Looking Back at My Favorite Anecdotes, Articles, and Interviews from 2014


Okay, so here’s the thing about me, and if you haven’t already picked up on it, I’d be surprised, but…I really like doing interviews.

In fact, I’d go so far as to say that I love doing them.

Because of this, even though I probably did upwards of 100 interviews  over the course of 2014, I can honestly say that I don’t even need all of the fingers on one hand to count off the conversations that left me with a bad taste in my mouth about the person I was chatting with. As such, this retrospective of my favorite memories and moments from throughout the course of the year could’ve been much longer…and if I’m doing my job right, then you’ll still end up thinking, “Oh, man, I can’t believe he didn’t mention [INSERT GLARING OMISSION HERE]!”

Then again, I spend all freaking year having people saying that – hello, Random Roles commenters! – so I’m more or less used to it.

I hope you enjoy this look back as much as you enjoyed reading the original pieces – hopefully you’ll find a few funny bits that you missed or discover interviews that slipped by you in the midst the ridiculous number of links I shared – and I offer my heartfelt thanks for all of you who’ve supported my efforts, not just this year but all the years before this. I hope you continue to have my back, and in turn, I hope to continue being able to provide you with stuff that makes you happy while still leaving you wanting more. (Nobody’s perfect, so that’s about the best I can hope for.)

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Interview: Nicholas Brendon on Morningside Monster, Buffy, Kitchen Confidential & more

It’s funny what a difference a week makes.

On October 16, I was a happy-go-lucky guy, excited about the prospect of finally getting to chat with Nicholas Brendon, late of Buffy the Vampire Slayer, who’d done some work in the indie film Attack of the Morningside Monster, a project which – in the interest of full disclosure – a friend of mine had been a part of bringing to fruition. Not that my friend’s connection had anything to do with my wanting to talk to Brendon: some of my fondest memories from the early days of my marriage involve my wife and I falling in love with the awesomeness of Buffy and Angel, so I’ve been a fan of the guy and his work for quite some time.

Unfortunately, that happy-go-luckiness transitioned into a bit of anxiety when Brendon found himself in the midst of an unfortunate incident, one for which he has since apologized. I honestly thought the interview was going to be canceled as a result, but, no, it remained on track, and I wasn’t told that any topic was off the table, so I was ready to roll when he called…and yet I was anxious because I knew that I had to at least ask about what had happened, because, well, how do you not? So I did, and he responded, we each appreciated the other’s position, and all was well. Still, if you sense a certain stiltedness to the conversation on both our parts, now you know you’re not imagining it, and I’ll just close this intro by saying that I hope one day to get another shot at chatting with Brendon, preferably in an elephant-free room.


Q: Well, first of all, let’s start off by discussing the project that brought us here today: Attack of the Morningside Monster.

Nicholas Brendon: Yeah! What do you want to know about it?

Q: Let’s start off with how you found your way into it. Did they approach you with the pitch?

NB: Yeah, we got the script, and it was really nice. It was a nice, campy little movie, so I was, like, “Yeah, I’ll do it!”

Q: How would you describe your character, Mark Matthews?

NB: He’s a sweet guy with a lot of love in his heart. And, uh, a lot of heart in his belly. [Laughs.] He feeds you heart, is what I’m saying.

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“Daddy, What’s a Video?” – Phantom Runners, “On The Run”

As an avowed Anglophile from way back when, it doesn’t exactly require a hard sell to get me to take a listen to a band that’s described as having “a melodic left-field sound which nods knowingly at The Pains of Being Pure at Heart, Stone Roses and The Smiths,” which is the way Simon Williams of Fierce Panda Records has described the Phantom Runners.


Now, mind you, I’m old, so I actually had to hit up Google to find out exactly what The Pains of Being Pure at Heart sound like (and what they sound like is like a band that could’ve been on the cover of New Musical Express during the late ’80s or early ’90s, which is certainly not a bad thing in my book), but that was more for curiosity’s sake: I’d already been tempted into giving them a spin by the Stones Roses and Smiths citations.

It also hadn’t escaped my attention that their debut EP, Relevance, was produced by Huey Morgan of Fun Lovin’ Criminals fame, and when I checked out the band’s page on Stray Cat Records’ website, I found a quote from Morgan where he says of the Phantom Runners, “This is the one that you don’t pass on. The band has it all: the songs, the drive, and a unique combination of musical styles that I have not ever come across. I’m in. Are you?”

Well, it’s still early days yet, so I’m not committing to being completely in, but I will say that their song “On the Run,” which features on the aforementioned EP, is as bouncy and catchy as all get out, and the video looks fantastic.

But, hey, don’t just take my word for it: take a look and a listen for yourself.

Oh, and just as a closing FYI, if you like what you hear here, then you might want to head over to the Phantom Runners’ Soundcloud page, where you can hear even more.

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Interview: Scruffy the Cat’s Stephen Fredette on the band’s back catalog, unreleased material, and their life and times


You can blame it on R.E.M or you can go farther back and blame it on The Byrds, but whoever you want to pin responsibility on, there were a lot of artists on college radio in the late ’80s who jangled and twanged their way to a certain degree of success. I’ve maintained a fondness for a lot of those bands over the years, but one that’s always been high on my list of faves – thanks in no small part to my having instantly fallen head over heels in love with their semi-hit single, “Mybabyshesallright” – is Scruffy the Cat.

Alas, the band’s been broken up for quite some time now, having given up the ghost back in 1990, but I was able to find a certain degree of solace from following the solo career of the band’s frontman, Charlie Chesterman, over the years, all the way until – sadly – he passed away in November 2013. Suddenly, however, I’m getting even more solace than I ever could’ve hoped for, thanks to two new releases from Scruffy the Cat.

The first, Time Never Forgets: The Anthology (’86-’88), is a beautiful-sounding digital reissue of the band’s entire back catalog in one convenient package…which, if you’re not enough of a fan to know the titles of all of their releases off the top of your head, means that it contains the High Octane Revival EP, their full-length debut, Tiny Days, the follow-up EP, Bang Bang Bang Bingo, and their final full-length effort, Moons of Jupiter.

36 tracks of pristine Scruffiness? Sold.


But the second release is an even bigger thrill: The Good Goodbye: Unreleased Recordings 1984-1990, which arrived in stores last week courtesy of the fine folks at Omnivore Recordings and contains 23 Scruffy the Cat tracks that, unless you’re really, really in with the in crowd, you’ve never heard before. If you’ve got memories of the band’s music that are fond as mine, then I’m sure you’re as psyched to hear this collection as I was. But if you have no memories of the band and have never heard their music at all…well, then this is a really good time to get in on the ground floor and find out what you’ve been missing.

And on that note, when I found out about these releases, I decided to see if there was any way I could hop on the phone with one of the guys from the band and chat about these new collections, just to try and help do my part to spread the word. As a result, I soon found myself having a lengthy and most decidedly in-depth conversation with the band’s guitarist, Stephen Fredette, about the life and times of Scruffy the Cat, including discussions about their formation, the recording of all of those EPs and LPs I mentioned, their eventual dissolution, and their all-too-brief reunion a few years ago. Oh, right, and Fredette also shared some truly fantastic stories about some of the many shows the band played in their career, including dates with Alex Chilton, the Pogues, and…Paula Abdul?!?

Yeah, you know you want to read on now

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Getting Lucky with Joan Rivers

In the wake of the news that Joan Rivers passed away this afternoon, I’m sure many people are currently posting links to their favorite moments from her career or sharing stories of their close encounters with the comedienne. I’m opting to offer the latter, because it’s a moment that my wife will never forget, either, even though she wasn’t actually there when the encounter took place.


When Joan appeared at the 2009 Television Critics Association press tour in the summer of 2009, she was there to promote a short-lived TV Land endeavor called How’d You Get So Rich? – or, as she was prone to call it during the panel for the show, How’d You Get So Fucking Rich? – and as you can tell from the F-bomb, she was in fine foul-mouthed form. I sat down with her a few minutes after the conclusion of the panel, more than a little intimidated by the thought of interviewing a full-fledged comedy legend, but she got a laugh out of me almost immediately when I said, “It’s a pleasure to meet you,” and she replied, “And it’s a pleasure to,” hesitated for a beat, and then finished, “Well, we’ll see.”

The chat itself – which you can read in its entirety here, should you be of a mind to do so – wasn’t exactly a hard-hitting affair, but it was certainly pleasant enough, and we did manage to tackle a fair amount of ground in a short amount of time, briefly discussing Z Rock, Rabbit Test, and the PBS special Make ‘Em Laugh, to which she’d contributed, and when I praised her repeated dropping of F-bombs in the earlier panel, she said, “Oh, that’s very sweet. But, you know, fuck is in the vernacular now. It was good enough for Shakespeare. When Jane Fonda can say ‘cunt,’ it’s over. It’s done.” But it was our brief discussion of her time on The Celebrity Apprentice that brings us to my favorite moment of the entire encounter.

In discussing The Celebrity Apprentice, I told Joan that my wife was cheering her on all the way, so much so that, when I was working in my office while she was watching the show, she suddenly yelled, “You’ve got to come watch! Joan’s got to win! If she doesn’t win, I’m going to need some help!” At this, I actually earned a laugh from Joan Rivers – or, more specifically, my wife did, but I’m still taking half-credit for my delivery – and then we moved on to discussing more specifics about her time on the show.

After we wrapped up our chat and I thanked her, I’d just started to get up to leave when Joan suddenly asked, “You said you had a wife. Where is your wife?”

I said, “My wife will actually be arriving any minute. In fact, I should be getting a phone call from her any time now, saying that she’s at the airport.”

“Great,” replied Joan. “Are you going upstairs to your room or staying down here?”

“I’m staying down here for the next panel, whatever it may be.”

“Oh,” said Joan, slightly forlorn. She gestured to a rose in a vase that was sitting on a nearby table.  “I was going to send that to your wife.”

“Well, I won’t refuse that,” I decided immediately.

“Want to run it up to your room?” she asked. “Run that right up to your room. Trust me, you’ll get lucky tonight.”

Thanks, Joan. For everything.

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Dick Cavett: Post-Script to an Interview

Tomorrow night, PBS premieres a wonderful new documentary called Dick Cavett’s Watergate, which takes a look at the Watergate scandal and its effects on Richard Nixon’s presidency through the prism of The Dick Cavett Show. During this summer’s Television Critics Association press tour, I was fortunate enough to chat with Cavett about the documentary, which you can read right here, but the conversation continued for a few more minutes beyond the piece that appears on Bullz-Eye.

It felt unnecessary to include this bit, as it’s really just idle small talk, but as this is my site and tends to be frequented almost exclusively by people who know me and appreciate the excitement I still get from talking to pop culture figures even this far into my career, I figured you’re just the sort of people who’d appreciate it. Of course, that means you probably already know the Ving Rhames story I tell him, but on the other hand, you can also imagine how much my heart soared when Cavett delivered his closing line.


Me: I know you’ve got an appointment to keep, but I’m glad I got a chance to talk to you.

Dick Cavett: Well, you make it painless!

You know, I took a very long time to figure out what in journalism I actually had a flair for, and I finally figured out about five years ago that it might be interviewing, so I’ve done my best to try and hone that. I may not be perfect at it, but in addition to reading interviews done by other journalists, I’ve also watched plenty of your shows, and I’m also a big fan of Craig Ferguson. When he’s on task and talking with someone who really interests him, I think he’s unparalleled.

Oh, his consistency is stunning. And thank you for not asking the one question where I want to pull a gun out every time I can hear it coming, and somehow I always hear it in the voice of a teenage junior-high journalist: [In a mocking tone.] “Who’s been your most interesting guest?” Oh, God

Well, as an interviewer myself, I ‘m always more interested in someone’s worst interview, which is why I went that direction.

Well, yeah, that’s where the money is!

When you told your story, I immediately thought of a comedian who gave me little more than “yep,” “nope,” and “I dunno” consistently throughout the interview.

That’s when I say, “Do you think that you have any obligation to hold up your end of this encounter?” And then another thing you can do to them at that point – and suppose his name is Jim Wilson –is ask, “Do you think you could be a little more helpful, uh…Jim, is it?”

I’ve used that cruel trick on two people I really hated. And I learned it from Walter Matthau, who was embarrassed about coming on my show one night to receive an award for the movie Kotch. They had a plaque, and we had to stop the show and stand up as a boring man in a suit came out and made a speech about how valuable he was to the movie, how much the studio admired him, and so on. And Walter… [Picks up a glass.] I’ll use this as my prop. Walter takes the plaque and says, “Well, that’s very handsome. And I must say, I’m proud to have been part of…Kotch, is it?”

The worst interview I’ve ever had to deal with was Ving Rhames, whose work I love. It was for a film that was straight to DVD, which was fine, except that the studio hadn’t gotten screeners yet, so I couldn’t watch it…and yet they were still setting up interviews anyway.

Oh, great!

So we had a couple of good minutes, and then I very casually said, “Well, of course, I haven’t been able to see the film yet, but I was curious about…” “What do you mean, you haven’t seen the film yet?” “Well, I mean that it wasn’t made available to me.” “As a journalist, don’t you feel that it’s your responsibility to see the film before talking to somebody?” And then he said, “Stanislavsky says…”

[Starts laughing.] What did Stanislavsky say about doing an interview with someone who hasn’t seen your movie?

Well, what Ving Rhames said was, “Stanislavsky said, ‘If you do not take your work seriously, I will refuse to work with you.’”

[At this point, Cavett begins to mime the act of using a crank to raise his middle finger.]

So I said, “And then the interview was over? I hope not.” And he said, “No, because I’m a professional.”

Yeah, a real trouper! [Snorts.] Sanctimonious whore.

So, of course, it was all terse responses from that point on, and then within a few minutes, he just said, “Well, look, I’ve got to go, other people to talk to,” and that was it. With 10 minutes left of our scheduled interview time.

Well, you know, Jack Paar was very opposed to the word “interview.” He called me before I began my show and said, “Look, kid, don’t do any interviews.” I said, “Well, what do you want me to do? Sing? Dance?” He said, “No, no, no. Make it a conversation. An interview is a Q&A. ‘What’s your favorite something?’ It’s David Frost with his horrible clipboard and his jetlag. Just throw away all your notes. As the show’s going along, make it a conversation.” That’s what Jack did. That’s what makes the difference. And this didn’t feel like I was interviewed. This felt like a conversation.

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Remember That Time Clark Gregg Flirted With Levon Helm?

What’s that? You don’t remember when Clark Gregg, the man who would go on to portray S.H.I.E.L.D. Agent Phil Coulson in several chapters of Marvel’s cinematic universe before getting a promotion to director of the organization in the season finale of Marvel’s Agents of S.H.I.E.L.D., put on a dress, a wig, and a lovely scarf, called himself Henrietta, and spent some time batting his eyelashes at the drummer and frequent singer for The Band?

Seems to me, then, that it’s time you watched the 1998 film The Adventures of Sebastian Cole.


If the title doesn’t ring a bell, it’s not too surprising: it’s so obscure that it doesn’t even rate a mention in Helm’s Wikipedia filmography. It is, however, listed on his IMDb page…and, more importantly, Clark Gregg talked about it a bit when I chatted with him for Indiewire recently about his new film, Trust Me. Unfortunately, that particular bit of our conversation didn’t make the cut for the piece, but at least I have the option to share it with you here:

Me: Dare I ask if you had any encounters with Levon Helm on the film?

Clark: Um… [Starts to laugh.] That’s either very educated or perceptive.

Me: It’s really only that I like Levon Helm, so I was curious if you had any anecdotes to share about working with him.

Clark: Um, yes. I mean, my dad’s a big music fan, and his favorite band, I would say – probably because they played with (Bob) Dylan – was the Band. They were one of the first concerts I went to. As a little kid, he took me to one in Chicago. So I knew exactly who Levon Helm was, and…he has a cameo in the movie, playing a local gentleman who is attracted to Henrietta. Perhaps because his vision’s not so good. And it was one of my favorite days on the movie, to kind of spend a couple of hours in this truck, flirting with Levon. [Laughs.]

Sadly, the precise clip hasn’t been excised and posted on YouTube, but someone has made the legally-dodged decision to post the entire film in segments, so I can at least steer you pretty close to the moment in question for your viewing enjoyment. All things being equal, though, you should really just go buy your own copy, which you can do right here.

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Taken from the Pilot: Pat Metheny – The Unexpurgated Conversation


A couple of weeks ago, my editor at Pulse Magazine dropped me a line and asked if I’d be interested in doing a piece on Pat Metheny’s upcoming appearance at the Sandler Center in Virginia Beach. In turn, I dropped a line to Pat Metheny’s publicist and asked if it’d be possible to hop on the phone with the noted jazz guitarist for a short interview.

I got a quick response, but it was inform me that, although he was up for doing an interview, he wasn’t doing any more phoners now that he was on tour, so it’d have to be by email. Having mixed feelings about email interviews because of the mixed results I’ve had with them in the past, I wrote back and, figuring it couldn’t hurt to be frank, said that I was up for that option if Metheny was someone who took email interviews seriously.

Fortunately, he does. Unfortunately, it took slightly longer to get the responses to my questions than I might’ve hoped, which meant that the amount of space for the piece ended up shrinking, necessitating that the conversation be trimmed somewhat.

You can find the Pulse version of the piece by clicking here, but for those interested in reading the conversation in full, now you can.


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“Archer” creators Adam Reed & Matt Thompson on collaborating with Kevn Kinney


The Archer panels at the Television Critics Association press tour never fail to be entertaining and enthralling (or at least they’ve always been so for me, anyway), but rarely have they made me do a double-take the way today’s panel did when the show’s executive producers, Adam Reed and Matt Thompson, announced that they were going to be releasing an Archer album in the near future. What surprised me wasn’t the fact that Kenny Loggins would be doing a duet of “Danger Zone” with the character Cherlene – the words “Archer” and “Danger Zone” are so closely linked at this point that that almost seemed like a given – but that a substantial amount of the music had been done by Kevn Kinney, the singer/songwriter best known for fronting the band Drivin n Cryin.

Clearly, I needed to know more.

Me: So how did Kevn Kinney end up working on this album?

Matt Thompson: Well, first of all, Adam had already known him.

Adam Reed: Yeah, we were buddies. I’ve known him for a long time. We’d met through mutual friends in the Athens music scene and just sort of hit it off. And when we started this, we were gonna have Cherlene be a country singer, and I was looking through all my music for a song for a scene, and the song where I was, like, “Oh, this would be perfect,” was a Kevn Kinney song. So I called Matt and said, “Let’s call and see if we can get the rights to this.” And Matt said, “I’m sure we can get the rights to it, but do you maybe want to expand this a little bit?” And before we knew it, we were making an entire record.

Matt: It kind of just snowballed.

Adam: It did. It snowballed really quickly. But, you know, there are a lot of Kevn Kinney songs that we… songs of his that we re-did for the record.

Matt: “40 Miles…”

Adam: “40 Miles of Mountain Road” we did. It’s one of his songs. We did…

Matt: “Straight to Hell.”

Adam: Yeah, I don’t know if you know the Drivin N Cryin anthem “Straight to Hell,” but…

Me: “Just like my mama said”?

Adam: [Laughs.] Yeah! Well, the whole cast sings it.

Matt: On “Straight to Hell,” Amber, Adam, and Lucky are singing in the background.

Adam: Yeah, we sing the chorus. So the record really turned out great. I’m just a huge fan of us, and I’d be delighted if somehow he ends up getting, like, a Grammy and a gold-plated hum-vee out of this. [Laughs.] Have you listened to any of his non-Drivin n Cryin stuff? I think he is, like, the best songwriter ever. He’s amazing.

Matt: Adam and he actually wrote some songs while they were just sitting around. I remember my favorite is “Burn It Down.” It talks about how she always just wanted to burn shit down. [Laughs.]

Adam: Yeah, he wrote several new songs just for the record. Like, sitting there at lunch, he would write a song and be, like, “Okay, let’s go record it.” “Well, when did you write it?” “Well, just right now.” [Laughs.] He’s really a talent.

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Oh, No! The Wonder Stuff Are Back! (But That’s Actually A Good Thing)

With all of the work I’ve been doing for AntennaFree.TV, Bullz-Eye, Popdose, the Onion A.V. Club, the Dissolve, TV Week in Vancouver, and – all too infrequently as of late – The Virginian-Pilot, I must admit that this site has gone without update for far too long, but as I give my umpteenth spin to the highly enjoyable new album from the Wonder Stuff, Oh No It’s… The Wonder Stuff, it occurs to me that giving this thing a little bit of promotion is as good a reason to bring News, Reviews and Interviews out of hibernation as any.


I’ll preface my promo by saying that you would not be totally out of touch if you believed that the Stuffies had been defunct since their 1993 album, Construction for the Modern Idiot, since, indeed, that was the last time they released a new record on a major label here in the States, which means that it’s also the last time they got anything resembling a decent publicity push.

The band did actually call it quits in ’94, with frontman Miles Hunt starting a new band (Vent 414), ending it not too much later, and then going solo for a bit, but in 2000 the Wonder Stuff reformed for several concert dates, resulting in a reissue of their back catalog, a B-sides collection (Love Bites & Bruises), a live album (Cursed With Insincerity), and a live DVD (Construction For The Modern Vidiot).

After that, the line-up shifted somewhat, with a few folks dropping out, a few new faces popping in, and a couple of new albums emerging: 2004′s Escape from Rubbish Island and 2006′s Suspended by Stars. The former was pretty good, the latter wasn’t too bad, but in the end, neither really grabbed you in quite the same way as the records that had preceded them.


It’s therefore a very pleasant surprise that Oh No It’s… The Wonder Stuff, the band’s first new album in the better part of a decade, is arguably the best they’ve come up with since those major-label glory days. What’s even more fun is that the double-disc version of the album also includes From the Midlands with Love, a bonus collection of 11 covers featuring the Stuffies’ interpretations of songs by Slade (“Far Far Away”), Duran Duran (“Planet Earth”), Dodgy (“In A Room”), the English Beat (“Save It For Later”), and the Primitives (“Crash”), among others.

You’ll have to decide for yourself if you want to risk picking up the disc, but I’ll just say that I went in somewhat tentatively, and I came out quite pleased, so whether you want to blame that on lowered expectations or not, the end result is that I’ve really been enjoying the record, so if you’ve ever been a Wonder Stuff fan, it seems like there’s a decent chance you might end up enjoying it, too. If you need a bit of help before taking the plunge, though, here are a few videos to help give you a feel for the material included within.

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