An EXCLUSIVE interview with SEARCHING FOR SUGAR MAN's RODRIGUEZ and director MALIK BENDJELLOUL!

SEARCHING FOR SUGAR MAN

An EXCLUSIVE interview with 

director MALIK BENDJELLOUL 

and star RODRIGUEZ

By Stephen SPAZ Schnee

     Searching For Sugar Man is a documentary like no other.  There are so many exceptional elements to the film, all of which add up to a wonderfully moving experience for the viewer.  Not only does it tell a story of a long-forgotten musician who finally gains the recognition he has always deserved, it is also filled with hope, joy and a passionate love and respect for the man at the center of the film, singer/songwriter Sixto Rodriguez (who goes by the professional name Rodriguez). 

          Rodriguez was discovered in the late ‘60s while playing a gig in Detroit. A 1967 single appeared on the Impact label, but it would take another three years for an album to appear. Cold Fact was an album that mixed social awareness, politics, Folk Music and Psychedelia, sounding not unlike a mixture of Donovan and Dylan during their heyday. Unfortunately, the album didn’t fare well in the states commercially. He went back into the studio and recorded his second album, which met the same fate as his debut. After the failure of both albums, Rodriguez’s musical career seemed to be over. Or was it…

     Cold Fact was released in South Africa in 1971 and was a huge hit. The album ended up going platinum. In Australia, the album met with even bigger success, selling 5X platinum! Oddly enough, Rodriguez was completely unaware of his enormous popularity in those countries. It wasn’t until decades later that he realized that his music had a profound effect on so many people in these countries.

     But in South Africa, even though Rodriguez was one of the most popular cult artists around, his fans knew nothing about him. Rumors began circulating that he had committed suicide on stage during one of his performances. From a self-inflicted gunshot wound to lighting himself on fire, the rumors grew more elaborate as time moved on. They myth and the mystery that surrounded Rodriguez fueled his popularity even more.

     In the ‘90s, a South African fan, Stephen ‘Sugar’ Segerman, began a search for any information on Rodriguez. Journalist Craig Bartholomew-Strydom became involved, as did Alec McCrindle, who helped Segerman set up a website in 1997. Once they discovered that Rodriguez was, in fact, still living and breathing in Detroit, it ended up changing the lives of everyone involved.

     A handful of years later, budding Swedish filmmaker Malik Bendjelloul became intrigued by the story and decided to document the search for the enigmatic singer/songwriter.  Nearly five years later, Malik’s vision and hard work have paid off with numerous awards, critical accolades and, best of all, an Academy Award nomination, which will most certainly lead to the big win.

     During the very week the Academy Award nominations were announced, Stephen SPAZ Schnee was able to chat with Malik and Rodriguez and discuss their marvelous journey so far….

SPAZ: Searching For Sugar Man has been one of the best reviewed films in recent years.  Now, it is available on DVD/Blu-Ray and, best of all, has been nominated for an Academy Award.  How are you feeling about the reaction to the project and all that has led up to it?

MALIK BENDJELLOUL:  It’s wonderful!  I’m so happy!

RODRIGUEZ:  I did my own stunts in the film. (Laughs). I’m in the film eight minutes. It’s really Malik’s project. The film has reignited my music career but it’s really his masterpiece.  He’s worked so hard on it for over four years.  It was picked up at Sundance and he’s had a full year of promotion.  He’s gone to Moscow with it, the Czech Republic... he’s gone to Australia with it.  He’s worked real hard.

SPAZ: In all honesty, have you been surprised by the extremely positive reaction that the film has generated?

MALIK: Yes, I really, really was. To be honest, I didn’t know if it was going to work. It’s my first film: I didn’t know what to expect at all. I had a feeling that the story was exceptional. That’s why I spent four years of my life doing this. 

SPAZ:  Do you remember what Rodriguez’s reaction was when you first approached him about making the movie?

MALIK: He doesn’t like the camera and you couldn’t get him in front of a camera.  They (the fans) said I shouldn’t even try to get him in front of a camera because he should remain a mystery.  But we wanted him.  We didn’t want him to be exploited. I think that maybe (they thought) the way I was going to portray him… that it was going to ruin it.  He is very much a private man with a lot of integrity.  

RODRIGUEZ: I was reluctant.  I was kind of resisting the film.  I put it off as much as I could.  He (Malik) convinced that we should do it.  He’d already done so much work on it. It really is a triumph.  I’m enjoying it.  It’s reached a lot more people than you can imagine.

SPAZ: Malik, the film is a brilliant and creative mix of film and animation.  What made you choose that route instead of a montage or re-enactments?

MALIK:  I really don’t like re-enactments.  I thought animation would be better because it’s very obvious that you aren’t trying to fake something.  If you re-enact, you don’t know if it’s real or not real. The original idea was to use much more animation than what’s in the movie, but because of the lack of funding, there are only a few examples.

SPAZ: The film unfolds in a very intimate and emotional way, much like Rodriguez’s music.  Did you find it difficult to convey that feeling when putting the film together?

MALIK:  It’s very much an emotional journey and that’s really the reason why I wanted to make the film.  It has that very moving element that is universal: even kids will get it, your grandmother will get it, everyone will get it.  It’s not a typical story.  It’s a guy who spends his whole life as a construction worker without knowing, at the very same time, he’s a superstar.  There are fans looking for their ‘dead’ idol. Then they find out that’s he’s not dead: he’s alive… and it changes his life.  It’s so emotional and that is what made me so interested in spending so much time on this

SPAZ: Rodriguez, is it kind of surreal for you to be the subject of this critically adored film?

RODRIGUEZ: The climax of the film takes place in ’98. We’ve been touring since then and I’ve had a lot of experiences since that time. But this film thing… it’s a different medium. It’s the meeting of film and music. The film is distributed by Sony Pictures Classics and they are really behind it. We got picked up, which is another thing: Malik didn’t know that was going to happen, which is quite something for him. And since I’m the subject of it (laughs), I’m a lucky guy. I’m really fortunate that it’s happened at this pace. I really appreciate it.

SPAZ: The incidents in the film span many years, leading up to your triumphant concerts in South Africa in 1998.  Apart from the recent resurgence in the popularity of your music and the film, has your life changed much in the last 13 years since those concerts?

RODRIGUEZ: Yeah, I’ve been out four times to South Africa, four times to Australia, six times to England… Sweden… all these places.  It’s a complete transformation.  It’s a pretty amazing time.

SPAZ: Malik, there are so many visually beautiful shots of Capetown and Detroit.  Did you get lucky when you filmed in each city, or did you have to wait around to capture what you were looking for?

MALIK:  Everything was so perfect, the way that it worked. Detroit and Capetown couldn’t have been two more different places. In the movie, we show Detroit during the winter when it’s cold and snowing and then we have Capetown, where it’s summer and sunny… the exact opposite.

SPAZ:  At what point during the pre and/or post-production did you realize that you had one hell of a film on your hands?

MALIK: I wouldn’t have spent four years of my life getting this film made if I didn’t believe in it, but I still had people telling me that I was wrong.  The main funder, for example, said when it was almost finished, that it wasn’t good enough for feature length…. Said I needed to re-edit it.  It was only good enough for TV! (Laughs). I thought I had something special. There were a few people in the industry who actually said they didn’t like it, that it was crap. I thought, “Come on, you’re wrong.  And I’m going to prove that you’re wrong!”  

SPAZ: A film about a virtually unknown artist is a hard sell.  Was it difficult to find people to help back the film?

MALIK: Yes, it was hard thing to convince people. He was absolutely unknown in America.  Only the die hard music fans knew about him. 

SPAZ: Rodriguez, “Sugar Man” is your most well-known song and it inspired the title of the film. Can you tell us a little about the song’s origins?

RODRIGUEZ: “Sugar Man” is almost like a prayer, you know? That’s all that that is. It’s a tune with words. I describe ‘Sugar Man” as a descriptive song, not a prescriptive song.

 

SPAZ: Malik, maybe even more so than Light In The Attic’s great reissues of his albums, you’ve brought Rodriguez the attention and acclaim he’s always deserved.  Was that part of your intention in making the film?

MALIK:  I only wanted to tell a good story, but I’m honored to be a part of this thing. The film, you’ll see once or twice, but the music, if you like it, it stays with you.  You’ll listen to those songs for the rest of your life if you really fall in love with them. It’s going to stay with people much longer than the film does. In some ways, I think this would have happened anyway because the music is that good.

SPAZ: Rodriguez, since the resurgence in your music and this film, has your life changed much?  And does it feel good to finally be acknowledged for the music you created?

RODRIGUEZ: We do music for the girls.  We do music for the money.  We do music for the recognition.  We do it for Rock ‘n’ Roll history.  But we do music because it’s fun, because it’s a pleasure.  It’s not a spectator sport: you can dance to it; you can sing to it, you can get an instrument and play along with it. That’s the part of it that is appealing to me.

SPAZ: Malik, was music a big part of your upbringing and life? 

MALIK:  Yes, very much so.  When you are a teenager, it is really the thing that gives you your life, your identity to a large degree.

SPAZ: Were you drawn to Rodriguez’s story because of the music?  Or do you think that you would have made this film if it was the same story but he was an artist or film maker?

MALIK:  I really think that the story is good enough.  The story tells itself.  But the music makes it better.  There is so much emotional content in the music that you can’t put it into words. Music is magic.  No one can explain why you play certain chords in a certain order and it gives you a good feeling, but it does.  It’s just magic.  Music was so important to tell this story.

SPAZ: Rodriguez, there is more of an interest in your music than ever before.  Has this inspired you to go back and create something new for your growing audience?

RODRIGUEZ: Yes.  I plan to be in the studio this year sometime.  It’s got to be good. And that is why it takes so long.  I’m working the catalog right now.  That’s what they hear and unless I go out and play it, they won’t think I’m on the same page.

SPAZ: What’s next for Rodriguez?

RODRIGUEZ: I’ve got to get my guitar fixed. The frets have been worn down. I’ve got to get them replaced because it’s a cheap guitar.  Some people have really expensive guitars… so expensive that they wish they could drive them!  (Laughs)

Thanks to Malik Bendjelloul and Rodriguez

Special thanks to Caitlin McGee, Lauren Watt and Jocelynn Pryor

SEARCHING FOR SUGAR MAN  
is 
Available NOW!

THE DOOBIE BROTHERS/Let The Music Play: Official Documentary now available on DVD & Blu-Ray!

THE DOOBIE BROTHERS

LET THE MUSIC PLAY:

The Story Of The Doobie Brothers

Available NOW!

So, where's the respect and love for that motley Rock 'n' Roll band we call The Doobie Brothers?

There's no denying the majesty of their string of early hits including "Listen To The Music", "China Grove", "Long Train Runnin'" and "Black Water". The band created a perfect blend of Southern Rock, Pop, Country, Blues, Soul and Rock 'n' Roll and sounded like nobody else.

So, why aren’t they on top of every Classic Rock ‘favorites’ list, year after year? Their songs rival anything from the catalogs of their ‘70s contemporaries like Black Sabbath, Boston, The Eagles, Steely Dan, Aerosmith and Deep Purple. They sold millions of albums and singles. They became one of the biggest bands of their era. Even with all of their achievements over the years, they don’t receive the respect they so rightly deserve.

Now, don’t get me wrong: people LOVE the Doobie Brothers. Almost everyone I know can name at least a few Doobie songs quicker than they can name a Sabbath tune… and they can usually sing the chorus to those songs as well. The problem I have is that the Doobs deserve more. They deserve to be immortalized in bubblegum cards, iPhone apps and viral YouTube videos and they definitely deserve to have have highways and hoagie sandwiches  named in their honor.

And “Listen To The Music” needs to replace “The Star Spangled Banner” as our national anthem.

Forget about their appearance on What’s Happening (“Which Doobie you be?”). Forget that Michael McDonald eventually shed his Classic Rock and Soul roots and became more of an adult contemporary artist. Forget all the nonsense and just imagine a bunch of extremely talented friends smoking a few joints, plugging in their guitars and creating some of the greatest Rock music of our generation.

During a 24 month period that saw a new album (World Gone Crazy), the untimely death of drummer Michael Hossack, reissues of their back catalog and more general activity than usual, along comes this fantastic documentary that will hopefully earn the boys a lot more respect.

Containing rare and unreleased footage plus interviews with all the key surviving members (including Tom Johnston, Pat Simmons, Tiran Porter, Jeff Skunk Baxter, Michael McDonald, etc.), Let The Music Play is the perfect re-introduction to a band that we all know and love. For us fans, it could have been an hour or two longer, but I’m not going to complain because it actually does answer some questions that have roamed the halls of my brain for ages, so it definitely delivers.

Well, apart from when they skim over the severity of Tom Johnston’s illness in the mid ‘70s. Perhaps I was temporarily mummified during this part of the documentary and missed it, but they talk about TJ getting ‘sick’ and make references to it, but its not really explored as well as it should have been. Maybe it’s a private issue and nobody wanted to talk about it, but it’d be nice if they discussed it a little more. But that’s a minor complaint.

Interestingly enough, many of the people interviewed seem to view The Doobs with Tom Johnston and The Doobs with Michael McDonald as two separate, but linked, identities and not merely a continuation of an ever-evolving band. This way of thinking makes total sense in hindsight, but I’ve always thought of them as one and the same. I just preferred the Tom Johnston years over the MM years. But there’s no denying that McDonald’s “What A Fool Believes” (amongst others) is an amazing tune….

And what do you mean you have no idea what I’m talking about when I mention the Tom Johnston era and Michael McDonald era? Perhaps you need to sit down and watch this. NOW!

Perfect for music fans. Perfect for Doobie fans. Perfect for Michael McDonald fans. Perfect for Classic Rock fans.

Perfect.

An EXCLUSIVE Interview with SETH SWIRSKY

THINGS WE SAID TODAY:

An EXCLUSIVE Interviewwith SETH SWIRSKY

By Stephen SPAZ Schnee

     The Beatleschanged the course of music history. There is no doubt about that.  From their humble beginnings in Liverpool to their massive success between 1963 and 1970, The Beatles became the most influential quartet of musicians in the world.  Though some may disagree, The Beatles have even eclipsed Elvis in terms of popularity over the years.  Elvis may have kick started Rock ‘n’ Roll, but he managed to lose the plot when he churned out loads of b-movies in the ‘60s.  The Beatles never had the opportunity to overstay their welcome.  They came, wrote some of the most amazing tunes ever, changed the world and then broke up. 

     The Beatles’ story is known by anyone with a passing interest in music.  There are hundreds (if not thousands) of books written about the Fab Four.  Their songs are played 24 hours a day somewhere in the world.  Beatles fans have taken it upon themselves to set up websites totally devoted to John, Paul George and Ringo, either together or apart.  It seems, at times, that you can’t escape their influence, whether it’s musically or in pop culture.  The Beatles are everywhere.  But have we really heard all we need to know about The Beatles?  Judging by the new documentary, Beatles Stories, there is plenty more to tell.

     Singer, songwriter and artist Seth Swirsky began piecing Beatles Stories together, almost by accident, in 2004.  Beginning with an emotional off the cuff story by a Liverpudlian tour guide, Swirsky slowly put together this rather compelling and enormously entertaining documentary, which features interviews with fellow musicians and unlikely celebrities who have had encounters with at least one of the four members of The Beatles.  With stories from a wide variety of artists, this is an extremely enjoyable documentary that delivers great story after great story. 

     From producer Jack Douglas’ hilarious tale of recording Double Fantasy with John Lennon to Henry ‘The Fonz’ Winkler’s encounter with Paul McCartney on the streets of New York, Beatles Stories is a truly unforgettable experience that will leave viewers wanting more (thankfully, there’s extra interviews included in the DVD’s bonus features).  Throw in great stories from Brian Wilson, Sir Ben Kingsley, Art Garfunkel, Susanna Hoffs, Davy Jones, Jackie De Shannon, Bob Eubanks (yes, Bob Eubanks!), Graham Nash, Peter Noone, Justin Hayward, Denny Laine and many others and you’ve got yourself a documentary that shows the human side of The Beatles that tends to be overlooked elsewhere.

     Stephen SPAZ Schnee was able to catch up with Seth Swirsky, who can now add ‘successful film maker’ to his resume, and they chatted about all things Beatles Stories…

SPAZ:  Beatles Stories is just about ready to drop.  How are you feeling about the release and the reaction you’ve received so far?

SETH SWIRSKY:  I am so pleased.  I do projects that really tap into my passion: I give them all I have and I pay for them myself.  I had no profit/loss statement on this if you know what I mean (laughs).  My biggest goal is…. I just love The Beatles so much and I wanted to share these stories. For me, it was, “How do I express that feeling?”  Well, I’m a songwriter and I’ve written many hit songs. I’ve written albums myself. I’ve won many awards… all those different kinds of things. That expresses what I learned about songwriting being a very young child in the ‘60s and the ‘70s.  But that didn’t quite express my love of The Beatles, which is very, very deep. So, I started filming these things and putting it together and it was such a joy to do.  I would show little bits to friends and I thought that I’ve got to put it together in a way where it’s not 4 hours long and you’re not looking at your watch. You’ve got to edit it in a certain way.  It was the editing that really took a lot of the time. You want it to have a certain flow. The whole first half of the movie is The Beatles of the ‘60s. I had to do a slow progression all the way up.  It’s not literally year by year.  It’s era by era.

SPAZ:  Hearing people tell Beatles-related stories throughout the years obviously inspired the film, but can you pinpoint the exact conversation and moment when you decided that this movie had to be made?

SETH:  That’s a great question.  Usually, what I do with any of my work, it’s like having a big slab of clay that you put down and you know you want your hands on that clay but you don’t know where it’s going.  Then, all of a sudden, it starts appearing. You want to do a clay figure of a woman and you don’t know exactly what it’s going to look like but then it starts to appear…and that’s when you know the moment.  I was asked to play at the Cavern Club in Liverpool for my first solo album.  And I was like, “Oh my God, are you kidding me?  Play the Cavern Club?  The Beatles? Unbelievable!”  I flew over there. I had my guitar and I had a handheld camera. I wasn’t planning on making a movie. I had a break before I went on and I took that Magical Mystery Tour Bus where they show you John Lennon’s house growing up, George Harrison’s house, the Strawberry Fields gate and all that stuff.  The tour guide, Eddie Porter, he showed us the Strawberry Fields gate and I just said, “Hey, Eddie, can I just film you over here. Can you just tell me a side story?” And I’m filming just for myself and he tells that story of Sean and Yoko with the picture and he said, “I almost cried my eyes out,” and I thought that was so poignant.  So, I go back to L.A. and I get online and I somehow stumbled upon May Pang’s website and I wrote her through the contact page.  I didn’t think I’d hear back from her. She writes me back and says that she’ll be in L.A. and I asked if I could bring my video camera.  She says sure and then she shows me around the apartment where she and John lived when they landed in L.A.  So, now, I’m thinking I’ve got two of these things. And then a friend mentioned to me that he knew Peter Noone.  You’re actually inviting people to a party.  You’re not inviting Sir Ben Kingsley and Brian Wilson first because they’ll never come to your party.  Graham Nash is not going to be the first at your party. So, you’re building a mountain.  I had these three people and when I had those three, I asked Denny Laine and he said yes.  And then Justin Hayward said yes. So then it dawned on me: these stories, if I can cut them down to a minute and a half each, telling the stories with the photographs and try to reconstruct the story, then what is it really?  It’s Beatles Stories. And I thought that’s nice and simple and tidy and it tells the story of what I’m doing. Done!

SPAZ:  You’ve got a wide variety of celebrities involved, from actors and comedians to athletes and musicians.  Was it difficult to get them involved with the project?

SETH: My whole philosophy when I’m doing something artistic is: yes.  Just the word ‘yes’.  Why not?  They are people, too? Let’s talk about Art Garfunkel for instance.  I really wanted Art Garfunkel because I had heard about his story, I had read about it.  You don’t hear it very often.  I started thinking, “How am I going to get to Art Garfunkel?”  I already know that to go through his PR people, they’re never going to get it to him because it’s not money-making.  And I’m not saying anything about Art Garfunkel.  I’m just saying that he is presented projects over the years, so many of them.  So, I always try to go a different route and I try to be creative about it.  I’ve produced records, so I went to the back of the album covers that I’ve made and I thought to myself, “These guys are very good musicians.  I wonder if any of them have played with Art?” And wouldn’t you know there was one overlap: a guy who played guitar on records I produced and he had also played with Art.  So, I wrote him a long e-mail: “Hey, I haven’t seen you in a long time. What’s going on?” Then I made sure I described the project.  In three paragraphs, I described the exact project and what I had done before. I made sure that I described the project as if I was speaking to Art.  I said, “If you like this idea and can get it to Art, fantastic.”  He loved it. He e-mailed me back and said, “Yeah, I know Art.  I’ve played on his records. Can I just forward it to him?” I’m telling you, that night, I go to my answering machine.  I clicked it on and he goes, “Hey, Seth. Art Garfunkel here. Yeah, I’m in.  I love the project. That sounds amazing.  Next time you’re in New York, look me up,” and then he gives me his address. Then, I called him immediately, and he says “I read what you wrote and I’m totally in.  Next time you’re in New York….”  And I said, “Hey, I’m going to be in New York tomorrow!” Do you think I was really going to be in New York ‘tomorrow’? No.  But when somebody says ‘yes’ to you, get on a plane!  Find a way because they aren’t going to remember this conversation in 6 months.  You’ve got to lock it down. That’s how they happened.

SPAZ:  How long, from beginning to end, did it take to put the project together?

SETH: It started with Eddie Porter, the Magical Mystery Tour guide.  I filmed him in October, 2004. I didn’t know I had a movie until the next year as I continued with Justin Hayward, May Pang and Denny Laine... I knew I had a movie around the middle of 2005.  I stopped shooting around 2009, 2010.  2010 was really about finishing the editing and then getting it into film festivals. There were a lot of film festivals in 2011: it played in Paris, it played in London…  And it’s coming out now in 2012.  So, it’s been eight years from since I filmed the first person until now. 

SPAZ: Was there a lot of research involved with the project?  I don’t think anyone would link Sir Ben Kingsley with the Beatles, but there’s a very logical connection there…

SETH: You know, the word ‘research’ sounds like you’re going to the library and you’re writing a 15 page paper.  Those are days I think most of us want to forget, right? (laughs) But for me, I do like doing research when it’s something that is so totally enjoyable. I go to look up certain Beatles stores to get different ideas.  I think, “I wonder, when The Beatles first came to the United States, if there was a 16 year old girl that screamed her head off and loved The Beatles so much… one that would really stand out.”  That started me thinking about somebody who ended up being Lucy Baines Johnson, the daughter of the President Of The United States! They lived in the White House, she’s 16 years old and The Beatles come over and wouldn’t you know, she tells me this story about wanting to invite The Beatles to the White House!

SPAZ: Jim Irsay, the owner of the Indianapolis Colts owns one of George Harrison’s guitars.  Wasn’t this the same one George gave to Badfinger member Pete Ham?

SETH: Yes. It was originally given to Pete Ham.  George was always giving guitars away.  He kept a lot himself, but he was always giving things away to people.

SPAZ: Do you have any personal Beatles stories yourself?

SETH:  I was at my gym in late 2009.  I’m on the treadmill and guess who is right next to me? Paul McCartney!  And Paul gives me a look as if to say, “OK, you’ve got a Beatle haircut.  I can see you’re a Beatle person.  I am going go give you 1/10^thof a second to ask a question. Go ahead, I’m waiting.” So, I turn around and said, “Sir Paul, I’m doing this movie, Beatles Stories, and I interviewed Norman Smith (Beatles engineer up to 1965),” and I hit the jackpot.  He goes, “Norman Smith? You interviewed Norman Smith?” I said, “Yes, I did.” And he said, “Ah, we loved him. When we all were young lads…,” and I’m thinking he keeps saying ‘we’… he’s talking about The Beatles. Paul McCartney is talking about The Beatles to Seth Swirsky! I mean, come on! We’re talking and a crowd is starting to gather around us and he’s telling Beatles stories and talking about Norman.  Then he takes my hand and says, “You gave me a great gift today. By reminding me about Norman, you’ve given me a great gift.” I just got an e-mail from Nancy Shevell (Paul’s wife) telling me that she and Paul watched the film. She said, “My husband and I loved the movie”. The fact that he loved it is amazing to me.

SPAZ: What’s next for Seth Swirsky?

SETH: Well, I’ve been painting a lot.  I’d like to maybe do a show of my paintings.  That’s going to be in the near future.  I’m also getting my masters in clinical psychotherapy. And I’m making a brand new record that’s coming out next year.

SPAZ: What’s currently spinning on your CD, DVD or record players?

SETH: I have a mix of things.  On my current playlist in my car, I’ve got “Pumped Up Kicks” (Foster The People), “You Never Give Me Your Money” (The Beatles), “Black Or White” (Michael Jackson), “Empire State Of Mind” (Alicia Keys), “Sowing The Seeds Of Love” (Tears For Fears), “No One’s Gonna Love You” (Band Of Horses), “The Game Of Love” (Santana with Michelle Branch), “True Faith” (New Order), “Dreams Of Leaving” (The Clientele), “Marlena” by Frankie Valli & The Four Seasons, “I Saw Her Again” (The Mamas & The Papas) and then a new song that I’m writing for my next record so I can hear it in a mix.

Thanks to Seth Swirsky

Special thanks to Mike Schnee and Rick Reiger

BEATLES STORIES

10.2.12

An EXCLUSIVE Interview with VIDAL SASSOON!

The Man Who Styled The World:

An EXCLUSIVE interview

with VIDAL SASSOON

By Stephen SPAZ Schnee

     Although he’s never had a hit single, a blockbuster motion picture or a hit television sitcom, Vidal Sassoon is more than just a name on a shampoo bottle. In fact, Vidal is just as important to pop culture as any musician, actor, fashion designer or director. From the beginning of his hairstyling days in the ‘50s to the peak of his popularity in the ‘70s, Vidal not only changed the way we look at hair, he changed the way we look at each other…and feel about ourselves. He gave us the freedom to express who we were… and all it took was a pair of scissors!

     While his endless creativity and boundless energy made him a media superstar, Vidal Sassoon, the man, revolutionized the hairstyling industry. He became the face of a new generation of hairstylists, yet he never lost his passion for his craft, always searching for ways to create something new and exciting. In the process, Vidal shared his knowledge, his ideas and his passions with those around him, building the Sassoon empire one snip at a time.

     From his humble beginnings in a British orphanage to fortune, fame and countless appearances on television, Vidal managed to stay humble, gracious and grounded. He worked hard, but had fun along the way. Even when he became tabloid fodder, he used his celebrity to promote a positive and healthy lifestyle (of which he still practices to this day at the age of 83). He has lived through thousands of fads and trends yet he still remains as iconic and as relevant as ever.

     Four years ago, his friend and former stylist Michael Gordon approached him about putting together a documentary on his life. Along with director Craig Teper, Gordon created Vidal Sassoon: The Movie, an inspiring look at Vidal’s amazing life. Both as a film and as a tribute to Vidal, it is a brilliant piece of work. It not only mixes modern interviews with Sassoon, his friends and co-workers, it also features vintage footage dating back 50 years and more. The visuals are striking and lovely, the music is fantastic and Sassoon himself will charm even the most hardened (and bald) viewer. This is what a documentary is all about.

     Stephen SPAZ Schnee managed to sit down for a chat with Vidal himself. They joined by longtime Sassoon fans and industry vets, Lauren Watt and Veronica F. Nino. During the conversation, Vidal was gracious and spoke with pride about this new film that is certain to introduce the magic of Sassoon to a whole new generation…

SPAZ: You’ve got Vidal Sassoon: The Movie being released. How are you feeling about the film and everything leading up to it?

VIDAL SASSON: It was fascinating. I can be very objective about this because I didn’t do it! I was writing my autobiography, writing it myself, and that took all my time. But a great friend, Michael Gordon, who actually created Bumble & Bumble and brought it to New York and made a big company out of it (and eventually sold it to Este Lauder)… Michael is a perfectionist. He came to me about four years ago and said “I want to give you a birthday present for your 80th birthday.” I said “Hmmm… I don’t need anything,” and he said “No, I want to make a documentary!” And it became more and more interesting… and the reason it became more and more interesting is because Michael actually took over. His director, Craig Teper, was absolutely superb. I say this because I had nothing to do with it! Had I been the guy who directed it, I couldn’t say all this. But of course, I’m in it and anytime they asked me, I was there, but the direction and the elegance that they put into this has made me feel incredibly proud. I just think it’s something very, very special.

SPAZ: Was this the first time you were approached about making a true comprehensive documentary on your life? I’m surprised that something like this didn’t happen a lot sooner…

VIDAL: It was the first time. I trusted Michael and Craig so much, there was no afterthought. I knew they would a good job and, when I saw it, I thought “Wow, you haven’t let me down. You’ve done a very good job!” Without them, it would not have come out anywhere near as well as it did, so I owe them a lot.

SPAZ: I was really inspired by the fact that, throughout the film as you reflect on your life and accomplishments, there is a great amount of pride in your words and absolutely no arrogance.

VIDAL: Arrogance usually brings what you’re doing to another place… and it’s usually a lesser place. It’s much better to have a sense of “Is this gonna work out? Is it going to happen?” Have doubt… but know what you are doing.

SPAZ: Some may not view hair and/or hair dressing in the same light as fashion, music, art or filmmaking, yet people connect with it in exactly the same way. Was it difficult to break down these barriers… or did it all seem to fall into place naturally (no pun intended)?

VIDAL: At the very beginning, it was very difficult. Hairdressers weren’t strong in any area, certainly not the art area, and we had to work for that. We had to work very hard to develop in a way that our work would be appreciated as art.

SPAZ: Like Elvis, The Beatles, Charlie Chaplin, Orson Welles and other artistic greats, your work is not only a part of our pop culture past, it is also part of our present and will definitely be our future as well. Back in the ‘50s, did you even think for a moment that you’d be sitting here, six decades later, as relevant as ever?

VIDAL: Well, I knew we had to change the craft and this was in the mid ‘50s. I knew we had to change it! And working our way through the ‘60s, we did change it. It was a tremendous change from what was happening a decade before. It’s very interesting because you are talking to me, but if you talk to hairdressers who got into it and are still with it and being creative around our cuts, our looks, the way we work… you’ll find we have an enormous fan base. At the moment, we have two academies in Shanghai, believe it or not, which is very exciting… very exciting!

SPAZ: Much is mentioned in regards to art and architecture as having an effect on you, but did music have any effect on your creativity?

VIDAL: Oh, very much so. I was very fortunate in knowing people that could help me in these areas. I went with Zubin Mehta to Berlin to conduct the Berlin Philharmonic. Three days later, we were in Israel, where he was conducting the Israeli Philharmonic. I was very lucky, music-wise. For my 50th birthday party, the company got the Basie band when the Count was still alive. It was at the Beverly Wilshire Hotel. It was absolutely mobbed with 800 people, 750 of them I never saw again! (laughs) Music was just so special. You know, if you get goose bumps, you’ve got it!

SPAZ: What was your main inspiration in creating those classic hairstyles you are best known for (the five-point, the bob, the pixie, etc)?

VIDAL: The main inspiration was architecture: there’s no question about that. Had I had an education, I would have definitely chosen architecture.

SPAZ: There was a point in your career when you felt that your celebrity had moved away from your hair styling beginnings. Are you content now that it has all come around full circle?

VIDAL: Oh, yes. A good haircut is a good haircut. So many of our top people are trained to give a very good haircut, so it’s nice to see it come full circle.

SPAZ: The film is emotional without being too sentimental and powerful without being preachy. Do you feel that it really does tell the world exactly who Vidal Sassoon was and is?

VIDAL: Yeah, that’s how I felt. When I was talking, that’s how I felt about the craft, what it gave to me in particular, what it’s done for other people. I’m so glad there are lots of other people who have their say. I love that guy that said “I couldn’t work with him… he was crazy!” (laughs)

LAUREN WATT: Just who was it that came up with the catchphrase “If you don’t look good, we don’t look good”? Did you bring in an advertising agency?

VIDAL: That would be Peter Rogers. He came to New Orleans, where I was doing a show. He walked over and was introduced to me and all he said was “If you don’t look good, we don’t look good!” And I went, “You got it!” (laughs), You know, he’s such a gentleman. He’s done so many things. He wrote me a beautiful note thanking me for thanking him. I said, “But Peter, you did it, not me!” You know, you have to give the credit. We did that with our work in the salons. If somebody brought out something new and it wasn’t me, THEY got the credit. I think that was part of our success. But Peter did an extraordinary job with that line.

SPAZ: The film is quite inspiring on so many levels. From overcoming your years spent in an orphanage to building and maintaining an empire based upon your passions, what would you want the viewer to walk away with?

VIDAL: The respect for the craft, no question about that. And a sense of the artistry that goes into the work. That’s very important.

LAUREN: Did you ever see the movie Shampoo?

VIDAL: Of course.

LAUREN: What did you think of it? I was wondering if that was based on you.

VIDAL: No, it was based on Gene Shacove, a dear friend who was the top hairstylist in Los Angeles. He was really terrific. Robert Towne (screenwriter) followed him around for a couple of weeks. Gene used to put the hairdryer in his back pocket and go from door to door. He was a wild man, but I loved him. He had such great style and he was excellent at what he did. First class. So, Shampoo was based on Gene. Of course, (Warren) Beatty put his own personality into it as well.

SPAZ: What’s next for Vidal Sassoon?

VIDAL: (Laughs) Well, I’ll be 84 next birthday (January). I don’t think I’ll be doing another book too soon. That was hard work! In London, they said to me “We’ll find you the best ghost (writer)” and I said “Uh-uh. I’m writing this myself.” And it was like learning a new craft, and that was very exciting. You can go on to the very end of your existence and you can be learning things. Writing the book myself without a ghost was like learning a new craft. Very exciting!

SPAZ: What is currently spinning in your CD and DVD players?

VIDAL: That is interesting. I’ve got, believe it or not, Sinatra with the Pied Pipers and Tommy Dorsey. It’s just a great disc. Billy Eckstine was one of my real favorites. And, of course, Ellington. Ellington brought the symphony to Jazz.

Thanks to Vidal Sassoon

Special thanks to John Raisola, Lauren Watt and Veronica F. Nino

VIDAL SASSOON: THE MOVIE

9.6.11

THE AMBASSADORS OF HOLLYWOOD: An EXCLUSIVE interview with ARCHIE GIPS AND MATTHEW HUNT!

Meet The Welcoming Committee:

THE AMBASSADORS OF HOLLYWOOD

Have Arrived

An EXCLUSIVE interview with director Archie Gips and

producer Matthew Hunt

By Stephen SPAZ Schnee

     If you’ve ever been a tourist in a strange, but exciting city (and I’m sure most of you have), then you’ve seen them in practically every tourist town in America, from theme parks to fried chicken stands: average people dressing up as famous cartoon and movie characters, enchanting the kids and posing for pictures with the family. Most of the time, these ‘characters’ are minimum wage employees sponsored by local businesses and theme parks with the sole intention of entertaining patrons.

     If you walk down Hollywood Boulevard, you are likely to come across a myriad of these costumed characters along the way, especially in front of Grauman's Chinese Theater. Often times, these may be the first people to greet tourists as they take their inaugural stroll through one of the most famous cities in the world. For better or worse, these are the unofficial ‘Ambassadors Of Hollywood’.

     From Elmo to Batman, Snow White to Captain Jack Sparrow, these ‘characters’ that mingle with hundreds if not thousands of people daily are not employed by the city of Hollywood or any of the businesses that line the street. They work strictly on tips and this most likely is their only source of income. While some of the faces behind the masks are out of work actors and comedians waiting until their next paying gig, most of them are homeless and, in many cases, emotionally unstable. Welcome to Hollywood!

     In Ambassadors Of Hollywood, filmmakers Archie Gips and Matthew Hunt take an intimate and often-times uncomfortable look at the real people behind these characters. From a troubled, semi-racist ex-con to a former Wall Street banker, each and every one of the film’s subjects is fascinating. Even though a few of them are as down-to-earth and likable as anyone you could meet, there are a handful of them that probably should not be allowed to mix with the general public at all. Some of these misguided miscreants have uncontrollable tempers while others are aggressively seeking money for their next fix. The reason that Ambassadors Of Hollywood is so successful is that it takes an unbiased look at each of the individuals and leaves judgment up to the viewer.

     While there have been similar films made about this very subject, including the excellent Confessions Of A Superhero, this is a film that offers up a gritty, humorous sometimes disturbing but always fascinating glimpse into these seemingly innocent characters and the real people behind them.

     Growing up, almost every kid has a dream to become a rich and famous celebrity, but at some point, we’ve all abandoned those dreams and pursued more realistic goals. In Ambassadors Of Hollywood, we meet a group of people who have never given up on their dreams although society has all but given up on them. The film manages to show a darker, but still hopeful, side of the American Dream that we all can relate to. While some may seem delusional on the surface, if you look hard enough, you will notice that they have never lost hope that their big break is just around the next corner. And perhaps it is…

     In many ways, Ambassadors Of Hollywood is a reflection of life in any town. From the once-successful to the ne’er do well, these are the same types of people that you meet every single day. The only difference is these guys and gals are wearing costumes!

     Stephen SPAZ Schnee was able to catch up with filmmakers Archie Gips and Matthew Hunt to discuss the film…

SPAZ: The Ambassadors Of Hollywood is just about ready to drop. How are you feeling about the film and all the hard work up to this point?

ARCHIE GIPS & MATTHEW HUNT: It’s been such a long time in the making… over four years.. that we are both just thrilled to finally have the film out and available for people to see. The movie really delves into a crazy and special world that has never been shown in its proper light until now.

SPAZ: What was the initial inspiration for the film?

AG & MH: We were working on an indie feature, Loveless in Los Angeles, (Archie wrote/directed, Matt produced) shooting a scene in front of the Chinese Theater where our lead actress was dressed like Wonder Woman. At the time, we both just assumed that the costumed characters were employees of the theater or the city. We didn’t realize they worked freelance. Our actress was confronted by a woman dressed as Fiona from Shrek who gave her a hard time saying, ‘You're cutting in on my spot!” It was literally a turf war down there. We both turned to each other and at the same time said this is our next movie!

SPAZ: Tourists love them, but the city of Hollywood hates them. Which side of the argument were you on when you started filming and did that opinion change over time?

AG & MH: First off, we wouldn’t say that all tourists love them and that the city of Hollywood hates them. There are definitely some tourists who aren’t fans and some businesses in Hollywood that appreciate the characters' value. We actually took great pains to trying to stay as neutral and balanced as possible . When it came to discussions about certain scenes, Archie was concerned for the welfare of the tourists on the boulevard and Matt for the well-being of the characters. That difference helped us craft a balanced film.

SPAZ: When you decided to make the film, did you already have a clear idea of what you wanted your message to be? Or did It change over time as you got to know those people and became part of their world?

AG & MH: We both decided we would try to be as open minded and non-judgmental as possible. We knew this world was unique so we just started shooting to see where these characters would take us. After amassing over 200 hours of footage and interviewing over 100 people – both characters and Los Angeles business people and police- it was obvious which characters and stories stood out. We continued to follow those stories and put together a flow chart. We feel we captured stories that told personal narratives yet had universal themes.

SPAZ: Was it easy to get to these folks involved with the project?

AG & MH: Not at first. No. It took a while for the characters to gain our trust. We started shooting right away with city officials but It took over a month of hanging out on the boulevard until we finally were able to get our first interview with a character, Donn Harper who plays “Elmo.” Once Donn spread the word to the other characters that we were “cool” all of a sudden the flood gates opened. We wound up interviewing over 80 characters and many of the most bizarre and outrageous ones didn’t even make the cut of the final film.

SPAZ: What were the criteria you had when choosing which characters to focus on for the film? There must have been plenty of folks who wanted to partake?

AG & MH: We were open to interviewing any and all characters. If someone wanted us to interview them, we would do it. No questions asked. The characters we choose to highlight in our movie were the ones that had a story that the audience could relate to and had a complete arc of some sort--uplifting, soul searching, or tragic.

SPAZ: You shot the film over a four year period. Why did it take so long to put this project together?

AG & MH: Two reasons. First and foremost we wanted to really document the evolution of the people on the Boulevard. That cannot be done in a snapshot. We prided ourselves on not manufacturing any stories. To get these real stories it took time. Secondly, like most independent projects, money or lack thereof was an issue. As a passion project, we along with our terrific editor, Kevin Kearney had other jobs to pay the bills so we were limited in how much time we could devote to the film on a weekly basis. Fortunately, being forced to stretch out the making of the film resulted in a better end product.

SPAZ: Were you surprised by the fact that so many of these ‘characters’ were so serious about what they do and consider themselves performers and artists?

AG & MH: Not really. It seems like everyone is coming to Hollywood to fulfill their entertainment dreams, the two of us included. It seemed to us that dressing up and performing for tourists was a way some of these people can feel that they were indeed acting here, which they are. What did surprise us was the number of people who dressed up in character to make money to just survive and keep a roof over their heads.

SPAZ: Did you find that there was animosity between those that are serious about their ‘art’ and those that view it as a way to make money?

AG & MH: There definitely are some characters out on the Boulevard that take their craft very seriously and are appalled by the behavior of other characters. One of the big pet peeves is taking off your mask in front of the public-- especially children-- and smoking in costume. Violent and aggressive behavior is also frowned upon by the majority of characters. Ultimately though, anyone is free to put on a costume and stand on Hollywood Boulevard so there’s not much that they can do to regulate each other.

SPAZ: You offer a fascinating view into the private lives of these people. When putting the film together, was it difficult to remain neutral and unbiased when choosing what made the final cut?

AG & MH: We are great friends but we tend to disagree… a lot! Our not seeing eye to eye was a great thing for this project because when we did agree we really knew what was worth making the final cut. We did shoot one specific sequence where Archie dressed up in costume and worked on the Boulevard to see what it was like to walk in the characters' shoes. Although the footage made for some entertaining material, ultimately we felt the scene would have been more about the filmmakers than the subject matter so we decided to scrap it. But for the record, Archie made $86 in three hours.

SPAZ: Some of the characters are grounded and seemingly normal, while others are obviously troubled individuals. Were there any uncomfortable moments that you experienced that you chose NOT to put in the film?

AG & MH: We captured plenty of uncomfortable moments which made it in the film. However, there was one character who revealed some very disturbing details about his life but he turned out to be a less than reliable subject. It was difficult for us to ascertain the truth from fiction, so we decided not to include the majority of his story.

SPAZ: Do you feel that The Ambassadors of Hollywood parallels life in any part of the country, whether it’s people dressing up in costume or average people who are just trying to make ends meet?

AG & MH: Absolutely. The film, we feel, is such an amazing blend of people trying to fulfill the “American Dream” of a rags-to-riches success and the “Hollywood Dream” of becoming famous and beloved by fans. I don’t think you can find a single person in this country that doesn’t aspire to at least one of those dreams. Other aspects of the film like racism, health care and homelessness all apply to any town in America.

SPAZ: The film is a sometimes uncomfortable look at the darker side of the American Dream. Was it difficult to walk that thin line between exploration and exploitation?

AG & MH: We would have many conversations about how far we could go without feeling like we were making fun of these people instead of just exploring their lives, but since we are both decent human beings – or at least we like to think so—we always felt that we were showing everything about this world and the characters lives in a very fair light. When we wound up screening the film for a bunch of characters and city officials and both groups came back to us saying that not only did they enjoy the movie, but that it was honest and fair, we were thrilled.

SPAZ: By the end of the film, the city of Hollywood has all but cleared the streets of these performers. What is the situation as of July 2011? And are you still in regular contact with these people?

AG & MH: As of right now, the characters are once again allowed to pose for pictures on Hollywood Boulevard by a judge's order. . but there are still ongoing discussions on what to do there: the struggle continues!. And yes, we stay in touch with about a dozen or so of the characters. Mainly, they want to know about the DVD release of the film and any upcoming screenings because of course, they still are hoping to become rich and famous!

SPAZ: What’s next for Archie Gips and Matthew Hunt?

ARCHIE: I have been working full time in television. I’m currently the Executive Producer for Braxton Family Values on We TV. In film, I am sending out my latest feature script, Trailer Park King, to actors and financiers.

MATTHEW: I am cutting my Indie feature F.A.T. for release. It has Katie Featherston from Paranormal Activity, and Eric Stonestreet from Modern Family in it. I'm also preparing two reality pilots and one hour long drama, as well as running after my 3 year old, Romero!

SPAZ: What is currently spinning on your CD and DVD players?

ARCHIE: Edward Sharpe and the Magnetic Zeros always puts me in a good mood. I just recently watched the re-issue of Ace in the Hole. Billy Wilder is my idol. Talk about a dark movie! That film makes Ambassadors of Hollywood seem like The Muppet Movie.

MATTHEW: If we can get Romero down, we have Winter's Bone to watch. I just listened to a Philip Glass collection while I was writing.

Thanks to Archie Gips and Matthew Hunt

Special thanks to Doug Dohmen and Lauren Watt

LET THEM KNOW: THE STORY OF YOUTH BRIGADE AND BYO RECORDS box sets! Coming 9/22/2009

Let Them Know: The Story of Youth Brigade and BYO Records

DVD/CD/Coffee Table Book DVD/2LP/Coffee Table Book

A lasting tribute and testament to over 25 years of BYO, Youth Brigade and the DIY spirit that has inspired and continues to inspire so many to change the world... Told through interviews and rare footage of the explosive LA punk rock scene from the 80's until now, Let Them Know: The Story of Youth Brigade and BYO Records is a full length documentary feature film that looks at the last 25 years of the influential L.A. Punk band Youth Brigade and BYO Records. This movie documents the early L.A. punk and D.I.Y. scene. Riots, harassment from the law, amazing bands, crazy stories, and best of all, The Sterns Family's earnest desire to change the world through punk rock are captured in this moving documentary.

Founded by brothers, Shawn and Mark Stern from the band Youth Brigade, the BYO was part political movement, part business venture that began as a way to organize punks to take positive action to help sustain their scene and their way of life. The ideals upon which BYO was founded helped countless bands put on shows, release records, and otherwise get their music out to the world. It allowed for the making of the landmark punk documentary Another State of Mind and it spawned BYO Records, which stands today as one of the oldest surviving independent punk rock labels in the world.

BYO, Youth Brigade, and the Stern family are three intertwined entities that comprise one of the too-often-overlooked chapters in the history of punk.

Interviews with Ian MacKaye (Fugazi, Minor Threat, founder of Dischord Records), Fat Mike (NOFX, Me First & The Gimme Gimmes, founder of Fat Wreck Chords), Steve Soto (Adolescents, Manic Hispanic), Matt Skiba (Alkaline Trio), Gary Tovar (founder of Goldenvoice Promotions), Brendan Mullen (founder of The Masque Club, author of Lexicon Devil: The Fast Times and Short Life of Darby Crash and The Germs), members of The Bouncing Souls, Swingin' Utters, 7 Seconds, and many others involved in the So Cal Punk Scene.

Let Them Know... comes in two different configurations. Both feature the documentary DVD (with bonus material) and a beautiful coffee table book containing photos, quotes and more. One box is available with a 31 track CD while the other contains two colored vinyl LPs with those 31 tracks spread over four sides!