I think Bob Dylan is a great, raw singer, so I’m not in that camp of people who say that other people do his songs better. Actually, I think it’s rare when the covers match or surpass the original.
That being said, there are some great Dylan interpreters, aural dancers, if you will, who bring something to the original that enhances, furthers, or expounds on the master’s intent. The Byrds, Judy Collins, Bryan Ferry, and Robyn Hitchcock are a few that come to mind (in fact, Dylan covers at his live shows are always a treat, as they wind up sounding like lost Hitchcock originals).
Now, enter Emma Swift, whose new album, Blonde On the Tracks (Tiny Ghost Records), is a stunning collection of eight achingly gorgeous renditions of songs by the Bard of Duluth. Deftly produced by Patrick Sansone (Wilco multi-instrumentalist) and featuring the aforementioned Hitchcock on guitar, the album was recorded in Nashville over the course of three years–a gestation period that seems appropriate, as the album is certainly a slow burn of a listen.
With every track as strong as it is, it’s difficult to pick standouts here, but Swift’s performances of “One of Us Must Know (Sooner or Later)” and “Sad Eyed Lady of the Lowlands” had me dissolving into a glorious puddle of sadness on first listen, and are no less affecting on repeated listens.
This album is absolutely worth picking up, which you’ll need to do via Bandcamp or your favorite independent record store, as Swift is a very outspoken anti-streaming activist–which is great, we should be supporting the artists in a way that sees them getting the maximum return for their art, and if you love music, you should be buying records. Go ahead and fight me on that if you want.
It’s been a while. A lot has happened since the last edition of The Blarg, way too much to catch up on. If you’ve been listening to the show (and really, I have no idea why you’d read this and NOT listen to the show), then you know that, while Hoot n Waddle continues unabated, Janell and I have decided to split up. More accurately, Janell decided we should split up. I’ve had a couple of months to come to grips with this, and while I’m not there yet, I’m not going to get into all of that here. I’ve got a new place, I’m starting to look forward to being on my own for the first time in a while, and I’ve got SuSu, so there’s that (see the Ltd Instagram account for a lot of SuSu). There’s a lot going on, so I don’t have time to dwell, and that’s probably for the best.
San Francisco and Portland were great. It was nice to get out of Phoenix for a little bit and put HnW out in front of new audiences. The event for Ron Riekki’s Posttraumatic at Bird and Beckett went really well; I got to catch up with my friend, the poet and lyricist Kurt Lipschutz; and I’ve got the bonus of being able to say that HnW has books available in San Francisco. Portland was a blast—I loved being there, and can’t wait to go back. We made a lot of good connections at AWP, met several of our authors for the first time, and left feeling like we’re making good choices and moving in the right direction. Next year, San Antonio!
Things continue to be extraordinarily busy, and they’re only going to continue to ramp up which is why I haven’t done The Blarg in a while, so why, you may be asking, am I doing this one?
The answer to that is this week’s guest, L. S. Larson and the launch of the new immersive science fiction adventure novel for young readers, IGIST. L. S. is the pen name of Luke Larson, the president of a little company called Axon. While the novel is the central, driving force behind everything else surrounding it, there’s such an integral visual component that I decided to use The Blarg to give people a little glimpse into that aspect of things (see below). What I’m saying is, this shit’s pretty cool.
I get emails fairly regularly these days from people asking if I’d be interested in talking to them about their latest project, which is fantastic—it takes care of the worst part of booking guests: outreach. So when I got this email from L. S. Larson describing IGIST, asking if I’d want to talk about it on the podcast, I checked it out, thought it was a cool concept, and replied, Sure, let’s do it. The thing was that they wanted to do it in time to post prior to a launch event at the Arizona Science Center on 4/20, which meant that we had to do it that week, and I only had a couple of dates available. One of these dates was the same night as Axon HQ’s open house. As you know, I’m not one to research a guest outside of their project, because I prefer to learn about them in person—too much research makes the conversation stiff, and I’m really interested in the work and the creative process, so I had assumed that Axon was just IGIST’s parent company and they were welcoming people to check out their stuff. It certainly seemed like a company that would have that sort of thing, so imagine my surprise when I arrived at the address and saw the name on the building and connected the dots. (It’s a really cool building with interior components inspired by scenes out of classic sci-fi films.)
Now, if you’re not familiar with the name Axon, you’re probably familiar with Taser, which is the company’s flagship product, and what they used to be called just a few years ago. I’m a skeptic at heart, so when I walked in and met L. S./Luke and learned that he was the president of the company some alarm bells went off and I wished for the first time in four years that I’d done more research. Whenever a corporation is involved, I immediately start looking for what the angle is and get concerned that I’m being played, but I took the tour and I listened to the presentation, and I started to relax.
Yes, Axon is a publicly traded corporation, but their mission is one that I wholeheartedly support: to, in their words, “obsolete the bullet,” to provide the means of accountability and transparency in law enforcement, and non-lethal alternatives to deescalate a situation. As a pacifist and staunch anti-gun proponent, I’m on board.
After the open house, Luke and I went into one of the conference rooms and did the recording, and that’s when whatever reservations and skepticism I had vanished. IGIST is a passion project, a labor of love—a love of science fiction, a passion for writing, but more importantly, love for his three daughters and a desire to contribute positively to the anti-patriarchal movement. It’s all there in the conversation, and you can hear it for yourself. It doesn’t hurt that I’m also an unabashed sci-fi geek and Luke seems like the kind of guy I could just hang out with and shoot the shit.
So listen to the episode (available wherever you get your pods—please rate/review while you’re at it) and check out IGIST (see the book trailer and some examples of the artwork below). As I mentioned, there’s a launch event coming up at the Arizona Science Center on 4/20, it’s free to attend, and it’s a fun thing to do with the kids on a Saturday afternoon.
We’re back! After a sorely needed hiatus, all the rambling intros and tangential, unplanned conversations are once again in the offing for your listening pleasure. As of writing this Blarg, I’m scheduling things in a somewhat manageable way, I haven’t had a drink in a month, and I’m in therapy. I’m finally making choices to take better care of myself, and not beat myself up so much. It only took 36 years. Better late than never? Sometimes I don’t know.
It would be a lie, though, if I said that it were easy getting back into this. This, The Blarg specifically. In all the effort to make the workload more manageable, my head is still not clear enough to write productively. Hell, other than The Blarg and the weekly Hoot n Waddle newsletter, which if you’re not subscribed to, please subscribe, I’ve hardly written anything at all in the last year. For a writer, that’s absolutely devastating. Podcasting is great, I love it. I love working in editing and publishing. I love writing music for the podcasts and exercising that muscle. What I am, though, first and foremost, is a writer. A writer who isn’t writing. I hope all this work unblocks something soon.
I am optimistic, though. We have five unique podcast titles with more on the way (and more that I will not be hosting, which is awesome). We have some really wonderful books coming out this year. We’ll be at ASU’s Desert Nights, Rising Stars conference and AWP in Portland. This show is planned for 40 new episodes (the most I’ve done of any one show in a year), and we’ve got a brand new sponsor (Chris Ayers Creative). Our Patreon is up and running, and sure we could use more patrons, but that will happen. I’m clinging to optimism like that round thing that keeps you afloat out on the ocean where it seems incredibly unlikely that anyone will ever find or rescue you. Sigh.
Anyway, I’m happy to be back, and I’m happy to be starting the year off with this particular conversation. The iNDIEFILMFEST takes place in Downtown Phoenix at three locations (Paz Cantina, FilmBar, and The Crescent Ballroom) on February 1st and 2nd.
Sitting down to talk with me about the inaugural iNDIEFILMFEST is one of the event’s co-directors, Lord Kash, who is also a member of local hip-hop outfit, The Stakes. We had a really great conversation, and he will be back later in the year to discuss his music.
First off, I want to thank everyone for their responses to last week’s Blarg, or the excerpt of it that was included in the Hoot n Waddle Dispatch. I’m fine, or at least I will be. The whole point of taking the break is to avoid the darkness. So this’ll be the last Limited Engagement of 2018, and I’ll be taking the first several weeks of 2019 off to regroup and put together a more workable schedule. Thank you for all the support. The show’s not going anywhere.
Now, let’s get into this episode, which is the annual best of music episode. This time around, I talked to Ashley Naftule (on for his third appearance!), and had a blast. Ashley is always a lot of fun to talk to, and while there’s some crossover in the sort of music we listen to, there were no repeats between us, so it made for a very lively conversation. Major thanks to Ashley, who was still getting over a cold, for sitting down and doing this show. For those who may not know, Ashley is a writer, performer, and he does a lot of great work with Space 55, so please check all that out.
Since I’m posting the lists, I’ll put the links to the show here, so you don’t have to scroll all the way to the bottom, and I’ll also say thank you to everyone who’s listened to this show. 2018 was a big year, and 2019 is going to be even bigger. As they say, watch this space.
I’m going to post Ashley’s list first, and then my overall list, which ranks everything.
1. Fucked Up “Dose Your Dreams”
2. Beach House “7”
3. Deafheaven “Ordinary Corrupt Human Love”
4. YOB “Our Raw Heart”
5. Earl Sweatshirt “Some Rap Songs”
6. Rolo Tomassi “Time Will Die and Love Will Bury It”
7. SOPHIE “OIL OF EVERY PEARL’S UN-INSIDES”
8. BODEGA “Endless Scroll”
9. Iceage “Beyondless”
10. JPEGMAFIA “Veteran”
Honorable Mentions (i.e. Albums that reeeallly came close to cracking the top ten):
Advance Base “Animal Companionship”
American Pleasure Club “A Whole Fucking Lifetime Of This”
Arctic Monkeys “Tranquility Base Hotel & Casino”
Boygenius “s/t EP”
Lucy Dacus “Historian”
Jean Grae/Quelle Chris “Everything’s Fine”
Let’s Eat Grandma “I’m All Ears”
Makaya McCraven “Universal Beings”
Jeff Rosenstock “POST”
Sylvaine “Atoms Aligned, Coming Undone”
Unreqvited “Mosaic I: l’amour et l’ardeur”
Young Fathers “Cocoa Sugar”
Yves Tumor “Safe in the Hands of Love”
My list (Ranking Out of 10):
Soccer Mommy – Clean 9.8/10
The Good, The Bad & The Queen – Merrie Land 9.7/10
Cat Power – Wanderer 9.6/10
The Beths – Future Me Hates Me 9.5/10
Elvis Costello & The Imposters – Look Now 9.4/10
Neko Case – Hell-On 9.3/10
Snail mail – Lush 9.2/10
Jeff Tweedy – Carm 9.1/10
The Nels Cline 4 – Currents, Constellations 9/10
Marianne Faithfull – Negative Capability 8.95/10
The Love Language – Baby Grand 8.9/10
John Grant – Love Is Magic 8.85/10
Ohmme – Parts 8.8/10
L.A. Salami – The City of Bootmakers 8.75/10
Calexico – The Thread That Keeps Us 8.7/10
Wild Pink – Yolk In the Fur 8.65/10
The Breeders – All Nerve 8.6/10
Laura Viers – The Lookout 8.55/10
Neil & Liam Finn – Lightsleeper 8.5/10
Stephen Malkmus and the Jicks – Sparkle Hard 8.45/10
Cowboy Junkies – All That Reckoning 8.4/10
Parquet Courts – Wide Awake 8.35/10
Rolling Blackouts Coastal Fever – Hope Downs 8.3/10
Damien Jurado – The Horizon Just Laughed 8.25/10
Nap Eyes – I’m Bad Now 8.2/10
Gorillaz – The Now Now 8.15/10
Sam Phillips – World On Sticks 8.1/10
Cut Worms – Hollow Ground 8/10
First Aid Kit – Ruins 7.95/10
Lord Huron – Vide Noir 7.9/10
Amen Dunes – Freedom 7.85/10
Valley Queen – Supergiant 7.8/10
La Luz – Floating Features 7.75/10
Kurt Vile – Bottle it In 7.7/10
Wye Oak – The Louder I Call, The Faster it Runs 7.65/10
Tony Molina – Kill the Lights 7.6/10
Grant-Lee Phillips – Widdershins 7.55/10
The Essex Green – Hardly Electronic 7.5/10
The Milk Carton Kids – All the Things I Did and All the Things That I Didn’t Do 7.45/10
The Innocence Mission – Sun On the Square 7.4/10
J Mascis – Elastic Days 7.35/10
Totally Mild – Her 7.3/10
Kyle Craft – Full Circle Nightmare 7.25/10
Tomberlin – At Weddings 7.2/10
Caroline Rose – Loner 7.15/10
The Jayhawks – Back Roads and Abandoned Motels 7.1/10
You may notice that there was no Blarg 95. I’d started writing one. I don’t even remember what I was writing. It couldn’t have been that important. I was either recording or editing podcasts up until midnight, and I was just done. And that sort of continues to be the case.
I’m sure I’ve brought this up on multiple occasions, but I’m going to do it again, because it’s my Blarg, and I can complain if I want to. I am one half of the team that runs Hoot n Waddle. HnW, as our snazzy new banner says, is “An Independent Publishing and Digital Media Company,” and under that, I currently produce, record, and edit 6 podcasts (2 are in I guess what you would call pre-production), plus host or co-host 4 of them, and then I have to book guests on two of those; on the publishing side, there’s reading submissions, agonizing over selecting work to send acceptance letters, the demoralizing task of sending rejection letters, then there’s the editing, working with the writers…there’s a lot of stuff.
All of the above, plus the stress of the M-F, 9 to 5 (or 6-3 in my case), has led to a retreat to an unhealthy vice as a coping mechanism. Drinking is pretty much the only vice I have left—that and binge eating—and it’s getting to an unhealthy level. I was looking at the podcasts I’ve recorded over the past couple of weeks, and it occurred to me that I was drunk during the recording of every single one of them. If I didn’t say anything, you might not even notice (except for one of them, but I’ll let you figure out which one), but I know it, and it’s not something I’m proud of.
Consequently, I’m taking a little break. You’ve got this episode, the annual check-in with Rosemarie Dombrowski, then there’ll be next week’s episode, the annual music best of, which will be with Ashley Naftule this year (the RD and the music episodes are pretty much the only annual traditions we have), and that’ll be it for a little while. As I typed that I just realized that I may have one more time-sensitive one on the horizon… Other than that, though, I need to recharge, figure some things out, bank some interviews, and most importantly, find some new coping mechanisms that won’t kill my liver.
And having said all that, it’s not like you won’t hear a lot from me anyway—Jason and I are taking a short break between seasons of What the Fork?, but we’re going to do two special episodes in January; Jenna and I will still do a Hoot n Review every other week (though there may be a short break there as well); and then there’s the new podcast, Album Infinitum, which I’ll be prepping over the holidays for launch at the start of 2019. Trust me, there will be plenty of me out there for you to fill your head with. Probably too much.
Rosemarie Dombrowski is a professor at ASU’s downtown Phoenix campus, the inaugural Phoenix Poet Laureate, the founder of Rinky Dink Press, the author of three collections of poetry, and she would not be terribly happy if I continued to go on and on about all her awards, etc., it’s one of the things she talks about on this episode—along with so much more. So. Much. More. And that’s after I cut a chunk out.
It’s a lovely, fun conversation, and I’m so happy it’s on record.
I’m waiting to be seated so that I can order some pancakes and more coffee. The reason for this is that I’m having my windshield replaced, and it’s in Scottsdale, and it made more sense to walk and get pancakes than it did to have Janell drive us the 20 minutes home, wait for an hour, and then drive the 20 minutes back. It’s irritating, I haven’t even had this car for a month, and already it’s costing me more money. This is when I wish I lived in a city that has a great public transit system, or where I could walk to everything, or that I worked from home. On the one hand, I love the freedom of being able to just hop in the car and go wherever; on the other, I would give up owning a car in a second. It’s such a headache! And if I really want to go somewhere, I can rent a car.
Anyway, pancakes sounded like a good idea, so here we are.
When last I blarged (how pretentious does that sound?), the Arizona senate race was still undecided. I’m happy to say that the state I call home, for lack of a better word, finally has a Democratic representative. I’m not so happy that it’s the problematically centrist Sinema, but what are you gonna do? It’s still Arizona.
Not too long ago, I had the immense pleasure or seeing Marc Maron at StandUp Live in Phoenix, and leading up to that, there was a Tweet posted by a local artist who’d created a poster to commemorate the occasion, which Maron re-tweeted saying something along the lines of, Let’s make this happen, which I was excited about, because it seems like everywhere else Maron performs gets a cool poster, but last time he played Phoenix, nothin’. I loved the poster, and purchased one the night one the night of the show, and was like, it’s been a while since I’ve had an artist on the show, I should check this guy out.
It turns out it’s a super small world, and even though J. and I had never met prior to recording the podcast, we have a ton of people in common—my buddy Ernie is friends with John Derrick West who’s friends with J.; J. is friends with and has worked with Alex Empty who’s the husband of my friend (and previous LE guest) Leah Newsom; and just the day before, I got my copy of Tapestry Comics’ A Flower in a Field of Lions with the limited edition alternate cover, and I noticed that it was done by…J. Gonzo. Like I said, small world.
A lot of you who listen to this show are artists, writers, musicians, creative types, and you, like me, are trying to figure out how to make a living with your art, and this conversation with J. is a great resource. He’s someone who has worked hard to make a sustainable living doing what he loves, and he’s done it. He’s worked for big design firms and Todd McFarlane’s company, and most people would be satisfied with that, but he’s gone on to create his own graphic design business and made a name for himself as an independent comic book creator with his series, La Mano del Destino. Along the way, he’s done work as a tattoo artist, done freelance work, worked the convention circuit, and at the end of the day, even though it’s a shit ton of hard work, he gets to say that he makes a living doing what he loves.
It’s Thanksgiving week, and I know that’s a tough time for a lot of us. I hope you enjoy the time off, if not the holiday itself. If you’re unfortunate enough to work in retail, I feel for you. I did that for a long time. It was miserable.
It’s in the mail, that green envelope that holds all my hope for knocking the juggernaut of horror off of its current path of destruction—sidelining it for just a little while so I can catch my breath. Who knows what kind of impact my singular vote will have? All I can do is fervently hope that enough people have a similar dissatisfaction with the current direction of things—whether that’s the recent additions to the Supreme Court, the withdrawal from the Paris agreement, the ban on transgender military service, or any number of other politically, socially, and scientifically regressive policy decisions—that they vote accordingly.
I love the convenience of early voting, but I feel a little bit robbed of the voting experience this time. This is probably the most important election of my roughly twenty years of voting eligibility, or at least it feels that way, and a part of me wishes that I had the experience of waiting in line, standing in a booth, and turning in my ballot in-person.
I’m also a little bit paranoid. With all of the reporting on election tampering of late, I have a desire to follow my envelope on its journey from mailbox to tabulation—just to make sure everything gets counted correctly. It’s all out of my hands, though, and all I can do now is wait and watch the returns.
Anyway, on to this week’s show:
The Blood Feud Family Singers started out when The Haymarket Squares would sit in on Darryl Scherrer’s songs, not entirely unlike Linda Ronstadt and the Eagles. From there, Scherrer and the Square’s Marc Oxborrow thought it would be a great idea to put a band together (they explain it much better in the interview). The band has one album out, No Moon, and they will release their new album, Adversary, on Sunday, November 11th, with an album release show at Last Exit Live at 7:30 pm.
On this, the 90th Limited Engagement, Marc Oxborrow and Darryl Scherrer discuss everything from the formation of The Blood Feud Family Singers, to songwriting, to Darryl taking a pizza order from Tom Waits. Be sure to check out their new album, Adversary, and stick around until the end of the show to hear a track from the album.
Well, first of all, make sure you vote. At least in Arizona, you only have a couple more days to get your early ballot in the mail, so if you’re going to do that, get it done. Otherwise, go to the polls. Vote, and vote informed. Research the propositions. Research the judges. Look at who is running for the school board positions. These local things matter, and they matter a whole fucking lot.
Other than that, it’s just been really crazy busy. We had a really good turnout for the launch of David Chorlton’s Reading T. S. Eliot to a Bird (which you can get here). I’m about to go into editing a new podcast called Album Infinitum, which is a music podcast focusing on one artist, one album at a time. The first artist is Aimee Mann, and the guests I had on to discuss the albums are fantastic, so look forward to that in early November.
Oh, also, I had a mild panic attack the other day. They’re happening more frequently. And my anxiety ebbs and flows, but never seems to truly subside. I can’t relax. It’s a real problem.
I’ve just got too much stuff running around my head all the time, and I’m not sleeping well. I started taking melatonin to see if that helps.
Tyler Button founded Tapestry Comics in 2015 with the aim of “creat[ing] the most exciting and interesting books retelling the greatest tales from our past.” On this edition of Limited Engagement, Button discusses turning one of his passions into a business, working with comic book artists, being a full time dad, and we have a deep philosophical discussion about what it takes to be a successful creative in the social media age as well as what it takes to keep that alive and viable in Phoenix.
Guys, what do you do? I realize that’s an odd start out of the gate with no context, but right now, I feel like an odd start out of the gate with no context. What am I talking about? I don’t even really know.
If you’ve been following along on this journey—fuck that. I hate things being described as journeys, but I also equally hate people describing something as a path or a road, because beyond being cliche, it all sounds so planned and linear. Life is nothing if not not linear. I mean, sure, time moves in one direction—forward, but the distance traveled between A and B is never a straightforward thing. At least not in my experience. A is the starting point and B is the end point, but from A there is often a misstep backwards into a steaming shit-pile of Z, then rolling down a steep embankment through thistles to come to a dazed and moaning stop in F, then at last certain you’ve found a shortcut to B but winding up stuck for ten years in H… you get the idea.
I don’t like roller coasters—never have—but it feels like I got on one a few years ago that’s been on a steady climb ever since, and now I’m just kind of trying not to look for the crest and inevitable free fall. It can’t be far off. Except that it can be, and it might never be this terrifying drop I’m anticipating—maybe things will just level off, even out, and everything will be great. That’s not the way I function, though. I wish it were, but it’s not. I don’t have that practiced, self-assured way of thinking. As soon as things start to go well, I go straight to disaster prep mode. I guess you could say I’m a negativity prepper.
So back to the opening question, what do you do? How do you cope? How do you keep yourself from spiraling into an overwhelming pit of depression and anxiety that is not only self-destructive, but makes you difficult for other people to deal with as well?
As I write this, we, Janell and I, are just two days out from the launch party for our first book from Hoot n Waddle, Chris Danowski’s DOGSEAR. I should be filled with joy and a sense of accomplishment—this is exactly the kind of thing that I wanted to be doing with my life—but all I can do is focus on the “what if.” What if no one shows up? What if no one buys the book? What if I just fuck the whole thing up in some grand and fiery way?
I’ve begun having panic attacks. That’s new. I’ve always had problems with anxiety, but it was all in my head. Now, there are these physical manifestations. My breathing gets sharp and shallow, I get a little light headed, I begin to feel like I need to scream, but can’t. I’m sort of going through a little of that now. I need to get grounded and enjoy all of this in the moment—we’re publishing a fucking book! That’s freaking amazing! I don’t know how to be happy about it, though.
The launch is this Saturday. I’m writing this Thursday night so that I don’t have to stress about writing The Blarg and posting the new Limited Engagement and updating all the various things that need to be updated on top of the launch. I guess you’ll have to wait to hear about how I handled the launch and everything after until the next Blarg.
On this edition of Limited Engagement, Matthew Slusser discusses podcasting, Henry Rollins, the end of his band Phantom Party, and much more. Be sure to check out his podcast, Getting Stoked.
Well, I took full advantage of the Labor Day weekend—to the point where I actually missed my self-imposed Monday morning deadline. It’s bound to happen from time to time. Once in three years ain’t bad.
In the little bit of time I carve out for myself to read something that isn’t a Hoot n Waddle manuscript submission, I have finally gotten around to reading Bruce Springsteen’s memoir, Born to Run. I’ve had a copy sitting around for a couple of years now, but I kept putting off reading it—likely out of fear that I’d be disappointed. That could still happen, but I’m enjoying it so far. However, I can’t help but compare it to Elvis Costello’s memoir, which came out the same year, and I think that Costello’s has more elegant prose, but Springsteen’s is like his songs—relatively plain spoken, containing flashes of profound insight into the human condition, and a rough yet poignant and pointed working class poetic. Which is why I could not be more upset that he devotes only three measly pages to Nebraska. He spends more time talking about the red light district on a tour stop in Germany in 1980 than he does discussing any of the songs on one of my favorite albums of all time. There’s no question that Nebraska changed my life, so it’d be nice if it got a little more than what amounts to a, Yeah, I recorded it on four track Tascam, it was kind of a game changer for me in my songwriting, but whatevs—now on to Born in the USA, the moneymaker!
Anyway, there’s a lot going on right now, so I’m just going to run down the list real quick:
Wednesday, I’ll be down at Fair Trade Cafe recording the one year anniversary edition of Chatterbox for later posting as a Chatterpod, and I’ll be telling a story, too (details here). You can pick up a copy by going to our Square shop. You can also now pre-order our 2nd book, Reading T. S. Eliot to a Bird by David Chorlton.
This Friday, I’ll be down reading on Roosevelt Row for the launch of the new Rinky Dink series (details here).
Then, September 15th is the big launch of Hoot n Waddle’s first book, Chris Danowski’s DOGSEAR (details here). If you’re in Phoenix on that date, and you can make it, that would be amazing.
I’ll be co-hosting two new podcasts that’ll be available soon. The first up is called What the Fork?: Exploring The Good Place (Unofficially), which I’m doing with my friend and prior Limited Engagement guest, Jason Keil. Next is an artist catalog discussion called Album Infinitum, and that will feature myself and a number of guests going through an artist’s discography one album at a time. I don’t have start dates yet for either show, but they’ll both be up by the end of the year, with What the Fork? likely premiering before The Good Place season three premier.
Lastly, there’s another podcast, but it’s Patreon-only podcast. It’s called Apocalyptic Popsicle, and it’s a straightforward review show. Sometimes it’ll be me solo, and sometimes, when I’m lucky, it’ll have my partner in life and Hoot n Waddle, Janell. The podcast will be available to any patron who supports Hoot n Waddle with a donation of $5 or more per month, which you can do by going here. We’ll have the first episode up no later than the end of this month.
On the latest episode of LE, I talk to Steve Ciolek, frontman of The Sidekicks, about touring, songwriting, recording with storied producer John Agnello, working with an artist-centric record label, and much more. The Sidekicks’ new album, Happiness Hours, is available now from Epitaph, and you can catch them live on their fall tour, which kicks off on 9/13, and includes a stop in Phoenix at The Rebel Lounge on 9/26.
As always, you can listen to the podcast on Apple Podcasts, Google Podcasts, Stitcher, our website, and a number of other podcast sites as well.