Joe DeRosa [Interview]

For fans of comedy, Joe DeRosa is staple to say the least. And for damn good reasons too. He is one of the funniest people in the world of stand up comedy right now. I will arguably put up his special, You Let Me Down, up against some of the most legendary comedy specials of all time. I’d be willing to digitally fight anyone who doesn’t believe it is a special that ranks up there with Chappelle’s For What It’s Worth! But, the only comparison that would be correct to make between the likes of DeRosa or Chappelle, is that they are both truly original comics in their own right. A Joe DeRosa comedy performance is always something that will be like nothing else you have ever experienced. He is the real fucking deal folks, and we are so honored that he was willing to share a few words with us as we wrap up this wonderful week of showcasing some amazing comedians.

So let me stop this hack bit of an intro, and let you all get to reading this amazing interview with comedy legend Joe DeRosa! Enjoy!

When did you first realize you were a hilarious human being, and stand up comedy was a way for you to take a natural talent and use it to earn a living?

The hilarious part I’m still trying to realize. As for stand up, I knew I was somebody who had a lot of opinions and I knew I wanted to yell them at people. Watching George Carlin let me know that you could do that. Making them funny was always–and still sometimes is–a necessary evil.

I understand you came up into the game in Philadelphia with folks like Big Jay Oakerson, also the home of the legendary Dom Irrera, a couple of decades before you. In the standing of cities for comedy, how do you believe Philly ranks? What was it like coming up around there?

Philadelphia was the best place I ever could’ve started. I was one of the only non-black comedians in an all black, urban comedy club called the Laff House. The challenge of getting on stage and commanding a room was amplified by the fact that I was so culturally different. It was an amazing experience. Comics like Turae Gordon and the Legendary Wid (my mentors) taught me the tricks of the trade that I still use to this day. I’ll never forget them or that club.

Much like your old pal Bill Burr did with Breaking Bad, you have stepped into the wild imagination of Vince Gilligan as well in the equally fascinating show Better Call Saul. How has this experience been for you, and what do believe it is about Gilligan’s writing style that leads itself to be able to have professional comedians perform in a dramatic fashion?

It’s such a thrill to work on Saul. Vince is the best! Jonathan Banks is the best! Every scene with him is a crash course in acting. Bob Odenkirk was a comedic idol of mine when I started out, so working on his show is an honer. They’re all so amazing. Vince writes completely real situations, characters, and dialogue. When Comedy is right, it’s real. So comedians appearing on that show makes a lot of sense to me.

So, I am actually a recent transplant to the UK, if you didn’t know, or care. I am planning on attending the Fringe Festival for the first time, this summer. I know you were there last year for some gigs, so what should I look for and be excited to see while I am there? What was this experience like for you working as an American comedian?

I didn’t know, but I do care. Fringe is a terrific, enlightening experience. Just dive in head first and see everything you can. The diversity is amazing. Also, you’re going to drink A TON. I had a blast over there. I was there, performing every night, for the month leading up to the taping of my special. Doing that material in front of audiences I wasn’t familiar with improved my hour in ways I never could have imagined.

What are some of the best green room snacks you have been provided in all of your years as a stand up? What are some of the best pre-game supplies that could be provided before a show?

Give me some coffee, water, beer and whiskey backstage and we’re good. Keep that goddamn deli tray. I eat before I show up to the gig.

In your obviously professional opinion, do you believe we are in a sort of golden age for comedy right now? Is there a possible over-saturation problem, or is it better that more opportunities are out there for comedians?

I think it’s a good time for comedy, but far from the Golden Age, especially since so many comics play it safe and say the same stuff as the next guy. I don’t really see multiple acts pushing the envelope like they had in the ’70s. To me, that was the Golden Age. We have tons of opportunities now, which is great. I just wish more people utilized them more interestingly.

What sort of advice would you give to the avid comedy show attendee? And what do you believe it is that makes some people unable to not just sit down and shut the fuck up? Is it only alcohol, or some sort of psychological thing?

My advice would be to have fun and shut up, which you’ve already addressed. There’s that old psychology class scenario where they discuss a person being robbed on a street, all the residents watching from their windows, yet nobody calling the police for help until someone else does it first. It’s the same thing with hecklers. They wanna be the daring hero (like the comic) but need to see someone do it first (the comic) and that then gives them the balls to attempt becoming the center of attention. It never works though, which is good. Fuck them.

So what is next for you? Anything you would like to plug to our fine reader(s)?

Always wanna plug the podcasts: We’ll See You In Hell on the Headgum Network and Emotional Hangs on Feral Audio. Also, go get my special on iTunes! It’s called You Let Me Down.

What was the last thing that made you smile?

Jay Mohr, graciously per my request, doing an impression of Joe Pesci instructing on how to bake a Christmas ham. I cried. It’s on this ep of his pod if you wanna check it out: http://j.mp/2oYMQE3

Check out this clip from Joe’s most recent, and damned hilarious Comedy Central Special, You Let Me Down:

Henry Phillips [Interview]

It’s all about the comedy this week, good folks! And we have another amazing interview for you all today! Henry Phillips has been one of my favorite working comics for a while now. I first came across his film Punching the Clown on Netflix oh so many years ago, and knew right away that this man’s comedic styling and self-deprecating attitude was exactly what I wanted to see. And as it turned out, his stand up turned out to be even more impressive than his filmmaking.

Phillips has been pleasing audiences since the mid 90’s, and definitely has a great story to be told. He’s experiencing more of the ups and downs of the comedy world than you could even fathom. Thankfully for us, the highs have been extremely high, casting a large shadow over the lows, of which I could even name. I just love what he has done with stand up comedy, and am extremely grateful that he was willing to share a few words with us here today. So ladies and gentlemen, please enjoy some very nice words from the amazing stand up comedian, actor, filmmaker, writer, love maker……Henry Phillips!

How old were you when you realized you wanted to be hilarious for a living? What drew you to the world of stand up comedy?

I was 24. As a teenager the dream was to become a musician for a living, but when that started looking unrealistic, I went to college and gave up on the arts. I had always been a big fan of comedy, but never even imagined myself doing it professionally. But in 1994, I had a song that my friends all used to laugh at, and I was urged to go up and try it at an open mic. It ended up being a hit, and I was so excited to have people laughing at my humor, it was addictive. That’s what I said to myself, “maybe I can do this”.

What are some of your favorite cities to perform in that are not NYC or L.A.? What places tend to surprise you with their crowds? (For example, I hear the words “Bloomington Indiana”, and I have no idea where that is, but it seems like a decent place for comedy)

Yes, Bloomington has a reputation for being one of the best comedy audiences. College towns in general are pretty good. Not necessarily because of the college students themselves, but maybe because of the cultural influence a university has on the community. Maybe more open-mindedness? Which I think is extremely important for humor. San Francisco, Minneapolis, Cincinnati, Nashville, Austin, Madison, are all wonderful Comedy places. My first “road” experience was the Laff Stop in Houston Texas, which had a magic about it. The audiences used to laugh so heartily at that club, it’s a big part of the reason that I decided to stick with it. No idea why that was, just one of those things.

You’ve been going at it in the comedy world for a quite a while now. In your opinion, how has the comedy world changed since you first began doing it? And has advancements in technology elevated the comedy game, or is it hurting it?

The biggest change that’s happened since I started Comedy in the 90’s is that now there are more things that you can do to be proactive. It used to be that you would try to make your act as good as possible and hope that you were picked to be a TV or a movie star. Kind of like waiting for a winning lottery ticket or a seat on a lifeboat. Now, if the phone doesn’t ring, you can make your own TV show and put it on YouTube, or you can start your own podcast, or you can develop a personal fanbase and organize a tour and sell your tickets online, skipping the middleman. There are just so many things that can be done now that empower the individual comedian. That’s a change I welcome, and really try to take advantage of. I have 2 web series, several digitally self-released CDs, and even 2 independent films, which would’ve been nearly impossible to achieve back in the 90s.

Your film Punching the Clown has been hailed (at least by me) as a MUST WATCH for true fans of stand up comedy. And now we are fortunate enough to get a sequel with Punching Henry. For old fans of Clown, what can we expect to be different this time around? What direction are you taking our beloved Henry?

Plotwise, it’s similar, but you would replace the record label with a TV network, and replace my brother with my lesbian musician friend, played by Tig Notaro. It’s much higher production value, some really beautiful imagery, great sound and some big name cast members. The feedback I’m hearing from fans of the first one is that this one’s a little bit darker, and a little bit more desperate. There is no female love interest, and the villain in the movie is really just life itself. Ha, that definitely doesn’t sound like a winning pitch for a comedy movie, but in my opinion it really works. Not only do I feel that we really nailed the big funny scenes, but I think there is a very honest pacing throughout that lets you know that you’re watching something real.

I adore your amazing web series Henry’s Kitchen. On the surface, one might think it’s just another set of cooking videos on YouTube, but in reality it is so much more. For those who are unaware, can you tell us a bit these videos and what makes them unique? And where did the idea for your version come from?

Henry’s Kitchen was inspired in 2011 at a time when I was doing a lot of cooking by myself at home. I would go to YouTube and Google, for example “French toast recipe”, and I used to really laugh at some of the amateur chefs out there teaching how to make French toast. At one point I said to myself, “I have to do one of these”. So I made my French toast video, and it was a hip among all my friends. Then I made my video “chili for one”, and it actually went viral. I was so excited, I always wanted something like that, and I finally got it. So then I just started cranking out more and more. There are 25 now, and there have been a great outlet for me creatively. I love coming up with one liner type jokes to say while I’m cooking, and scoring the soundtrack and writing the songs has really helped me stay in touch with my musical side. They are a ton of fun, and I’m amazed at how many people out there have seen them. I’ve been recognized at several airports, and in the streets in cities from Montreal to LA, by all these people that think that I’m just a terrible cook.

I am a huge fan of the podcast Doug Loves Movies, and you are hands down one of my favorite guests to frequently appear on the program. And whenever I get the chance, I have to ask people who are fortunate/insane enough to be on the show…what is that experience like? Is it just another for of publicity, or do you really enjoy doing it?

That podcast is nothing but pure fun. At first I was intimidated to be a guest on it, because I’m insecure about my knowledge of recent movies, especially all the marvel/superhero ones. And I’m not really good at coming up with trivia answers on the spot. But the bottom line is that Doug Benson is one of the funniest people ever, and he’s a genius at making the show funny, regardless of the trivia performance of the guests. It’s really fun.

What would you consider your greatest non-artistic accomplishment? 

It might be boring, but I guess finishing my political science degree at UCLA. it was great to learn all about a field that I had previously known little about. And there was a real sense of accomplishment, especially toward the end, when I was fulfilling all of the requirements. I had to study French, learn about statistics, take random science classes, etc. I guess I consider it an accomplishment now, because looking back it’s the only real time period when I wasn’t interested or involved in the arts at all.

So what is next for you? Anything coming soon that you can tell our readers about?

Well, Punching Henry is now out on Blu-ray and on iTunes and Amazon. It will also be on Showtime in August. I’m also working with an animator on a potential animated comedy Christmas special. And I am really hoping to make a couple more episodes of my other web series You and Your Fu&king Coffee, by the end of this year. In general, I think there will be much more filmmaking for me from this point out. But I will always be a traveling comedian as well, as long as there is an audience that wants to see me.

What was the last thing that made you smile?

A video I just saw. Comedian Brendon Walsh has been pranking this gossip show by appearing as a guest Skyping in from home, and he keeps getting naked dudes to walk by in the background. Pretty damn hilarious.

Henry has made more recent Henry’s Kitchen episodes since this one below, but for introductory purposes, you HAVE to check out this amazing episode:

Graham Elwood [Interview]

We’ve got a legend in our midst today, my dear readers! Today we are talking with the legendary comedian, filmmaker, creator of the L.A. Podfest, and all around brilliant human being known as Graham Elwood. I will be perfectly blunt and state that I first became aware of Graham’s work through his brilliant guest spots on the wildly popular podcast Doug Loves Movies (which we will discuss further), but I have since learned that this man is a talented comedic monster in his own right, and I was actually enjoying his work long before I knew the man by name.

Besides being a hilarious comedian, Graham has given us two amazing documentaries: Laffghanistan, about comedians performing for the troops that is as hilarious as it is heartwarming. And Ear Buds: The Podcasting Documentary. Both films are fantastic, and the latter is an absolute must watch for anyone who obsessively listens to podcasts (such as myself). And one of those podcasts that hits by queue constantly is Graham’s own podcast, Comedy Film Nerds, that is an absolute delight for fans of comedy, films, comedy films, anything! I simply can not say enough nice things about the great Graham Elwood. Therefore, I shall let him tell us a bit more about himself. So please enjoy some great words with the legend himself, Mr. Graham Elwood!

What made you decide to join the world of stand up comedy, especially at a very young age? What were some of your inspirations to join a world like  stand up comedy?

I grew up watching and listening to comics like Steve Martin, Richard Pryor, and others. I knew at a young age that I couldn’t hold a real job so telling dick jokes to drunks seemed more realistic.

There have obviously been some pretty major changes in the world of stand up since you started 30 years ago. But, I am interested to know what you believe is still the same. Are there elements about stand up that existed in the late 80’s that still hold true today?

Well, the art of writing and telling jokes is still very similar but it’s the technology or delivery to public that has changed. When I started you only had Johnny Carson and The Tonight Show. Now you can have, Netflix, YouTube, Twitter, etc.

Continuing with that theme….what have been some topics that have always seemed to work for you throughout your career? What are the fail safes basically?

I like talking about people and things I’ve seen in all my travels. Telling a true story about a crazy event will always work for me. Lenny Bruce said all good comes have a built in bullshit detector.

You have had a down right captivating movie based podcast in Comedy Film Nerds. Just so good. For our readers who may not be aware of it, can you give us a bit of insight about CFN? How did it manage to come about? And what is it that you personally believe sets your movie podcast apart from
all of the others?

CFN started as a website with movie reviews written by stand-up comics. It then grew to a podcast that has become the focus or our entire business. I think that we stand apart because Chris Mancini and I are both filmmakers and comedians. We went to film school and got heckled at dive bars. So we feel this gives us a unique insight as to what makes a good film and what is an excuse for doing honest work.

You have also been the driving force behind the finest Podcast Festival the world has ever known, the L.A. Pod Fest. What should attendees be looking forward to in 2017? Is it already shaping up to be a pretty amazing event yet again?

This year the LA Podfest have moved to the historic Biltmore Hotel in downtown LA. It’s our 6th year and now we have an iconic venue with a lot of showbiz history. Also getting some big name first timers, like Bill Burr, Bobby Lee, Laurie Kilmartin and Bert Kreischer is nice.

And just to add to your amazing versatility, you have created two amazing documentaries about equally amazing experiences with Laffghanistan and Ear Buds. What drove you to enter the world of filmmaking?

My parents took me to the movies as a child and that impacted me. I always wanted to make films and talk about them. The two docs I’ve directed were just being in a unique place at the right time and wanting to tell a larger audience.

As the person I am currently dubbing ‘The Godfather of Podcasting”, I feel like you are the most appropriate person to ask this: What is something you believe to be absolutely crucial to have when starting a podcast that the common person may not know is essential to the process?

Passion and good equipment helps. Also, now you’ve forced me to put a horse’s head in Chris Hardwicks bed.

I have to confess that I became aware of your work because of a podcast that was not yours, but featured you and had me laughing hysterically. It was Doug Loves Movies. You are always a delight to hear on that show. Frankly I become disappointed when I DON’T see your name on the bill. It sounds like you have a lot of fun doing it. So is it fun? What is it that you enjoy about doing the show, and what keeps you coming back besides the advertisement side of things?

DLM is like a cocktail party with a bunch of funny friends where you play movie trivia just to make each other laugh. I’ve had so much fun on that show over the years. I’ve also met some great comics, actors and filmmakers from DLM. It’s a great place to get guests for CFN.

So what is next for you? Anything you would like to plug to our readers?

Since the election I’ve been more involved with what’s going on in the world. I started a YouTube show, “The Political Vigilante.” I’m a progressive who is done with the two parties and corporate media.

What was the last thing that made you smile?

The Thor: Ragnarok trailer.

Find everything you need to know about Graham and how to watch his films and how to listen/see him at the Comedy Film Nerds website.

For a quick example of what Comedy Film Nerds has to offer, check out this video of our heroes talking about one of our favorite things in the world, screenwriting!:

Todd Pipes [Interview]

Regular readers here at TWS will definitely notice that we have a HUGE soft spot for “90’s music”. I don’t really believe that this needs to be a genre or labeled as such. But, we just happen to be huge fans of some amazing pop and alternative (another weird name for a “genre”) artists who hit it big in the last decade of the 20th century, and are still going at it hard today. And today is no exception! Todd Pipes will be best known as one of the co-founders of the sensation group we know and love as Deep Blue Something. DBS became a world wide sensation in 1995 with the release of their hit single “Breakfast at Tiffany’s”, a song that is a god damn staple for it’s time, and 22 years later, still hits us so damn hard with one of the most catchy choruses you will ever hear.

After a bit of a hiatus, Deep Blue Something came back to us in 2014! But, Todd Pipes has never slowed down, releasing a couple of solo records, producing other artists, and just constantly creating magic each and every time he picks up a guitar and puts his brain to paper, and makes our ears feel the magic. He is also a very delightful human being! So delightful in fact, he took some time out of his busy schedule to share a few words with us! Aren’t you guys just the luckiest god damn readers in the world? So let’s get to it! Ladies and Gentlemen, Todd Pipes!

When did you know that you wanted to be a musician for a living? When do you remember realizing this was to be your calling?

That’s easy: second grade. Three of us on the school bus had discovered KISS by way of some older kids talking. . . It was instantaneous. My mission was actually to somehow join KISS. It’s bizarre to think back on that; there being no transitional period of just liking music as a listener. I was immediately attracted to the bass as well. I realized pretty quickly that they’d be too old to be in a band with, so I was okay with moving ahead on my own. At this point, I started picking out the bass lines to Jeff Lorber’s Fusion album on a toy guitar I had. I remember my dad coming into my room as I was playing along to “Wizard Island” and asking me how I’d learned it. I also remember the look of concern on his face when he exited. Dave Brubeck’s Take Five album was big with me then too. . . Second grade was a big year.

The 90’s were a peculiar time for music, and left us with some of the best work to date, in my opinion. And Deep Blue Something was definitely a major player in the scene. In your personal opinion, what do you believe it is that set you guys apart from the numerous “alternative” acts that came about during this magical period?

I think that, for being so jangly, we had a particular melancholy aspect that made us different. Maybe it came from the overarching influence of the Smiths or the Jesus and Mary Chain; I’m not sure. Our use of the acoustic guitar came straight from Love and Rockets’ Earth, Sun, Moon album (a vibe Ash had already started in Bauhaus). It creates lots of sonic space where Toby could do his echoey lead guitar stuff. We were also definitely a lot less ‘bro-ish’ than the more grungey bands of the time, which was always funny to me—all the physical posturing of these dudes wearing camo-jorts and combat boots, and singing all ‘grrrrr and yerrrrrrllll,’ then you meet them. . .hilarious. . . and you feel like a giant. . .

When you finally had “Breakfast at Tiffany’s” wrapped up in what would be it’s final cut, did you instantly realize that you had a hit single on your hands? And what was it like to find yourself suddenly on top of the charts?

It was actually the first time we played it live. I’d written it one morning (we had a show that night), and we did our typical, “let’s run through the set before we load the gear” thing that we still do, and I asked if we could try a new one to see how it sounded. They agreed, and afterward someone suggested that we just go ahead and play it that night. We assumed there’d be the usual exodus to the bar that immediately follows when a band announces, “here’s a new one we just wrote,” but there wasn’t. We had a solid following by this time, and they connected with it right away. Everyone instinctively knew to jump up and down during the chorus, and I thought, “hmmm, this is interesting.”

As far as “suddenly finding ourselves on the charts,” it definitely wasn’t that way for us. It was a station by station, town by town, state by state, country by country STRUGGLE. Every program director told us that it didn’t fit their format. We played acoustic in so many conference rooms and office lobbies just to try to get them to spin it just one time. If we could get that one play, we’d top the requests and get full rotation on the station. It didn’t even matter where else the song was working . . . Ultimately, we’d literally conquered the world and the geniuses at the UK branch (of our own record company!!) told us, “the British charts are currently dominated by British bands, and you’re so American-sounding that we’re not going to release it—congratulations on your success elsewhere. . .” They were only forced to release it because everyone was buying German imports after they’d heard it on foreign radio which drifted across the English Channel. When we went number one, these same morons showed up backstage at Top of the Pops with a fruit-basket saying “funny ‘ow fings go, innit?” I had to be physically restrained.

Deep Blue Something has recently regrouped, and released the wonderful Locust House EP on Kirtland Records. What was it like getting back into the saddle with the crew after a hiatus? Is it like old times again?

It has been exactly like old times. These are people I spent every waking moment with for years. It’s all of the in-jokes and codified language that you miss. And talking about gear—I’d forgotten how much we talk about gear. Kirk sent us a text a few days ago with a picture of this ultra-rare distortion pedal that he’d just acquired, and we were all, “ahhhhhh.” So much discussion of signal direction flow in cables, and pickup impedances, ohms and tubes. . . sometimes we even get around to writing songs and recording them. . .

In your personal opinion, what is the main difference between DBS’s work today as opposed to say, 20 years ago. What has time and experience granted you all as far as growth?

As with many things, when you can return to the starting point—the source, all of the unspoken reasons for starting all of this become clear. We’re all the way back to just doing it because we enjoy the processes involved in the creation of music. With the passing of all of those years, I’d also had simply forgotten what amazing musicians everyone is. At the time, I always thought of us as a single unit—a band. For some reason while doing the Locust House sessions, the focus was on everyone individually and the whole time I just kept thinking, “it was never this easy when I was producing other bands. . .”

How did Bass Propulsion Laboratories come about? And what are some projects you have had come out of it?

Simply put, one day my wife finally ventured upstairs (where all of the recording equipment that Toby and I had amassed over the years), and we’d taken over the whole place—mics and cables everywhere—drums in one room, guitar amps in other rooms, a control room—and she said, “this is our house! We live here. . .can’t y’all rent a space somewhere?!?!?!” I thought, “yes indeed.” It was named Bass Propulsion Laboratories because we lived near NASA and the Jet Propulsion Laboratories when I was young. We ran it for years but closed it down a while back—we had everyone from Drowning Pool to DJ Shadow to Maren Morris in there . . . when she first started making records at BPL, she couldn’t even drive. Great times. I ended up building a small studio on our property, where I continue to do mastering projects. As I mentioned earlier, I love gear, and it’s all got to go somewhere. . . My son and his band are making a record in there now.

As you have watched the music world shift dramatically with the digital advancements that have taken place, what are your opinions on its state? What are some positives, as well as downsides, to the way the business has shifted since we moved into a streaming and digital download environment?

The idea that anyone can release a record to the world certainly seems positive, but the reality is that artists find difficulty in anyone ever hearing it. More than ever, artists are in competition for attention–to the point that they’re giving the music away. Everyone is now used to getting their music for free (through gifting, streaming, or stealing), so they don’t value it. I cherished the records I bought as a youth BECAUSE they cost me something. I had to do chores, save birthday money, etc just to be able to buy one, and then ride my bike miles and miles to the record store and back just to hear it. Every band was a personal investment, and because of that I stuck with the bands and their music. Music has now been relegated to commercials and background noise for video games. And yet things do manage to poke through somehow, and band comes along like Ghost. Somehow their music found its way to us from Sweden, and my whole family loves them.

So, what is next for you? You always seem to be gearing up for or in the middle of something cool, what can our readers look forward to in the near future?

DBS is currently writing and recording new stuff; I’ve got projects to mix and/or master. I may finally finish my PhD. . . I’d like to get a tour going.

What was the last thing that made you smile?

Yesterday, my son mentioned something he was doing for a girl he’s started dating, and how it would earn him ‘brownie points’ with her. When he left the room, my daughter called me over to ask what exactly ‘brownie points’ were—suspecting there was some sort of merit-based ranking system involved with high-school dating of which she was unaware. I love innocence.

Check out the official video for Deep Blue Something’s 2015 single “Make Believe Off”:

Christopher Thorn [Interview]

Hey there Everyone! Remember when we used to talk about music a lot? I know that TWS has sort of become the MTV of the blog world, as we have shifted away from the plethora of album and artist reviews we used to do. But, we are so excited about these amazing interview opportunities that have been bestowed upon us. So, how about we combine the two. How about we showcase two of the best guitarists of our generation in one week? And tell you about some new shit you need to hear? Would you like that? Well, that’s what you’re going to get!

Christopher Thorn is the real deal in the modern world of music. For almost 30 years, Thorn has been thrilling audiences and listeners alike as the man behind the guitar for some of the finest acts of the 90’s and through to the present. In fact, he was the driving force behind one of the bands that was posed to be one of the greatest of all time, had tragedy not struck them so hard. I am talking about the legendary 90’s act Blind Melon. With just two albums released, the band was hit hard with the death of their truly unique and talented lead singer Shannon Hoon, that is now widely known. It is honestly hard to tell just what sort of magic Blind Melon might have been able to create had they been able to continue on. But, life doesn’t always work that way. So, we are left with two amazing albums that we can never be taken away from us.

Thorn’s later work has always been on our radar, as he has definitely refrained from diving out of the spotlight. He has continued to work with other amazing acts, as well as releasing his own wonderful projects. But, we will let Chris tell you about them himself! Ladies and gentlemen, Christopher Thorn!

As you were growing up, when did you first decide that you wanted/needed to join the world of music? Do you have any specific memories that still stick out to this day?

By the age of 12 or 13 I knew I wanted to play music and make records for the rest of my life. Once I made that commitment I had a focus and dedication that I never knew I had. I would wake up an hour early before school every day and practice. I had an amazing music teacher at school named Jeff Snyder who would let me practice in the music room during my study halls. I practiced before, during, and after school. I was obsessed and it felt great to find my passion .

As our old friend Marc Maron might ask, Who were your guys? What bands influenced you the most when you were coming up?

My influences are all the obvious ones. Jimmy Page and Keith Richards made me want to play guitar. Once I heard Bob Dylan and Neil Young, my focus changed more so to song writing and the craft of making a song that can drop you to your knees! The Beatles were also a huge influence as far as songs and production.

Would you be able and/or willing to give a brief synopsis of the formation of your first major group, Blind Melon? What were the early days like? And could you even fathom the amount of success you guys would have in such a seemingly short period of time?

I placed an ad in the LA local music mag in 1989 looking for a bass player. I met Brad Smith through that add and about a year later he and Rogers met Shannon. Brad called and said I found an incredible singer and we are looking for another guitar player. I went over and Shannon played me a new song he wrote called ” Change ” – When I met Shannon for the first time I thought this guy is exactly like all the legendary front men I have always read about. I had never met anyone with that much charisma, charm, and talent. He fucking blew my mind from day one. The rest is history as they say.

I don’t think anyone could really fathom that sort of success. I was a country boy from a tiny town in PA and I ended up on the cover of Rolling Stone. To this day when I even hear myself say that it sounds like I’m making it up. It still feel unreal.

Blind Melon struck a chord with the audiences of its time, and for great reasons. During this time of the sort of alternative renaissance as I have heard it called, what do you believe it was that made you guys stick out of the crowd? I know why it is special to me, but what was special for you?

I think we stuck out because we were not grunge. We were lumped in with that scene but we were on our own path. I also think Shannon’s personality and stage presence was a big part of that too .

Can you tell us a bit about Unified Theory that you started with bandmate Brad Smith and fellow rock geniuses Dave Krusen and Chris Shirin?

Unified Theory was a great time. We all got along really well. Brad and I produced the record in our own studios in Seattle and it was the first time we had control over every detail when it comes to the recordings. We toured our asses off and had a blast. I am very proud of the two records we made .

I have also become aware that you spent some time as a member of another group that I consider to be one of the finest rock acts of all time, the band Live. When was your period with this band? And how was this experience unique to you?

I was asked to join the band Live in 1998. I did a short tour including the Tibetan Freedom Concert and made The Distance To Here record with them. Around that same time I met Chris Shinn and I decided I wanted to form my own band. I asked Brad Smith and Dave Krusen to join and we were off and running. My time in Live was amazing . They had sold 20 million records by then and were riding high bu,t my time with them made me realize that starting over and forming my own band was more important than taking the easy road being a side man in Live .

And lets make more with the present, and ask about Sonny Boy Thorn. What can you tell us about this project, and what can the fans of modern times expect to hear, or have been hearing for a while?

In 2012 I toured the world with Awolnation as lead guitar player. I had a blast and it was a privilege to ride the wave of another hit song that I was a part of. The song “Sail” went on to sell 10 million copies but once again, I knew that starting over… ( again) and making my own music was something I had to do. I met Davie Dennis (Singer for SBT) around that time and we started writing songs . We brought in all our friends to help record. Glen Graham from Blind Melon, Matt Flynn from Maroon 5, Hayden Scott from Awolnation, Rami Jaffee from the Foo Fighters and Jim Keltner ( John Lennon , George Harrison, Joe Cocker and a million more ). It was an incredible experience. We have 20 songs complete and are just trying to figure out the best way to release the music . I truly feel like its the best record I have made since the Soup record .

Besides your own stuff, what are you listening to these days? Do you manage to keep up with the new trends in music?

I listen to a lot of new music . My new favorite band is Mondo Cosmo from LA . I love the Arc’s record as well . Queens of The Stone Age is also a modern fav . When it comes to Hip Hop I’m really digging Post Malone who recorded at my studio last month. He is the real deal and it might sound odd but his charm and charisma reminded me so much of Shannon.

What else does the future hold for you? Anything you would like to plug here?

I have some really big plans for the future that I have been working on. Art projects is all I can say at this point. I think the Melon fans will be very excited when I reveal what I have been working on. I am also excited about the Danny Clinch/Shannon Hoon documentary . It is one of the most unique and intimate films I have ever seen . Shannon shot all of the footage . Its like looking at some ones private journals .

What was the last thing that made you smile?

The last thing that made me smile was Nico Hoon and her mom came out to Joshua Tree to spend time with my family and we all pretty much laughed our asses off for the entire week!

Check out this amazing video for Sonny Boy Thorn’s single “Wild and Free”:

Brandon Crowson [Interview]

I have been wanting to do this one for quite some time folks, and I am so happy to finally get it done. Today’s interview is with filmmaker Brandon Crowson, a man who has delved into a world that we are far too familiar with here at Trainwreck’d Society. Crowson’s debut documentary, The World Has No Eyedea, is a stunning look at the tragically short life of musician and poet Michael “Eyedea” Larsen. Avid readers of the site will know exactly how he fits in to the TWS world. For those of you just joining us (first of all, Welcome!), Michael Larsen has been a figure around here for a very long time. Or dear friend Alexander “Bodi” Hallet (former TWS Person of the Year!) wrote a very touching tale of Michael’s influence on him in what you may call the “prequel” to Trainwreck’d Society, our book Children of Mercy: Tales and Teachings From the World of Independent Music, and was also a dedicatee in the book. And since then, we have featured his work, and that of his friends for the last 6 years now. He’s a legend, and is sorrily missed.

So, it is quite the honor to have Brandon talk with us today. Brandon is a brilliant young mind with a future that is as bright as the sun. Years ago, Crowson linked up with the late Eyedea’s mother and a friendship was built that has become his amazing documentary, The World Has No Eyedea. Through years of hard working, crowd funding, etc., the film is now out in the world and is currently touring the country side with Brandon at the helm, and uniquely acting as a real solid live show usually featuring Eyedea’s former music partner DJ Abilities. For those of us who have not been able to attend the live shows, we are simply waiting impatiently for the physical release, that simply can’t come soon enough!

We wanted to talk to Brandon basically to see what makes him tick. How does a midwest boy from Minnesota decide he wants to make movies to earn a living. And he was gracious enough to share some very kind stories with us here today! So please enjoy some words with filmmaker Brandon Crowson!

What made you decide to become a filmmaker, working in almost every form of filmmaking? What drew you to this form of artistic expression?

I’ve just always loved storytelling. It fulfills me in a way that nothing else does. I’ve been writing stories as a hobby since I was 6. I didn’t really grow up in a background where the arts was encouraged, so after years of doing construction related jobs I got sick of paying my rent with backaches and went to college for screenwriting. I learned quickly that trying to be a screenwriter living in MN is a dead end, so I took it upon myself to learn everything I could about all aspects of production and started doing freelance video production while I was still in school for screenwriting. No one was giving me the opportunity to get paid to tell stories so I became largely a one man production crew and started making opportunities for myself.

And since you decided to make the commitment to be a full-time creative person, what keeps you inspired to be in the world? What keeps you’re head up when times are tough, and what makes you excited to see happen when they go well?

Honestly, I just love what I do. I’m kind of obsessed with it. I’ve had any number of good and bad jobs over the years, and I would fantasize about doing what I do now at every single one of them. As far as tough times and good times, life is all peaks and valleys. My motivation is always the same, I have to survive capitalism and provide for my kids. Only difference is now I literally never have days where I hate going to work. I have stressful days sure, but it’s different. There’s a certain pride of ownership that comes with working for yourself. And nothing touches the feeling of sitting in a packed theater and watching a room full of people look at your work and laugh when you wanted them to laugh and cry when you wanted them to cry.

You’ve been screening your documentary debut,The World Has No Eyedea, to audiences across the globe over the last year and some change alongside performances by DJ Abilities and more. What has the reaction with audiences been like? What has the feedback been like for the film and these events as a whole?

Overwhelming in all the best ways. Laughter, tears, cheering, more tears. No one’s called it boring yet. We’ve literally been selling out theaters everywhere, won awards, and sold out in countries Eyedea’s never been to, so I feel like I didn’t screw it up.

Is there any word on when fans will be able to check out the film from their homes? Are there VOD or physical releases set to happen in the future?

Hopefully May. That’s all I can say right now. We’re trying to release it online and on DVD at the same time, so obviously that involves working with bigger companies and waiting on their timelines.

Being from the area and knowing the scene quite well, what do you believe it is about the Minneapolis that has made it a hotbed for alternative hip hop? And does the city still have flare it had 15-20 years ago as its popularity has risen?

We’re definitely a city that has a lot more diversity than most midwest cities. So you get all these different perspectives and skills living in the same city. Add to that the fact that everyone has to lock themselves in their homes for the most part in the winter. The winter creates a lot of opportunities to get your skills up and create as you have to do something to stave off the madness that comes with sub zero temperatures and lack of sunlight.

Plus, obviously, Rhymesayers. That whole crew built something truly amazing over the last 20 years and created a lot of opportunities, as well as provided a lot of inspiration for Minneapolis artists, hip hop or otherwise.

You have been known to tackle just about every aspect of the filmmaking process, much like a Robert Rodriguez of sorts, which I can only imagine brings on a bit of stress. So I’m curious, what would you say is your favorite aspect of filmmaking? What part of it do you enjoy the most?

If you’d asked me this question a few years ago I would’ve said screenwriting. My 3 favorite parts now are writing, directing, and editing. In a perfect world, that’s all I’d do is write, direct, and edit one movie a year, every year until I die as an old man by tripping over one of my Oscars and breaking my neck.

What is next for you? Anything you would like to share with our readers?

Who wants to see Slug throw fire at people? My next movie is titled The Different. It’s a sci-fi/action piece that’s heavy in social commentary. I wrote it myself. I have Slug attached to play a character, which as a huge Atmosphere fan still feels weird to say out loud. There’s a couple larger production companies that are considering funding it right now, but I’m not counting on that. So we’re making a mini web series set in the world of The Different that will be used as part of the crowd funding campaign to get us the budget to make the film. We’re almost done with post production on webisode 1. I’m excited about it. I think it looks really good.

What was the last thing that made you smile?

My son Griffin. He’s a toddler. 7/10 times that kids the reason I’m smiling on any given day.

Sophia Cacciola [Interview]

So, we are wrapping up our Women of the Present showcase in the best way we could possibly imagine. Today’s interviewee is a person we have been talking about here at Trainwreck’d Society almost since our inception so many years ago. She is a filmmaker, musician, writer, and overall wonderfully talented individual that we have been fortunate enough to follow along a wonderful journey of artistic discovery. It is the great Sophia Cacciola.

Sophia Cacciola recently transplanted herself from the greater Boston area with her partner Michael J. Epstein (also no stranger to TWS), to the City of Angels, where she has been shaking up the scene as a woman behind and in front of the camera pretty much since she landed. And for those of you who haven’t been living in a box, you will also recognize Sophia as the vocalist behind one of our favorite bands, The Prisoner themed Do Not Forsake Me Oh My Darling. So, she is no stranger to the TWS world, but we have never formally/digitally sat down and asked her some questions directly. We’ve talked extensively about her work over the years, but never got around to talking to her directly.

So, what better time to get a few words from her when we are celebrating the wonderful accomplishments of women in the world of film and television who are killing it in the business. We are so excited to have Sophia headline the entire gig, and wrap everything up so beautifully. So, please enjoy a few words with the great Sophia Cacciola!

When did you first realize you wanted to be a part of the creative world? What are some of your earliest memories that made you realize you were destined to live the life of an artist?

I’ve always known. I grew up in the middle of nowhere, on a mostly non-functional farm. When I was really young, I had a Fisher-Price cassette deck with a microphone. I think you were supposed to use it to sing along to Disney classics. Instead, I used it to write and record my own little songs. I remember wandering around the empty barn and fields singing crazy songs.

When I was twelve, my father gave me his guitar and sent me to a few guitar lessons and from there I was writing songs every day. By 14, I was finding cafes to play at. In high school, I was part of the AV club, which gave me access to VHS cameras, so in addition to shooting live events (plays/sports), I would bring cameras home on weekends and shoot weird little movies at my house (which is super-creepy, from the 1700s) either live cutting in camera, or later with two VCRs.

My parents were hippies, and I was never pressured into considering college or a “real” career. I was raised to be very independent and self-sufficient, and desk jobs (while I’ve had my share) never could interest me for long. I took off to Boston at 16 to play music, got a job in a record store, and started a bunch of bands. Nowadays, I’m much more in the film world than music, but both figure prominently into my output.

When you find yourself in the writing process, what is your ultimate end goal in story telling? Beyond the pure unadulterated entertainment you provide, what are you essentially hoping to tell your fans through your writing?

With my songs, I was always processing anger and depression into snippets of conversations. They always felt like they were part of another world; one that I created, full of snapshots of relationships, rooms. So, those are much more open-ended than films, and just about providing me a voice, and hopefully somethings others can interpret for themselves and relate to.

With films, and especially feature films (where you have more time to explore/develop), I have the express goal of having a message. I love science fiction and horror films, and the biggest thing that resonates with me is how they hold a mirror (exaggerated, yes) up to society to make commentary. I love leaving a movie and having something to think about. I feel a responsibility, especially as an indie-filmmaker,, to have something to say.

You made quite the splash with your following in the Boston area when you announced that you would be relocating to Los Angeles. I know people were obviously sad to see you go, but knew it was what was best for you. So how are you transitioning out in the City of Angels? Are you finding it easier to find work out west? How has your life changed since relocating?

I’m loving it in Los Angeles. For one thing, no winter can be beat! The big change is that I’m able to find lots more work in film. So, in addition to working on taking our films to the next level, I’m supplementing my time with doing cinematography (and other work) for other directors, which keeps me sharp and learning all the time. There are lots of every kind of project, and I want to work on them all!

You seem to always have like a dozen film projects going at a time. But how has the music been going for you? Are we going to get to hear more from our beloved Do Not Forsake Me Oh My Darling?

I’ve definitely been pining to start working on music again. Michael [J. Epstein] (my film/life/music partner) and I will probably be starting up a new band in LA soon. It’s time for an electro-punk revival. Do Not Forsake Me Oh My Darling is still going for at least this year. We have two more songs to write/record in our series of 17 songs based on the 1967 British TV-show, The Prisoner. We are very, very excited to be playing at the upcoming PrisonerCon in Seattle in September. We’re coming together to celebrate the 50th Anniversary of The Prisoner for a whole weekend. Our new, final songs, and hopefully some new videos, will be completed by then.

http://donotforsake.com – http://www.theprisonercon2017.com

In your films like Ten, Magnetic, and Blood of the Tribades, you put a wonderful and rightfully empowered twist on subjects by featuring primarily women, and in the case of Ten ONLY women, and in Magnetic…just one person, a woman! These are brilliant yet practically unheard of things to do in the world of filmmaking, truly ground breaking. When did you decide that these were the types of films you wanted to make? And why do believe this idea is so rare in the modern world of filmmaking?

I decided I wanted to make films featuring interesting women, women actually doing things, because that’s the kind of film I want to see, and there really is a distinct lack of female representation in film. Everyone deserves to feel represented on the silver screen! It opens up whole new worlds for people, and if certain groups/genders are entirely ignored (as they mostly have been), then they don’t get the same inspiration from films the way others with better representation might. And worse, their stories aren’t told. We’ve had many years of the same perspectives and it’s absolutely time for new, fresh stories to be told. We have so much more ground to cover. I will always make films that feature fully fleshed out women, and I’ve been working on creating more diversity in my output as well.

When you think about other women who are working so hard behind the camera, do you feel as though there has been a good amount of progress? Even in a very male-saturated business, do you believe that women are finding ways to come out on top?

The statistics are still abysmal. Only 4% of directors are women and that number isn’t seeming to go up. Only 3% of cinematographers are women – camera work has become one of my main jobs. Only 26% of dialogue spoken in films last year was by women. It’s not a lack of interest from women, it’s that women are actively pushed out through not being pro-actively hired or given advancing opportunities.

It’s also generally a hard field to be in, as it is a “boys’ club,” and you have to push through a lot of micro-aggressions to begin to be respected, which is difficult when you are already doing a very physically and psychologically intensive job. So, it is still a struggle. That said, there are a lot of great opportunities and groups for women and for now, people seem to be recognizing that there is a problem. Women-led movies tend to do well when they are given the chance, but the common belief, despite evidence otherwise, is still that they won’t do well and they shouldn’t be funded. There is plenty of audience for these characters/stories, and the effort needs to come from the top-down!

What would you consider your dream project to work on if given any opportunity possible?

My dream-project would be a sci-fi horror film set in space! I’m the hugest Trekkie, so really anything set on a spaceship would utterly delight me. I also spent a month on a shoot in Roswell recently, which really got me thinking about how great a series about the events of 1947 (alien visitation? military testing?) would make a great thriller/conspiracy TV series.

What does the future hold for you? What should our readers be looking out for in the future?

Right now, I’m working on a thriller starring two women (big surprise!), with the hopes to shoot that with a decent budget, and then probably also some more wacky low-budget genre-features in the meantime! People can expect off-the-wall weirdness from me for many years to come!

What was the last thing that made you smile?

A few months ago, we got to return to Boston to do some interviews with the cast and crew of Blood of the Tribades (our latest film, a 1970s-style lesbian vampire, Rollin & Hammer-homage). We turned those interviews into a feature-length documentary called, The Blood is the Life. Talking to the people involved with the film a year and a half after filming was really special. It was so amazing to hear their perspectives on the film, how they felt about telling that story, and their fun anecdotes from set. It also furthered and launched a few people into making their own films, it feels great that the experience inspired them. The interviews made me realize that my success as a director is bringing together a community of people and creating a family who will always be connected by this slice of time and film.