Rushmore

The actor and musician Jason Schwartzman pulled a cassette tape from his pocket on stage at the L.A. Phil’s tribute to Wes Anderson. Schwartzman was just a teenager when he was cast as the obliviously ambitious Max Fischer in Anderson’s 1998 film “Rushmore,” and on Friday, he recalled the night Anderson played him the film’s entire soundtrack in his car.

“He said, ‘This is the soundtrack to the movie, this is the order it’s going to be in, and he walked me through the entire film narrating it,” Schwartzman said, still agog at the completeness of Anderson’s vision before a frame was shot.

More recently, Schwartzman said, “I was at my mom’s house tying my shoe, and I see a cassette tape on the ground titled ‘Rushmore songs’.” He then chucked the tape into the audience, a piece of film history that hopefully someone caught unscathed.

Anderson’s use of far-flung needle drops and lovely original score work is, like everything in his film universe, planned down to exacting detail. But this opener of a three-night stand — sporting an all-star roster of guest vocalists, an exceptional backing band, and a light touch from the Phil — was more in the spirit of how fans revisit Anderson’s films. As old friends that pop back into your life, affection only deepened with time, right when you need them.

Guided by the genial riffing of the night’s MC, Bill Murray (an Anderson regular from “Rushmore” onwards), the program made its case that Anderson’s savvy with soundtrack curation and delicate, evocative scores are the heart of his films, right along with his meticulous visual style and arch, melancholy tone.

The director, recently freed from a malfunctioning elevator in a pithily Andersonian incident, made a brief appearance onstage with Murray in his regal white suit. But the focus was the music itself on Friday, and the ragtag roster of artists that fully conjured it.

To start, huge credit due to the show’s musical director Justin Meldal-Johnsen and the session-killer band of Roger Joseph Manning Jr., Jason Falkner, Joey Waronker and Gus Seyffert. The sheer amount of music to arrange and assemble for this was vast and demanding, and they got to all of it from 1996’s “Bottle Rocket” to the present.

The Phil took a more modest role, performing poignant, rigorous slivers of scores from Anderson’s go-to composers Alexandre Desplat (“Canto at Gabelmeister’s Peak” from ‘The Grand Budapest Hotel” and “Mr. Fox in The Fields,” from “The Fantastic Mr. Fox”) or his frequent collaborator, Devo’s Mark Mothersbaugh (the propulsive “Ping Island” from “The Life Aquatic with Steve Zissou.”)

Pianist Jean-Yves Thibaudet took a lively solo crack at “Moses Rosenthaler” off “The French Dispatch;” Rajib Karmakar and Aakash Pujara played aching sitar and flute drones from “The Darjeeling Limited,” and taiko drummer Kaoru Watanabe nearly blew out the Bowl’s speakers on “Shinto Shrine” from “Isle of Dogs.”

The surprises came from the rock acts brought in to re-imagine the most evocative needle drops from Anderson’s ouvre.

Jackson Browne, in an unbelievable career first, finally got around to performing “Fairest of the Seasons” and “These Days,” tracks he wrote as a teenager eventually covered by German art-rock chanteuse Nico, mournfully used on “The Royal Tenenbaums.”

Beck took a pass at the late Elliott Smith’s ghostly “Needle in The Hay,” used to harrowing effect in the same film, and later Love’s “Alone Again, Or”. Karen Elson beautifully covered Françoise Hardy’s “Les Temps De L’amour” from “Moonrise Kingdom” while the Yeah Yeah Yeahs’ Karen O simmered through the Rolling Stones’ “Play With Fire” off “Darjeeling.”

Yet the delighted gang’s-all-here element that ties Anderson’s regular cast together was embodied by an endearingly shaggy run through “Zorro Is Back” with Jenny Lewis and Rogê. Towards the end of the night, just before a closer with the Faces’ “Ooh La La,” Murray brought out a one-of-a-kind instrument for a big flourish. A nine-dollar desk bell, seemingly purchased at Staples hours before showtime, requested specifically by Anderson.

“Front of house, make sure Bill’s bell is ripping,” Beck implored the sound techs at the Bowl. Indeed, as the band, including Jim James of My Morning Jacket, Lewis and Schwartzman, performed the Bobby Fuller Four’s single “Let Her Dance,” Murray indeed whacked the hell out of that thing.

WASHINGTON — Festivities commemorating the 250th anniversary of American independence from Great Britain kick into higher gear across the United States on Friday as celebrations are balanced with efforts to stay safe as much of the country bakes under extreme heat.

President Trump will travel to South Dakota to deliver a speech and watch fireworks at Mt. Rushmore. And in a novel twist, there will be a ball drop in New York City’s Times Square at midnight to usher in the July Fourth holiday with much the same revelry that is typically reserved for New Year’s Eve.

The activity culminates in the main event Saturday, when fireworks will erupt in communities across the U.S., along with backyard cookouts and block parties. Trump will deliver another speech at the National Mall in Washington before what is being billed as a historically massive fireworks show.

But for all the celebrations, there are also serious safety considerations as potentially record heat grips much of the Midwest and East Coast. Officials have warned those celebrating the holiday to stay hydrated and take air-conditioned breaks as needed.

The heat has already affected some of the programming surrounding the holiday. In Washington, organizers of the Capitol Fourth concert banned the public from attending a Thursday rehearsal because of the heat.

The concert Friday, a staple of Washington’s Independence Day traditions, is on, but the gates will open to the public later than usual, at 7 p.m. EDT, an hour before the show. Organizers of celebrations in Washington on Saturday said they were adding water stations along with cooling resources and medical support.

From Boston to Norristown, Penn., and Gettysburg National Military Park, plans were shifting to accommodate the soaring temperatures. Amtrak canceled some trains in the Northeast due to excessive heat that could affect the tracks.

The holiday is unfolding at a unique time in the U.S. The anniversary has served as an opportunity for the country to reflect on its history while also reminding it of the political polarization of the moment.

Even the celebrations themselves have not quite escaped the divide.

Freedom 250, an organization aligned with the White House, has come to rival America250, a bipartisan group founded by Congress a decade ago. Freedom 250 has organized much of the activity in Washington, including the Great American State Fair, which has gained attention for the relatively small crowds it has attracted. America250 is behind the ball drops unfolding in many cities, including New York, and will host a concert in Los Angeles on Saturday.

About 4 in 10 U.S. adults feel “proud” about the country’s 250th anniversary, according to an April survey from the Associated Press-NORC Center for Public Affairs Research. Roughly 3 in 10 said “excited” describes their emotions.

Sloan writes for the Associated Press. Associated Press writers John Hanna in Topeka, Kan., Michael Casey in Cambridge, Mass., and Calvin Woodward in Washington contributed to this report.

WHILE theme parks across the UK are opening back up for the summer, a popular attraction in Japan remains shut after two decades.

The once popular Wild West land closed its gates for the last time in 2007, remaining frozen in time ever since.

Located in Nikko, around two hours drive from Tokyo, Western Village was once home to a bustling arcade and entertainment park, designed to resemble the American Frontier.

However, the once-buzzing family establishment is now only visited by urban explorers.

The park first opened its doors in 1973 as a small attraction called Kinugawa Family Ranch, offering guests a range of outdoor activities including fishing and horse riding.

Just two years later, the site was rebranded as Western Village, attracting tourists from all over the world with its impressive recreating of a 19th Century frontier town.

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The attraction included an old-timey bank, barber shop, sheriff’s office and general store, as well as arcades and animatronic displays.

Live stunt shows also took place at the park, with actors reenacting gunfights between cowboys and outlaws.

There was also a train that took visitors around the park which was often subject to a staged robbery by the park’s resident outlaws.

In 1995, the park added a £20million replica of Mount Rushmore, which measured one-third of the real thing and was even carved into the landscape.

Despite the park’s initial success, it eventually began to lose out to larger, better located competitors such as Universal Studios Japan and Tokyo Disneyland.

In 2007, Western Village shut its doors for the last time, with many sections remaining untouched in the years since.

From arcade machines and eerie animatronics covered in dust to bottles still sitting on tables, the entire park has a creepy abandoned feel to it.

The park has remained a source of fascination for those visiting the area, particularly urban explorers.

According to the website Offbeat Japan, the replica Rushmore is still attracting visitors in 2026.

The outlet reported that tourists “have to come back to check it isn’t a hallucination”, adding that what remains of the park is “now being demolished little by little”.