TWS Week of Horror Day 3: Sadie Katz [Interview]



Oh, we got another great one for you fine readers today! We managed to steal some words from the amazingly talented actress that this win the horror world will definitely recognize. The wonderful Sadie Katz! We will just go ahead knock this out first….she is obviously a stunningly beautiful woman, and does not shy away from on screen nudity. Alright? We got that out, now back to what really matters….she’s cool as fuck! And she is talented as all hell, in and out of the world of horror. We take a bit of focus on horror for this interview, but she is an all around delight and has contributed so much to the world of cinema, and it is an honor to have her grace these digital page. We will be forever grateful! Yes she is a beautiful person on the outside, but her wit and charisma on the inside is what really knocks us dead! She’s been the hero, the villain, the tortured, the torturer, the dying, the dead, and so much more!

So with that, let’s stop gushing over the lady and check out what she has to say! Enjoy!


When do you think it was that you first realized you wanted to get into the world of acting? And what keeps you wanting to continue on?

The first part of your question is a crazy easy one- it’s sorta silly and obvious for me but, and I hope I don’t sound like an asshole but, I’m just an actress by nature. Like, I just have alway been an actress. Like that little girl who is overly dramatic and intense and everyone in their family goes…oh that’s Sadie…she’s such an “actress.” So, as a kid when there was a talent show (I’m showing that I’m a kid of the 80’s) you’re like oh, I’m an actress I’m suppose to sign up for those. Or if there’s a community theatre play I’m like dying to audition and it’s the only thing I think about all year waiting for the annual auditions because I’ve already been identified as an “actress” the same way when a boy (or girl) grows up he’s a sports nut and knows all the baseball players and his whole room is baseball- I had Marilyn Monroe pictures and did monologues and such. I was always writing plays and forcing my friends to watch me perform. My grade school didn’t have drama so I wrote a play and asked my principal to let me have an assembly and put it on in front of the entire school. I’m sorta bragging, but not really, I was a nerdy kid. I’m a nerdy adult. Loving acting is kind of a curse. It’s something you have such little control over. You are constantly scared of never working. They call it getting the “fever.” It’s a sickness. When you’re working you’re stoked when you’re not you’re obsessing about when you’re going to be working again. My son is the only thing that keeps me kind of chill about the whole thing.

I don’t have a lot of reasons why I want to continue really except I’m in too deep. It’s like I’m a gambler and I’ve already kind of been at the table a little longer than I should have…I put all my damn chips at the table. I have like, twenty dollars in my pocket not really enough to walk away and I’m competitive I hate to lose and maybe I’m in Vegas- not like at the high end table but, broke Vegas. So, I put the $20 bucks down on double zeros because, I’m silly like that (I’m talking roulette) and I hit it…I think I’m gonna win millions but, it’s old Vegas so I get just enough to keep playing. I’m making it sound really sad but, truthfully it’s fun when you’re up. I mean I’m a grown up and my job is basically to run around playing pretend. It beats sitting at an office.

It wouldn’t be completely fair to simply label you as a “horror actress” or “scream queen”, as your work is all across the board. But, being that this is our Week of Horror, I have to ask what do you enjoy about working in the world of horror/suspense films?

Being on a horror set is really, really crazy. But, as an actor it’s so very strange. Here’s the idea at some point you are going to be doing something super embarrassing in front of a lot of people and they’re going to be hoping that you are fully committed. Let me explain- normally in a horror film you are going to be doing one of two things: either begging for your life or taking someone else’s life…this will probably involve a lot of screaming and slobbering or a superiorty complex in buckets. And let’s be honest maybe, possibly after you do this screaming and sobbing you might have to a couple scenes later [where you] maybe show a boob or two. This is weird. What’s weirder is having a bunch of people watching this happen and then having lunch with them later. A horror crew works their asses off because the commitment has got to be in such heightened levels from everyone- I feel like I fall in love with everyone on set because I’m trusting them with the rawest emotions I can bring and they act like I’m a normal person after.

Another thing…this being Week of Horror- I’ve been lucky enough to play the “evil” character on a few occasions- this is so damn fun to me because, you really have to get in the head of the other actor you’re playing opposite of or you’ve failed. You want them to believe you for a second because, ultimately that’s what acting comes down to the suspension of disbelief. Horror films are super fun because they’re normally ridiculously crazy circumstances if you can get your brain to get lost in that…it’s different than acting in any other genre. I’m not sure how healthy it is for you long term, but it’s a rush.

When I did Wrong Turn 6 I was working with a bunch of cuties fresh from very elite schools in London I fell in love with all these boys they were wonderful and well trained in theater and this was their first film I had the privilege to rape them in the woods, smother them with my vagina you know a normal day at work all while trying to play an actually sweet, broken character. In Blood Feast, I got to play against seasoned film actor Robert Rustler as the Goddess Ishtar who was the yin to my yang there’s something so strange about trying to provoke someones deepest darkest sickest side in the space of a film set and let them tweak with yours that I would say is oddly therapeutic. Hmmm…this is turning out to be a very strange reply…I’ll let you and your readers mull over that for a while.


I have recently become informed about a great little film that you co wrote with writer/director Mark Jones that is absolutely intriguing known as Scorned. I know there is an interesting back story to this one, and I was wondering if you wouldn’t mind sharing a bit about that to our readers, and what are your overall thoughts of this project as a whole?

Scorned! This is my first Writer’s Guild Credit and I feel like it’s Christmas every time I get a green envelope in the mail. Here’s the real story of how it all came about that I haven’t really shared with anyone before so…Exclusive!!!

I’m feeling cheeky! Mark Jones and I were fans of Misery…we were going thru break ups and talking about crazy women. I was acting especially crazy towards a boyfriend who cheated on me – forgive me this was a long time ago and I grew from that. Promise. Anyway. I hadn’t had a lead in a film yet and truthfully it was fucking killing me. Killing me. K-ill-ing me. Mark wanted to direct a film too and hadn’t directed anything since this really cool little sleeper called Triloquist. Check it out it’s pretty weird and funny and kind of got buried.

Anyway, we had just finished writing a really cool script together we couldn’t get sold because the budget was too high so we decided to write a single location low-budget- that I could be the lead in about a girl off her meds, whose boyfriend cheats on her with her best friend and she lures them to the beach house and she tortures them and tries to teach them a lesson…kind of a Misery but with younger people. We even named the lead character Sadie. Which in retrospect was kind of embarrassing because she’s not a nice character.

Well…two years later I’m now a working actress but, nothing really has been released and it’s just sorta the beginning. We get a call and Anchor Bay picks up Scorned which is a big fucking deal. Very exciting. But, when I was there on the phone with our agent and Mark I knew that meant I wouldn’t even get a chance to audition so we are being offered a lot more money on the script from Anchor Bay but, tears are running down my face because, I didn’t care about the money I wanted to play the character… it was a strange feeling to know it’s a huge damn deal to get your script picked up as a writer by a very cool company like Anchor Bay but, to not even be in the running or considered to act in the project… Anchor Bay gets to pick the leads- their money their choice- Anna Lynn McCord ended up playing the lead and you know what? She’s fucking brilliant. She carries the film. She makes a lot of the same choices I would have made. I hope that doesn’t sound – well, whatever I mean that sincerely, Mark and I wrote that character with a specific voice and she picks up exactly in that voice. I have a feeling she understands crazy. The film is fun. It was suppose to be fun. That’s all. It’s suppose to be tongue in cheek. A lot of reviewers missed that. It’s like…What’s that movie James Franco just did? Oh, umm…Mother, May I Sleep With Danger? I loved that movie. Sue me.

And to bring it all back around, you were featured in the great horror/thriller House of Bad, created by our old friend and former TWS interviewee Jim Towns. Can you tell us a bit about your experience on this project? Was it as exciting as the film turned out to be?

I love that you asked me this question! I’d marry you but, my boyfriend would get super pissed. It’s so weird now because Towns is like a major part of my life. I mean he’s an editor producer on my doc but, when I’m not working with him I am texting him or bitching with him about something. I should include I love his wife Betty Lou too…she’s a belly dancer by the way. Anyway House of Bad. I have a lot of friends from that project because, it was a film family. For real. One of the producers, Dorota is having a birthday this weekend. I don’t remember what it’s like not to have HOB as part of my life. It was a crazy shoot because Sirah was just going thru it. Every fucking scene was so intense. We shot so fast and furious I felt like Jim and I really trusted each other in filming just naturally. When I was cast I originally read for Teig- Which would have been strange because I gave a pretty spazzy read for Teig and I think it would have made for a long ass movie. Sirah is me. I am naturally a very vulnerable person but, I’m not a dummy. I’m so proud of that film because it’s not your normal cabin in the woods film and as much as we were all working our asses off there was genuinely a lot of love and respect between the cast and crew and that’s mostly because Towns was super prepared. I’ll say too that a lot of work was put in by the producers of the film in the film’s ending to make sure everyone got it right – reshoots and just attention to detail, inserts- I mean I’ve done some “cabin in the woods” films since and my heart’s breaking because really everyone just like “moving forward, fuck it…” and I’m like why aren’t we giving it 100 percent? Sometimes when people do low budget horror they don’t really care about the finished product. I was spoiled by House of Bad because, I kind of assumed everybody would be like this. They’re not. Sorry this answer is long…Ha, so in summary – what made the process so damn exciting is when people care a lot to give 150 percent. You feel that on set and the cast and crew start to realize you may have something special, that’s how it felt on the set of HOB. That’s why it felt special.

I noticed that you are set to be an “remake”(?) of the classic Blood Feast, which was originally directed by a past TWS interviewee Herschell Gordon Lewis (Another past TWS interviewee). He even has a role in the new film, over 50 years after the original! So, is there anything you can tell us about this film? What has been your experience?

We made it! It’s out! Well it came out at Frightfest in London and then it’s coming out in New York in October! It’s got awesome reviews! Look it up on IMDB and Facebook! Okay, I know I just gushed about House of Bad…so, I don’t want you to think I just gush about everything I’m in. Or to take away from one project to the other because, these are special…Marcel Walz is the director of Bloodfeast. He’s the sweetest! He’s a genius! He’s in Germany- which is where we filmed. Herschel Gordon Lewis makes a guest appearance!!! As well as starring Robert Rustler, Caroline Williams and Sophie Monk. This film was a-ma-zing to make. And it looked unfuckingbelieveable. If you don’t like remakes…this is one film where it’s not like an insult to the original. I mean the original was made on a shoe string so, it’s like okay and cool. Marcel is very stylish- he adds a lot of glamour to a very gory, blood bath. The score of the film is just amazing. Roland Freitag is the DP and it just has this quality. I think it’s really special… I play the Goddess Ishtar which truthfully kind of scared the fuck outta me! Everyone called me Goddess on set which was funny and fun but, I was like oh god- I’m walking around basically naked and what if everyone is like, really? Goddess? But, we did something really cool with her character that is really smart- and played really well with Robert Rustler’s character that I think puts him in league with a lot of the horror villains- also Roland made me look great and for that I should send him a big smooch! Also, I should add there was a hell of a lot of love on that set. Just buckets full.

Photo by Alexander Desch

Photo by Alexander Desch

What exactly does Sadie Katz do in her down time? When you’re not playing different characters on screen as a job, what else do you do to enjoy your life?

I have a 15 year old son, Griffin who is the funniest person on the planet who I get to drive around a lot which as you can imagine is really fun. When he hangs out with me I pretend I’m 15 which I actually feel like I am most the time anyway. My boyfriend Nick who is British which means he talks a lot fancier than I do and everyone thinks he way more interesting than I am…has been making me watch the show The Magicians which I started off saying is really nerdy but, now I am kind of secretly obsessed with it’s like Buffy 2.0 (well, almost) I’m also really in to playing Rummy and Board games, cooking and a lot of stuff that makes me sound really boring. I love live theater which also means that normally I’m one of the younger people in the audience! Why don’t more people see live theater??? I like yoga and lots of other stuff too. You know, groupon stuff.

So what is new for you? You’re constantly working, is there anything we can expect to see you doing in the near future?

Yes! I’m so excited and proud of this I’ve been working on it forever…well over two years, my first directing project! I have a documentary coming out in 2017 called Bill Murray Experience about my quest to have a “Bill Murray Experience”. Please be on the look out for it and tell your friends! It’s been a passion project and I am very indebted to anyone who shares anything about it!

Here’s the trailer check it out if you will :


What is your favorite scary movie?

My answer to this sometimes changes I don’t know why but, I will say Black Swan was so damn scary to me. I watched it in the theater and I was like having serious anxiety. Cringing and freaking the hell out. My friend I was with was like why are you so quiet? And I was like: That is my biggest fear ever. He goes turning into a swan? No, like, losing yourself so much you just stop knowing what’s real or not and the crazy mom. Yeah. Mila is pretty hot in that too.

What was the last thing that made you smile?

My boyfriend and my son and my dog make make smile every single day.

TWS Week of Horror Day 2: Paul M. McAlarney [Interview]


If you will allow it, the internet can be an amazing source of great entertainment and endless knowledge. It has always been a tool I have tried to use for the positive. And one of the main positives has been discovering amazing folks like Paul M. McAlarney. For long time readers of this rag of a website I call bliss, it will probably come to the surprise of no one that I discovered Paul through the amazing talent I have continuously followed from the great city of Boston, a place I have only seen digitally tossed into ruins via an Xbox. But, I find so much good shit coming from there, it’s hard to ignore.

Long story short, McAlarney has worked with two former Bostonians, Michael J. Epstein and Sophia Cacciola, who I have geeked out about over the years, and have been fortunate enough to have guested on TWS, and featured several times over. So, it only felt right to reach out to Paul to learn more about the why he awesome enough to be in good company!

Paul released the amazing horror/comedy(?) Honky Holocaust that I recommend to everyone with a pulse. He is also becoming a fixture in the Troma world, which is an amazing feat in itself. If you follow his work, you are bound to find a Lloyd Kaufman feature in there somewhere. Overall, the guy is a force to be reckoned with in the horror community. I don’t like to give too many guarantees, but I guarantee you are going to love this guy, and especially love the work he has done.

Alright, time for a digital conversation with Paul M. McAlarney!

What made you decide to become a filmmaker? And more specifically, why the world of horror? Also, would you consider yourself a “horror” filmmaker?

I’ve always been a cinephile. But even before that I was obsessed with writing. Before I could even spell my name I was “writing” books and renting them out to family members for a nickel each. My love for films led me to write screenplays, and after ten years of writing countless scripts, I realized that the only way they’d ever see the silver screen is if I put them there myself; nobody cared about the stuff I was writing and how could I blame them? Everybody thinks their movie ideas are great so why listen to me or read my scripts? But I was done wasting my time and effort. My friend Greg Lavoie and I wrote a silly web-series, recruited a volunteer cast and crew, and shot the thing. The DP we recruited was Nick Norrman, who Greg and I had previously lived and worked with, and Nick asked me to direct a short b-horror film he wanted to produce, since I had a little directing experience with the web-series. I did it because I felt like I owed him for shooting our series, but I had so much fun doing the gore and directing cheesy 80s horror styled one-liners that I abandoned comedy and went 100% into b-horror and exploitation. The latter had always been my favorite genre, even before I knew what it was called. I don’t consider myself a true horror director because I don’t make scary movies. But most people don’t know what the fuck exploitation or grindhouse style cinema is so I just call it horror rather than repeat myself over and over.


 So, Honky Holocaust. Such an amazing film, and a brilliant concept for a film. Tell us, where did the idea of this film come from, and how did it feel to have the legendary Troma pick it up for distribution?

Why thank you, Ron. Can I call you Ron? I’ll pretend you said “yes”. Ron, truth be told, I came up with the majority of the plot for Honky Holocaust while taking a shit. Nick Norrman and I had been filming stuff for my web-series one day and afterward, while we were dumping the footage, he suggested we do a feature film. He was also in the middle of showing me clips from the Italian Mondo film Goodbye Uncle Tom, and I was falling in love with the uncensored portrayal of black slaves slaughtering white slave-owning families. To me it was like, “this is what anti-racist cinema really should look like. Anything else is just watered-down white guilt.” In my opinion, white people who don’t get mad about racism are racist, and are no better than the slave owners of pre-Civil War America. Fuck people nowadays too who live in the “north”, think racism is a problem of the South, and thought Crash (2004) was a good anti-racist movie. It’s a white movie for white people. And the north is just as racist as the south. Anyway, I wanted to express my anger about the stagnant condition of the civil rights movement and i needed to take a shit too. So I went down to the bathroom, took a seat, and started thinking. Within ten minutes I had most of the plot structure outlined in my head. I told Nick the premise, he dug it, and the rest is history. From day one of production we wanted it to look like a Troma film, so having them pick it up not only felt right, it was a dream come true. We all grew up on Troma.


 And what do you personally love about this film?

Everything. I’m a whore for epic proportions. Thats why I have to struggle to write a script with less than 100 cast members. I love the Spaghetti Western styled cinematography Nick pulled off, I love the epic punk and hip/hop soundtrack and the Ennio Morricone and John Carpenter influenced score, I loved the fire on the hilltop that had us all worried we were going to burn the forest down, I loved the unnecessary topless biker, I love the maggots in the pussy and dick, I love the True Romance inspired sex scene, I love the mythological nature of Lucius the Gardener, I love the fruit-throwing mob, I love the shootout in the penthouse, I love the two cops… i could go on and on. I also love that reviewers have called it “racist” AND “anti-white liberal bias” hahaha.

I’ve noticed that you have more Troma related work in the works, what is that experience like working in that realm?

All of our films will have an unavoidable Troma feel. We can’t help it, it’s in our blood. As of right now, we don’t know who will be distributing any of our films other than Honky Holocaust, but we have featured Lloyd Kaufman in each of our features and cast Elizabeth D’Ambrosio, the head of PR at Troma, in our latest feature, The Streets Run Red. Working with Troma, both directly and indirectly, has been a trip and a half. They’re an awesome, humble, wacky bunch of guys and girls, Lloyd and Michael are both totally down to earth, and I love that they dig our stuff because we totally dig all their stuff. If Troma wound up distributing all of our films, I certainly would not be disappointed!

Can you tell us a bit about Ungovernable Films? How did this happen? And what are you most proud of about the company?

When we made Honky Holocaust, it was under the production company name “Bloody Hammer Films”, which was a short-lived (about 14 months) company that Nick Norrman and I had founded in 2012. We immediately brought on Mike Collari and Thomas Delcarpio, two filmmakers we had been working with on short films before Honky Holocaust, and then we brought on several more people while filming Honky Holocaust, but once the film was done it was clear that the group we had formed was not compatible, to say the least. We decided to more or less dissolve Bloody Hammer Films and I created Ungovernable Films, bringing Bloody Hammer alumni Nick Norrman and Alex E Edwards on board, as well as Dave Sullivan, who was an actor in Honky Holocaust and had proven himself to be incredibly multi-talented and driven. Ungovernable Films’ first task was to finish post-production on Honky Holocaust, and then we set out to produce the punxploitation film, The Ungovernable Force, my second feature. I love Ungovernable Films because the four of us really gel; we each have our strengths – Alex is the responsible one and the businessman; Dave is the people person and handles all our casting and smooth-talking; Nick is the cinematic genius and our in-house grindhouse expert; I do most of the writing and directing, and I steer the ship. But what makes me the proud daddy of Ungovernable Films is its ability to stand on its own; we’re starting to have people from all over the world contact us to tell us how much they love what we’re doing, and people in the Boston independent film industry are beginning to know the name Ungovernable Films, even though they might not know me, or Dave, or Alex, or Nick, and even though we’re a pretty young film company.

 So, our avid TWS readers may be excited to know that you have worked alongside, and seem to be pretty friendly with TWS regulars Michael J. Epstein and Sophia Cacciola. And both being so fantastic at what they/you do, it’s not really that much of a surprise. But, can you tell us how you managed to work with and know one of our favorite partnerships in the world of art?

Sophia Cacciola and Michael J Epstein are two of our favorite people in the world. They have helped us out so many times on our films and I feel like we’ve never done much in return aside from forcing Michael to film pornography and setting off their smoke detectors while filming a scene on their treadmill. While we were doing the kickstarter for Honky Holocaust, Michael and Sophia were doing their kickstarter for their first feature, TEN. Somehow they realized that TEN, Honky Holocaust, and another film called Fat all had something in common – they were socially-conscious exploitation feature films being produced in Boston that year. So, Michael and Sophia did what Michael and Sophia do best: they got the director(s) of each film together for a forum on “intellexploitation” in Somerville, MA. I mean, isn’t that what anybody would do if they found out that three films of the same broad genre were being produced in the same metropolitan area? No? Well, that’s what Michael and Sophia do. And thank god for that because we’ve been good friends ever since and they’ve helped us out a ton in one way or another with just about all of our films since. Sophia has allowed us to kidnap Michael on numerous occasions, wrote and recorded a song for our film The Ungovernable Force, allowed us to film a scene on their treadmill, and much much more. Michael has been on set with us as a cameraman or sound mixer more times than he cares to admit and has assisted in countless other ways as well. They’re a fantastic pair and I’m sure they’ll continue to involve themselves in our films and other projects much to their chagrin but our enjoyment, even though they’ve moved to Los Angeles to try and get away from us.

What else have you got in store for the future? Anything else we should be looking forward to from your amazing brain?

It’s odd because the film industry seems to move at such a slower pace than the rest of the world, since it can take years for a film to go from pre-production to public release, and Honky Holocaust is no exception. We finished filming Honky Holocaust in the Spring of 2013 and it is just now getting released on Blu-Ray, three and a half years later. So when you say “the future” it also includes the past three years, since most of what we filmed in that time hasn’t seen the light of day yet, but will soon. Anyway, to answer your question, the first thing we filmed after Honky Holocaust was 12 Rounds For The Loaded, a nihilistic “torture western” short film available for free on youtube ( After that we filmed The Ungovernable Force, our most ambitious production to date with a long list of b-horror and punk rock cameos and is hitting festivals as we speak (Arizona Underground Film Festival, Fright Night Film Fest, Buenos Aires Rojo Sangre Horror Film Fest, Terror Film Festival, to name a few) and the official trailer is available on youtube ( Then we did Gay Jesus, an anti-homophobia horror comedy short that we released for free on youtube ( We did two short films, Smoothie and Maul My Children, for horror film anthologies 60 Seconds to Die and Grindsploitation 2: The Lost Reels, respectively, which will both be available on DVD within the year. The last thing we shot was The Streets Run Red, a serial killer feature film, which is still in post production, but the teaser trailer is available on facebook and youtube ( I’ve got several dozen more outlines in the works for future films, so don’t expect us to go away any time soon!

What is your favorite scary movie?

Favorite scary movie… well, most movies that I find truly scary usually aren’t movies that I like cinematically, and vice a versa. Unfortunately, in order for a movie to scare me nowadays it needs to use CGI, which I loathe, so I’m in a bit of a paradox there. So I’ll have to answer this question in a few parts. The movie that scares me the most to this day is The Conjuring. It scared the shit out of me. But there’s a good deal of CGI (ew…) and it’s not a great movie (it’s good, don’t get me wrong, but it’s not a movie I would watch for cinematic value). My favorite horror movie is Cannibal Holocaust, but it didn’t scare me at all, so I don’t consider it a scary movie. So, if I cross-reference movies I’ve enjoyed for their cinematic value and movies that still scare me, only two movies really fall into both categories: The Exorcist and The Legend of Hell House. Because practical special FX are so important to our style of filmmaking at Ungovernable Films, I can’t bring myself to respect the use of CGI. I can only really forgive its use in a small handful of movies, and sometimes it will ruin an otherwise good movie for me. My general rule is: if you can’t film it with a camera, it shouldn’t be in a film.

What was the last thing that made you smile?

When I realized that my DVD queue on Netflix included 498 movies so I could add two more movies to it before I hit the 500 movie cap again.TW

TWS Week of Horror Day 1: Jody Wheeler [Interview]

Jody Head 1 Revised - Version 3


Welcome back Everyone to an all new Week of Horror! It is that magical time of year where blood and murder and chaos are not only acceptable, but preferred! And we hare kicking this off with some great words from writer, director, producer, up and coming cult leader, all sorts of things doer, Jody Wheeler. Hardcore horror fans will know him as the man behind the new classic, 2014’s The Dark Place. But, his work has spread across so many different genres, and has even been a championing of sorts of the LGBTQ community. Which is definitely something you should support and look more into, but we are hear to talk about the HORROR! Oh the HORROR! Jody has a new film, WTF, coming soon that I seriously believe will blow all of your feeble minds.

With that, please enjoy this digital conversation with Jody Wheeler!


Can you tell us a bit about the upcoming film WTF!, which you are an executive producer on, that looks absolutely terrifying, yet so much fun?

Yes! I really think it is. Classic group-of-friends go to the woods story and mayhem ensues. This time, there’s some nice wordplay, betrayal, treachery, classic video gaming, and a wonderful moment in keeping with the title of the movie, one where you question everything you’ve seen. There’s also boobs, butts, and blood. But no one ever watches a movie for that.🙂

Your 2014 film The Dark Place has seemed to become one of those cult thrillers that I’ve heard nothing but good things about. Can you tell us a bit about why you wanted to make this film? What was your end goal, and do you feel like you accomplished what you were trying to do? (P.S. I feel like you must have, because it is so great!)

Thank you for the cult remark. I’ve always wanted to be a cult leader. That whole “hoods-in-candles-and-shadow” has always been a favorite look of mine.

The story came from a collision in my brain between a family drama and twist and turning thriller. I think I was also watching too many BBC mysteries, too. I blended that all together with some humor for flavoring and think I got a pretty good movie out of it. Even though the script is original and not based on an existing series — the car crash was in my mind after all — I imagined I was adapting the first book in a series of mystery novels, trying to set up a hero and his relationships with those he loves and the larger world. You’d want to see him in future adventures as he traveled the world, hoping just maybe you’d run into Keegan (and Wil) if you had troubles of your own that needed solving. They are great characters and I’m proud to have shared them with the world.

You have a wide range of work in your catalog, definitely not just horror and thrillers. But, given that this is Horror Week, can you tell us how much you enjoy working on more frightening projects?

I love scary movies. I’m not a big torture-porn fan, but things like Poltergeist or Let the Right One In or Bug are such a trip. The real world suddenly goes sideways and you are up to your earlobes in doom, with no good options, and no idea if you are the virgin who survives the movie, the first friend to die or, worst on worst, you are actually destined to survive until the last few minutes, and are then taken out by some other twisted fiend. That’s why I love them. Since I’m also a big scifi fan, if the horror film is also scifi or the scifi film is also horror — like The Mist or Event Horizon – even better. To that end, I have a project I’m working on now. It’s horror, with a bit of comedy and scifi added into the mix.

What does the future hold for you? Any other projects you might be working on that you would like to talk about?

With my business partner, Steve Parker, we’re working on the release for WTF!, taking a short he directed called Love, Colin out and around to various film festivals, and working to get that comedy-horror off the ground, plus working on a co-production for a YA time-travel adventure series. So basically, I’m slacking. We’re hoping to be able to announce the comedy-horror project in the next few months.

Do you have any big plans for this coming Halloween?

If that cult-leader thing comes through, I’m hoping the stars will finally be right so I can have my cult open the gate at R’lyeh and bring the Old Ones back through, destroying reality as we know it. Otherwise, I’ll just go to a party.


What is your favorite scary movie?

Oh, there are so many: Alien for the sheer epic isolation of it all. A Nightmare on Elm Street because the idea of exploding into gore after being sucked into the bed always freaks me out. Evil Dead 2 because that was the first time I realized you could laugh so hard your sides hurt while watching someone get their sides ripped out. Ben & Arthur because never has a love story between two men been more bereft of both love and a story (and skill, and talent, and visuals, and sound and…) than that film.

What was the last thing that made you smile?

I smile a lot, so that’s a generally hard one. I will say my most recent unexpected smile came yesterday, on a walk through the marina near my house, when I came across a yacht with a helicopter on the back. Clear canopy two seater. Blades folded in. Lashed an attached to the ample back of this beautiful boat. It’s was right out of a Bond film. Easily stood there for ten minutes. Would have marveled longer if the bald guy with the scar and monocle, and stroking a white cat hadn’t told me to move on…

From The Vault Part 7: Jack Johnson – On And On

jackjohnsononandonAlright, I know I am going to get a lot of shit for this one. Who’s is this asshat who claims to be a fan of indie geniuses like Jared Mees or Nick Caceres or Carissa’s Wierd, mocks John Denver, and then attempts to rationalize this shit? Well, that is me. This is the new Trainwreck’d. Feel free to you let yourselves out. But, seriously, before you do, hear me out, alright?

Jack Johnson has received so much shit over the years, and it’s not entirely unjustified. But, there is something to say about his avid followers and those who look beyond the hipster driven hatred…. They truly don’t give a FUCK. And there is nothing deplorable about this. I mean, we’re not talking about devout followers to despicable things like neo-nazism or religion, just people who love chill music. And Jack Johnson will always be the embodiment of “chill music”. And I can never truly hate anything that is based around the philosophy of “chill”.

So, why am I writing about this album? And why will it never leave my vault of ridiculousness? Basically, you have to remember the times. It was such a strange fucking time when this album came out. Especially for anyone “coming of age”. We were so fucking confused. A few years before we were told that the world was going to end after 11:59:59 on December 31st, 1999. Then “those people” hi-jacked three planes and crashed them right back into our country and left us fucking mortified to even go outside. We were beginning to realize that it was possible to hold communicable devices in our pockets all the time, but weren’t quite following. And let’s not forget that music in the mainstream was fucking awful. Carson Daily was still shamelessly supporting such terrible ear cancer on MTV that was probably the reason the station abandoned music altogether. The best golfer in the world was black, the best rapper was white (thank you, Chris Rock), the world was so damn confusing. And the comes this Jack Johnson character. I truly feel like he saved me in so many ways.

Now, it is important to note that On And On was Jack Johnson’s second album. There was Brushfire Fairytales which was amazing, but only broke the seal of the unpackaging of the King of Chill that would be Jack Johnson. In fact, I had never heard of this cat, until I heard “The Horizon Has Been Defeated” on a popular Portland based radio station and was amazed by now DIFFERENT it was from everything else playing on that shitty dough covered radio playing in the pizza joint I worked at. I remember first hearing it, and at that exact moment, a co-worker came in and instinctively explained to me that “this guy is great”, “he’s so chill” “Dave Matthews, Phish, blah, blah, blah”, “Brushfire Fairytales”. Soon after I went to a record store (think iTunes, but a physical location) in a mall (think Wal Mart, but equally divided), and picked up Brushfire Fairytales, and instantly fell in love with the man who would soon be known as The King of Chill (P.S. Is anyone actually calling him this? Or did I just create something, I seriously don’t know).


I was totally hooked by the time On And On came out into the world. This was what I was searching for. I was a young kid who was engrossed in the world of modern hip hop, which had very few desirable acts to promote, yet I was listening to Bob Dylan daily. I craved some super cool acoustic songs that could simply get my mind right and chill the fuck out. And this album did it. But, despite what most may think of this cat now, Jack Johnson had so much to say on this album. It was political, it was sometimes adorable, it was beautiful in so many ways.

With do justice, I will interrupt myself to note that the stereotypes of Jack Johnson may be entirely justified. Nowadays (and even Brushfire Fairytales) every track feels like it absolutely must be heard on a beach in an exotic land that is only occupied by white tourists. But, not On And On, and I refuse to give this one up. Yes, this is an album that can be comfortably listened to at a swim up bar at a Sandals in Jamaica without worrying about the bodies lying in the streets of Kingston. But, there is some essence to this album. It’s pretty God damned political if you really think about it. “Traffic In The Sky” is about 9/11. Jack Johnson may not think so, or would definitely disagree, but when I hear this track, I think about that day. Even “Dreams Be Dreams” and “Tomorrow Morning” have a bit of that feel to them. Overall, in so many different ways, this is Jack Johnson’s political attack against the “box with the view of the world”. Wanna hear the worst, check out the track for those last quotations, “Fall Line”, which is by far the best track on this album. And this track is 1 minute and 36 seconds of pure ecstasy. And it works as an extreme introduction to the track that follows, known as “Cookie Jar”.

The main thing that I want to leave here is that you can judge Jack Johnson for everything that he has done in his career. Maybe he has done a series of repeating “chill” songs that all sound the same. But, I really want people to realize that On And On is different. Yes, it was the one that probably made him the most famous, and kickstarted his career into a progression of mediocracy. But, dammit, we have this album. And it is fucking fantastic. It is an album that takes a social and political stance without shoving it in your face like a shithead vegan protesting outside of an Outback Steakhouse (does this happen?). I am basically not concerned with the stereotypes of Jack Johnson of today. I am a fan of this man for what he accomplished way back in 2003. And honestly, I enjoyed much of his later work, although I can distinctly remember when I realized that I was no longer the target audience of Jack. And that was when I said a silent goodbye, and took the good memories with me.

I’m not here to say that Jack Johnson needs to be more politically loud in his work, as On And On is not entirely so. I’m simply saying that even if you have formed some sort of opinion about the man, I feel like you really need to listen to this album and discover the fact that this dude had so much to say. The man can write the fuck out of a song, that is undeniable. But, if it substance in a song that worries you, On And On is the album that should definitely prove to you that Jack Johnson is a master storyteller in his own right. You don’t have to appreciate his entire body of work, and you don’t have to love the guy, but this is an album that embodies so much greatness that it is truly maddening to know that it has to be justified. Just listen to the album. Just really listen. You’re going to fucking love it. And if you don’t, well, that’s cool too, man.

From The Vault Part 6: John Denver’s Greatest Hits 1969-1973

johndenverI’m gonna try something different here with this one. I don’t have a long winded story for this one, but I really want to write something about it. This is one that my hilarious father sent me for my birthday a few years ago amongst a a great collection of other albums and books he knew I would love, and I did. But, this one was actually a bit confusing. I can definitely say I have never been a big fan of the guy, but I honestly haven’t really listened to the guy. I still have only heard of 3 of the songs on this album. But, as a testament to my awesome Dad, I thought I would throw this one in the Vault series.

So this is how this will work, I am going to listen to this album straight through, and share my thoughts, in real time. I actually pride myself in the ability to type pretty damn fast, which is probably a weird thing to get cocky about, right? Anyway, we’re gonna try it out. The goal here is not to cram as many words into 3 1/2 minutes or so, but to just express what the song means to be at this very moment. I will probably write less for the songs I haven’t ever heard, as I want to give a legitimate listened to them. And shit, you will have no way to verify that I actually did this, but I will know, and hopefully you will all believe me, and even want to read the work of somebody speed writing about the songs of John Denver. And if you really want to get into it, pay the album along while you read it! You know you have it! And if you don’t, head to your local record shop and spend the 34 cents to play along!

P.S. Wasn’t I just writing about gangster rap the other day? This shit is going off the rails. But, I digress. Here we go……


Track 1 – “Take Me Home Country Roads”

So this is one of the one’s I definitely know. And I have to say, I find nothing wrong with this. It’s that sort of old school country and western music that I can get down with. I love the group  Alabama, and this seems right out of their songbooks. Is he saying “stranger to blue waters”, and does this and and is everything he says after saying that this chick doesn’t know how to bathe herself properly? That’s a memorable thing I guess. I like when he belts out Yesterday once again, just to clarify when he should have been there. Oh snap, it’s about West Virginia, this changes everything. But in the end, John Denver has to be the most sane thing to ever come out of that crazy ass state. I wonder what Jesco White has been doing?


Track 2 – “Follow Me”

I do know this one, I thought it was an Eagles song. That’s not a compliment, but let’s have a listen. This sounds like a Shel Silverstein poem. I feel like this would be a great karaoke song for people who can’t quite remember lyrics and their little boombox thing is broken because they are definitely singing it alone in their one bedroom apartment. It’s about as simple as it gets. That violin is kicking, though. Who is doing that? Is this from a children’s album? Alright, I’m gonna say it, I’m about 1 1/2 minutes in and I dreading the next 1 1/2 minutes to follow. Next….


Track 3 – “Starwood In Aspen”

Oh we got some yodeling going on! I’m sort of digging this one. Seems like the scaled down version of “Rocky Mountain High”. I would also dare say that Colorado is better than L.A. in it’s own right. I’m three songs in and I am still getting confused about whether he is talking about mountains or actual women. Is that the point? Is the earth like a beautiful woman? I have a feeling John might have been hitting the bottle a bit when this was recorded. No real justification for that. But, I can’t deny, this isn’t a bad one. I’ve never been to Aspen.


Track 4 – “For Baby (For Bobbie)”

Reminiscent of Peter Paul & Mary or something. Who is Bobbie? This is definitely happy as fuck sounding. Jesus, it is so HAPPY. It’s actually pretty hard to hate. He really loves this Bobbie guy/girl. John Denver could definitely compliment the hell out of a person! Okay, I think I got it, it’s a child, right? Is it his kid? Bob Denver? REALLY? Please tell me he named his kid Bob Denver! That would be amazing!


Track 5 – “Rhymes & Reasons”

Oh shit, wait a minute. This is different. Did he write this one? There is a bit of intelligence to this one that I haven’t heard yet. Of course there are mountains and rainbows and shit, but I’m still okay with it. I bet this is about as Emo as John Denver ever got in his life. I feel like there is a real message here, but then comes the children & flowers. Was John Denver considered a hippy? I really should have researched this better.


Track 6 – “Leaving On A Jet Plane”

I know this argument has been brought up before somewhere, but why the hell didn’t they teach the astronauts how to drill and send them to space, instead of what they actually did. It definitely seems more logical, right? I mean, I sort of get it. I’m not going to complain too much, I mean, animal crackers are now super sexy. Definitely one of the Top 2 films about meteors to be released in 1998. Steve Buscemi was always hilarious as usual. Bruce made a huge sacrifice for Steven Tyler’s kid. Wait, what just happened?


Track 7 – “The Eagle And The Hawk”

Finally some animals in here! We’ve had the mountains and trees and stuff. Wait he’s not jumping into it. That’s some angry guitar there John. Why are you yelling? What is happening! I feel like that Spongebob meme right now. Were they doing peyote when they recorded this? It sort of sounds like that crazy song John C. Reilly made in Walk Hard during his drug crazed Beatles phase. Jesus!


Track 8 – “Sunshine On My Shoulders”

Where the hell have I heard the line “Mr. Sunshine On My God Damned Shoulds John Denver”! Was it Denis Leary? Anyway, this song should be the catalyst for calling anything “Denver-esque”, if that term has ever been used. I wonder if he wrote this song in his head wile he was flying a plane. Damn this is a long one, too

Note: It was Farva from Super Troopers who said it. But, Denis Leary said mean things too.

Track 9 – “Goodbye Again”

Oh now, this may actually be the most Emo John Denver we’ve heard. Why do I instantly envision him wearing a polo shirt while he is writing this? It just has to be. Lacoste. I met he wrote this angry as fuck, too. But, not that angry, most likely. I bet he had clean socks on though. Who is this song about? This is like the white guy version of 2pac’s “Run Tha Streets”, haha. Seriously, listen to both of them back to back, and I think you’ll get it.


Track 10 – “Poems, Prayers And Promises”

This seems pretty personal. Pretty chill track actually. I love how the term “old lady” was an actual endearing thing to call your wife back in the day. This song was definitely written next to a crackling fire in a lodge. With several pauses for self reflection happening in the process. Oh shit! There’s some pot smoking lyrics in there! Or was it peyote? And then they recorded that other song.


Track 11 – “Rocky Mountain High”

Alright, alright. All jokes aside, this isn’t a bad song. It’s probably the most notable John Denver song there is, so it’s pretty easy to make fun of it. But, honestly, this is a good bit of story telling. Van Morrison could have written this exact same song, and you hipster fucks would have said it was “amazeballs” or whatever kids are saying these days. I like the double layered lyrics. Dammit, I like this song a lot. Definitely the best on this collection. John loved his motherfucking mountains, and there was nothing you could do about it! Rain fire on that sky, John!



Track 12 – “I Guess He’d Rather Be In Colorado”

Alright, might as well start out with the exact title in the lyrics. This sounds like he is singing about himself living in New York rolling blunts with Simon and/or Garfunkel, right? Or maybe it is about Neil Cassidy? I don’t know, but this is a pretty sweet tune. Very simple, cute little track. I can dig it. Terrible ending though. We already got that John.


Track 13 – “Daydream”

Oh Jesus, really? No, this just won’t do. I’m glad they didn’t close with this one. I can only imagine him screaming these words at a frightened young hippy chick. She would also probably be in Colorado instead of getting screamed at by raspy John Denver.


Track 14 – “Friends With You”

Okay, not so bad. This could be a good closer. Yeah, not too bad. Little guitar breakdown there, nice. Oh shit, it just became an anthem! And brought back down abruptly, okay, I can do this. Alright, bringing back the anthem sound to bring it on home, and the let it fizzle on out with some harmonica. Yeah, I like this one. This sounds like a happy go lucky song to play at a funeral.


Well there you have it folks! 49 minutes of speed writing about the songs of John Denver. You can all go home now, we’ve thought of everything!



From The Vault Part 5: Jared Mees and the Grown Children – 2010 Tour EP


Cover Art by Santiago Uceda

If you fine readers will allow it, I am about to go full blown obscure on your asses. The album (and show) I am about to tell you about was technically “reviewed” at way back in 2010. The album is just a touring EP that provided a great sample to one of my favorite albums of all time, Only Good Thoughts Can Stay, which I already covered. And I actually did review the show at Fensepost as well, both of these still live on the Internet. But, with this rejuvenation of TWS, I feel like I need to tell the story in a new way. Also, I am just such a huge fan of Jared Mees and everything he has done in his lifetime that I will use any excuse I can to write about him. So here we go!

So, back in 2010 I went to see one of my favorite bands at a burrito bar. Yes, that is how this story is going to start. Spokane Washington in all of its hopes to be more like a couple of different cities on the other side of the Cascades houses an intentionally tiny bar that is attached to a burrito, both of which are connected to a motel. That’s just how they do things around there. It is what some show goers would call “intimate”. The type of place where you could have 15 people in attendance and it would appear to be a “good turn out”. I honestly and truly loved this venue for this reason alone.

So I arrived at the bar a bit early to grab a burrito and gear up for some great tunes, but not without first taking a quick smoke break. And there he was! Well, I honestly didn’t fully recognize the man I had been listening to consistently for the last two years, until he asked if he could bum a smoke. As I was obliging, that was when it hit me. Jared Fucking Mees was standing right there asking me to aid him in his journey towards lung cancer (Actually, he made a point to let me know that it was just a the occasional drag on tour, but you get the joke). But the hipster king had fooled me gravely when he was without his signature (or so I thought) cluttered and bushy facial hair. I was shocked! Could this be? A musician from Portland, Oregon in 2010 with NO BEARD?? What a revolutionary this guy was!

But in all honesty, this became an amazing experience. We chatted a bit about the other side of the Cascades where I am from and he currently resides. We talked about Spokane and how much potential the city could have if it were better located, but how it makes a great little pit stop on certain tours. He also gave me a tour of their very cool Tender Loving Empire van/mini bus/camper thing and introduced me to the rest of the band and just shared a few laughs and bits of small talk and I was feeling like a fucking Make A Wish Kid meeting Spider Man! Now, I am perfectly aware that the idea of getting amped about meeting a touring indie folk band that was to perform in a tiny burrito with the same excitement one would with hanging out with Keith Richards or something is probably pretentious and/or sad. But, fuck that. I love great music. I’m not concerned with what level an artists is on, if they are creating magic, I am going to worship the shit out of them. And Jared Mees has amassed a damn good following and has managed to be able to remain creative as a profession. Which is

And magic is what they definitely brought! The band rocked the old dried salsa lining the walls of this place. There was not a disappointed face in the crowd (I know, I was searching for one). They played some of the new tracks from their then upcoming album, as well as a great selection from their previous album Caffeine, Alcohol, Sunshine Money, and I became giddy to hear “Tallest Building In Hell” in person. It was just a down right beautiful experience, and definitely lives on as one of my favorite show going experiences I have ever had. And definitely the best I had experienced in the city of Spokane.


Me and The Man!

And when it was all over, there was a feeling of deep sadness. My show was over, but theirs had to go on. We shook some hands, took a photo, and moved on with our lives. I eventually covered the show as a professional, but there was no real way to convey how important their work was to me and how thrilled I was that this night happened. Therefore I am very excited to be able to finally find the nerve to it now. And when Jared handed me the 2010 Tour EP, I left Cloud 9 and shot up to 11. And I know for a fact (thanks to iTunes) I burned through each of these 5 tracks at 100 times each before Only Good Thoughts Can Stay was finally released. This EP is a complete embodiment of the idea of physical reminders that I have spoken of previously in this series. I will never let this one go. Also, I do have to mention that the version of “Shake” that was used for this EP is a bit stripped down from the one that appeared on the LP, and while I love them both, I find myself a bit more passionate about the stripped down version. But, that’s just my love for acoustic guitar sounds.


So there you have it! My bit of geeking for you all! I’m honestly not certain if you can get this EP anywhere, as it was obviously a promotional tool. But, Tender Loving Empire is still alive and thriving in the City of Roses. If you have been following this series, you may recall my writings about Gratitillium, which was a TLE release. And I have covered and loved many other releases they have put out into the world, including the AMAZING group known as Y La Bamba. Seriously can’t say enough great things about them. So, head on over to the Tender Loving Empire website to to check out more!

Oh and check these out! A few shots I took at the show:

jared-mees-spokane-04 jared-mees-spokane-03 jared-mees-spokane-02 jared-mees-spokane-06 jared-mees-spokane-05 jared-mees-spokane-07



From The Vault Part 4: Tha Dogg Pound – Cali Iz Active

dawgpoundalbumI absolutely love hip hop music. Even more specifically, I love west coast hip hop. I actually many forms of the art that is hip hop, but old school west coast hip hop will always hold a very special place in my heart. As I grow older, I do find myself becoming more immersed in the “alternative hip hop”. In fact, acts that I have covered here at Trainwreck’d Society (Bodi, Cas One, Sleep, Sadistik, etc.) are probably a bit more “conscious” (what the fuck does that really mean, anyway?) than the great Kurupt Young Gotti, Daz Dillinger, and Big Snoop Dogg. But, god dammit if I don’t appreciate them all that they are. This is why I still have a place in my heart for the 2006 one off comeback of Tha Dogg Pound that had me banging in my Toyota Corolla like a motherfucking boss for all of 2006, and is still a staple in the Vault that I don’t believe I will ever be able to let go of any time soon.

West Coast hip hop in the early to mid-90’s definitely reigned supreme during its time. It was just a strange contrast to what everyone typically knew as hip hop. It’s definitely false to say that it was “better”, it was just different. It was a sound that took the smooth flow of a group like De La Soul, but spoke just as rough and raw as a Rakim. It was a sound that felt as soaked in sun as the folks who were putting the music out did. N.W.A. led the way in bringing the reality of the street life to the mainstream, but it was their followers that truly laid the framework for what could be known as the West Coast Hip Hop. I actually like refer to them as Dre’s Kids. When Dr. Dre released The Chronic in 1992, nothing would ever be the same. From that point on we were introduced to the likes of Kurupt, Daz, Nate Dogg, DJ Quick, etc. Also we can’t forget about the associated G Funk Era with folks like Warren G, The Twinz, and The Dove Shack. What a fucking time to be alive, that’s all I’m sayin’. I mean, was like 8 or 9 years old, so I don’t entirely know, but you know what I mean. Although I will say that I was listening to these dynamic records only shortly after they were released, yet were still very relevant and mostly current.

So, it is safe to say that I have always been infatuated with West Coast hip hop, and more specifically, Tha Dogg Pound. And if I really had to get more specific, Kurupt Young Gotti. I have long considered Kurupt to be one of the greatest lyricists. Now, I’m not going to sit here like a fucking MacBook Warrior and say that Kurupt is some kind of poet. Because a poet he is not. But in the world of hip hop, there is so much more that goes into creating and disturbing lyrics. And Kurupt knew (still does actually!) how to fucking RHYME. He may not be Shakespeare, but I do believe he is the Shakespeare of the West Coast Hip Hop sound (which ironically might have something to do with his east coast roots? Maybe). At the very least, he has been pretty under appreciated for what he has given to the world of hip hop. But, that’s another story.


So now that I have spent enough time evading actually talking about the album Cali Iz Active itself, I guess I will get into it. In all reality, this album is not that great. It does have some great bars from Kurupt and Daz, and also Snoop is in there every once in a while. You get a bit of that old school feel, but basically not enough. But, you have to remember what hip hop was like around the time that this album was released. It is most obvious when you notice guest appearances from the likes of Paul Wall and David Banner. In the world of hip hop around that time, they were the type to run the show. So, it pretty much made sense that Dawg Pound would feel the need to be somewhat relevant and bring some of these people on board. And an appearance from Diddy might be symbolic reminder that the beef shit has been long and over. But I will have to say with all honesty that these were the low points. Especially in contrast to the high points, whiter there were a few, I promise you. Highlights would have to be the single by the same name “Cali Iz Active” that kicks off the album and was obviously meant to be the highlight. Other less obvious highlights are actually the tracks where they almost bring the whole thing back to the old school. Kurupt is at his best on “Keep It Gangsta”, and dammit was it great to hear Lady Of Rage again! And “It’s All Hood” brought us back to the old school with a great appearance from Ice Cube and what felt like Snoop Dogg doing his best Kurupt impression, which was something entirely different from his normal swagger rap but ultimately enjoyable.

In the end, this was just a fun album that I always want to hold on to. Also a great friend of mine gave it to me for my 21st birthday, which was so unexpected that I remain grateful. And the friend in question was actually a guy who was teaching me all about hip hop in the south, especially the stuff that was all the rage at that time. I will admit that it never real sunk in with me. And at the same time I was trying to legitimize West Coast hip hop to this dude from Atlanta, which I don’t think it really sunk it with him either. But, it was a mutual love and respect. So, it’s not the greatest bit of symbolism, but I like it. And that’s all that matters.

You can buy this album on the internet.