The Best First Job I’ll Ever Have

Making television is fun, especially when you’re also making miracles.

NBC’s George to the Rescue is more than just an Emmy-winning human interest/home renovation TV series. It’s a living, breathing organism greater than the sum of its hearts. While nobody has a bigger heart than our peerless leader, George Oliphant, our team’s collective heartbeat is what makes this little show the biggest miracle I’ll ever be a part of.


Eight seasons of surprises, smiles, and tears reveal how passion and purpose can dramatically enrich countless lives. To date, we’ve spearheaded and showcased nearly ninety transformations in ten states for deserving families facing physical, emotional, financial, and spatial hardships. These families often include public servants who regularly give back to their respective communities. Whether supporting a three-time Purple Heart recipient in Compton, a loving mother/teacher battling ALS, or a recently paralyzed olympic gold medalist, every new George to the Rescue story extends a professional narrative that feels uniquely personal.

Although our remarkably lean and scrappy production team faces budgetary, manpower, and technical challenges, our desire to illuminate goodness consistently drives us towards greatness. Accolades are humbling (our recent trip to the national Daytime Emmys felt like Gonzaga’s bittersweet 2017 Final Four appearance), but belonging to such an eclectic and inclusive workplace family is a special gift.

Gifts are really what make the magic happen. Substantial donations of materials, talent, and time (from local/loyal contractors, designers, town officials, suppliers, and viewers) help create reality TV that’s surreal. Unrivaled generosity and selflessness allow us to simultaneously build lasting experiences, homes, and relationships.

It sometimes feels like I have a symbiotic relationship with this endeavorI joined as a 2010 summer intern, just as George to the Rescue was transitioning from an existing show segment to a standalone program. Since being hired as the production assistant in 2011, I’ve gradually evolved into a self-sufficient producer and adult. George, my production mentor/supervisor (Andrew Scerbo), our resourceful editors, steadfast executives, and visionary shooters have taught me more about creativity, empathy, leadership, self-reflection, and willpower than I could ever imagine. I try to appreciate, apply, and spread their values every single day. I know I’ll continue to do so for the rest of my career and life.

While it’s impossible to foresee how much longer my George to the Rescue run will continue, I’m eternally grateful for the opportunity to make meaningful entertainment that illuminates humanity’s most essential values – compassion and togetherness. This rare ability to positively influence culture is hard to walk away from.

The best first job I’ll ever have will surely be a tough act to follow.


6 Reasons the Knicks Need to Give Kristaps Porzingis the Damn Ball

Wrote another hoops post for 12up. Hope you enjoy.


12up’s Twelve ‘Firsts’ For the 2016-17 NBA Season

Penned a brief 2016-17 NBA preview for 12up Sports. More to come!


Stadium Decadium

“Clean it up, Johnny.”

At the 2:32 mark of Stadium Arcadium‘s heavy, bass driven jam “Readymade,” Anthony Kiedis fortunately wasn’t asking lead guitarist John Frusciante to kick another drug habit. While getting clean has certainly played a significant role in the Red Hot Chili Peppers’ improbable evolution, longevity, and success, collective sobriety gave this 2006 request new meaning. Kiedis was instead directing the esoteric axeman to sweep in with the kind of beautifully filthy solo that defines the California quartet’s landmark double album, which celebrates its tenth birthday on May 9th.

Although Frusciante left the band for weirder pastures in 2009, this twenty-eight-song collection is undoubtedly one of his (and the group’s) masterpieces. 1991’s Blood Sugar Sex Magik and 1999’s Californication may be more widely renowned (2002’s By The Way will always be my personal favorite), but the eclectic Stadium Arcadium comprehensively illuminates the musical and metaphysical extremes the Chili Peppers (in all of their various reincarnations) have experienced and shared for over three decades.



For me (and several of my best/oldest friends), Stadium Arcadium is a unique time capsule. No other record transports me back to such a specific era, place, and feeling. The record always evokes the ambiguity, innocence, and fun that defined my most formative high school summers.

“Charlie” and “Tell Me Baby” remind me of sucking at beer pong. Frusciante’s “Wet Sand” solo returns me to a frenetic Hawaiian pool party that now feels like a Project X prequel. “Death of a Martian” weirdly puts me back in the driver’s seat of “Clive Owen” (my 1994 325 coupe named after the star of BMW’s The Hire) during a crazy Long Island storm. These moments weren’t exactly adolescent checkpoints, like prom or graduation, but they are far more representative of what makes youthful mundanities quite extraordinary.

While this epic work may be impossible for the Chili Peppers to replicate (2011’s Frusciante-less I’m With You is solid, but forgettable), the band’s recent album announcement and single release filled my ears and heart with joy and hope.

Stadium Arcadium may be ten-years-old, but revisiting it is one of the few things makes me feel like I haven’t aged a day.


Nothing is Forever: Twenty Years of BRINGING DOWN THE HORSE

On May 21st, my favorite Nineties album turns twenty years old.

Much like Jakob Dylan’s wearily melodic lyrics and vocals, revisiting Bringing Down The Horse makes me feel nostalgically weathered and youthfully empowered.

While The Wallflowers critically and commercially successful sophomore effort isn’t as highly regarded or widely remembered as some of its Grammy nominee company (including Crash, OK Computer, Yourself Or Someone Like You, Tragic Kingdom, or its closest genetic competition – Bob Dylan’s Time Out of Mind), the 11-track T Bone Burnett production is a musical time capsule and one of my formative decade’s greatest records.

With logical composition and palpable tonal chemistry, Bringing Down The Horse flows like the beautifully devastating Golden State Warriors offense. “One Headlight” is the flashy, yet fundamentally flawless standout opener with a once-in-a-generation chorus. Like Stephen Curry, it embodies an era that it helped mirror and shape. “6th Avenue Heartache” isn’t as recognizable, but it’s the glue that elevates everything (including former tourmate Adam Duritz’s haunting harmonies) that follows its emotional lead. It’s Young Dylan’s “Draymond Green.”



“The Difference,” “Laughing Out Loud,” and “God Don’t Make Lonely Girls” couldn’t sound more different than “Invisible City,” “Josephine,” and “I Wish I Felt Nothing,” but they somehow complement and enrich each other. It’s a collection better suited for vinyl than Spotify.

After releasing three solid, underappreciated follow-ups (Breach, Red Letter Days, and Rebel, Sweetheart) The Wallflowers took a 7-year hiatus before returning with 2012’s underwhelming Glad All Over. With only two shows planned in 2016, it doesn’t seem like Dylan, keyboardist/Foo Fighter Rami Jaffee, current drummer/founding Red Hot Chili Pepper Jack Irons, and their fellow touring members will formally commemorate Bringing Down The Horse‘s anniversary by bringing it back on the road.

Their lack of sentimentality feels somewhat fitting. Nothing is forever.