate and not just blowing through a person\u2019s life and career and maybe making a snarky observation or two and then onto the next. I love when you plant a flag for the music you want to write about, good or bad. And to me, I look no further than, I don\u2019t know\u2026 Mikal Gilmore can write about music in a way that you feel his passion and it does this thing\u2026 and this is the thing that I love about music writing, and you don\u2019t always see it: I love it when it makes you want to listen to the music. When somebody says something that makes you go, \u201cOh wow, I want to go back and listen to \u2018Folklore\u2019 again. I want to go back and listen to \u2018Pleased to Meet Me.\u2019 I now understand something I didn\u2019t know before.\u201d Or this person said to look over here and see this\u2026 That\u2019s when it goes back to the thing that first made me write about music, which is pass a feeling onto a friend to experience themselves and share that delight in the transcendent thing that music can do for you. And when people acknowledge the wonder of music, when it works best, I can read it all day long.<\/p>\n

\n\tCameron Crowe\u2019s book tour dates:
Oct.29 | Washington, DC | Warner Theatre
Oct. 30 | Nashville, TN | CMA Theater
Nov, 1 | Chicago, IL | Athenaeum Center
Nov. 13 | San Diego (El Cajon), CA | The Magnolia
Nov. 19 | Seattle, WA | Benaroya Hall
Nov. 20-21 | Los Angeles, CA | The Montalban
Nov. 23 | San Francisco, CA | Orpheum Theatre<\/p>\n","protected":false},"excerpt":{"rendered":"For much of the world, he had us at \u201cJerry Maguire,\u201d or his \u201cFast Times at Ridgemont High\u201d…\n","protected":false},"author":2,"featured_media":262064,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[57],"tags":[95041,68581,236,46067,88,76515],"class_list":["post-262063","post","type-post","status-publish","format-standard","has-post-thumbnail","category-celebrities","tag-almost-famous","tag-cameron-crowe","tag-celebrities","tag-david-bowie","tag-entertainment","tag-joni-mitchell"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/posts\/262063","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/comments?post=262063"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/posts\/262063\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/media\/262064"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/media?parent=262063"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/categories?post=262063"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us\/wp-json\/wp\/v2\/tags?post=262063"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}