I requested an interview with Macy Gray thirty seconds into listening to her cover of the Yeah Yeah Yeah’s “Maps.” I didn’t need to hear more. I knew the album would be good. When she agreed to the interview, I was elated — and nervous. I’m always intimidated by people I admire, but as soon as we began talking, everything changed. Her friendly, down-to-earth personality put me at ease. She’s just so damn likable. Read below, and buy her Covered album immediately. You will not regret it. Watch her “Smoke 2 Joints” video at the end of the interview.
What made you decide to make a cover album?
I wanted to do a cover album for a long time. I saw that Nina Simone did a cover album, My Way, by Frank Sinatra, and I thought it was so cool how she took it and made it her own thing. It was a challenge for me to see if I could do something like that.
How did you select the songs for the album?
There were four or five that we showed everyone, and the rest were really spontaneous [choices]. It was really off-the-cuff. I’m a fan of all the songs, but mostly it was the lyrics that I could make personal to me.
Is there less pressure on you as an artist when it’s not your original material?
The songs are completely redone. It was still really creative and challenging. We were all really nervous about whether the artists were going to like them.
Did you get any feedback from the artists you covered?
Me and Dave Stewart went back and forth on Twitter, and I said, “Did you send [“Here Comes the Rain Again”] to Annie [Lennox]? He said she loved it, and I felt better. My producer, Hal Willner, is good friends with [Metallica], and apparently they played it over and over again.
I love the Nicole Scherzinger skit on the album. Is that based on your personal experience in the industry of people telling you to change?
Oh yeah. I get suggestions all the time. People are always telling me what I should do next. Everybody’s always saying things like I need to make a dance record or change my afro — stuff like that. It’s crazy. But I’m really proud of what I do. I’m not The Beatles, but I really like the stuff that I’ve done.
Did Nicole immediately agree to do the skit?
Nicole’s a good friend of mine, and she does these impressions. She can impersonate anybody. She actually does a really good one of me. I told her the idea of what the skit would be about, and she just kind of ran with it.
I was surprised by her Britney Spears impression. It was so accurate.
I know! She should do that all day! She sang a song like Alanis Morissette, and you would swear it was her.
Some of your promotional shots for this album are so beautiful. Do you like promoting your albums, or is it a necessary evil to being in the industry?
It always depends on [my mood]. Sometimes I’m just not in the mood. I hate taking pictures, but I have this photographer that I’m really comfortable with. But if it was up to me, I’d just make music, have my label put it out, and go on with my life.
Is it true that when you first started in the industry you were not a fan of your own singing voice?
That is true. My voice has always been peculiar. When I was little they always made fun of me. But as you get older you get over stuff. When I started singing . . . it took me a long time to like it. I actually worked on it a lot to get to the point where I liked it.
You entered the industry before the social-media generation. Was it a difficult adjustment?
I actually get a kick out of Twitter. It’s crazy that you can have conversations with your fans. It’s an easy way to let people know about your record.
I had a few friends in Rio de Janeiro at the Back 2 Black Festival who said you killed it. I heard the other artists dropped out.
Prince dropped out at the last minute. That’s one of the reasons I agreed to do the festival, and then he dropped out [laughs].
Do you get nervous for big performances like that?
I still get nervous. I used to get really sick before my shows, and I got over that, but I still get butterflies.
Is it true you don’t read your own reviews?
It’s hard to get around it now, because everything is online, but [negative reviews] still affect me.
What music are you listening to now?
You’ve collaborated with some big-hitters in the past. Is there anyone on your wish-list for future collaborations?
I really want to collaborate with Kanye West. I’m always jealous of the people he puts on his album. That’s my big dream.
The Lumineers did not come across The Dishmaster’s desk by accident. I’m on a constant hunt for new music, which includes an overloaded news feed flooded with music blogs and magazines. But with all that research, I rarely find anything worth listening to. You can therefore imagine my shock and happiness when I found The Lumineers. I discovered them through Paste Magazine, who voted them one of “The 20 Best New Bands of 2011.” I immediately listened to their EP, followed by playing their Daytrotter session on repeat. When I reached out to their team for an interview, I was elated when they invited me to their “Ho Hey” video shoot, which was filmed at a broken-down, old hospital that is also the home of some familiar movies, including Saw and Pearl Harbor. Though I was briefly afraid that ghosts might attack me, my nerves were immediately calmed when I met the band. They had been shooting all day and somehow still managed to sustain their fun, laid-back energy. I’m told by their manager that they revved up their dedicated, suspender-wearing extras with a live performance prior to the shoot, and it’s no surprise that everyone loved it. These guys are good. Our interview took place a few days later. They answered all my questions with the right amount of humility and honesty. In fact, after forty minutes I said, “I’ll let you off the hook. I’ve kept you way too long.” The band then said, “No, ask us anything. Keep going if you have more questions.” I took their bait and held them hostage even longer. Their self-titled debut album hits stores April 3rd. Enjoy the interview, and watch their “Ho Hey” video below.
As the daughter of a dentist, I’m intrigued by your name. How did you come up with it?
Wesley Schultz (Lead Vocals, Guitar, Piano): We stole it. We were playing at a place in Jersey City and they accidentally called us the name of a band performing the following week.
Why the move from New York to Denver?
Wesley: We wanted to move to the middle of nowhere and write songs. It was pretty random. We wanted to go somewhere new and cheap. It’s an absurd proposition to tour and live in New York. We wanted a low overhead. But we didn’t expect to find the really great music scene [in Denver]. There was a huge community of musicians.
How did Neyla join the band?
Neyla Peckarek (Cello, Piano): I just finished school and I had nothing on my plate and didn’t know what was next. I got a teaching degree and they don’t hire a lot of teachers in [December]. I checked the musicians page of [a Craigslist ad]. They sent me a couple of tracks and it was a pretty natural fit right away. I wasn’t looking to be in a band at all. It forged naturally. They wanted to go on tour, and I said yes.
Did you always know you wanted strings?
Jeremiah Fraites (Drums): No. That was a long discussion for months. We knew we wanted something different [and we thought of] upright bass. Somewhere along the way we switched to cello and placed the ad.
Wesley: But now we have electric bass.
Why did you change your mind about having the electric bass?
Neyla: I had a friend from college, and I asked him to play upright bass. He brought an electric bass to the recording, and it sounded sick. It pigeon-holes you less into that bluegrass genre.
Do you get along on the road?
Neyla: There are few people I can travel with. I think that’s part of the reason why we are together–because we get along so well.
I read that you did a thirty day tour and crashed at people’s houses.
Wesley: We had a bunch of leads. We either knew someone or we played shows, and someone would offer us a place to stay.
Neyla: People are really kind and just open their homes to complete strangers.
Is it possible to sustain relationships when you tour that much?
Wesley: It takes a lot of work. It puts stress because you’re gone. You have to be creative, but it’s not exactly the best breeding ground for a successful, long-term relationship.
Tell me about your writing process. Is it collaborative?
Wesley: Usually someone comes up with a basic idea and then we work on it together. I’ll write the lyrics and we’ll flesh out the ideas together.
Jeremiah: Me and Wes lived with each other for a year when we first moved to Denver, which was really beneficial [to writing music].
Neyla, when do you enter the writing process?
Neyla: There’s usually a skeleton, and I add the padding for it.
Wesley: There’s always an idea first. We aren’t the band that smokes a joint and says, “What do you think of this, dude?” We wake up in the morning, sober, coffee, come up with ideas and work on it in the best hours of the day.
Is it true that “Gun Song” is about your relationship with your father?
Wesley: My dad had passed away, and his socks were still in his drawer. I went in there to grab black socks, and I pulled out a gun. It made me think of all the things I didn’t know about him. That was the spark of the song.
There’s a lyric I have to ask you about. “It takes a man to live, it takes a woman to make him compromise.”
Wesley: It could have many meanings. People can interpret it as they should. My sister is a big inspiration. She’s married to a Green Beret, and they say behind every man is a great woman. And they embody that. It was kind of a shout-out to that.
Ah. I read it as, “A man experiences life, and the woman reigns him in.”
Wesley: It’s more like, “It’s easy to live for yourself, but it’s harder to make compromises.” It’s about people living for more than just themselves.
Has your sound changed since you first started? Were you always folk rock?
Jeremiah: No. When Wes and I first started writing I wanted to be truly fresh. I got over that. We aren’t trying to reinvent the wheel. With trial and error, we know more of what we don’t like. But categorizing is more for a press release.
When I told my musician friends about my Alan Parsons interview, it solidified my eternal bragging rights. In fact, they insisted that I watch the documentary for the making of Pink Floyd’s Dark Side of the Moon, the legendary album that Parsons engineered. His iconic career as a producer and engineer spans four decades. To date, Parsons has sold millions of records and earned 11 Grammy nominations. He kindly took the time to answer a few of my questions. Enjoy!
The music industry has significantly changed since you entered the business. Do you think it will ever recover?
Clearly the established artists have suffered. The consumer doesn’t really understand that copyright holders have to get paid. Youtube is the biggest culprit. But up-and-coming artists love it because they have a chance to get exposed for nothing. And although record sales have declined, people will always pay to see a band play live. As long as there are live shows, people will see them. But I’m really worried about recording music.
Have the changes also paved the way for less talented stars?
There’s a tendency for people to think that because the technology has become so accessible. Anyone can make a half-decent record on a laptop. But in the end, the real talent will come through. And that’s always been the case.
You’re known for some high-profile concept albums. With the ability to individually purchase songs, is the concept album dead?
People don’t seem to be interested in listening to 40 minutes of music anymore. They want a three minute clip. It gives instant gratification. The reality is that probably one or two of the songs on an album will get picked up by other outlets. It’s lamentable that people aren’t picking up an album, turning the lights down, and enjoying it. But you still have to sequence an album. And people still expect me to make conceptual music. That’s what I do best.
With your level of experience, is it possible to listen to music from a layman’s perspective?
I’m very much a layman when it comes to listening to music. I rarely listen to other people’s music on my studio stereo. I listen to most of it in my car. If I do have the occasion to listen to someone else’s record under studio conditions, then I might be more analytical. I might be quizzical or jealous. But I’m most likely to play stuff I really like in the studio.
Do you have a preference for analog over digital recording?
Digital recording is young. We are already using video recorders to make movies, so why not use digital recorders to make an analog sound? We just haven’t found the right parameters and technology to exactly emulate analog. But we are getting closer every day.
While working as an engineer in the beginning of your career, did you know that you ultimately wanted to be a producer?
It was always a goal. I didn’t know when I left school that I would be a producer, but as soon as I got the job at Abbey Road, I had my sights set on production. I learned from watching other producers and engineers at work. I saw who had the magic touch and who didn’t, and it helped me learn from the mistakes and strengths of others.
When you work on high-profile projects like Dark Side of the Moon and Abbey Road, does your inner fanboy disrupt your objective outlook?
I think being a fan of the music has a value. I take no credit for the creative input on The Beatles though. I was too young and too green. But I was the ultimate Beatles fan. I was in 7th heaven. It was incredible.
If you could duplicate that experience now, would you approach it differently?
Not at all. I still work on instinct. I’m essentially rather selfish. I’m pursuing things that I think work. That’s not to say that I won’t team up with others. I enjoy the spirit of collaboration. But in terms of whether I work differently now, no. I’ve always worked the same way.
I have to ask you this, because my musician friends have discussed it extensively. You’ve obviously heard the controversy about Lady Antebellum’s “Need You Now” being a rip-off of your song, “Eye in the Sky.”
I have heard of that controversy, yes. And I have absolutely no comment.
Fair enough. And speaking of controversy, I’ve read a few interviews where you’ve addressed Dave Gilmour’s comments about your contribution to Pink Floyd. Have you ever had a personal conversation with him about it?
We only worked together during that period. So no, we’ve never had that conversation. The opinions of the band have occasionally been dismissive about my contribution and occasionally been very complimentary. To me, it doesn’t really matter what they think. I know what I contributed.
Tell me about your upcoming project with Jake Shimabukuro.
Jake is touring as we speak. What I like about the album is it’s a combination of unaccompanied solo, Jake playing with a rhythm section, and Jake playing with an orchestra. It was an idea I put forward. I thought he’d be incredible playing live with an orchestra.
What motivates your decision to choose a project?
In the past it was a matter of convenience and finance. But I would not get involved in something that didn’t have some merit. I’m not about to suddenly make a hip hop album because it pays well. I’ve got to be into the style of the music and to feel that I can offer the artist something as his or her producer.
Do you have any upcoming projects you’re excited about?
We are in the process of fundraising for an Anglo-Greek band called Electric Litany, and I’m hoping we will be recording their new album by the end of this year.
There’s a very valuable playlist in my music library entitled, “Music That Makes Me Happy,” and Eric Hutchinson has been on it for years. While playing his first album for the 500th time, I thought, “Wouldn’t it be great if he had a second album? Where’s he been? I want more Eric Hutchinson!” So I googled him, and my prayers were answered. He released his follow-up, Moving Up Living Down, on April 17th, and he achieved the rare feat of surpassing the quality of his debut. Because I’m The Dishmaster, and I have an insatiable need to pick the brain of everyone I admire, I requested an interview with the man himself — and he kindly agreed. Read below, and catch the video for his hit single, “Watching You Watch Him,” at the end.
I was a huge fan of your first record. I know you did the first record on your own and now you’re on a label. Do you have a preference?
I still consider myself an independent artist, but this way was a lot easier. I got to concentrate on the music and the writing and the singing a lot more, and I got paired up with some really great producers. I worked with Martin Terefe and lived in London for a month, and Mike Elizondo who I lived with in LA for a month.
Does the creative input from a producer ever create friction?
You have to find the right person. We had a few people that didn’t work out, but the most important part is the creative flow with the producer. Mike had pictures of The Beatles all over his studio, and The Beatles are probably my favorite of all time, so I had a feeling right off the bat that we would get along. It’s a really fun, creative vibe. Never for one second did it leave my head that here I am making an album for Warner Bros. Records, and how is this my life?
It’s been a few years since your first record. What’s the reason for the time-gap?
I toured for so long with the first record. It was sort of an unorthodox release, because it kind of came out on its own, and then it came out again when Perez Hilton sent it out, and then Warner Bros. picked it up. So I was just touring and touring. And then finally I came home to New York and got to process everything and started writing my record. I know from the outside it probably feels like a while, but I’ve been busy the whole time.
Did you know that Perez’s post would create such traction?
I was in LA and went to sleep, and the next morning I woke up, and my phone was blowing up. Within the day it was in the iTunes top five. It was a really great moment. Perez has been very supportive and continues to be very supportive.
I read that you went broke making your first record. Was there a definable moment where you thought, “I can make a living doing this.”
I had been making a living, but I went a little too far making that record. I feel a real privilege to be able to do this, but I got a lot of very lucky breaks.
One of my favorite songs on your record is “The People I Know.” It’s a really upbeat song with sad lyrics. Is that an intentional juxtaposition?
Yeah, it’s something I learned from The Beatles. It helps the medicine go down, if you will. I try to cram big ideas into a three-minute pop song, and if you do it with an upbeat feel it’s easier to process it all.
There’s a lyric, “I’ve got a sister who I barely see,” in “The People I Know.” Is that a literal lyric? Did she hear it and say anything to you about it?
I had a talk with her about it. It’s sort of true. My sister did live down the street from me, and I didn’t see her because I was on tour all the time. And then one day I ran into her on the street, and it was a weird moment. It’s a weird moment when you recognize someone that is that close to you and you see them on the street out of context. But I get along with my family really well, and they have been very supportive.
But you gave her the heads up before you released the song?
I did, yeah. She likes [the song]. The other thing that’s really cool about that song is I play it live and people come up to me afterwards and say, “I have an estranged relationship with somebody.” That’s when the music really feels special.
Do you ever have a revelation about your lyrics in hindsight and think, “Wow, I must have been really sad and not even known it?”
All the time. There are certain songs where I think, “I don’t even know what I’m writing,” and then I look back, and it’s so clear. That’s one of the good parts about the album. Having some time to release this album, I got a lot of perspective on it, and I could look at it clearly and think about which songs I like and what I wanted to say.
When you play live, do you have a venue preference? Do you prefer a smaller, intimate venue to a large stadium?
As long as the crowd is excited, that’s where the magic comes from. I could play to 50 people or 5,000 as long as they’re are excited about the tour.
You’ve performed on some really great late-night shows. Do you have a favorite performance?
The first time I played The Tonight Show. It was my first time on TV. It just felt really cool.
Do you still get nervous for those performances?
Not really anymore. I’ve performed so much at this point that I’m kind of used to playing. I really want to play Saturday Night Live. Maybe I’d get nervous for that.
What music are you listening to now?
A band I got really into is Los Lobos. My plan is to get them to come play on my next record. I love Vampire Weekend, the new Black Keys record, and Kanye West.
Who chose “Watching You Watch Him” as the single for the record? Did you write it and think, “That’s the hit?”
A lot of times I’ll have to [do something] and stop writing, but every now and then I’ll write a song and I just can’t leave it. I was supposed to meet a bunch of friends to watch a football game, and about ten minutes into writing “Watching You Watch Him,” I just knew I couldn’t go anywhere, and I called them and told them that I couldn’t come. I really love that song. To me, I can just picture driving through the desert on a road trip and blaring that song really loud.
I love that you still play the songs that made you famous. I know a lot of bands that get angry about playing their biggest hits. Is it difficult to sustain the energy playing those songs so many years later?
Ken: We’re fans of music, too. There are artists that we like to see, and we want them to play the songs that we love. People ask us if we get tired of playing “All For You.” It’s so fun to see how much it continues to resonate with people so long after that song came out. It’s more a feeling of gratitude that people still care and it can still make people sing every word no matter where we are in the world. And one of the things that’s so gratifying about our fan base is that they sing along to [our news songs, too].
Andrew: Even if they don’t know the words, they’ll just move their mouths as if they know the words. That’s even more fun to watch.
When you write a song about a tough personal experience in your life, does it reopen the wound every time you perform the song?
Andrew: There are certainly times when you fade back to something that reminds you of that time. It takes you back to what inspired the song.
Ken: There’s one song that I wrote that we had done for years, and after Andrew lost his dad he said he couldn’t do it anymore.
Andrew: He wrote it about losing his younger brother to cancer. I sang it with him forever, and I was always amazed that he could make it through without much of an issue. And when my dad passed away, I tried to sing it a couple of times and I couldn’t do it.
What song is that?
Ken: It’s called “Running Through the Fields.”
What about you Ryan? I know you wrote songs about your divorce. Is it difficult to keep singing those songs after you’ve healed?
Ryan Newell (lead and slide guitar, harmony vocals): The songs definitely helped me get through [my divorce] at the time and put my feelings into music. It’s like therapy. But I don’t go back to that place from where they came from. Once they went into the song they took on a life of their own. I don’t relive it every time we play the song. They don’t have that weight anymore.
Ken, I read that you wrote “All For You” very quickly. Did you have any idea it would become such a massive hit?
Ken: I wrote it in a couple of hours. I don’t think you ever know it’s going to be a massive thing. But I knew there was something special about it. I turned it in for a compilation CD that there were only 10 spots for. Who knows what’s a hit? But you do know when songs resonate quickly. But it was six years from the time I wrote it to when it got on the radio.
What was it like to hear it for the first time on the radio?
Ken: Our bus broke down and we had to rent a Ryder truck and we were sitting in the back with all these chairs and amps, and Casey Kasem came on the radio and said, “Breaking into the top forty, it’s this little band from Gainesville, Florida, with ‘All For You.” We were like, “Yeah! We’ve made it!”
You entered the music industry prior to the social media generation. Was it difficult to adjust?
Ken: We feel like we were on the leading edge of it. We asked Universal Records for money to work on a website and they said, “Websites are a fad. We’d rather put the money [elsewhere].” But we knew early on that we would connect with our fans any way we could. Free downloads impacted the industry, but you gotta roll with it.
What’s different now that you’re not on the label?
Ken: There are pros and cons. The pro is that we can work at our own pace. You know who to applaud if things go well and who to point your finger at if they don’t. The downside is that you don’t have as big a stick. Our whole deal is to control what we can control.
I read that on this most recent record, Heartland Highway, everyone participated by submitting songs. That’s a great idea in theory, but it can lend itself to fighting.
Ken: It used to be really tough. We’d come in with 70 or 80 songs. We would vote on it and people’s feelings would get hurt. But the last couple of records we tried to evolve and let everyone bring their A-game and contribute. We had a blast, and the record came out great. Even if we bring in songs, everyone gets their fingerprints on it. We defer to the writer on the bigger decisions.
Andrew: They always change shape by the time the five of us start to mess with it.
Tell me about the Rock Boat.
Andrew: This is our twelfth year. It’s a way for us to connect with our fans. We have about twenty five to thirty bands that go out with us.
Why did you start Lyrics for Life?
Ken: When I was fourteen, my brother was diagnosed with cancer. He died four years later. You take that with you the rest of your life. There’s the research side of it and then there’s the side of it that supports organizations that supports the families and patients that are going through it. We’ve raised nearly a million dollars.
What music are you listening to?
Andrew: Need to Breathe was on last year’s Rock Boat. I love them. And I love The Band Perry.
Ken: I’m a huge fan of Blackberry Smoke. They are an authentic Southern Rock band that we’ve known for a long time. They are the Southern Rock real deal.
You’ve been together for a long time. Have you ever wanted to kill each other?
Ken: The first few years were tough. We went from playing little bars to touring a platinum record. Everyone was kind of finding their way. Egos get in the way. Plus, we were partying hard. When that’s coloring things, there’s a lot of misunderstandings. One thing that happened is that I got clean and sober nine years ago.
Andrew: It had a major effect on all of us. It made everyone look in the mirror.
Ken: It’s been a huge gift to all of us. But some things just take time and trust. In those next few years we stopped taking things personally. We try to check our egos at the door. There are things we’ll hear and think, “God there was a time when that would have been a big argument and then three weeks of the silent treatment.“ Now, it’s over in thirty seconds.
I’m always looking for records that I can listen to in their entirety. While this might seem like an easy task, you’d be surprised. And Hey Marseilles’ first album, To Travels and Trunks, met this very difficult standard. It’s clear the band knows their sound, and it’s consistent from beginning to end. It also puts me in a happy place, a task also difficult to achieve. The Seattle-based band, fronted by Matt Bishop, has seven members, a number that slowly grew from the original two (Bishop and Nick Ward) who met in college. They released their first record in 2008, and then re-released it two years later. And based on the new song off their second record, “Hold Your Head,” I anticipate great things. The record, entitled Lines We Trace, will be released on in February 2013. Read my interview with Matt Bishop below.
Your music has a European influence. Was that always your sound?
It slowly evolved. Our motivation isn’t [about] trying to capture a European sound as much as it is trying to do something eclectic and dynamic. [That sound] slipped into our first record because the music we were inspired by was very much European. But it wasn’t intentional.
Why did you re-release the first record, To Travels and Trunks?
It was about trying to get exposure for that record on a level beyond Seattle. We released it out of the back of our cars and sold it to our friends at shows. We felt that if we had the potential to get as strong of a reception elsewhere as we did in Seattle, it was worth re-releasing it.
Was there any particular moment when you realized that your hard work was paying off?
I wouldn’t say it was one specific moment. We’ve been a slow burn. We’ve been together for about six years and we’re now going on our first truly national tour. We’ve been slowly reaching [our] aspirations.
Are you ever surprised by an audience’s response to one of your songs over another?
I’m surprised when an audience responds at all [laughs]. Sometimes I can see the audience [sing along] to certain words. It’s awesome and humbling.
I read that some of your band members disagreed on your band’s name, and the majority won out. Do you vote on all band disagreements?
There’s always a discussion. But it’s helpful that there’s an odd number of people in our band so it’s kind of like the Supreme Court. We’re pretty egalitarian.
Why the time span between your first record and your upcoming record?
We’ve been writing our upcoming record for a year and a half. There were moments when we thought we were done and then we went back. We want to be intentional about releasing a record we are proud of, and we’ve finally gotten to that point.
I know you have a day job in addition to being in a band. Are you the coolest guy at your job?
I don’t know about that [laughs]. It’s gratifying that people at my job are supportive. But it’s also really frustrating to balance two different mindsets. It’s not easy. But with the release of our next record, I’m stepping away from it. I’m looking forward to solely focusing on music. We’ll see how that goes.
I read a funny story about you that I have to ask you about. Is it true you stole instruments from your school’s marching band?
There was a period where we used a sousaphone that we procured from the University of Washington’s marching band room. We returned it though and nobody knew. Not too many people [use] the sousaphone.
You’ve said that your study of poetry hinders your song-writing ability. I would assume it would be the opposite.
The rhythm and musicality of poetry is entirely dependent on the words and how they are spoken. When you’re writing lyrics for music, you have to depend on the musicality of the melody. I’ll easily write something and then have to step back and decide if it works well in the context of music instead of how it’s written on a page or how it’s spoken.
Does the songwriting process ever create friction with your bandmates if they want to go a different direction?
I’ve been lucky. They kind of let me have full control over the lyrics, so I have a lot of autonomy. But most of the collective work is on the music.
Does your new record have a different sound than your first record?
It’s much more mature. The strength of our musicianship has improved. I think it’s a good reflection of where we are at in our lives.
Watch below to see Hey Marseilles’ video for “Hold Your Head,” and be sure to check out all of their upcoming tour dates.
Tue-Oct-9 – Denver, CO at Hi-Dive
Thu-Oct-11 – St. Louis, MO at Plush
Fri-Oct-12 – Louisville, KY at Good Time Emporium
Sat-Oct-13 – Cincinnati, OH at Taft Theatre
Sun-Oct-14 – Columbus, OH at The Basement
Mon-Oct-15 – Pittsburgh, PA at Stage AE
Tue-Oct-16 – Asbury Park, NJ at The Saint
Fri-Oct-19 – New York, NY at Le Poisson Rouge (CMJ)
Sat-Oct-20 – Boston, MA at Church Of Boston
Sun-Oct-21 – Philadelphia, PA at North Star Bar
Mon-Oct-22 – Washington, DC at DC9
Tue-Oct-23 – Toledo, OH at Frankie’s Inner City
Wed-Oct-24 – Chicago, IL at Lincoln Hall
Thu-Oct-25 – Milwaukee, WI at Club Garibaldi
Fri-Oct-26 – Minneapolis, MN at Cedar Cultural Center
Mon-Oct-29 – Salt Lake City, UT at Urban Lounge
Tue-Oct-30 – Missoula, MT at The Top Hat
Wed-Oct-31 – Pullman, WA at Bell Tower
Thu-Nov-1 – Bellingham, WA at The Wild Buffalo
Fri-Nov-2 – Vancouver, BC at Electric Owl
Sat-Nov-3 – Portland, OR at Doug Fir Lounge
Mon-Nov-5 – San Francisco, CA at The Independent
Wed-Nov-7 – Santa Cruz, CA at Rio Theatre
Thu-Nov-8 – Fresno, CA at Fulton 55
Fri-Nov-9 – San Diego, CA at The Casbah
Sat-Nov-10 – Los Angeles, CA at El Rey Theater
I’d always liked Daniel Bedingfield, but he entered my interview-radar when my musician friends played his first album from top-to-bottom, while endlessly praising his songwriting prowess and vocal range. “He’s incredible,” they said. “You have to be great to get a number one dance track and a number one ballad on the same album.” When I discovered his very catchy new single, “Rocks Off,” the next day, I considered it fate and wanted an interview. I quickly found out that he’s gone completely independent, and I’d have to contact him directly. So I tweeted him, and he invited me to his show at Hotel Cafe the following week. Though Hotel Cafe is often a low-energy singer/songwriter venue, I knew his performance would be unique when he showed up in very colorful clothing, removed all the tables and chairs, and took the time to greet almost every fan that arrived. His charm and stage-presence won over the audience, who danced to both his new material and his most-loved hits. We scheduled an interview the following week, and I had an extremely long list of questions. Where has he been for the last eight years, how often will he be releasing new music, and whose idea was it to get naked at the end of his “Rocks Off” video? I figured I’d hold that last question until the end and only ask it if things went well, which they did.
I notice your very colorful style of dressing. Is the wardrobe choice a product of being an independent artist now?
I used to think that you had to consider the opinions of the people that you’re working with, because they work so hard and they’re so successful and they’re making millions, so they must know what they’re talking about. It doesn’t really matter anymore. I think the make-your-own-decisions, do-whatever-the-fuck you-like [approach] is much better.
Did the label have specific demands about how they wanted you to sound?
Sure. That’s why they didn’t release anything for eight years.
The irony is that when you first started in the industry the label was something you were probably aching to be a part of.
No. Your first job for the mafia, you could become a Don, or you could try to get out, and they could kill your whole family. My version of that is eight years of my twenties.
How does it feel to now be completely independent?
Now that I don’t care whether I succeed or not — I hope that I succeed, I dream that I succeed — [but] I don’t have the same pressure. It’s tough enough fighting this world to get music out without having to fight the business side. I’m very glad that I did it, [but] I never thought it was a golden opportunity. I don’t get excited by success, I get excited by creativity. So when I wasn’t able to release anything, that was difficult. But it was good for me. Now I know what it’s like to desperately want to do something for eight years.
You must get a little excited by success, though.
I’ve had enough to satisfy me, and I know it didn’t satisfy me when I had it. It’s not success that’s ever going to make me feel good. On the day “Gotta Get Thru This” hit number one, it was my 22nd birthday, and I had my first kiss with this girl I had been chasing for two years, and I was certainly more excited about the kiss.
Is it true you wrote the song on the way to professing your love to that girl?
I wrote it in the morning crossing the Tower Bridge on the way to work. My feet hitting the pavement gave me the tempo. After an hour-long chat with my mom she said, “It’s very obvious what you have to do,” so I went up to [talk to her]. We were best friends, and we were trying to pretend not to be in love with each other.
Is “Secret Fear” from your new EP also about a specific girl?
Who’s the girl?
[He shakes his head to indicate he’s not going to tell me]. All my songs are true. As awful as it sounds, it’s that awful, and as wonderful as it sounds, it’s that wonderful. It’s a diary transcript.
Does the girl know it’s about her?
I don’t know if you’ve ever heard my song, “Wrap My Words Around You.” But it’s about whether it’s a good idea to tell a girl that a song is about her, because it can really play with the dynamics of a girl genuinely or not genuinely liking you. You can make a girl like you when she wouldn’t like you otherwise by writing a good song.
Is that a bad thing?
Yes. Because if you leave her, then it was all a lie. You can win someone’s heart and then leave her, and it can really hurt. It’s tricky. My songs have caused incredible devastation to a number of people. You can get absolutely into someone’s head with your song, and it becomes impossible to get out.
You didn’t answer my question. Does the girl know that “Secret Fear” is about her?
The beginning of that song is so shocking, what it says. I’m so frightened that any woman that I date will hear the lyrics and think I won’t be happy with her. It was a deliciously bad feeling writing that. I knew I could be fucking my life hard-core. I was getting-off on the danger. Imagine you’re lying in bed as my wife and thinking of those lyrics.
I also love “Rocks Off” from the new EP, and I like how different it is from “Secret Fear.” Is the variety on your records a calculated choice?
This idea of an artist having one sound is nothing I’ve ever connected with. I don’t think it’s a valid restriction, so no — I don’t think about variety, I just think about the song. I’m not trying to be clever, I’m just incredibly ADD.
I know you’re releasing EPs 3-5 months apart. Do you think this is the wave of the future in the music industry?
Everyone I’m listening to thinks so.
You’re in a family of musicians. Are there moments when you have to tell them to buzz-off?
We are the last people to hear each other’s music. We don’t like playing it for each other. An honest opinion might not have a place in your family. Is the point of family to criticize?
Were you ahead of your time with the social media transition in the music industry? You’re really good with replying to your fans on Twitter.
I really like them! I have an amazing social media coordinator. I told her I didn’t have the time and energy to reply to my fans on Facebook and Twitter. She said, “That’s incredibly sad.” She said so many people are finding a way of interacting with their true fans through this. She’s like a Twitter evangelist. So I started replying, and I now wake up in the morning so happy to see what people are talking to me about. I realize that it’s the beginning of peeling away the wall of managers and record company people that are supposed to protect the artists from their fans.
I read a tweet about your “Rocks Off” video where a fan called it misogynistic, and you said that you’d seriously consider the criticism. I found the exchange very funny.
It is misogynistic. It’s an expression. Art doesn’t have to be balanced.
Whose idea was it to be naked at the end of the video?
Me! I wrote this thing! I’m trying to say something behind that video, and one of those things is that I don’t give a fuck about clothes or what I’m wearing, and I desire to be naked in all my music and in this interview. And also — guys getting stripped by girls . . . I think that’s quite funny.
I’m not sure I’d have the guts to be fully naked in a video.
That’s the point. I found the guts to be naked in a video in front of the planet, and in my next video I’m completely naked, underwater, in fire, and spinning. It’s not a perverted thing. I’m a nudist. I’m naked all the time.
My other favorite song on the new EP is “Don’t Write Me Off.”
Thank you. That’s something that’s very important. There’s a whole crowd of people that want the piano stuff, and there’s a whole crowd of people who just want the rock stuff. [One guy will] say, “Daniel, nobody likes that falsetto.” Then the other guy will say, “The best thing about you is your falsetto.” So if it’s really moving me, and I’m feeling the energy of everything flowing through my veins, then I’m going to release it.
Listen below to Daniel Bedingfield’s EP, Secret Fear — Stop the Traffik, and watch the video for his new single, “Rocks Off.” Note: Be sure to stay tuned for the end of the video — that’s when he gets naked.
I fell in love with Monsters Calling Home almost immediately. I saw them perform at The Mint in Los Angeles, and I emailed lead singer Alex Hwang minutes after the show. Since then, I’ve shamelessly stalked them around Los Angeles, and then I took the stalking to the next level and invited Alex to Brick & Mortar Recording for an interview. He kindly complied. Listen below, and watch their new video, “Fight to Keep,” after the interview.
Mike Doughty is a talented guy. I’ve been a fan since my high school days when I played Soul Coughing on repeat, and I later became addicted to his solo work when my musically adept cousin pointed me to Haughty Melodic, one of my favorite albums in history. So when he agreed to do an interview with The Dishmaster to promote his new album, Yes and Also Yes, I was elated. While preparing for the interview, I quickly discovered that he and I have very different feelings about the band he spent numerous years with. In fact, he once referred to his time with Soul Coughing as “the devil’s asshole.” You can therefore imagine my trepidation on broaching the subject. But I wouldn’t be The Dishmaster if I didn’t get the dish. So I dove right in, and I happily discovered that Mike was not only gracious about discussing the subject; he was also honest, which is rare in this industry. Read my interview below, and then listen to his song, “Na Na Nothing,” at the end of the post. It’s fantastic, and so is he.
I was a huge Soul Coughing fan. You’ve described your experience with Soul Coughing as “Dante’s Inferno.” Do you think being in a band inherently lends itself to fights over songwriting?
No. My band mates, in my opinion, were sociopathic. It was worse than your average band conflict. The majority of the songs were solely written by me. My band-mates’ [perspective] was “You’re not very good, and you’re very lucky to have found us,” and they also threatened to leave the band over the [songwriting split], and they were stupid enough to have done that. I do not know a story of a band crazier than mine.
Did they ever approach you after reading your interviews about them?
No. I refuse contact. But there was an interview with the keyboard player, where he basically said, “Doughty doesn’t really write music at all,” and he wasn’t trying to be a dick. He really believed that. It would be one thing if they were just mean-spirited and conniving, but to really talk to someone and say “The sky is blue,” and have them follow up, “No, it’s red” . . .
Is that why you no longer sing Soul Coughing songs?
I choose not to sing them. Chances are I wouldn’t sing those songs even if it was a good experience. I just want to get away from it. I just have songs that I like better. I’m not going to come to your house and steal your iPod. You are welcome to listen to those songs. But I don’t want to play it. If people come to the show and say they want to hear “Super Bon Bon,” I’ll tell them not to come back. And if I could give you your money back, I would. I genuinely dislike the Soul Coughing stuff. I don’t think most of the songs are very good at all.
Is that because you’ve changed styles as a musician since your time in the band?
If I had not had to constantly appease my band-mates, it would have sounded more like my solo stuff. We were Captain Beefheart, and we could have been Led Zeppelin. It sucks that this work I really dislike is hanging around my neck. I feel like a creative person that wants to keep creating art and I have a large audience that digs it.
Too bad schmucks like me keep asking you about Soul Coughing.
I don’t think you’re a schmuck. I just really wish honestly, humbly, and respectfully that guys that want to hear Soul Coughing don’t come to the shows. It’s so aggravating.
Did getting away from the label contribute to your freedom as a solo artist?
The label was very good to us. But there were a lot of stupid decisions made by my band-mates that lost [the label] money, and I look back and don’t understand why someone didn’t step in and say, “This is what you’re going to do and you’re going to like it,” because it would have been better for us.
I’ve heard you say that you make more money now than you did on the label.
It loops back to the band. But I also don’t own the Soul Coughing songwriting. The label was making a profit even when we were in the hole. But the band spent a lot of money. I remember a gig in DC and my drummer insisted on taking a tour bus instead of a van. There was so much money spent. I am not excluded from that. I would stay at the Royalton for a month making my record, and when I got out I couldn’t pay my rent. When I went solo that’s when it all made sense to me. Also — I wasn’t wasted anymore.
When you write music, do you ever look back on your songs and discover a new meaning?
Yes. You have a perspective on the emotional context after playing it for a bunch of years that you don’t have when you record it. I don’t really want to talk about it because very, very deep factors in my personality are revealed to me years later. But I’ll tell you one thing – “I don’t need to walk around in circles” was about Soul Coughing.
I love the song “Holiday” on the new album. I read that Rosanne Cash said something nice about you during a concert. Did you contact her after hearing what she said?
She said from the stage, “I’m really nervous because Mike Doughty is here and he’s such an amazing songwriter,” and my jaw hit the floor. So when Dan Wilson and I wrote “Holiday,” there happened to be this note there that I couldn’t hit, so my solution was to get a female backup singer who would sing along with the chorus . . . but I [thought] . . . as a shot in the dark, let’s send this to Rosanne Cash and see if she’ll do a full-on duet . . . And she said yes. It was astonishing.
Because of the climate of the music industry, artists are making most of their money on tour. Does the excessive traveling bother you?
No, I love touring. This last tour I did with the band was a dream. Everybody was so awesome. I’m touring with dedicated, smart, funny, interesting people that are a blast to work with, and I like being on the road.
Is it true you wrote this on an artist’s colony? Do you usually write in one condensed period of time?
It was more writing from square-one than I had done in the past. I wrote it in a more linear way than I [usually] work in.
How did you choose the title, Yes and Also Yes, for the album?
It was an improvised headline to an OkCupid profile. You can’t put the profile up without a headline, which is annoying, so I wrote “Yes and Also Yes.”
It’s my secret agenda in every interview to befriend my subject. And Langhorne Slim certainly made the list. His real name is Sean Scolnick, and he might be the most normal, down-to-earth guy I’ve ever interviewed. In doing my research for his new record, The Way We Move, I realized that we have a lot in common, which is a data-point that will surely help in our future friendship. We’re both Jewish, and we both exited five-year relationships that were subject to long distances apart. Because I’m egocentric, I made sure to ask about these commonalities, along with questions about his joyful, dance-worthy style of music that I’ve fallen in love with. Read below.
Do you refer to yourself as Langhorne, or do your friends call you Sean?
It’s different. Some call me Sean, some call me Langhorne, some call me Seany Boy, some call me Slim. I’ve got lots of names. It just depends on who’s talking to me.
Is it true you wrote this album while mourning a breakup?
I wrote a few of the songs after my wonderful ex and I broke up, but a lot of the songs were [previously] written. [When] we went into the studio to record the record, we had already broken up.
Is it difficult to record in such an emotional place?
It was a difficult period, but it was amazing to have that kind of release, and to feel it in such a raw, immediate way. Instead of leaping off a cliff, I had this creative outlet.
I assume “Someday” is directly about the breakup, right?
The funny thing is . . . we were still together. Maybe you’re breaking-up before you realize it.
Do you ever get a call from an ex who is combing through your songs and wants to know if it’s about her?
They know that it is. I’m a man that hasn’t been with very many women. The last fifteen years of my life I’ve been in relationships. My ex knows exactly what songs are about her, because she heard me writing them.
Is it hard to sing songs that remind you of the time when you wrote them?
When I listen to [this record], it takes me very much back to that time and place, and I think that it always will. But it’s freeing. Even if you’re singing about pain, it’s a blessing to be able to create something that gets me through it. I don’t feel the heartbreak, I feel the release.
You raised the money for this album through PledgeMusic, which requires you to fulfill some very random promises to fans you’ve never met. I know you’re Jewish, and if I told my over-protective Jewish mother about the promises I’d have to fulfill, she’d kill me. Was your mother concerned?
I’m ten years into [my career], and my mother embraces it. [But] I remember the first time we ever got booked in Europe, she said, “Okay, wait a second. You’re going to Italy to play for some random people? How do you know they’re not going to kill you?” [laughs]. Now [my family] gets it. They knew I wasn’t cut out for a conventional job. Thankfully, they supported [me]. [They’re] still neurotic though.
You’ve toured with some heavy-hitters. Before you go on tour, do you think about whether you’ll get along on a personal level?
At this point it’s a little different. We’re in a position of picking who we tour with. [But] when we were going out with other bands, it wasn’t random. It already comes with a bit of a connection. There’s already a respect.
What about in your own band? Is it tough to be in close quarters for an extended period of time?
You learn each other’s eccentricities. It’s very much like a romantic relationship, but the romance is creative and musical.
How do you sustain a romantic relationship when you tour for 8 months out of the year?
I don’t know. People have told me it’s not feasible. But I did it the entire time I was a touring musician. It’s difficult to connect on a day-to-day basis, but I believe in it still. I’m a big, sappy believer in love. I feel like it’s just as difficult in different ways to have a 9to5 job and come home to each other every day. It’s a different set of challenges.
Do you have a favorite song on your new record?
The song that’s really meaningful to me is “A Song for Sid.” I wrote it for my grandfather. I’m very happy with it. You were asking if I’m brought back to the heartbreak or pain of a song that I wrote, and I am brought back [with that song], but in a beautiful way. It’s a tribute to him that he would probably feel proud of me for writing.
Watch below to see the video for Langhorne Slim & The Law’s single, “The Way We Move.” And thanks to Sean for proving that you can be talented and normal at the same time.
I’ve had a crush on Craig Bierko for many years, and then one day while ruminating on my Dishmaster greatness — it suddenly occurred to me. Why not commission him for an interview? After all, if I can’t use this blog to solicit interviews from hot men, then what good is it? My Bierko crush began during his guest-stint on Ally McBeal (my favorite show in history), and it was solidified by his appearance on Sex and the City (my second favorite show in history). While researching his very impressive resume, I discovered that he’s not only a talented actor, he’s also a giver (a standard I require from my future husbands). He’s been involved with the Loma Linda University Children’s Hospital Foundation for years, and if you’d like to join him in helping, just text “KIDS” to 27722, and you can automatically donate ten dollars to the hospital. It’s a pretty easy, charitable gesture. Did I mention he has great hair? Alright — enough drooling — enjoy the interview below.
You guest-starred on my two of my favorite shows. Do you still get recognized as “jazz man” — the guy who gave Carrie Bradshaw her most intense orgasm?
All the time.
Your scene in The Change Up was extremely disturbing, yet comedically brilliant. You stole the show. Did you break character while shooting?
Oh, God, yes.
I heard you trained as a boxer for Cinderella Man. Are there any dream roles you would like to play just to have an excuse to adopt another new skill? A ballet dancer, perhaps?
I would love to play “Max” without the burden of being the heavy. Baer was a uniquely charming, colorful personality, worthy of real attention.
You’ve said that most of the actors you’ve worked with seem mentally unbalanced. Is there a secret to maintaining your sanity in this industry? Does it have anything to do with living in New York instead of Los Angeles?
I think parenting is important. I was raised to value other people’s feelings as much as my own. Show business creates an illusion that the opposite is true, which leads to a great deal of unhappiness.
You’ve talked about the taxing hours of network television, but nothing can be worse than eight shows a week on Broadway. Do you have a preference?
No. I like to work. I’m always grateful about work.
Tell me about your work with the Loma Linda University Children’s Hospital Foundation.
I stumbled on them, really. Out of an obligation I visited the hospital, and that visit transformed me. I was ready to care about something, I suppose — and it would have been easy to move on — but I decided that this would be the corner of the world on whose behalf I would advocate. I shamelessly pimp my friends for benefits, and we just raised about 50 grand in a night, which will help pay for a new satellite pharmacy. It’s the greatest feeling to know you contributed to something like LLUCH.
I hear you’re technically a Jew. I need to know if this is true so I can take you home to my mother.
I am a very proud, totally non-practicing Jew.
You gave a very beautiful description of what it was like to sit at the Tony Awards with your mom when you were nominated for The Music Man. Were your parents always supportive of your pursuit of an entertainment career?
I lucked out, yeah. They never questioned it.
When you go to your grave, do you think you’ll be most proud of somehow convincing the esteemed John Malkovich to do an interview with you in Carrie Fisher’s bathtub? Does that beat your Tony nomination?
I found both experiences completely surreal, but as they were occurring they just felt like work. I hope I can look back and feel good about everything in that same way.
Jackie Collins is one of those fabulous women that still manages to stay relevant after an astounding amount of success. She’s sold over 400 million copies of her books, and she’s still producing great, original material. Her latest book, ‘Goddess of Vengeance’, is just as fun as you’d expect. It follows her coveted protagonist, Lucky Santangelo, who’s running a highly successful hotel and casino in Las Vegas. When her casino is threatened, you get to see the quintessential Jackie Collins girl-power at its best. Lucky is joined by a new generation of Santangelos, who bring their own set of juicy drama. I was honored to interview the great Jackie Collins for her new novel. Enjoy!
After 28 books and a four decade long career, how do you continue to find inspiration for your stories?
Inspiration is all around me. I just have to pick up or go to a Hollywood party!
Your novels often have very strong and beautiful female protagonists. Was this always your intention when you began to write, or did it evolve over time?
My object was to create strong positive role models for women. Female heroines who can kick ass!
There’s some fun dating in this book, particularly by Lucky Santangelo’s best friend, Venus. Is her character at all inspired by your own personal life?
Madonna was the muse for Venus, with touches of Beyonce, Cher, and Lady Gaga. A true original and beautiful and strong diva with a penchant for gorgeous men!
I noticed that your characters curse a lot. As someone who greatly enjoys using profanity to express my point, I have to ask if this is a natural or calculated choice.
Natural of course. That’s the way real people speak, and my characters are very real.
Hollywood these days tends to favor the very young. Is it tough to write a whole new generation of characters that fit today’s current trends?
Not at all. I am a popular culture junkie and T.V. addict, so I am always in touch with everyone and everything. I write for all colors, ages, and sexual orientation. Something for everyone!
|Photo By: Michael Rozman|
When I saw the first trailer for ‘Transformers: Dark of the Moon,’ I thought, “I wonder if that guy in the space-suit is hot?” Then I landed an interview with him and as it turns out — he is hot. There are days when being a blogger really pays off. Actually, I prefer to call myself an “online journalist,” but that’s neither here nor there. The hot guy in question is Don Jeanes, and he plays Neil Armstrong in one of the biggest blockbuster films in history. Jeanes grew up on a ranch in Texas, and he later moved to New York to pursue acting. After a few years in New York, he moved to Los Angeles, where, needless to say, he’s doing quite well for himself. Read my interview with the yummy actor below.
I think every kid fantasizes about being an astronaut. What was it like wearing the space suit?
It was really cool. Our costumes were inspired by the designs of actual NASA space suits. I couldn’t help but feel a little heroic just trying it on at the fitting. I will say though that once you put on the glass helmet it gets a little claustrophobic.
The 1984 animated Transformers film was Orson Wells’ last movie. Were you intimidated by the history of the Transformers franchise?
Yes and no. As an actor I was intimidated to play one of America’s most beloved heroes in front of such a large audience but not of the Transformers franchise; in that aspect it was an honor.
As a kid, I loved the transformers cartoon and used to watch it every morning before school. I went to see both ‘Transformers’ and ‘Transformers: Revenge of the Fallen’ in the theater. I remember sitting there after ‘Transformers: Revenge of the Fallen’ envisioning myself being a part of such an action thriller film.
Shia Labeouf has described Michael Bay as having an “aggressive personality.” What was your experience working with him?
From my personal experiences on set, I would say that Mr. Bay is straightforward when he is directing. I found him to be as personable as a man can be considering the millions of dollars invested in the film while orchestrating hundreds of people on set everyday. I was intrigued by his hands-on approach for each scene and his interactions with all of the actors and crew members. It was great knowing that I could have an open line of communication.
You’re starring in the Los Angeles play, ‘Jesus Hopped the “A” Train,’ this summer. I know your career began in New York. Do you favor theater or film?
That’s a hard question to answer. I really enjoy working in both mediums because they allow me to work as an actor and perform in different ways. A linear performance in front of a live audience on stage is what I love. On the other hand, I also love film because it reaches a broader audience in which I can impact more people.
I read in an interview that your cousin is a rodeo clown. For some reason I think his career might be just as entertaining as a Hollywood film. Any chance you might have stayed in Texas and gone that route?
(Laughs) Yes, there’s a slight chance that would have happened. I started riding bulls when I was fifteen with my older brother. We had only been riding for a short while when he broke his collarbone. I must admit, as a young kid, that scared me a little given that I could no longer get to the rodeos because I couldn’t even drive yet. I think if that accident hadn’t happen I might still be “Spurrin and Pickin Apples” in Texas today.
Tell the truth. Do you have a Megatron figurine from your childhood that you fight in your spare time?
(Laughs) No, but I do have a “Sonar” figurine that was given to me for my last birthday.
Did you get to steal anything from the set?
(Laughs) Does a pair of socks count? I drove my motorcycle to the set every day and one morning it was raining. My feet ended up being soaked. I ended up getting a pair from the costume department and they have been a memento ever since!