The Life and Writings of Paul Nelson

From the 1960s to the early 1980s, Paul Nelson was known for writing passionate, insightful criticism of folk and rock music that showed a partiality for singer-songwriters. He, and his record collection, was of great importance to Bob Dylan early in his career. As an editor at Rolling Stone, he influenced many great critics, such as Charles M. Young and Mikal Gilmore. But suddenly, in the early 1980s, when editorial decisions at Rolling Stone ran contrary to his thinking, Nelson walked away from music criticism. In fact, he dropped out of criticism entirely, choosing to spend his remaining years in relative obscurity, working at a video rental store. He died in 2006, but not before writer Kevin Avery contacted him about a potential biography. After Nelson’s death, Avery was tapped to compile this new Fantagraphics book, Everything Is An Afterthought: The Life And Writings Of Paul Nelson, in which Avery documented Nelson’s career as well as collecting his writing. In addition to discussing this book, Avery also discussed his other Nelson-related book that he edited, Conversations with Clint: Paul Nelson’s Lost Interviews with Clint Eastwood, 1979-1983 (Continuum Books). To mark the release of both books, Avery recently allowed me to interview him via email.

Not to toss a large question your way, but how did Paul Nelson help to shape present day rock criticism?

I’m probably the wrong person to ask. As a result of immersing myself in the music and criticism of the Seventies and Eighties, I really don’t follow rock criticism much anymore, but what I do read bears very little resemblance to the kind of writing that Paul did. Paul’s writing was more contemplative and expansive—in contrast to some of what I read today, which is dictated by time and space constraints (some of the very things that brought Paul’s tenure at Rolling Stone to an end in 1982).

In gathering this book, were there certain key parts to the collection that proved harder to track down then others?

Everything Is an Afterthought: The Life and Writings of Paul Nelson is actually divided into two books: Book One, which is Paul’s biography and sets up Book Two, which, while continuing to tell Paul’s story, presents an anthology of some of his best writing. Tracking down the various writings that I wanted to include in the book wasn’t that difficult—the challenge was documenting the last twenty or so years of his life, after he left Rolling Stone and “began to erase himself from the world” (as Anthony DeCurtis recently chillingly wrote). He closed the door on most of his many friends and colleagues and began leading an increasingly private life (which was hermetic to begin with).

What were the biggest logistical challenges to developing this book?

Selecting those writings of Paul’s that would not only demonstrate what a fine writer he was but would also serve to tell his story. Paul was a very autobiographical writer, although not overtly so. Sometimes, as with the Rolling Stone cover story about Warren Zevon’s battle with alcoholism, he was a reluctant participant in the story. But in Paul’s other work, I think even the casual reader could sense his presence lurking between the lines.

What I wanted to do was structure the book so that, after reading the first half of the book, Paul’s writing, in the second half, revealed just how much he had almost surreptitiously been telling his own story all along—in record reviews as well as articles.

In terms of Nelson’s peers and associates, were there a few that proved to be a critical path in terms of giving you the proper frame of mind on the body of Nelson’s work?

At the risk of failing to mention several people who undoubtedly contributed on this front—and there were many (the usual suspects jump to mind: Robert Christgau, Dave Marsh, Greil Marcus, and Kit Rachlis—I’d have to say that Paul’s good friend Jay Cocks, a fine critic in his own right who went on to forge a very successful career as a screenwriter, provided me with the best insight to not only the work Paul had done but also placing it in perspective with rock music and rock writing as a whole. And not just the rock music and criticism of the Seventies of the Eighties, but where it had come from and where it ended up going.

How much fun was it to appear on Kick Out the Jams with Dave Marsh, discussing Nelson’s work?

Lots of fun. Speaking as someone who as a teenager used to sit cross-legged on my bed reading these guys’ work—guys like Dave, Christgau, Greil, Jay, and of course Paul—anticipating reading what they had to say about notable new albums as much as I anticipated the albums themselves—on that level this project was a dream come true.

Before embarking on this project had you known that Bob Dylan had stolen folk records from Nelson at one point early in his career?

Yes, thanks to Martin Scorsese’s Dylan documentary No Direction Home, where Paul himself tells the story. Though, as I point out in the book, Paul always claimed that the records actually belonged to his best friend at the time, and cofounder of The Little Sandy Review, Jon Pankake. On the other hand, Jon said they were Paul’s. Regardless of their ownership, Dylan took them.

After researching the book, did you find that your view of Nelson changed (for the better or whatever) as you learned more about him?

I certainly understood him better and, as a result, now appreciate his writing even more. While I was writing the book, I experienced the same thing that I think many people have expressed after reading it: an immense sadness. Paul’s story is a tragedy that, by and large, took place behind closed doors in small illegal sublets scattered throughout New York City. There’s an inevitability to what happened to him, but he did the best he could with what he had to work with.

But that sadness passed. It was replaced by a genuine appreciation of the man and the great writing he left behind.

Would punk music have flourished as much without Nelson’s advocacy for it?

What Paul did, especially by way of his amazing Rolling Stone review of the Sex Pistols’ debut album, was help introduce punk to the mainstream. Because he was a critic of some gravitas, famous for writing about singer-songwriters like Dylan, Jackson Browne, Leonard Cohen, and Neil Young, I think he undoubtedly engaged some people who otherwise would’ve never considered giving punk a listen. And certainly, when he was editor of the record-review section at Rolling Stone, he encouraged writers like Charles M. Young and Mikal Gilmore to write about bands like the Dead Boys, Joy Division, and Public Image Ltd.

Conversations with Clint

Care to talk a little bit about your Clint Eastwood book?

Absolutely. It’s called Conversations with Clint: Paul Nelson’s Lost Interviews with Clint Eastwood, 1979–1983. Even though it came out first, a few weeks before Everything Is an Afterthought, it’s actually my second book.

I’d always remembered, since reading the aforementioned Zevon cover story in Rolling Stone, that Paul had interviewed Clint Eastwood. In the piece, Paul mentions that he’s interviewing Eastwood for a story. But such a story never materialized anywhere. I hadn’t thought about those interviews with Eastwood in years, but then Dave Marsh mentioned them in a remembrance he wrote about Paul in 2006. Over the next few months, as I began researching the book and conducting interviews, several people asked me if I knew the whereabouts of Paul’s Eastwood tapes. Ultimately, they were found in Paul’s apartment after the medical examiner unsealed it.

The interviews, over seventeen hours’ worth, range from 1979 to 1983, and were intended for a Rolling Stone cover story that Paul, for various reasons, was never able to write it. What struck me while I listened to the tapes for the first time was the obvious friendship that quickly developed between these two men. They clearly enjoyed one another’s company. As a result, Eastwood is much more open and revealing—about his career and his aspirations, about his influences—than the Eastwood we’re used to reading about. Paul had correctly predicted, as far back as 1971, that Eastwood would become a “major force” as an actor and director.

Conversations with Clint presents these interviews as an occasional but ongoing four-year conversation between two friends.

MoPix

I’ll be the first to admit, I know next to nothing about film distribution. But when I caught wind of the plans for MoPix, a film and video distribution platform set to launch in January 2012, I wanted to find out more about it. A few emails later, I was in contact with MoPix founder, Ryan Stoner, who was more than willing to educate me in the ways of digital distribution and technology. My thanks to Stoner for his time.

Tim O’Shea: When and how did MoPix initially get conceived?

Ryan Stoner: MoPix was conceived in late 2010. We were developing entertainment apps for the likes of Warner Brothers, Disney and entertainment moguls like Anthony Zuicker the creator of CSI. We had just finished building the Dark Prophecy app, and were exploring creating an ePub authoring solution for publishers looking to enhance their books with a layer of context aware content, transforming an ordinary ebook into a full sensory experience, complete with audio, visuals, discoverable content, special effects, and other content to enhance the reading experience. We quickly realized the pitfalls of transmedia content rights for back catalogues and shifted our focus to the film work. We saw an opportunity to replace the income lost from traditional distribution outlets by creating a platform for filmmakers to release their work. We also saw it as an opportunity to enable users to experience more than just the film, such as, photo galleries, behind the scenes, and any second story content created around the film.

O’Shea: Is MoPix ideal for iPads or tablets or a mixture of both?

Stoner: The iPad is our primary device because it represents a majority of all tablet sales and is the fastest growing device, but we plan on expanding to the Android, Kindle and future tablet devices as well. We are bullish (about) tablets. I also believe it is not just about the size of the tablet, but also the possible connectivity of the tablet to other devices

O’Shea: How much help have filmmakers like Enzo Tedeschi been to beta testing MoPix?

Stoner: All our initial filmmakers are instrumental to helping us define the product. We are building focus for the content creators who want to have a better creative outlet to engage with their fans. We love receiving feedback and suggestions from all our core users as that is what helps us evolve the platform. We have spent a lot of our energy working closely with filmmakers like Enzo who understand the limitations of the DVD and what is possible with a touch based tablet experience.

O’Shea: Has MoPix changed drastically while in beta mode, or have there just been minor tweaks?

Stoner: We believe our launch platform is a game changer and will set the bar for what is possible with tablet distribution. When we began our beta we were building apps around existing content. When we launch we are focused on setting the bar for what is possible if a filmmaker goes into product with us in mind. It is a drastic difference to say the least and we are super excited to share it with the world in early 2012.

O’Shea: In terms of getting the word out about MoPix, how beneficial was it to be one of 20 companies presenting at the Launch ‘Pad Tablet event?

Stoner: The Tablet Conference was a great opportunity to expose MoPix to the tech world. We live at the intersection of entertainment and technology so we are constantly trying to find our place in both worlds, navigating the world of film rights, while building an end-product that has mass consumer adoption potential.

O’Shea: MoPix was a sponsor at the recent Northwest Filmmakers Festival, given that festivals are populated with filmmakers looking to garner distribution, did you find folks were quite eager to find out more about MoPix?

Stoner: Film Festivals are under exposed events. I wish more people would support local film festivals. Over 5000 films are premiered a year at film festivals, but very few get picked up. We are very much in support of those amazing films that need help finding their niche audience. We are excited about sponsoring several other film festivals as well and releasing more apps like the Cine City App, that we did for the Brighton Film Festival.

Personally I love to see filmmakers take chances and eager to control distribution. No one knows how to market a film better than the creator and filmmakers need to shift their mindset to wanting to control their destiny. They might not make the millions they dreamed, but they can make their money back, build a brand for themselves and have an audience who is craving for their next film.

O’Shea: As noted in this recent article, there are at least 27 platforms for digital distribution. When the distribution landscape shakes out, will the number of viable ones narrow down to five–or even less?

Stoner: It is about being were your audience is. There is no one-stop shop anymore, but there is also no need to be everywhere. I urge all filmmakers to research where their audience is before signing any deals. We will see some films getting 100% of their sales from PlayStation, while others succeed on Amazon. Know thy audience. VOD is here to stay, physical medium will always exist and digital download ownership will continue to grow.

Personally I am bullish on tablets. With Apple Airplay film apps are not only viewable on the iPad, but you could stream the film to your TV or even your car if you have apple TV inside. The opportunities are endless. The Format and the Content is combined into one device for a fraction of the price of what it costs to produce a Blu-Ray.

O’Shea: How important is effective social media to the success of MoPix?

Stoner: Relationships are important to MoPix. Our goal is to build a brand that is honest, trustworthy and personal. Part of that is being engaged with filmmakers and our audience. MoPix goes beyond our needs to help others. If you want advice on how to negotiate the best deal or go direct to VOD we are always eager to have that conversation. Social Media is just an amplification of that support. Our social media strategy is geared around conversations. As more people become engaged with MoPix we can collectively help more of the films and filmmakers who use our platform.

O’Shea: When Netflix goes and shoots itself in the foot and loses market share, is that an opportunity for digital distribution apps to gain market share?

Stoner: Hollywood is divided over VOD. Consumers don’t understand the business economics, but the loss of income with VOD has been a shot to the head for the studios. The margins on a DVD purchase= about 9 Netflix rentals and how many consumers watch a film on Netflix 9 times? You are going to see a big push towards digital downloads and formats that allow for those higher margins. I think consumers will pay for premium content, which is why we are trying to create the best experience possible on the iPad.

O’Shea: What’s on the horizon for MoPix?

Stoner: While we have done a lot we are still pre-launch. Our launch will be at the end of January and we are excited to showcase what is possible on tablet devices. Sign up for the beta on our website.

Article first published as Stephen Battaglio on From Yesterday to TODAY on Technorati.

From Yesterday to Today

In 2012, the U.S. national TV broadcast network NBC will celebrate that Today, its morning news and talk show, first went on the air 60 years ago in January of 1952. Indeed, NBC’s celebration started a little early in mid-November, with the release of From Yesterday to Today: Six Decades of America’s Favorite Morning Show, a book written by Stephen Battaglio (TV Guide‘s business editor) and published by Running Press. Battaglio, who was granted access to the TODAY show’s archives in order to fully document the rich history of the show, was kind enough to take part in a recent email interview about his 272-page book. The book features a variety of information and photos covering the show’s 60-year history as well as an introduction by current Today show host Matt Lauer.

Did NBC give you full access to its show archives?

Yes. We were able to use their photos. I was able to review past episodes of Today – a lot of fun – and interviews with the personalities that NBC News producers had done over the years. I combined that with my own research and reporting on the show done over my career as a journalist covering the TV industry. I also did a few dozen fresh interviews with the current and past Today producers and cast members.

Personally I think an entire book could be devoted to Pat Weaver, a very important figure in NBC’s history. While I am sure you were already well aware of his role in Today’s formation, I was wondering if there were things you learned about him that you did not know.

Pat Weaver wrote his autobiography a few years ago and always appeared on the Today anniversary shows. He has never been shy about recounting his role as a television pioneer. I think the enduring key to his brilliance was his understanding that live television with personalities who provide a connection and companionship to the viewer could survive the technological changes we’ve seen in television. Sixty years after he created Today, people still want to get up in the morning and have someone they like tell them that the world is still there.

No other morning show ever had a chimpanzee for a host. But I am curious if, in researching the book, did you find there was another host during the show’s history that surprised you?

The chimp, J. Fred Muggs, was not a host. But his arrival saved the program, which was almost cancelled in its first year. I think the surprising aspect of the hosts is that they all possessed distinctive personalities, interesting quirks and diverse backgrounds. They did not all come out of the same mold. That made them fun to write about.

A morning TV news show of this kind had not been attempted before the TODAY show. Are you surprised, despite the trail he blazed in new TV content, that Dave Garroway is far from a household name?

For nine years, few people logged as many hours on television as Dave Garroway. But it was live television. There were no repeats that ran in perpetuity like I Love Lucy. He was not an actor who appeared in classic films that still run on cable TV. He has been dead for 30 years and his career had faded 20 years before that. When you’re not on the air, it’s easy to fade from the public memory. But I think this book will remind or reveal to readers that he was a unique talent and a very unusual guy.

When did the Today show stop having the host doing commercials (a practice done as shown in this photo of Hugh Downs)?

In the mid 1970s, NBC News wanted Tom Brokaw to host Today. He was the White House reporter at the time, and he did not want to do commercials. He thought it would hurt his reputation as a hard news journalist. When he was approached a second time he was told that he would not have to “hold the can” as they used to say, and he signed on.

Given her long history in TV, some people may not realize how pivotal Barbara Walters was to the show, how much do you delve into that?

The book goes into great detail about how Barbara Walters paved the way for women in TV journalism and helped define the skills that every morning program personality needed to have to succeed – the ability to comfortably do hard news and softer entertainment segments. She also had a deep affection for Today, and I don’t think she has ever gotten over leaving NBC.

Not every author can have the full current Today show lineup promoting the book with a signing, how great was that?

What I liked most about it is that it allowed me to experience close up what I wrote in the book. The people on Today understand how much the program means to the viewers and how it’s really important part of their lives. It’s a very intimate relationship unlike any other in television.

The Best of Times

During 2010, in the wake of the Texas Legislature’s budgetary cuts for arts funding, Sara Hickman, the Texas State Musician of the Year, decided to use her position to raise funds and awareness for the importance of arts education (and the funding of it) for children. More exactly, she spearheaded a collaborative effort–with a variety of Texas artists including Shawn Colvin, Willie Nelson, Rhett Miller, Robert Earl Keen as well as many more–to record a collection of Hickman’s own songs. The project, The Best of Times, was recently released as a two-CD, 38-cut collection by Waterloo Records. All proceeds from the sale of the CD set go directly to the Theatre Action Project, a non-profit that supports unique arts programs for more than 16,000 young people. To fully grasp the drive behind her charitable efforts, I recently email interviewed Hickman.

How did you go about getting all of the many fellow talented people who contributed their musical talents to Best of Times?

I knew I had, at least, a year to start lining up musicians to record for The Best of Times because Willie Nelson, who also recorded for the album, was the State Musician before my position took place. So, I immediately made a “wish list” and began calling/emailing/asking in person. I kept a giant chart on the wall with the names of artists/bands I had contacted, the titles of songs I had sent, if they had responded, if they were in the studio, if they had finished recording, if I had the recording.

When did your involvement and interest start with the Theatre Action Project?

I believe the first time I knew about Theatre Action Project was an after school program I was invited to lead concerning songwriting and drumming. I would guess that was about six or seven years ago. Then, I was in a ninth month course entitled Leadership Austin in which Karen LaShelle was also enrolled. We spent time getting to know one another and discussing the importance of arts availability to children in Texas.

For folks like myself woefully ignorant about the Theatre Action Project, what does it do and why should folks want to donate money to its cause?

There are many non-profit groups that bring a variety of art expressions to children in and after school. The difference, and outstanding quality, about Theatre Action Project (TAP) is how they empower and engage kids to learn about theatre, art, music, movement, creativity and self-expression in conjunction with everyday issues. TAP asks kids, “What’s important in your lives? What’s going on in your world?” The kids get to discuss issues such as bullying, or dating violence, or even home issues. TAP can then help the kids to create scripts, costumes, sets, art goals (a tiled wall, giant mosaic self portraits in pastel, sculptural pieces to display) which can they be presented peer-to-peer. Involving the kids to use their own ideas and bringing them to fruition and then sharing what they’ve created makes a big impact within the school, within the community.

In terms of making people aware of the cut in funding, do you think your concerns get more attention given that you have a platform and a voice as the official state musician of Texas?

Well, this was, and still is, my hope. When I was told of this humbling honor, I set out to raise awareness concerning the cuts in arts funding and to also raise monies slashed by the legislature that gave me the accolade. I hope I have raised awareness. I hope people will buy the CD, The Best of Times. However, I do find it ironic that as my term ended in May, the Texas Commission on the Arts (TCA) had its own funding cut by 50%. This is the group that works with the legislature to not only choose the State Poet Laureate, 2D and 3D artists and the State Musician, but they ALSO give out grants to teens wanting to pursue further education in an arts program. For example, if a 16 year old wanted to spend their summer taking a painting course at UT, or Rhode Island School of Design, or private lessons with a professional in their chosen arts field, TCA can give up to $2500 to that teen towards the costs of the course. I know many other non-profit arts groups and school programs have been deeply affected by loss of government funding, as well.

As a songwriter, how gratifying is it to hear this diverse a selection of musicians sing songs that you wrote?

First of all, I’m still honored and blown away by the fact that the CDs EXIST! God placed it on my heart to create this collection, and the fact that musicians responded with such passion and determination really astounds me. Having been a songwriter since I was seven, hearing 38 of my songs reinterpreted by such great talent has made me feel a part of a greater community, where, before, I felt rather isolated in my songwriting. That by coming together we can, of course, make change happen for the arts, for children in Texas. But, as far as how I feel personally about the diversity of musicians performing my songs, I’m deeply touched and grateful. When the songs started coming in, I would, literally, cry tears of gratitude or smile with joy until my face hurt. The interpretations were never what I expected, and always beyond what I expected. Plus, it made me hear my songs in a whole new light, and that was prettttttty cool!

What were some of the more challenging logistical aspects of attempting a project of this scale?

Reaching certain people. I tried to get Erikah Badu, Alejandro Escovedo, Carolyn Wonderland. There were so many people on my list I could just never reach, or who were on tour. I had to, of course, explain what the idea was AND ask everyone if they were willing to record for free. I was overseeing getting song choices and lyrics to people, sometimes videoing my hands on the guitar to show certain chords/movements, or creating and sending charts…I was following up with each musician/band to see if they had a studio/engineer available for them to record the song they chose, and if not, I would find one or both for them. I had to get the packaging created, figure out how to pay for duplication and mastering (thank you to all the people who helped on Kickstarter), and oversee the song order for mastering. Following up with people and checking in where they were on the process was the most time consuming. However, just to name a few—David Garza, Shawn Colvin, Robert Earl Keen—they sent their recordings in, if not that day, by the end of the week.

Given that The Best of Times project was prompted by fiscal decisions by the Texas Legislature, have you heard from anyone in the legislature, thanking you (or challenging you) for your efforts?

Three people thanked me: Rep. Elliot Naishtat, Senator Wendy Davis, Rep. Donna Howard. I’m still waiting to hear from Gov. Rick Perry I don’t know what he will say, but I’d be interested in hearing from him. We’d have a lot to discuss, I think.

Anything you’d like to discuss that I neglected to ask you about?

I would implore people to please support this project. This isn’t a “thrown together” project. It’s one of the best choices you could musically purchase. It took a lot of time, sweat and tears, and the end result is an album that just sounds terrific—the variety of musicians really showcases Texas’ musical talent—from known names like Willie Nelson and Shawn Colvin to those that deserve to be heard, who are just as talented: Matt the Electrician, Suzanna Choffel, Gretchen Phillips, the Daze…I think people will appreciate hearing how richly loaded this recording is; how it showcases the diversity of talent and songwriting, too. Most importantly, each purchase makes a statement—that people care about helping children receive the right to an excellent creative environment. Music, art, theatre, poetry, dance—all these arts enrich children’s lives, develop ways to utilize self-expression and creative problem solving, thus, helping our communities, and the world, embolden the best artists, doctors, diplomats, teachers, pilots, dancers, coaches, you name it. Art is only the beginning of what’s to come in each child’s life. Creativity helps them choose the person they want to become.

Chelsea Crowell's Crystal City

Winter 2012 marks the U.S. release of singer/songwriter Chelsea Crowell’s second album, Crystal City. To mark the upcoming release, Crowell was kind enough to do another interview with me. And her frequent collaborator/producer Loney Hutchins jumped in with his perspective. Crowell is giving folks plenty of places to give a listen (or watch a video) to her new music. My thanks to Crowell and Hutchins for their time on this email interview.

Tim O’Shea: I love the video for I’m Gonna Freeze, where did you find the archival footage to use for the video? Or was that present day video made to look vintage?

Chelsea Crowell: I don’t know, ask my favorite person to work with Colm O’Herlihy. I entrust him with whatever and he never fails. Plus part of it is that it’s a surprise for me too. He is one of about one I would let take over full control of something like that.

O’Shea: How has the collaborative process evolved for you and Loney Hutchins, given that this is the second album you have worked on together?

Crowell: I plead the 5th and Loney is a patient saint. Anyone who disagrees about Loney being stellar has only problems with themselves, not Loney.

Loney Hutchins: I am hipper to Chelsea coming in and changing her mind because she’s probably written a new song the night before. Whereas last time I was trying to bring more organization to the process.

O’Shea: What songs proved the most challenging to create on this new batch?

Crowell: Most of these songs are recorded live, no stops, no punch ins, no overdubs. It depended on the mood of the day if one would work or not. Baptized Two had a lot to memorize as well as feel comfortable singing.

Hutchins: Baptized 2. I’m Gonna Freeze went through two incarnations. Felt weird when we recut it then sounded awesome when it was finished. Things have rebirths like that

O’Shea: When did you realize you wanted Crystal City outro to be a separate cut on the album?

Crowell: The second we finished recording it.

O’Shea: During our 2010 interview, you said you intended to consider being less experimental on your next release, would you say you were less experimental?

Crowell: Yes. I was. But I want to forward this to Loney and see what his answers are too. That would be fun, cause he probably has a different take. I sort of don’t know.

Hutchins: She was way more experimental with the songwriting and less experimental with the production.

O’Shea: Again back when I interviewed you for your first album, I think you were still struggling with stage fright. How goes that battle these days?

Crowell: Eh, I finally realized that being on stage doesn’t make you the center of the universe or the ruler of the modern world. I suppose my trick now is if i get humble then i have nothing to think anyone should expect of me.

O’Shea: As noted in this recent No Depression review, you worked with former Jane Only collaborator Steven Braren on a few cuts from this album. What was the best part of getting to collaborate with him again?

Crowell: Laughing. Being able to communicate with him without words. Nods and arm movements go a long way. I annoy him, but he loves me and understands me.

O’Shea: Will you be touring in support of this new album?

Crowell: A lot

O’Shea: What else if on the creative horizon for you?

Crowell: Too much. I have so many things to finish. This question gave me anxiety cause I need to finish a song I was working on earlier.

Hutchins: That opera thang [which Crowell and I discussed in our last interview]

O’Shea: Anything we should discuss that I neglected to ask you about?

Crowell: Dave Gleason (guitar on Freeze and Better Than Her) and Ben Martin (drums on Freeze and Better Than Her). Two of the most solid men. I would trust them with my life, but more importantly I would trust them with my music and I did.

Camille Mana

October is going to be a busy month for actress-producer Camille Mana. First up, she has a supporting role in the feature film Norman, which opens in theatres on October 21. She plays Helen Black, a unique high school classmate who has a crush on Norman (played by Cougar Town‘s Dan Byrd). Secondly, she will appear in actor/playwright Jesse Eisenberg’s new Off-Broadway play Asuncion, which opens October 27 at the historic Cherry Lane Theatre (directed by Kip Fagan and produced by The Rattlestick). To mark the launch of these two latest projects, Mana was kind enough to do an email interview, where we also discuss her plans for new projects allowing her to pursue additional writer-producer opportunities as well as her additional upcoming film releases.

How many pages did you get into Talton Wingate’s script for Norman before you realized you wanted the role of Helen Black?

I’d say that within the first 5 to 10 pages, I knew I would love to be a part of the project. I think you always know within the first 10 pages if you’re attracted to a piece. Just like first impressions in life- you know early on whether or not you’re hooked on something. All good screenplays establish tone and the world of the story in their opening beats. I remember writing my agents, saying I loved the screenplay, because this is exactly the kind of movie that I love to watch!

What was it like to work with director Jonathan Segal?

It was great. Jonathan was very approachable. He was open to collaboration from his cast, and yet had a great sense of how he wanted to tell this story. That’s a great balance. I am so impressed with how the film turned out, and grateful to have been involved.

Would you agree that Norman is a darker-edged comedy than your typical comedy? Is dark comedy harder to pull off as an actor?

I think that on the page, the screenplay for Norman reads as a dark-comedy for sure. It has many quirks. But upon seeing the completed film, I would say that because the performances are rooted in something so heartfelt and emotionally dark, the film is a drama that has a hefty amount dark comedy peppered throughout. I think different audiences will have different responses to the film, some will see it as very dramatic and others may take it in as a dark comedy. I’ve seen it now with 3 different festival audiences, all of whom emphatically enjoyed it, but in one screening- everyone was crying, and in another everyone was laughing! I think that’s a testament to the film’s success- that it is so multifaceted and three-dimensional that people can relate to it on many levels.

I think perhaps the difficult thing about dark comedy is that it confronts elements that are taboo or a little scary for people to deal with. I love broad comedy as well as dark comedy, so I am happy performing both. But there is a level of intellect and perhaps of risk for danger that dark comedy is not afraid to tackle, whereas farce is often just plain fun.

What were the most enriching aspects of working with a talented Norman cast that includes Dan Byrd, Emily VanCamp and Richard Jenkins?

I am just thrilled to be part of casts like this. The work that Dan does in this film is on a completely different level of artistry from what most actors have been able to do in careers twice as long as his. Richard Jenkins is great in pretty much everything he does- I admire him so. I was excited that he was nominated for an Oscar a few years back because The Visitor was my favorite movie of 2008. Adam Goldberg is such an indie film icon, and Emily is so sweet and likeable onscreen and off. I am excited for people to get to see this film. It is really a gem.

Have you had the pleasure of sitting in the audience at certain film festival viewings of Norman, if so, can you talk about what it was like to soak in people’s reactions to your character?

I have actually, which is always a weird experience. I hate watching myself onscreen, and the first time seeing something is always the worst. People have been very kind to me, and have said some ridiculously flattering things. It’s always a little uncomfortable, and yet I am happy that I was able to add something to the film that people enjoyed. I have some really fun moments of awkwardness and levity to contribute some of that “quirk” factor to the film. I love that I get to do that.

Did I hear correctly that you were asked to join the cast of Jesse Eisenberg’s Off-Broadway play, Asuncion, without an audition–but rather based on your talented reputation?

Yes, you did hear right. Sometimes, I even question it myself (laughing)! But yes, I was offered the role of Asuncion from Jesse, and even more exciting is that it is quite a departure from the awkward “Helen Black” type roles that I’ve been exploring for the past few years. I am elated at the opportunity. I haven’t played a character quite like this before, so this is really opening up a whole new chapter of my career I think- I am getting to play a three-dimensional woman, rather than a girl.

What kind of themes are explored in the play?

The play explores the difference between knowledge and experience. It revolves around these two highly educated and progressive young men who have read a lot about the world, and then essentially are confronted by the world itself- in the physical manifestation of Asuncion - when she shows up on their doorstep from the Philippines. It deals a lot with the ways we use our experiences in life to justify or exploit our beliefs. There’s a lot of fascinating elements in it.

Is there a certain sense of immediate gratification when working in live theater (as compared to your film work)?

Yes, I think the closest thing to theater that is done onscreen is the multicamera sitcom format, which was actually my first big break- so in a way that was similar. But even sitcoms are only shot partially before a live audience, and there are multiple takes, then edited by multiple people.

Whereas, there is something exciting and tangible about live theater. I remember when my parents took me to see Phantom of the Opera when I was 10, I was so affected. It’s almost electric when something right in front of you is being created and speaks you on an emotional level. There is always also room for error, just like in real life, things can spiral out of control and you just have to make it work.

In addition to acting, you produced Equal Opportunity which won NBC’s Comedy Shortcuts Festival and was a hit at HBO Comedy Festival and dozens more, as well as the feature film The Things We Carry? In the future, do you hope to produce more projects?

Definitely. I’m collaborating with a new partner whom I love! We’re writing a screenplay together, and teaming up to develop a few other projects to produce as well. As soon as Asuncion closes, I am excited to get focused on that. Writing is a completely different beast, and one I find more challenging than acting or producing, if simply for the fact that it is completely isolating. I am a people person by nature, so having to chain myself alone to a desk can be really daunting for me.

What else is on the creative horizon for you in the next year or so?

I’m very much looking forward to High School hitting theaters. (Yes, it is true. My resume includes both College and High School. And not even in the correct order).

It was an audience favorite at Sundance. It has a cast of thousands, including Adrien Brody, Colin Hanks, Michael Chiklis, and Michael Vartan…! It is a really fun film, and visually edgy. Not your average teen comedy, though I think some people don’t get that the “high” in “high school” is a drug reference. I think adults might actually enjoy the film more than kids. It is somewhat in the vein of 80s teen comedies, it has that kind of timeless vibe. I play one of the straight-laced students that gets stoned along with the entire school populace when the two leads essentially inject weed into the all-pervading brownie supply.

I get to have Yeardley Smith as my homeroom teacher. How cool is that? Adam Goldberg, Yeardley Smith, and Dennis Quaid have all “taught” me. If only all school were this fun!

My thanks to Bernardin for a fun interview during a busy and successful time in his life.

Tim O’Shea: How did you get involved with Syfy’s Alphas?

Marc Bernardin: Well, the long story is very long and involves decades of waiting, a boatload of luck, and a plane-load of an unnamed substance being airlifted into a classified location. The short story is, I wrote an original TV pilot for a show that’ll never get on the air — basically, I wrote a $30 million action movie, and that’s about $26 million more than they like to spend on pilots — my agents thought that, while it would never sell, it was strong enough to serve as a good sample. They sent it to the boys at Syfy who thought that my particular love for blowing stuff up, mated with my comic-book experience, would be a good fit for Alphas.

O’Shea: Not every writer gets to work on a show starring a respected actor like David Strathairn–how giddy were you when you realized you were going to get to write an episode?

Bernardin: Dude, you have no idea. Getting to write an episode was a glorious surprise in and of itself — one that I wasn’t guaranteed when I took the gig — but watching dailies and seeing that strong a cast speaking your lines? Not a bad day in the life, you know? It was freakish to realize that Strathairn would be leaving the Alphas set to go shoot Lincoln with Steven Spielberg. He makes it all better.

O’Shea: Your episode is titled The Unusual Suspects– did you get to name the episode or was that a choice by someone else on the show?

Bernardin: There were a host of working titles for my episode, and they all changed as either the nature of the episode shifted, or someone had too much time to look at it on the page. You know how it is, when you look at a word for just long enough that it no longer makes sense? Like “Cinnamon” doesn’t register as a word if you think about it for too long. But Ira Steven Behr and Robert Hewitt Wolfe, who ran the writers’ room like Nick Fury and Dum Dum Dugan, fell in love with “The Unusual Suspects” and it stuck. And it’s perfect for this episode, which is full of both suspects and the unusual.

O’Shea: Does the episode focus on certain members of the cast (as opposed to the whole ensemble)? When writing for certain characters, how do you go about making sure you get the right voice for them in the script–do you work off the series bible or what is your approach?

Bernardin: This one is very much an ensemble piece, with a bit of a focus on Dr. Rosen, Strathairn’s character. All those issues writing The Authority has paid off, when it comes to being able to write a team. And getting the voices right is sort of a byproduct of living and breathing the show as intensely as staff writers do. We read every version of every script, watch dailies and cuts of every episode. And, given that the cast is already in place, you get to a point where you can hear, say, Malik Yoba delivering Agent Harken’s dialogue when you’re writing.

O’Shea: Who directed the episode?

Bernardin: A guy named J. Miller Tobin, who shot a ton of episodes of shows like The Vampire Diaries, Supernatural, and Terminator: The Sarah Connor Chronicles. I never got to meet him, as I didn’t travel up to the set in Toronto for the production. But he delivered a really solid episode.

O’Shea: What aspect of writing for TV did you find most challenging?

Bernardin: Honestly, it was — at the very beginning — paying attention. Coming from a journalistic background, when everything is always happening at the same time — this piece needs writing, this one needs editing, photos need to be selected for this article, coverlines need to be written for that one, and so on — it was a big adjustment to simply have to sit in a room and follow a conversation. Because that’s a huge part of being a TV writer: Being in the writers’ room and contributing to that free-flowing, ever-evolving exchange of ideas. If you lose focus, for even a second, to wonder about what you’ll have for lunch, or if the kids are having a good day in school, or if Natalie Portman is really that attractive, or if it’s a trick of the light…you’ll have missed how the conversation hopped from one branch to another. And it’s hell trying to play catch up. So after my first week, I worked really hard to be present and in the moment.

O’Shea: Other than your own episode, what have been some of your favorite episodes from this season of Alphas?

Bernardin: I really dug Rosetta, which introduced an unlikely Red Flag communications hub. Catch and Release, which costarred Summer Glau, was a lot of fun, and explored a bit of Rosen’s background. And Bill and Gary’s Excellent Adventure was an atypical episode, in that it didn’t feature an Alphas bad guy, but it really shined a light on two characters that needed to be more than the sum of their parts. Plus, it gave the fantastic Ryan Cartwright a bit of a showcase for his work as Gary. He takes portraying an autistic adult very seriously and is fully cognizant of the responsibilities that come with it. And he kills it, week in, week out.

O’Shea: Now that the show has been renewed for a second season, are you hoping to get to write another episode?

Bernardin: Oh, I hope so. There’s a lot of fun to be had in the world that Zak Penn and Michael Karnow created — and with the finale, the staff breaks it wide open.

O’Shea: Do you want to try your hand writing for other Syfy series, or is your focus on Alphas for now?

Bernardin: For the time being, it’s all Alphas, all the time. But I tell ya, if Battlestar Galactica: Blood and Chrome gets picked up to a series, and someone dangled the possibility of writing a Viper-Raider battle, with young Adama at the stick…I’d be sorely tempted.

O’Shea: What else is on the creative horizon for you?

Bernardin: My frequent writing partner, Adam Freeman, and I have an illustrated Young Adult (YA) novel for Radical called Jake the Dreaming that’s coming out in the beginning of the year. And I’m putting the finishing touches on a graphic novel proposal that I’m going to take to Kickstarter later in the fall — it’s called Adora and the Distance, and it’s a book that’s very near and dear to my heart.

Birds of Paradise: A Novel

Article first published as Interview: Novelist Diana Abu-Jaber on Birds of Paradise: A Novel on Blogcritics.

If you are a regular listener to NPR, you likely have heard one of novelist Diana Abu-Jaber‘s frequent essays. Next week (September 6, to be exact) marks the release of the award-winning author’s newest novel, Birds of Paradise [Editor's note: Of course, the book is out as of this past Tuesday]. While I was already aware of Abu-Jaber, thanks to NPR, I did not realize she had finished her new book until an early July tweet by Bethanne Patrick (aka @thebookmaven). Soon after learning of the new novel, I reached out to Abu-Jaber for an email interview–and she was more than happy to entertain my queries. As described by her publisher (W. W. Norton & Company): “In the tropical paradise that is Miami, Avis and Brian Muir are still haunted by the disappearance of their ineffably beautiful daughter, Felice, who ran away when she was thirteen. Now, after five years of modeling tattoos, skateboarding, clubbing, and sleeping in a squat house or on the beach, Felice is about to turn eighteen. Her family—Avis, an exquisitely talented pastry chef; Brian, a corporate real estate attorney; and her brother, Stanley, the proprietor of Freshly Grown, a trendy food market—will each be forced to confront their anguish, loss, and sense of betrayal. Meanwhile, Felice must reckon with the guilty secret that drove her away, and must face her fear of losing her family and her sense of self forever.” In addition to the book, we also delve into her recent mention in a New York Times piece on email manners.

How early in the development of Birds of Paradise did you realize it had to be set in Miami–and what appealed to you in terms of setting it there?

Miami was present from the very first page. My husband and I moved to Miami eight years ago and I knew I wanted to use it as a setting. Ever since my second novel, Crescent, I’ve been very inspired by sunlight and water and I always like to use a strong setting for my stories– like the city of Syracuse and the blizzard that seems to keep blowing throughout Origin, my third novel. Birds of Paradise is a reflection of Miami’s many layers– its outward dazzling tropical colors and beauty, its racial and cultural collisions. I’m fascinated by that complexity and challenged by it. Setting my new novel here gave me a way to reflect on my adopted city and to push myself to learn more about it.

Structurally the story is broken down into chapters alternating their focus/perspective between varying characters–with the chapters labeled by character names. How challenging was it to structure the story in such a manner?

Actually, I found it easier to use the alternating perspectives than a single unified point of view because it gave me a way to break up the action and to tell the story from different vantage points. It did mean that I really had to become deeply familiar with each of those characters– more than, perhaps, with a novel governed by just one or two central characters. But I felt that this helped enrich the story, so that I couldn’t rely on “prop characters” to tell my story.

With the Muir family, was there any family member that you struggled to find the right voice for them in particular (or vice versa, any family member that was easier for you write and why)?

Brian, the father, was a real challenge for me, because he was of a species that I found very mysterious– the corporate executive. At first he was pretty ruthless and unsympathetic and the people who read my early drafts pointed out that they felt like I wasn’t being fair to him. Getting his character right became an important challenge for me– to push myself past my own preconceptions and to find his uniqueness and humanity.

One character, Brian, is a real estate lawyer–how much research did you undertake to get his work as accurate as possible?

As I mention in the earlier question, his profession was very new territory to me. Luckily, I have several good friends who are lawyers– they gave me lots of insights and more leads to other lawyers. I took many, many attorneys out to lunch, dinner, waylaid them in corridors, interviewed total strangers on the phone, through email, even on Facebook. I went to city commission meetings and zoning board meetings and talked to tons of developers. I also read books and articles about the lawyer’s experience, their training, their day to day struggles. It was a fascinating project because it was all so new, and the more I learned, the more interested I became.

This GoodReads review noted that “While not marketed to the YA [Young Adult] audience, this book will appeal to both adults and teens.”Are you hoping to garner some new YA readers with this new novel?

Wow, that’s interesting! It hadn’t crossed my mind that this might appeal to YA readers. There’s some heavy stuff in this book, so I’d hope they would be fairly mature teens.

How instrumental has Twitter and social media become in terms of drawing attention to your work?

That I really don’t know. My sense is that almost everyone on social media is advertising something, so at times there can be a bit of an echo chamber effect. But I enjoy the simple fun of meeting new people in this way– it’s especially nice for people who work from home and don’t get to carouse around much with a gang of co-workers.

I was fascinated to learn from this 2008 interview that you will write periodically during red lights, when did you first realize that you were capable of creativity while driving?

Ha! You know what, I started writing at red lights years ago when I worked as a film reviewer for the Oregonian newspaper. I found that my thoughts about a film were always clearest and freshest while I was driving home after the viewing, so I kept my pad out next to me in the car and eventually realized, hey! This actually isn’t a bad way to get thoughts down quickly….

Another non-novel related question. After your participation in this New York Times email manners story, did you start getting replies from emails you sent a long time ago?

That is too funny. I’ll tell you who I heard from — all sorts of people who thought they knew who the other writer was that I’d referred to in my story. All these people had had similar experiences with a friend who never followed up on their invitations, and they were CERTAIN they knew just who my story was about….only they’d all mentioned different names and none of them was the person I was talking about. Turns out, it’s just a really common experience!

When you write pieces like this one for NPR, do you ever find that you gain new readers of your novels, thanks to this exposure?

Wait! Isn’t that how I heard from you? All I can say with any authority is: I sure hope so. I’ve written commentary pieces for NPR and other media over the years and while there’s a big difference between an essay and a book, I’d like to think the short piece gives you a nice little window into what the larger works might hold.

Is there anything you’d like to discuss about Birds of Paradise that I neglected to ask you about?

Not really– just to tell people that Birds of Paradise is now available for pre-order from places like Indiebound.com and Amazon.com, that I’ll be traveling on a book tour this September and October, and they can learn more about me and my event schedule at my website www.DianaAbuJaber.com.

Baron Wolman: The Rolling Stone Years

Only one person can lay claim to being Rolling Stone magazine’s first chief photographer–and his name is Baron Wolman. From 1967 to 1970, Wolman captured some of the most iconic images of musicians that graced the magazine’s pages. This August marks the release of The Rolling Stone Years, a collection of Wolman’s photographs from those three years, described by publisher Omnibus Press as consisting of “many … images from the late sixties and early seventies [that] have become iconic shots from rock’s most fertile era.” In addition to his amazing photos, Wolman writes a substantial amount about the early days of the influential magazine as well as his experiences photographing musical greats of the late 1960s/early 1970s.

At one point in the book, you express your preference to shoot in natural light. What is the appeal of using that kind of light for your photos? 

Natural light is just that.  “Natural.”  Nothing artificial about it.  What you see in the photo is what I saw when I took the picture.  For the most part, flash disturbs the subject and ruins the intimacy of the moment…

Mike Doughty (be sure to click the pic for a closer look at the Clayton Moore portrait behind him)

My appreciation of Mike Doughty‘s music started much later than most fans, as I first became aware of his work with his 2005 album, Haughty Melodic. When I found he had a new album, Yes and Also Yes, set for release on August 30, I immediately set up an email interview to find out what was in store for fans of his work. If you’ve never seen Doughty live, take a spin around YouTube for a bit and you quickly will realize that you should see him live as soon as possible. To best frame the album in proper context, I quote Doughty himself: “I recorded it in a studio in Koreatown, Manhattan, from July ’10 to April ’11. Produced by Pat Dillett. Notable musicians included my trusty factotum Andrew ‘Scrap’ Livingston on bass, and the pianist Thomas Bartlett, aka Doveman, who basically plays with everybody who’s groovy (Justin Bond, Antony and the Johnsons, Glen Hansard, The National, David Byrne, Yoko Ono). I’m releasing it on my own label, Snack Bar, through Megaforce. I split with Dave Matthews’ label ATO so I could run my own shop and have more control, business-wise.”

I had a chance to listen to the album in preparation for this interview, and I was pleased to find there’s not a bad cut among any of the 14 songs. One song that I hope will garner a lot of attention is “Holiday”, a Christmas duet with singer/songwriter great Rosanne Cash. About Cash, Doughty said: “ I did a show with her, and she said, onstage, ‘I feel nervous playing my new songs, because Mike Doughty is here, and he’s such a great songwriter.’ That blew my mind.” Honestly, to borrow a phrase from Doughty, their duet blows my mind. I am the kind of person that hates hearing Christmas music anytime other than December. But this song has such an amazing hook (as most of Doughty’s songs do), I ended up playing it seven times in a row the first time I heard it. The whole album pulled me in just as much and it was a pleasure to interview Doughty. We also get to discuss another recent Doughty musical project, Dubious Luxury, released earlier this month. My thanks to Doughty for his time and thoughts, as well as Rob Moore for facilitating the interview.

You’re an artist who clearly loves to play live. In developing Yes and Also Yes, how much did you play some of these songs before an audience prior to entering the studio? And did any of the cuts change drastically from how it was initially conceived compared to the final version?

I’ve been playing a lot of comedy shows, around Brooklyn and Manhattan, as a musical guest, and I played “Na Na Nothing”, and “Day By Day By” at nearly every one of them, plus, maybe, “27 Jennifers”. If I play something a lot, before or after recording it, the phrasing will change ever so slightly, so there’ll be a cumulative evolution that I barely notice, unless I listen to a five-year-old version, and then it’s kind of startling. So, I don’t really know.

Are you feeling more or less pressure to succeed, now that you run your own label again?

“Succeed” is a tricky word. I live on music, and I don’t have to work another job, so that’s success to me. I’ve had richer and poorer years, relatively, since I started making solo albums. But I have to say, as a solo guy I’ve made a lot more money than I did in Soul Coughing, though that band sold a lot more records. My only extravagance is flying business class, which I’d probably do even if it was straining my finances, because flying is so wretched. That said, there’s more pressure to generate cash from the album, because, since it’s my label, I did it all on my dime.

Now that you’ve done a song in German (“Makelloser Mann”), any desire to musically explore through other foreign languages?

Well, “Makelloser Man” is a bunch of random, peculiar phrases. I hope to write a real song in German some day. Always wanted to learn Spanish, to read Borges, Octavio Paz, and Pablo Neruda in the original.

Given that you answer only to yourself (owning your own record company) was it less problematic to arrange to have Rosanne Cash (who last I checked was still with Manhattan Records)?

It wasn’t problematic in the least. I don’t think anybody on the planet has the brass to tell Rosanne what not to do.

What are the common elements that prompted you to create two “Telegenic Exes” cuts (as opposed to a song called “Hapless Dance” and another called “Astoria”)?

I wrote them separately, and afterwards realized they were based on the same riff. There’s a slender narrative connection, too. The connection isn’t accidental, but it is pretty mysterious.

How did it happen that you are releasing two new projects close together, given that Dubious Luxury is also coming out in August?

I just wanted to get Dubious Luxury out, and fast. It’s an all-electronic record, cut-up samples and sound effects over large, weird beats. I don’t sing on it–I got vocals from Todd Colby, Joanne Kyger, Young Jean Lee, and some other people, and sliced and diced them. Rachel Benbow Murdy’s also on there–she’s the ghostly voice on Soul Coughing’s “Janine”.

When you write a piece about music like this (in response to a New Yorker piece) are you hoping to inform, foster discussion, or merely looking to voice your displeasure (or none of the above)? Have you talked to Sasha Frere-Jones since writing your response?

I just want to be a part of the public discourse about music. I know Sasha from way back, was a fan of his band Ui. In fact, his bandmate Wilbo Wright played bass in Soul Coughing for a minute. I’m sure Sasha rolls my eyes at my screeds.

Is “The Huffer and The Cutter” a song about addiction on some level, or am I misinterpreting the meaning of the song title?

It’s about a dude who gets high by sniffing glue loving a girl who compulsively slices her skin with a razor blade. A huffer and a cutter. I wouldn’t say it’s about addiction, because that kind of implies I’m making a moral judgment on the characters’ drug use. I’m an addict, totally, it’s in my bones. But, addict-hood is a condition of being, not necessarily a consequence of getting high.

Which came first (in your head) on the song “Vegetable”, the rhythm or the title? (I love both is why I ask)

I’m not sure if you mean the groove of the tune, or the groove of the word “vegetable”. The latter came first, the word had the rhythm buried inside it.

How did the album benefit by being produced by Pat Dillett?

Excellent sounds, incisive opinions about arrangements, cogent in terms of who to record, and how. And a smart and interesting guy.

Is it safe to say you are the first person to use an antidepressant as a musical instrument? What prompted you to give that a try?

I take crazy pills to stay level. I was about to pop a duloxtine, which is marketed as Cymbalta, and I noticed that the tiny particles in it made a shck-shck-shck sound inside the capsule. I held it up to my ear and shook it, and it was a pretty great shaker sound. So, we put up an extremely sensitive microphone, I shook the capsule in rhythm, and presto, a percussion instrument.

How much has social media made the job of marketing your work more manageable?

I don’t know that it has. It’s really just something I like doing, tweeting and tumblr-ing and that stuff. I think I have an audience that digs reading stuff like that, so in that sense it’s been good for me. I definitely tweet about gigs and new albums and stuff, so it’s not like I don’t use it to mack my music out there, but I suspect that, despite the hype, being all over social media isn’t a superhuge boon. Like I said, I dig doing it, and, as far as I’ve seen my audience digs reading it.

Anything we should discuss that I neglected to ask you about?

I have a memoir called The Book of Drugs coming out in January 2012. About drugs, music, debauchery, redemption. You know, one of those books that there’s already ten thousand of. But, I think it’s pretty alright.