I have several tests of character and here is one: I casually refer to the band 50FootWave in a conversation. If the person I am talking to immediately goes into epileptic convulsions of joy, then I know they are about as rock-solid a person as I could ask for. But often there is no recognition, so I’ll follow up by explaining that it is an amazing power trio characterized by the best of DIY punk, combining a well-developed anti-corporate ethos with a massive sonic onslaught fronted by a female guitarist/singer with a brutal and haunting vocal delivery. Oh yeah, and they are also 2/3 of Throwing Muses. This last bits always throws people – understandably, as it threw me when I first realized one of my favorite punk bands was a side-project for a “college rock” band that I kept at arms length throughout the 1980s and ’90s. But for the disbelieving, I play them the song “Clara Bow”. That usually leaves them to that desired stage of epileptic convulsions of joy (if not, I hit them up with the video for “Pnuema” with Kristin’s sandpaper scream “Shut the fuck up!”).
I was introduced to the work of Tom Scharpling when I started listening to the podcast of The Best Show on WFMU as a way to kill time at work. The show features a mix of Scharpling sounding off, and contending with an endless supply of insane callers, including Jon Wurster (of Superchunk, The Mountain Goats, and many more), who has worked with Tom to create hundreds of character based sketches, and eventually the fake town of Newbridge, New Jersey. Add the fact that the show is an invariable tastemaker (with frequent guests such a Paul F. Tompkins, Julie Klausner and other great comedians, musicians and artists), and you’ve got a unique, modern take on the classic, golden age radio show. I loved the show so much I checked out his other work, most notably the USA show Monk (which he wrote/produced), which was equal parts captivating, touching, and funny at times. Scharpling also contributed to multiple shows on Adult Swim.
Tom granted me the chance to do an interview before a Best Show one night, and was nice as could be. He’s also one of most naturally funny people I’ve ever seen, who can start joking around in the middle of the most serious of discussions, without coming off as just “doing material.” Afterward, he let me sit in the studio on air, which was like a comedy fan’s dream come to life, watching him go off on everything from bullies to Beatles Fest. This was our conversation.
Here is the second of my podcasts for Razorcake. This is focuses on New Zealand — kiwi pop with a focus on the Flying Nun bands of ‘80s and ‘90s. Listen to the start of the first cut, “Tally Ho!” If you dig it, stick around. You’ll love the rest. Think Velvet Underground’s third album or the Kinks circa Village Green or Arthur.
Yes, John Q. Adams III is the renaissance man his name would suggest. Cartoonist, art collector, Puli aficionado, whiskey enthusiast, and keeper of Lockport, NY’s finest Koi pond are just a few of Adams’ varied interests. To many in the comic community, though, he is best known as the wrangler of silverfish — both as one of the creators of the Silverfish mini-comic and as the curator of the Silverfish Gallery blog (formerly here).
Adams answered a few of Go Metric’s questions via e-mail, a format resistant to consumption by the dreaded silverfish.
The whole Silverfish thing started as an self—published comic in the mid 1990s. Why the silverfish as subject?
Well, my collaborator (Crazy Bob Craig) and I were sitting around one day talking about comics and how most collectors cringe at the mention of silverfish. One of us (I don't recall who) said "Hey, why isn't there a comic about silverfish?" and that was all it took. It was initially created in hopes of being included in an Ithaca Comic Club newsletter but they decided to pass — our first rejection letter! After that we went made a few portfolios and went the mini-comic route.
Is Silverfish still an ongoing concern?
We have four issues out. The last one was in 2006 and featured a special guest appearance by Cerebus. Dave Sim (Cerebus creator) was kind enough to take time to contribute three partially drawn pages and the book was sold with all proceeds going to the Comic Book Legal Defense Fund (CBLDF). I have the story plotted for another two or three issues but actually taking time to do the work has always been my problem. Crazy Bob came up with a ten page fill-in story but that's still in the works as well.
How did the comic evolve into the Silverfish Gallery?
There was a comic in Comics Buyers Guide years back by cartoonist Mark Martin. Something about putting mothballs in old 35mm film containers (remember those?!) to ward off silverfish. We sent him some phony baloney cease and desist letter from the "law firm" of Adam Johnson and Craig Roberts and he sent us back a "Call Off Your Bugs" drawing apologizing for "stealing" our bugs. Seeing his silverfish drawing made me wonder if other artists might wanna draw one and sure enough, some did. It just sorta snowballed from there.
When I explain Silverfish Gallery to people, I sometimes get a puzzled look. Do you have a standard request when you approach artists? Do most people "get it"?
Well, it's easier at a comic convention where I can just show them some of the drawings I have so they know what I'm talking about. When I contact an artist via e-mail, I first mention I have a "theme" art collection. This is more common than you'd think — fans collecting artwork around a specific theme (cliffs, cows, Frank Zappa, etc.) — and many artists have enjoyed the oddball request as a break from the usual Batman or Spider—Man sketch request. I suggest they visit the Gallery to see what other artists have come up with before they decide yea or nay. I hope that once I have them there and they see it's a legit request my chances will be better.
As of June 2010 I have 433 silverfish interpretations.
What has been the most satisfying interaction with an artist? Not necessarily your favorite piece, but who was the best sport?
It's too tough to narrow it down to just one. The majority of the artists have been very professional, treating my goofy request as a legitimate job and providing the art in a timely manner. Some need a reminder every now and again but that's partially my fault — if they're aren't charging me (yes, some were done gratis!) I explain that there is no deadline involved and to feel free to work on it as their schedule allows. Some of the artists who I didn't expect to be interested have seemed to be the most enthusiastic. And I've even had artists mail me and ask if they could do one — that's always a pleasant surprise.
Any interesting rejections worth noting — famous artists?
Oh, plenty of rejections! Some artists are too busy, some prefer not to draw someone else' creations, some draw sketches only at conventions. I did send an inquiry to the agent of a "famous artist" who replied that the timing wasn't right but to check back in the future (I do — at least once a year!) but I'd rather not name names for fear of jinxing it.
You post the images online, but how do you display them in your house?
I have a number of framed pieces on the walls. Some of the paintings are quite beautiful and not "cartoony" in nature so they don't look out of place with the other "real" art we have. Also, some aren't "drawn" works at all — I have some glass, silver, metal and shadowboxed pieces on display.
Have you ever considered approaching a gallery to display the collection?
Never even thought of that. I imagine the subject matter may turn some folks off but the variety of artists (not all from the comic book field) might have some appeal. Not sure how comfortable I'd be lending out the art, though.
Who would you like to have draw a silverfish who hasn't yet?
There are a few artists on my "wish list.” Some just haven't worked out for one reason or another — their busy schedule, priced outta my range, don't do commissions, etc. — but I've been fairly lucky so far.
As much as I love a good night of rock’n’roll, you can always have too much of a good thing. Crowding into the same dive bars, seeing the same chords every other night just starts to get old. That’s the beauty of the Rhythm Chicken.
You don’t make plans to see the Rhythm Chicken. You go about your day, when suddenly there’s some noise. Maybe it’s coming from across the street, maybe it’s coming from the bathroom. You look over, and there’s the strangest looking chicken you’ve ever seen, pounding away at his drum kit. With a lust for life that puts any beer mascot to shame (not to mention a thirst for Hamm’s), the Rhythm Chicken is here to spread his ruckus with the world.
Joe: Are you related to the San Diego Chicken? Is that how you ended up working for the Milwaukee Brewers? RC: I am not related to the San Diego Chicken whatsoever. He does not look like a chicken AT ALL!!! He has feathers and a beak! What the hell kinda chicken is THAT? After viewing a Nardwuar interview with the San Diego “Chicken”, however, I do find myself with a certain amount of respect for this guy. As for the Milwaukee Brewers, I was picked up first for video footage on the stadium’s jumbotron. Whenever they Brewers were hurting (which was more often that I’d care to admit) they would throw the “Rally Rabbit” up on the screen, and I hear the stadium would go nuts! People started showing up to the home games wearing their own chicken-ears in support. Humbling, ain’t it. I am the Rhythm Chicken. Take off your clothes!
Joe: How did you end up playing at a wedding? RC: Uh….which one. I think I’ve played at maybe 12 or 15 weddings. I’ve played at two weddings in Kansas City, plenty in northern Wisconsin, and a few in Green Bay, which I guess you could call east-central Wisconsin, or more aptly, Titletown. Yeah, most wedding crowds are a little taken aback at first, but then join in on the ruckus. I am the Rhythm Chicken. Take off your clothes!
Joe: What's the oddest overall place you've ever played? RC: The oddest overall place? This question is tad difficult. How does one rate the level of “odd”? Well, I’ll list three, how’s that? Playing on a pontoon boat in the middle of downtown Dresden, Germany, on the River Elbe, just after the fireworks show for their “Stadtfest” with millions of drunk Germans yelling from the banks of the river and from the bridges overhead. Playing at the finish line for a Mardi Gras run at the Railroad Pass Casino just outside of Las Vegas with all the runners dressed up Mardi Gras style. Playing in the back of my friend’s little wave runner boat along the shore of Lake Michigan to other partying boaters who could do nothing but laugh and hoot! Uh….there’s plenty more. They’re all pretty odd, to tell the truth. I am the Rhythm Chicken. Take off your clothes!
Joe: When did/what made you you start migrating to Nevada for the winter? RC: Last winter (’08 – ’09) I went to Las Vegas for the winter, just for winter work, nicer biking weather, and basically something new to do. I knew that Las Vegas would offer an endless list of opportunities for a chicken like myself. The Vegas ruckus-meter reading is actually much lower than one would expect. Then last summer and fall I was back in my trashy trailer in northern Wisconsin, and now I’m back out in Nevada. This time in Boulder City, just outside of Vegas. It’s a nicer smaller town, more like my hometown back in Wisconsin, and just as weird, which is good. Las Vegas is a bit too predictable and “run-of-the-mill”. Sin City? I couldn’t even find one can of Hamms! I am the Rhythm Chicken. Take off your clothes!
Joe: What happened to the Rhythm Chicken 7"? RC: Oh that! Well, I spent about $1200 pressing 300 copies, each with its own DVD (the making of the 7”!) back in 2005. I ended up giving away most of them, and sold maybe 50 at the most. I didn’t really intend to make any money back, and I didn’t. It was just neat to have them and to see the look on people’s faces when they saw that I had my own 7”. Now, I think I have maybe 5 or 6 copies left in a box at home. If you come across one, look closely. There are many hidden bits of information therein. If anyone would want to fund the next one, I’m all ears. Side 1 was recorded at the National Liquor Bar, and Side 2 at Koz’s Mini-Bowl, both quality bars in Milwaukee. Neither of which have ever seen such ruckus before that or since. Actually, shortly after this was recorded, the National Liquor Bar was torn down and now I hear it’s a Walgreens. So there you go. I am the Rhythm Chicken. Take off your clothes!
Joe: How did you get acquainted with Dr. Sicnarf/Francis Funyons (from your Razorcake column)? RC: Well, the good Doctor Sicnarf was a drunkard who was writing for my local liberal paper in northern Wisconsin. He and I are of a kindred spirit. I drum, he writes. Then there is the not as good Francis Funyuns. He was responsible for the Rhythm Chicken newsletter (Follow that Bird) which used to come out a few times a year. I think there were maybe 10 or 14 of them ever released. There hasn't been a newsletter released in over 5 years or more. I'm gonna have to light a fire under Funyuns' ass. Some have pointed out the interesting fact that Francis is my human side's middle name, and if you spell it backwards, well, it just gets more interesting. Total coincidence says this chicken. Squawk on!
Joe: What was going through your head/your general reaction during The Gethard Show?
Mitch: Disbelief, excitement, and guilt, mostly. Positive sides of all of them. Disbelief because the day I responded to Chris's video, I went to school and to pass the time/get through it, I thought of how cool it would be if I were chosen, and all the cool things that could happen. A lot of those things DID happen, so I had a hard time believing it. I was sitting in a community college in Ohio, thinking "Then Dave Hill could come out!" and a month later he does, and it was unbelievable. I think excitement is obvious. I mean, a litany of things I adore were just coming and going and I didn't know how to handle it. Apparently, my excitement didn't translate, and I was holding back somewhat, because if I didn't I probably would have cried for far too long. Then guilt, because I was thinking about all the comedy nerds who don't even get to attend shows at the UCB, let alone be the guest at one. Also, the whole weekend people were asking me if or when I'd be moving out there, and during the show there were absolutely no reasons not to in my mind. There are still very few reasons not to, but the heat of the moment romanticized the whole thing. I had never had one of those moments I want to last forever till then.
Joe: The Dave Hill bit was pretty great. Similar to you creating a Dave Hill online fan group, is there also a Mitch Fesh online fan group?
Mitch: There is. It is called "Mitch Fesh is God." I didn't make it because I think I'm great, but because all of the people I was Facebook friends were posting these really arrogant things, so I decided to go for the most arrogant and made that group.
Joe: You also specifically mention (on Facebook) that you're interested in "artificial banana flavoring." At the very first Chris Gethard Show, one of the first bits was "Share what's on your mind", and Bill from the Kung Fu Monkeys pointed out that artificial banana flavoring is a sham, as bananas taste differently depending on how ripe they are (and later admitted that's often a go-to topic of his). So, is your interest true/would you like to argue and or defend any of that?
Mitch: He's right. But, I love the flavor they use in the artificial flavoring. I don't care for bananas, it's specifically banana flavored taffy, smoothies, and candy in general that I love. So, I don't feel the need to defend it at all. It's like how pizza flavored chips don't taste like pizza, but can have a separate, good taste.
Joe: How was your overall time/experience in New York City, aside from the UCB/Gotham show?
Mitch: Great. It rained pretty much the whole time, but other than that it was real cool. I don't know how to express how much I like simply being there. At one point during Shannon's tour they asked if I was having fun, and I responded with, "I could do this all day," and it's the truth. Also, eating pizza and burgers is always a good time, and we did a fair share of that.
Joe: Do you think you've changed in any way since the trip/The Gethard show? If so, how?
Mitch: Yeah, I'm much more determined now. Its official, I plan on moving to New York. Which, in itself, has made me try harder in the respect of finding jobs. I have a reason outside of comic books and DVDs to have an income. A goal. Additionally, it has given me stories to tell at family functions and memories to cheer me up. Also, I'm much less into pessimism, lately.
I’m a fan of underdogs - really, is there anyone that’s into punk rock or comedy that isn’t’? So when Chris Gethard announced that he wanted a sad teenager to come be a guest on his monthly talk show, I was intrigued. And when Mitch Fesh (the lucky winner) was announced, I was completely fascinated (in part because admittedly, I saw a little bit of my younger self in him). The show really turned out to be one of those “once in a lifetime” moments, so I wanted to catch up with Mitch afterwards to see just how he felt about the whole experience, and life in general.
Joe: How did you first get exposed to the Upright Citizens Brigade Theater, as well as Chris specifically?
Mitch: I had seen the Upright Citizens Brigade television show, and while looking it up on the internet, I found out about the theatre. So, on my sixteenth birthday my family and I went to NYC, and stopped by the UCB. It was probably the best first show I could have seen; Aziz Ansari, Nick Kroll, Dan Mintz, Baron Vaughn, and Wendy Spero. So, the next day we went back, and rather than stand-up, it was improv, which I found just as amazing. The next year, a few days after turning seventeen, I saw The Stepfathers. Chris stood out to me. Then when UCBcomedy.com launched and I was able to search by performer I was introduced to a bunch of Chris's hilarious videos, among others. Then after going to a couple ASSSSCATs, Chris became one of the various comedians I look up to.
Joe: What made Chris in particular stand out to you?
Mitch: I'm not completely sure. I think his range of vocabulary, and wrestling references. I mean, everyone was really funny, but I felt I would relate to him the most.
Joe: How did you first find out about Chris's offer, and what was your initial reaction to it?
Mitch: I had heard about his Magic Bus of Stories and I even entered the Magic Nissan of Stories contest. After he posted that only four people had entered I commented that I would if I didn't live in Ohio. He posted, "Dare to dream." So, I sent him a five hundred-plus word essay. Before the winner of that contest was announced, he posted the video for this thing;
When I saw it my first thought was, "This guy is so cool." I mean, a part of me thought it was a joke, but with the other stuff I figured, even if this is a joke, what's the worst that could happen? I send him something and he doesn't send anything back. Not that bad. So, without talking to anyone, I sent him something saying I wanted to do it, probably within five minutes of watching the video. Then within twenty four hours of that we were talking over Facebook chat.
Joe: Was The Chris Gethard Show your first experience performing in a "comedy show" setting?
Mitch: On January 18th 2008 I did stand-up for the first and last time at a Christian hangout in Michigan. The Christian aspect isn't really important, but I find it sort of funny. I had a sketch online and whoever was running the show saw it and said me and my friend who made it should come be a part of their first ever comedy show. We were the first comedy act ever to perform there. I did this whole bit about how most times I look like I'm thinking about something, intently, it's just something pointless, like the best way to kill a zombie in one kick; never a real issue, like banning the N-word. I don't care about that issue because I don't use the N-word, so it makes no difference to me, but I will get mad if they start banning adjectives, because then I couldn't tell you how awesome my zombie killing strategy is. And it wasn't abysmal, but, I haven't tried to do it again.
Joe: I also understand you performed improv for the first time.
Mitch: Yeah, the night before the Gethard Show, me, Chris, and a bunch of other nice folks, who do improv regularly, did a fifteen minute set at Gotham City Improv. This was my first time doing improv on a stage, or in any formal capacity and I had five minutes of training backstage. They tell me it went well for my first time. I feel much more confident about that show than I did about the stand-up.
Joe: Can you describe a scene from that?
Mitch: Chris addresses everyone that he is selling the family farm. Bridget Fitzgerald and Matt Nedostup discuss how they won’t know how to adjust to society, because all they know is okra. I ask what okra is, which sets up the game of them not knowing, guessing, and arguing about okra, when that's supposedly all they knew.
I certainly tend to agree that, in the infamous words of no less an authority on all things Laurel Canyon, California as F. Zappa, most rock journalism is people who can't write, interviewing people who can't talk, for people who can't read.
Which makes a book such as the one I write of today even more special, and without a single doubt worthy of your very own careful study.
True, in a market already too glutted with Fortieth Anniversary re-servicings of everything from Woodstock to the Stones’ Altamont misadventures, one would hardly be blamed in passing by yet another study of Los Angeles pop culture from its equally distant, if Golden age. Somehow though, veteran SoCal rock historian Harvey Kubernik’s bountiful new Canyon Of Dreams book is the joyous exception to the patchouli-drenched rule: It is both lush in layout and deep in detail, of not only the musicians, but the arrangers, club owners, publicists and even architecture behind an era roughly stretching from Art Laboe to Slash. Or, as the author himself tells me, “We needed a print ride from 1914 to 2009. I took the challenge.”
“I knew my highly passionate writing style and implementation of the oral history structure could really bring readers into a real/reel world from my native viewpoint.” And Kubernik’s approach, like a spin off the Strip itself, is one perfectly chaotic, wildly colorful concoction wherein Donovan rubs coffee table-sized pages with the Firesign Theatre and Eric Burdon, only to find Glen Campbell bumping lazily into Andrew Loog Oldham by way of Rick Rubin and the Mamas and Papas.
Then, just a thumbnail away, hitherto unimaginable El Lay links between the Mothers and the Monkees are irrevocably connected as never before in print, while unsung musical heroes aplenty – from Three Dog Night’s Danny Hutton to original Canyon Queen Jackie DeShannon (as opposed to Joni Mitchell) – are not only illuminated, but speak at gorgeous length in their very own words throughout these twenty-full chapters. Myths are dispelled (such as the real origins behind Messrs. Crosby, Stills and Nash’s much-debated initial meet-up) while just as many legendary Hollywood stories remain as unconfirmable as ever...and most frustratingly, fascinatingly so, I must just add.
Meanwhile, besides all the obvious Cast of Characters along the way, we’re after all these decades finally introduced to such seminal figurines as Nurit Wilde (Canadian expatriate who parlayed a lighting booth gig at the Whisky A Go Go into life as a sometimes intimately-involved photographer-to-the-stars), not to mention other such, as Papa John Phillips once sang, young girls who came to the Canyon and never ever went completely home. But, as Kubernik confidante Ray Manzarek writes in his most knowing Foreword, “all soft and bejeweled and feathered and wrapped in their soft garments from antique clothing stores,” these, yes, L.A. Women play an integral part in the proceedings, above and far, far beyond simply providing horizontal pleasures for the myriad curly guitar strummers they, and now we, duly encounter along the way.
And capturing this all, as he continues to this very day (his own Under The Covers documentary is also Required Viewing, by the way) is none other than the truly gifted Henry Diltz, whose photographs of all things Laurel – and then some – are lovingly reproduced throughout Canyon Of Dreams in stunning, revelatory glory. To cite but one example, his somehow innocent yet simultaneously striking image of a young, unguarded Linda Ronstadt on page 163 more than lives up to its caption (“Barefoot and Breathtaking with Killer Pipes”) while at the same time showing more behind two brown eyes than with the proverbial thousand words, no matter how well chosen they may indeed be.
Yes, that is precisely the kind of book Kubernik has produced. And like the people, the places, and most absolutely the music of which he and his assembled multitude speak, the editorial approach and even layout itself remains as flippantly sun-baked as one would expect when grappling with the reminiscences of Kim Fowley, Pamela Des Barres and Micky Dolenz. Because after all, as The Man Who Invented The Rolling Stones explains right there on Page 45, in L.A. “we had fun getting it done.”
“My roots go back to the mid-Fifties in this town,” Kubernik explains. “I was born at Queen of Angeles Hospital, overlooking the Hollywood 101 Freeway at the border of Los Angeles and East Hollywood. I graduated from Fairfax High School. Do I have to even say anything else?”
Well, as the above-mentioned Danny Hutton exclaimed, "Harvey, you did a book about forty years, not four years. You did a book not about the same seven people or bands, but seventy people!" And somehow, so much more as well.
Discriminating consumers of only the best in rock ‘n’ pop have long revered Dennis Diken as drummer with those rightfully legendary Smithereens. Yet did you know that in between making Jersey beat, Dennis has penned some of my all-time favorite liner notes (The Beach Boys’ Lost and Found collection, for example), hosted some of my favorite radio shows on mighty WFMU-FM, written on and about anything and everything from Otis Blackwell to Allen Funt, and even popped up recently in reverent celebration of Ringo Starr’s 69th birthday within the pages of USA Today?
Now, having lived as I have in the New York City vicinity for nigh on twenty years, one cannot help but cross frequent musical paths with Dennis and his drums, accompanying Bill Lloyd one moment, Mary Weiss the next. But even all of the above totally failed to prepare me for the track which appeared circa 2001 in answer to my request for him to be part of a Gene Pitney tribute disc I was compiling: A wholly, perfectly roller-rink rendition of “Only Love Can Break A Heart” that featured Dennis on not only percussion, but vocals as well! Who knew?!!
I certainly didn’t. So an instant request for MORE! eventually brought several works-in-progress my way, each even more sonically love-breaking than the ones before. Still, there was so much else for Dennis to attend to, Smithereens primarily...
Until now — finally — comes an entire, full-length CD full of the man alongside co-writer/vocalist/instrumentalist Pete DiBella and producer Dave Amels. It’s called Late Music, and it is quite honestly one of the finest albums you or I will hear this, or any other year.
Nevertheless, having gotten a whole album from Dennis, there were still quite a few things I needed to know, you know.
So, should you ever find yourself longing for a 2009 Wilson and/or Walker Brothers record, wondering whatever became of that “Bucket T.”-powered Who, or have just put down your Mono Beatles Box long enough to crave some real songs made by actual humans again, Bell Sound’s very own Late Music is the very first place I’d suggest you head.
EIGHT QUESTIONS For NARDWUAR (The Human Serviette)
The single greatest living Canadian since Stompin’ Tom Connors, whose latest Evaporators release “A Wild Pear” shares seven Mint Records inches with Andrew W.K., tells us all…..
1. Munsters or Addams Family: Which one’s for you, and Why?
Well, Munsters of course, since Yvonne De Carlo (Lily!) was born in my hometown of Vancouver, British Columbia, Canada. By the way, since we’re speaking of births, why not mention death? Errol Flynn died in Vancouver, British Columbia, Canada. 1959, to be exact. With his 16-year-old lover. Like you care.
2. Who in the world, living or dead, would you most like to play a game of “Twister” with?
I don’t know yet. My dad once met John Denver on an airplane ride. Does that count?
3. How many Sid King & The Five Strings records do you own?
Gary, I don’t know who Sid King & The Five Strings are! Please, oh please tell me, Nardwuar the Human Serviette, who Sid King & The Five Strings are:
[Well, Nardwuar, simply check out my piece on ‘em in Visible Ink Press’ Music Hound Rock: The Essential Album Guide book, OK? And/or contact the very good folk at Norton Records. ]
4. Got any good Brian Wilson stories?
No, Gary. Please inform us, again. Yeah, tell us about Brian Wilson’s RAP album! I know he did a good rap album.
[ NO comment! ]
5. “Ginger” or “Mary-Ann”: Which one’s for you, and for How Long?
Mary-Ann, cuz she appears in a video by the band Squirtgun for the song, called strangely enough, “Mary-Ann.” Squirtgun features a guy called Mass, who also played in a band called The Potatomen with a guy called Larry Livermore who saw the Sex Pistols at Winterland and The Syndicate Of Sound kick it out in Detroit! Interestingly enough, I once interviewed Gilligan. Check the interview out on my Web site.
6. What single song, living or dead, do you most wish you’d written… and Why Didn’t You?
Different Strokes or Facts Of Life. That would make me Alan Thicke, a fellow Canadian, and someone my friends in the band The Smugglers have written about. In fact, here are some of the lyrics to “Alan Thicke” by The Smugglers:
Holy shit, is there no justice in the world that made you the king of this TV dream?
Oh, the Nielsens can just go fuck themselves:
You’re Canadian, you can work up here
Well I don’t give a shit about that bitch Joanna Kerns:
She’s got nothing; you carried the show
We’ll give you your own show on the CBC
And we’ll watch you every Tuesday night
From Tofino to P.E.I.
We love you, Alan Thicke
We love you, Alan Thicke
7. Whose Farfisa organ would you most like to be reincarnated as?
The Farfisa for the Five Canadians, a 1960’s group from… Texas. Yes, the Five Canadians were from Texas. Huh? They took the name because their manager believed (read carefully) “a band that people THOUGHT were from Canada would get more airplay.” Genius.
8. In 2000 words or less, Your Hopes, Aspirations and Goals, musical and otherwise, for your life and your country?
