David Jensen [Interview]

Today’s wonderful interview subject is what I would rightfully consider to be a class act of a human being. He has been involved int he world of film and television for over 30 years and as turned out some absolutely incredible roles, which we are so excited to share with you today. It’s David Jensen, Everyone!

I initially became aware of Jensen’s work when he appeared in the absolutely brilliant 2004 film that is often over-looked, but remains to be absolutely brilliant and one of my favorite films of all time entitled A Love Song For Bobby Long. You may remember us speaking about this film a few years ago when we had Grayson Capps gracing our digital pages, who had some incredible music to accompany the film, and who’s father happened to write the story in which the screenplay was eventually based upon. It’s a true love letter to the city of New Orleans, and the beat down souls who continue to occupy its space to this very day. And Jensen was a superb addition to the cast. And absolute damned delight, if you ask me!

And his career has had some very interesting and exciting at bats on many other incredible projects. We are so excited that David was able to take some time out of his schedule to tell us a bit about these projects and his experience as an actor and more over the last 30 years. He is a delightful person, and we are so very excited that he is here with us today. So without further babbling, please enjoy some wonderful words from the amazing David Jensen. You’re going to love this!

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When did you first decide you wanted to join the world of acting? What was it that initially led you into this world?

How I first got interested in acting was when I was in a 9th grade production of Cheaper By the Dozen and one day during rehearsals 3 or 4 of the girls in the cast started making out with the boys in the cast back stage.  The thrill was so compelling and illicit.  But somehow the cast kept it from the faculty and it continued thru the run of the show.  It was an innocent but transformative moment I will never forget.  I don’t remember telling this story often but I am sure what has kept me going from stage productions one after another is the chance that  something thrilling will happen again.

In 2012, we found you portraying a cannibal in This Is the End during the insanely hilarious scene at the end when we are reunited with Danny McBride. I will still go back and watch that moment very often. So how was your experience working on that scene? I don’t know how I could keep myself from laughing like a child. Was it as fun to work on as it was for us to watch?

My time on This Is the End was a long hot summer night next to the Mississippi River in New Orleans.  I don’t remember anyone holding sides or even bothering with a script.  Channing Tatum was in a full Mexican wrestlers mask and on a short leash Danny McBride was tugging on as McBrides’ sex toy/gimp.  I talked a lot to Jay Baruchel who I think is really talented. and Jonah Hill was very accessible.

In 2004 you appeared in one of my favorite films of all time in a very sweet role that I’ve never stopped thinking about. I’m talking about your role as Junior in A Love Song For Bobby Long. How was your experience working on a film like this one? Was there anything about that experience that singles itself out from the plethora of other projects you have worked on?

A Love Song For Bobby Long was another good summer experience in New Orleans before Katrina.  Elliot Davis shot the film, Shainee Gabell wrote and directed.  It’s one of those films that really captures the sense of place.  Many people tell me that it is their favorite film shot in New Orleans.  I play a saxophone jazz musician who fits in this small riverside community.  John and Gabriel Macht were terrific and Scarlett was flawless.

One genre that you have become quite familiar with is the world of horror and thrillers. Notably, you appeared in the classic film, The Mist from Frank Darabont! We are huge fans and supporters of the world of horror around here, so it behooves me to ask you how you enjoy working in the world of horror as opposed to other genres? What is something positive about working on a horror project?

I love horror movies, and Frank Darabont’s The Mist had a great cast, great special effects and every phase of production was a pleasure.  It was a big cast and you could get to know everyone for the 6 weeks I was shooting.  Marcia Gay Harden, Andre Braugher, Toby Jones, Bill Sadler all fun to work with.

After over 30 years in the business, and with all the advancements in technology over the years, I am curious to hear from an experienced actor what you find to be some core values of the world of filmmaking that are still as relevant today, even as me move into the online/digital modern times?

30 YEARS IN THE BUSINESS and it still comes down to honest truthful story telling.  Good people and a story well crafted. (Regardless if you are shooting Kodak 5248 on Panavision or digitally on the Amira, or on an iPhone 10).

What does the future hold for you? Anything you would like to plug to our readers?

Just finished Walk Away Joe, a film starring David Stratharne, that I think will get a lot of good notices and I’m in the new True Detective season starting in 2019.

What was the last thing that made you smile?

That is an easy question because i was just thinking what a good time to be alive.  How important it is for every artist to bring out the truth in whatever art form you are pursuing.  Truth matters and is what ultimately endures the test of time.  I got interested in acting because I thought I was a good liar.  And along the way I learned that truth was far more interesting and life vivifying.  It made my own craft and its’ pursuit more tangible.

And a good guide for structure in every project.  In looking back at the arc of my own life, it gives me satisfaction and a smile.

And check out this lovely collection of stills generously provided by David Jensen himself:

A Love Song For Bobby Long

The Curious Case of Benjamin Button

Alien Tornado

Patriotville

Kevin Avery [Interview]

When did you know that you wanted to join the world of comedy? What was it that compelled you to make people laugh for a living?

I mean, I’ve loved comedy for as long as I can remember. Always loved making people laugh, even when I was growing up. I just kind of marveled at people who had the ability to make an entire audience laugh. And I fell in love with stand up at a very young age. I think it’s fair to say I was straight-up addicted to it – whether I was listening to my parent’s old comedy albums, or just watching it on TV as much as I could. I basically studied stand up comedy throughout my entire childhood. And it was something I always dreamed of doing; I just never thought I would actually do it. The idea of writing material seemed so daunting and out of the realm of possibility for me. Meanwhile, at school I was writing funny essays or pieces and reading and performing them in front of my class, not really putting together that I was essentially doing what stand up comedians did. When I got older, I would hang out at comedy clubs and even try my hand at writing material, but then would chicken out and not actually ever go up. Eventually, it took a comedy club owner in the Bay Area, who actually passed away some years ago, Jessica Jenkins, and another comic – a guy from Portland, Troy Thirdgill to talk me into trying it for the first time, and I just never looked back.

Can you tell us about your very first time getting up on stage? What sort of emotional rollercoaster was that for you?

I basically had 2 weeks from the time I got talked into trying it until the actual date of my first set. At the time, I was working this corporate tech day job that I was woefully unqualified for and absolutely hated (I’d eventually be fired from, like, 6 of these jobs). But I’d work from 7am to 4pm, then leave and either take a nap or just watch a movie, and then I’d come back to the office at night, find a conference room and write until really late. I did this for 2 weeks just to put together what I thought was 5 minutes of material, but turned out to be more. This is probably the hardest I’d worked on anything in my life at that point. The night of the open mic, I put my name on the list in the #7 spot, thinking that all of the other spots would be filled in. They were not. I felt as confident as anyone could trying stand up for the first time, so I was nervous as shit. And I had all my material typed out and spread out on the bar in the back of the club, studying it while the show was going on. After the 3rd or 4th comic came off stage, I remember the host saying “Are you guys ready for your last comic?” And I don’t know if anyone else heard me do this, but an audible “No!” actually flew out of my mouth. I was totally terrified, but the next thing I knew I was just walking toward the stage as this guy is introducing me. And it was the weirdest thing: I’d watched so much stand up comedy that, even though I’d never done it before, it all just felt really familiar suddenly. And I became super calm and just walked up there and did it. It was one of the greatest feelings and moments in my life. I remember coming off stage and thinking I have to do this again, as soon as possible!

You had a perfect description of Totally Biased with W. Kamau Bell, calling it “criminally short”. It truly was too short, but groundbreaking the same. What was it like to work on a show like this? Did it feel groundbreaking when you were working on it?

Working on Totally Biased was a lot of things for me. It was my first writing job. And then it became my first head writing job which changed my career and my life in ways I could have never seen coming. This show launched my TV writing career. And, especially in the beginning, it was just a lot of fun! I was working with my comedy homie, Kamau, and a lot of our friends that we’d come up with through stand up. And it was all of these things while also being this incredible learning experience in comedy and TV writing, production, collaborating with other writers, and just the business of making a show every week. And I’m getting to work on a regular basis with one of the most amazing teachers you could ask for, Chris Rock, who was one of our executive producers. And all this is happening while I’m living in New York for the first time. But it was also brutally rigorous, particularly when we became a nightly show. In that way, it prepared me for every job I’d have after that. I’ll always be super grateful for that experience.

And, you know, we were incredibly proud of what we were making every week on the show. We got to do and say things that other shows weren’t saying or doing at that time. We got to put talent on TV that you weren’t seeing on every other show out there. I feel like that was our goal with the show, and we did it very successfully. But ultimately, what Totally Biased was for me was this opportunity to make this thing – this show – with my friend, Kamau, who I’d come up with, both of us being each other’s ride-or-die and just trying to make it, to get our shot. And here we were, doing it. That was a very special and exciting time and something I’ll never forget being a part of.

Last Week Tonight is another extremely original in its own way type of series that deals with some pretty damned heavy content each week, yet thanks to brilliant writers like yourself, it still remains pretty damned funny. With that, what would you say was the most difficult subject matter you had to work with on LWT? What did you find to be extremely difficult to even attempt to make light of?

Well, I’ve always said that if Totally Biased was boot camp, Last Week Tonight was SEAL training. That show took everything I’d learned at T.B. and multiplied that knowledge, like tenfold. And one of those learning experiences was in how to take very boring, complex or even tragic topics and build comedy around them. Routinely we had to take clips that were going in the show – clips about people losing their homes or livelihood, or stories about people being sick or dying – really sad stuff – and write jokes that John had to say right after these clips. So every week there was really grim subject matter that we had to just figure out how to navigate through and know when and how to tell jokes about it. The one that stands out to me the most wasn’t even a tragic subject as much as it was just really boring subject matter-wise for a comedy show. It was the Net Neutrality piece in season 1. I worked on that with a couple other writers, and the whole thing about it was that it was this incredibly boring, complicated topic about legislation and mergers and how the internet works – basically shit that would clear the room at a party. But ultimately, we just realized we had to lean into how dull and complicated a topic it was, and that became the central joke of the piece – this idea that they’re sneaking this very important, critical issue past us all because it is, in fact, so boring and they’re counting on us not paying attention. And once we figured that out, it was a lot of fun to write. It’s also a piece that featured a joke I wrote that made John laugh particularly hard during rehearsal – a weird joke about Superman and Lex Luthor living in the same apartment complex that I’d written at, like, 3am when I was particularly loopy – so that was always a point of personal pride for me.

Currently you can be found working on The Jim Jefferies Show on Comedy Central. What has it been like to work on this program? What has set it apart from other work you have done as a writer?

It’s been great! Jim is obviously a completely different type of host then John or Kamau – his point of view and take on things is just very different than those guys, so it’s nice to go to a similar type of show that’s still got a completely different feel and comedic sensibility. It just keeps things interesting from a writing perspective. I never want to totally repeat something. 

And just in terms of the writer’s room, it’s a different set of writers, in a different city. I’m in L.A. and not New York, so it’s an all-around different vibe than it was on Last Week Tonight or Best Week Ever or Totally Biased. I like that, from job to job, the feel and inner workings of each writer’s room has been wildly different than the previous experience.

We always like to ask our statue holding friends this one question: Where do you keep your Emmys? And does their physical location hold any kind of significance?

In a glass IKEA case with a bunch of Lego Avengers figurines on top of it. You really have to snoop around my place to find them. At this point, the most noticeable object in my home is the Christmas tree that’s been up since last year.

What does the future hold for you? Anything you would like to plug to our readers?

[In March], I’ll appear on a new Comedy Central show called The New Negroes, hosted by comedian Baron Vaughn and rapper Open Mike Eagle. It’s a really funny show that mixes stand up, social commentary from Baron and Mike, and hip-hop from Mike and some amazing guest rappers. I’m doing stand up, and I’ll appear in one of the music videos with Mike and – I don’t think I’m allowed to say who yet, so I’ll just say one of my favorite rappers of all time. I was also head writer on the show, so I’m really excited for people to see what we put together. Also, I’m excited to take down that damned Christmas tree.

What was the last thing that made you smile?

The thought of leaving that Christmas tree up one more year.

Tadd Galusha [Interview]

Hello Folks! I am so very excited to share this interview with you all today. And it is not only because we are featuring our very first comic book artist and we always love to break into new territory here at Trainwreck’d Society, but it’s more about WHO the artist is himself. It’s Tadd Galusha, Everyone!

For long time followers and/or readers of TWS, you know we have had a very close affiliation with one of the finest podcasts in existence, the wonderful Super Geeky Play Date. We worked on some duel coverage of another acclaimed comic book artist’s, Kevin Eastman, Kickstarter campaign for his book Drawing Blood. And I had the distinct honor of appearing on the show shortly after the release of the masterpiece/absolute disaster (depending on which host you ask) that was The Last Jedi in December of ’17. I love this podcast so damn much, and am always excited when it pops up on my Laughable playlist.

So of course I had to do an interview with their mortal enemy.

Well, to be fair, Tadd is only the enemy of one of the show’s host, who shall remain nameless (for now, keep reading), which may or may not revolve around the idea that he has been forced into an open relationship with his “podcast wife” Big Sexy Bry Fieri (a.k.a. Bryan Bales) and Galusha, as Bry and Tadd host the also brilliant comic book (and more!) centric podcast Blue Tiger. Tadd has made some amazing appearances on SGPD that are also not to be missed.

Hailing from the northwestern region of the United States, Tadd Galusha is a comic illustrator and writer currently living in southcentral Alaska. He has worked for numerous publishers including IDW, Oni Press, Dark Horse, Critical Entertainment, and Western Horseman. When not in the studio, Tadd can be found wandering the Chugach Mountain Range with his malamute, Nikita. His current publication is Bubba Ho-Tep and the Cosmic Bloodsuckers for IDW. Cretaceous, written and illustrated by Tadd Galusha, will be released by Oni Press on March 26th, 2019.

We are so excited to check out Cretaceous, and most likely share it with you all here, and we are so happy that Tadd was able to take some time out of his busy schedule to share some words with us here today. He’s a hell of a nice guy (despite what one SGPD host who is not named Metal Mattson might say), and we know you are going to love this interview.

So Folks, please enjoy this incredible interview with the brilliant artist, Tadd Galusha!

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When did you first discover your passion for comic book illustration? Was it a skill and drive you picked up as a youth, or did you just happen to find yourself in the world of comic books one day?

I didn’t discover a love for comics until later in youth, some time during my college studies at Washington State University. I always read comics from time to time and was an absolute Captain America fan. I never missed an issue after discovering Cap Wolf in a grocery store in Columbus, Nebraska (life changing experience for a 6 year old. Not the strongest of the Cap runs, but it holds a special place in my heart. I was always drawing as a kid, so looking back it was inevitable that I would end up doing what I do now. 

What was your very first paid gig as an artist? And where there any lessons learned from that project that still impact your work to this day?

My very first paid gig, as in professional gig, was while I was in my second year of art school. I was hired by some design company to illustrate images and designs for MMA t-shirts out in New York. It was when Affliction and Tapout were popular. Honestly I can hardly remember the gig. I just remember that I got paid practically nothing and they constantly wanted revisions and stuff. I ended up quitting by the start of the next school year. Lesson learned: know when to walk away from a shitty employer. There are other gigs to be found.

 What are some common traits that you tend to look for when you are considering a project that is being offered to you? What are some “must have” elements that you prefer to have when taking on a new project?

I try to find projects that are good stories and have a budget that justifies the amount of work that it’s going to take in creating this thing, as in visually bring it to life. As a commercial or professional artist, unfortunately, it comes down to the budget. This is how you pay your bills and sometimes even the companies that hire don’t quite put that together. So it might be the greatest story ever written, but you have to pass because you’ll be homeless in month trying to meet their demands. I try and make a balance.  I have the work that satisfies my life and the work that satisfies my soul. Ultimately the goal is to combine those two into one…. I’m working on it.

 The comic book industry seems to be another sector that seems to be moving towards being showcased more in a digital space. As an independent illustrator having worked in the business a number of years, and have worked on digital based projects, what are your thoughts on this manner. Are we destined to see physical comic books go the way of vinyl records, and just be a rarity that some people are avid collectors of?

Good question. I think comics are already like vinyl. The really good stuff you have to have on your shelf so you can pull it out now and then and just take in its beautiful existence because it does something for you on an existential level. The digital stuff is great too because it’s there for instant reading and if you really like it the collection is always available. Both platforms are incredibly important and valuable. The biggest thing about digital is as an artist you can do what you want now. You can negate the validation of a publisher and still cultivate a solid viable readership. It puts everything on you as a creator, but you own everything, the potential is limitless.

What would you consider to be the most challenging, yet rewarding, project that you have done thus far in your career?

The most rewarding thing I’ve done up to this point is Cretaceous, which will be released March 26^th, for multiple reasons. I wrote and did all of the art and Oni Press helped make it a reality in supporting the project and releasing it out into the wild. It feels like a bit of a “Rocky” moment for me. I had some big, big names early on when I was writing and loosely pitching the idea around tell me “it wasn’t marketable”, “it was a waste of time,” “ it needed jungle babes,” (I kid you not). Basically I was told NO early on, so it was a form of vindication to have Oni Press come aboard and say “YES, we see what you’re doing here, lets do this!”

 Can you tell our readers a bit about the podcast that you co-host with friend of TWS, Bryan Bales entitled Blue Tiger Podcast? How did the name and concept of this fine program come about?

Blue Tiger Podcast! It’s something that Big Bry and I do for fun. We just chew the fat on weird news and what’s going on in the world of comics. How’d we get the name? Go read up on the Maltese Tiger. A rare and magnificent creature, does it exist? Some say it does, deep in the eastern forests of the Taiga. That’s us, possibly existing deep within the metaphorical forests of pop culture.

Who is your least favorite podcast host and why is it Brady Berserker from Super Geeky Play Date? 

I don’t like to name names, but my least favorite SGPD podcaster is this guy (Brady) who really thinks he knows what’s going on, but hasn’t got a clue (Brady B.). The dude operates with the surgical proficiency of a chimpanzee with a shot gun. I never know what he’s talking about, his co-hosts don’t know what he’s taking about, I could go on…. But I don’t like to insult people or name names (Brady Berserker… B.R.A.D.Y.). He tries, so I’ll give him that. Luckily he has amazing co-hosts to steer the ship and provide quality content.

What does the future hold for you? Anything you would like to plug to our readers?

Well, I’ve got a couple things in the fire, so to speak. Cretaceous comes out in March. I’ll be releasing a daily web comic starting the end of [this month], as well as bringing back my web comic, The Backwoods , for Volume 2. Both comics will be 100% free over at my site: TADDGALUSHA.COM. I’ll be linking them to a Patreon for the first time, so if people like the comics and want to help support it they can and I will just provide more and more content. I’ve been writing and developing a bunch of different concepts over the last couple of years and I’d like to start getting them out there. So we’ll see. The more support, the more content I can create. I just want to tell stories.

What was the last thing that made you smile? 

The last thing that made me smile? Probably my wife, she’s a secret comedian behind closed doors. A regular Maltese tiger of hilarity.

To check out more work work from Tadd and to get your own copy of Cretaceous this March for yourself, find details at taddgalusha.com.

And be sure to check out the Blue Tiger Podcast, available on iTunes, but also available on the far superior podcast app, Laughable. 

Siena Goines [Interview]

Photos by Victoria Bradley Images

Taylor Morden [Interview]

Welcome to another week of awesomeness here at Trainwreck’d Society. Today’s interview subject is an absolutely brilliant filmmaker who sense to want to pull on my own very specific and nostalgic heart strings. His name is Taylor Morden, and he has a couple of very exciting documentaries that are posed to come out in 2019 that will surprise the hell out of me if they don’t end up on Netflix or any other applicable streaming service in the near future.

Morden is man who has taken along the labor of love in showcasing the very lost remaining Blockbuster Video store in existence in the upcoming and aptly titled film, The Last Blockbuster. He also has a very intriguing doc in the works about the incredible third wave of ska that saw great popularity in the late 90’s entitled Pick it Up! Ska in the 90’s. So basically, it seems as though Taylor just took a glimpse into the things that I loved as a youth, and still have fond memories of to this very day. While it may seem like a stretch, the specificity of it all is very peculiar.

We were fortunate enough to steal some time from Taylor to talk about his upcoming projects, how he got into the world of filmmaking, and so much more. We are very honored to have Taylor Morden grace our digital pages here today. So let’s get into it, shall we? Here we go! Pick it up, pick it up, pick….alright, I’ll stop. Enjoy!

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What inspired you to get into the world of filmmaking? Was it something you have always wanted to do since your youth? Or did you just find yourself in this world one day?

I was always the kid in high school with the VHS camcorder running around making dumb videos, but I never thought that could be a career.  Mostly it came from playing in bands and making our own music videos for years.

You have put quite an emphasis on the world of documentary filmmaking specifically. Was it by design? Or did you happen to discover that you had a real knack and love for this specific style of film?

I love documentaries.  I love being able to learn about something and be entertained at the same time, so I was definitely drawn to the documentary field. I also may or may not be mentally stuck in the 1990’s and wanting to re-live that era in any way I can.

Your first released documentary was on the wonderful group that sadly can be categorized as a “one hit wonder”, which was rampant in the 90’s, known as The Refreshments. What made you want to profile this band? What led you pour your heart into a project about the guys who made “Banditos”?

I had recently moved to a small town, and had some time on my hands.  I had done several short form docs and wanted to try something new.  The Refreshments are one of my all-time favorite bands, and I had recently discovered that they were basically still playing, under a new name, and had a huge cult following.  That was fascinating to me, so I reached out to see if they’d let me try to make a movie about them.

They said, “not sure why anyone would want to do that, but… OK” so I set out to make my first feature length film.  The process was difficult for sure, but I’m proud of that film and it got me to where I am today (making 2 more feature docs).  

I am very intrigued by a project you have in the works entitled Pick it Up! Ska in the 90’s. I still have vivid 20 year old memories of skanking the night away at a Reel Big Fish show, or in a church basement somewhere in my shabby hometown. Also I notice that legendary actor & musician  Alex Désert is attached! We LOVE us some Becker around here! Anyway, what can you tell us about this project? What can viewers get excited about seeing in the future?

Ha! I also love Alex Desert, he’s a rad dude! and Hepcat is a phenomenal ska band! if you like Becker… you’ll love Hepcat!  But seriously… I’ve played in ska bands for over half of my life, and that music has made more of a difference in my life than anything else.  It gave me a sense of purpose, a sense of belonging, a strong DIY work ethic and it took me around the world playing music for tens of thousands of people. So it only made sense to combine my passion for filmmaking and my love of ska music into this project.  If you have a soft spot in your heart for a skankin’ guitar, a sweet horn line, and a dirty pair of checkered Vans, I think you’ll love this movie.  It’s an unapologetic love letter to third wave ska and I couldn’t be more excited to share it with the world.  As far as who else is in it, there are a lot of folks you may know (no one else from Becker) including members of Reel Big Fish, the Mighty Mighty Bosstones, Sublime, No Doubt, Less Than Jake and tons more.  

Another project you have in the works is another extremely intriguing documentary entitled The Last Blockbuster, a story about the last remaining Blockbuster store located in our beloved Pacific Northwest. Bend, Oregon to be specific. You even had a very successful Kickstarter campaign, receiving almost double your $20,000 goal. So, for those who are not in the loop, what can you tell us about this project? What made you want to tell the tale of this store and the rise and fall of its namesake?

I moved to Bend, Oregon about 4 years ago, and since then I have driven by this Blockbuster Video almost every day.  I was almost certain it was closed and they just hadn’t taken the sign down yet.  But one day I decided to go in… and it was like stepping back in time 10 years! The florescent lighting, the shelves of movies, the smell, the customers picking out their evening’s entertainment, the employees still dressed in the iconic blue and yellow… It really took me back.  So I asked the store owner if I could start working on a documentary about their store.  At the time there were still a dozen or so locations so I thought I might follow them for a year or two and see how they were still in business.  Then this year, the remaining stores (mostly in Alaska and Texas) all closed down, leaving the store in Bend Oregon as the last remaining Blockbuster Video.  So I immediately jumped back into high gear to finish this film while they are still in business.  The ultimate goal being to have our documentary on the shelves and available to rent at Blockbuster.

With all the research and work you have done on The Last Blockbuster, I am curious to know if you had any opinions as whether or not the city of Bend is one of the reasons that this place still exists? Or is it pure coincidence?

The City of Bend is really interesting, and it’s definitely a contributing factor, but I think it has more to do with the owners and the staff wanting to keep the store alive, and the confluence of events that lead to the rest of the locations closing.

What does the future hold for you? Anything you would like to plug to our readers?

I’m working hard to get these two films out in 2019, I’m really excited to get them finished and out into the world and start on the next projects.  I’ve been reading a lot of scripts and looking into making a narrative feature, possibly some more short films.  To follow along with any of these projects you can go to popmotionpictures.com 

We are also on instagram for both films at:

@skamovie

and 

@lastblockbustermovie

What was the last thing that made you smile?

I’m deep into editing the ska documentary right now and today I was working on the segment on the Aquabats, which is a super-hero based ska band from Orange County CA that is perhaps the silliest of all the ska bands of that era.  We spoke with Travis Barker (Blink 182) about his time playing in that band and have found some old footage of him dressed as a super hero, playing the drums… that made me giggle for sure.