By Pier Harrison
Source
What inspired you to keep the camera rolling and record this experience on film?
Andrew McMahon: It was what my gut was saying. I had been given this camera by Maverick [Records]. I was filming not just the making of the record but I would carry it with me everywhere, for months. I feel weird saying it but it became kind of friend in a way. And then I got sick. I don't think we ever intended for other people to see it, especially considering the nature of what was shot. But I think along the way we realized that having a window into that world from a first-person perspective might be of some value.
At what point did you actually decide to make the documentary?
It was about six months into my recovery. A couple of my close friends came to me and said, "Look, I don't know if you're comfortable with this, but if you let us see some of these tapes and figure out if there's a way to put this together, we would be interested in doing it." And I think because they were close friends and because I trusted them it became easier to do so.
How personal does the movie get?
Oh, it's about as personal as you can get. It's me with my video camera just trying to get things off my chest and film some of these scientific things that were being done to me, what went into putting this body back together. So, yeah it's deeply personal, but it's about the music too. We ended up focusing a lot on Transit and my separation from my girlfriend, for whom I wrote a lot of that record, who ended up at my side while I was fighting it and became my wife. And [it was] a period of time that my family and I weren't as close, and they ended up at my side, too, really getting me well. So it's a lot more of my dirty laundry than I'm used to airing.
How did Tommy Lee get involved as the narrator? Have you guys stayed in touch since you worked on Tommyland?
Absolutely. Tommy would come visit me in the hospital, and we talked regularly while I was recovering. He came out and played with us on one of our first shows back. We got close in that period of time, so when it came to finding a narrator, Tommy was a no-brainer.
What are the songs about on the Dear Jack EP?
There's a song called "There, There, Katie," which was half written during Transit, and the other half after I found out my sister would be my stem-cell donor. It's a song about and for my sister. Diane from "Diane the Skyscraper," was my nurse in the first week that I was in New York, getting diagnosed. It was really the only song that I wrote while I was in the hospital, probably on the second night that I was there, and did a demo of it a year or two later. I love the song.
With all of your experiences, what is your opinion on the healthcare debate?
I think it's horrible. We're sitting in a horrible place. I have health insurance and I went into the doctor's office the other day and got sent a bill for $1100 after they went to my insurance company. I think there's this crazy effort to stall, or accommodate the people who are robbing our entire society blind for the sake of profiting in the most grotesque way humanly possible over people's diseases and illnesses. I was lucky. I had health insurance and a business manager. But it certainly was a topic of much conversation among myself, my friends and my family, that what if I had not been in such an advantageous place? I'm scared that they're going to go "reform" the industry but make such a point to make concessions to these pigs who are robbing us blind that we might not actually get reform.
Sunday, 1 November 2009
Musiqtone Blog Interview - October 13th, 2009
By Cristina Carrazza
Source
For years, fans of Jack’s Mannequin and Something Corporate have praised Andrew McMahon not only for his musical genius but also his inspiring personal story. After being diagnosed with leukemia in 2005, McMahon will release the documentary "Dear Jack," a personal recollection of his battle, November 3rd. Andrew will also be doing a leg of solo acoustic shows this fall. We had the chance to talk to Andrew about his current tour and the long awaited release of "Dear Jack."
Cristina: You are currently on a Solo Tour. How is that going?
Andrew: It’s going well. We just kicked it off in Denver and it was an awesome first show. I’m very excited it’s definitely a good experience.
CC: What can people expect from it? This is the first time you’re playing acoustic by yourself since you started Jack’s Mannequin.
AM: Yeah. The first show was kind of terrifying, to be honest. Like you said, it’s the first time I’ve ever done anything like this. You know, other than growing up in High School playing song on the piano for my friends. I haven’t really done this kind of stripped down thing – or at least a whole set of it. There are a lot of new arrangements; I think we played around 20 new arrangements in the first night. I think it went really well. It’s definitely a different kind of gig.
CC: Something I know you do often is changing the arrangements of your songs. One example that comes to mind is “Kill The Messenger” which you’ve gone back and forth playing it acoustic and electric.
AM: Pretty much everything we do is an alternate version. I made a list of about 25 or 40 songs. Over the course of a few weeks we sat down at the piano with the acoustic and would run them and see if it made sense arrangement wise. We did that for instance with ‘Holiday From Real.’ We did kind of an acoustic version of that a while back and played with that version of it. It’s all pretty much new acoustic arrangements of that and some new Something Corporate songs.
CC: So tell me about the new documentary you have coming out, Dear Jack. I know you’re having a couple of screenings for it as well.
AM: As far as screening goes, we’re showing it in Chicago, New York and Los Angeles. The idea behind the screening was to give the fans the first look at what this documentary is and also a chance for us to donate the proceeds of the screening back to the foundation and raise some money for the charity. The Documentary itself was sort of an accident of documenting. Before I got sick I was filming the making of “Everything In Transit” with a video camera the label had given me. When I got sick, I had been recording my life for about 6 months, so it became a sort of natural reaction to what was going on. I continued to document. I just continued to tape while I was there and through my recovery. Some friends approached me and said “we know these tapes exist, would you let us see them.” They also wanted to know if there was a story there worth telling and if there was enough footage for it. They spent a couple of years putting it together and here we are now.
CC: How is it going back to that time? I know the most personal account the fans have about it, besides all the blogs, is the song “Caves.”
AM: I have mixed feelings, obviously. Part of me is nervous to show it. I’m a pretty forthcoming person about a lot of things. There is that window into my life pretty regularly through my songs. But that’s it. But after all, I’m also a private person. I tend to tell what I want to tell, not necessarily everything else. But this will definitely be the most personal view anyone will ever probably have of me at a pretty pivotal moment in my life. It makes me a little nervous in some senses but in others, I think the best thing to do is to put it out there. I think this story has followed me for so long, and I understand why. I think where I’m sitting now, maybe the best way for me to put this all behind me and say this chapter is done – I’m moving forward – is to show just what it was. There is no need for speculation; no need to ask me what happened. If you really want to know what it was like, watch it. Hopefully you can find hope in it – it is something very true and very honest. It’s really raw. That’s all I can say about it.
CC: I feel as if your story sometimes become the focus of your career – and very wrongly so, because you’re an amazingly talented musician. Is this your way of saying I’m moving on, let’s focus on something else now?
AM: Exactly. Absolutely. It’s strange but I’ve been looking for a way to artfully tell people what happened. For my fans, people follow the music and they listen to the songs. To those who know about it, the story of me getting sick is tied closely to my music. Again, I understand it. There was a period in time where it frustrated me. It’s still a very relevant part of my life and of the last record, no question. But needless to say, it’s something I prefer to not discuss every time I talk to someone. To be able to have this movie out, there are questions I don’t have to answer anymore. If you do your research, you’ll hear about the movie. But otherwise there is nothing else to say. Absolutely, like you said this is a chance to put it behind me and say this is what it was. And also, I can start focusing on the positives like donating some money to charity and become a positive influence by continuing to play music. I didn’t come to be a hero or a survivor; it’s just a situation I encountered.
Source
For years, fans of Jack’s Mannequin and Something Corporate have praised Andrew McMahon not only for his musical genius but also his inspiring personal story. After being diagnosed with leukemia in 2005, McMahon will release the documentary "Dear Jack," a personal recollection of his battle, November 3rd. Andrew will also be doing a leg of solo acoustic shows this fall. We had the chance to talk to Andrew about his current tour and the long awaited release of "Dear Jack."
Cristina: You are currently on a Solo Tour. How is that going?
Andrew: It’s going well. We just kicked it off in Denver and it was an awesome first show. I’m very excited it’s definitely a good experience.
CC: What can people expect from it? This is the first time you’re playing acoustic by yourself since you started Jack’s Mannequin.
AM: Yeah. The first show was kind of terrifying, to be honest. Like you said, it’s the first time I’ve ever done anything like this. You know, other than growing up in High School playing song on the piano for my friends. I haven’t really done this kind of stripped down thing – or at least a whole set of it. There are a lot of new arrangements; I think we played around 20 new arrangements in the first night. I think it went really well. It’s definitely a different kind of gig.
CC: Something I know you do often is changing the arrangements of your songs. One example that comes to mind is “Kill The Messenger” which you’ve gone back and forth playing it acoustic and electric.
AM: Pretty much everything we do is an alternate version. I made a list of about 25 or 40 songs. Over the course of a few weeks we sat down at the piano with the acoustic and would run them and see if it made sense arrangement wise. We did that for instance with ‘Holiday From Real.’ We did kind of an acoustic version of that a while back and played with that version of it. It’s all pretty much new acoustic arrangements of that and some new Something Corporate songs.
CC: So tell me about the new documentary you have coming out, Dear Jack. I know you’re having a couple of screenings for it as well.
AM: As far as screening goes, we’re showing it in Chicago, New York and Los Angeles. The idea behind the screening was to give the fans the first look at what this documentary is and also a chance for us to donate the proceeds of the screening back to the foundation and raise some money for the charity. The Documentary itself was sort of an accident of documenting. Before I got sick I was filming the making of “Everything In Transit” with a video camera the label had given me. When I got sick, I had been recording my life for about 6 months, so it became a sort of natural reaction to what was going on. I continued to document. I just continued to tape while I was there and through my recovery. Some friends approached me and said “we know these tapes exist, would you let us see them.” They also wanted to know if there was a story there worth telling and if there was enough footage for it. They spent a couple of years putting it together and here we are now.
CC: How is it going back to that time? I know the most personal account the fans have about it, besides all the blogs, is the song “Caves.”
AM: I have mixed feelings, obviously. Part of me is nervous to show it. I’m a pretty forthcoming person about a lot of things. There is that window into my life pretty regularly through my songs. But that’s it. But after all, I’m also a private person. I tend to tell what I want to tell, not necessarily everything else. But this will definitely be the most personal view anyone will ever probably have of me at a pretty pivotal moment in my life. It makes me a little nervous in some senses but in others, I think the best thing to do is to put it out there. I think this story has followed me for so long, and I understand why. I think where I’m sitting now, maybe the best way for me to put this all behind me and say this chapter is done – I’m moving forward – is to show just what it was. There is no need for speculation; no need to ask me what happened. If you really want to know what it was like, watch it. Hopefully you can find hope in it – it is something very true and very honest. It’s really raw. That’s all I can say about it.
CC: I feel as if your story sometimes become the focus of your career – and very wrongly so, because you’re an amazingly talented musician. Is this your way of saying I’m moving on, let’s focus on something else now?
AM: Exactly. Absolutely. It’s strange but I’ve been looking for a way to artfully tell people what happened. For my fans, people follow the music and they listen to the songs. To those who know about it, the story of me getting sick is tied closely to my music. Again, I understand it. There was a period in time where it frustrated me. It’s still a very relevant part of my life and of the last record, no question. But needless to say, it’s something I prefer to not discuss every time I talk to someone. To be able to have this movie out, there are questions I don’t have to answer anymore. If you do your research, you’ll hear about the movie. But otherwise there is nothing else to say. Absolutely, like you said this is a chance to put it behind me and say this is what it was. And also, I can start focusing on the positives like donating some money to charity and become a positive influence by continuing to play music. I didn’t come to be a hero or a survivor; it’s just a situation I encountered.
The Chronicle Interview - October 13th, 2009
By Lisa DiCarlucci
Source
The Chronicle: Can you start off by giving me a short synopsis as to what your new documentary, “Dear Jack” is about?
Andrew McMahon: Basically it’s the period of time starting around the beginning of the new project with Jack’s Mannequin and I was given the camera from the record company to document the beginning of the first album. Soon after, I was diagnosed with cancer and it became something I could do to occupy my time while I was not feeling well. When I was having a really bad day I would use the camera to talk to. It turned into this great collection of footage, interviews, and family videos that just documented the entire time in my life.
TC: What was your original reasoning for making this film?
AM: It was really just the label giving me a camera to document the making of the album but it was never meant to be a full-length documentary. It was more the record company hoping to have footage to make some viral videos of studio footage as an extra to the album or something. It was actually the first time I had ever had a camera. I was 20 years old at the time and it was the first time I had ever been away from my family so I thought it would be something great to have on film and maybe it would turn into internet clips or something. I never had the intention of making a movie. When I got sick I wasn’t really able to do much song writing. It really just became another way that I could express myself. If I was having a hard day or something the camera almost became like a friend. It was a place I could get the bad stuff out. It wasn’t until later on that some friends found out I had been filming myself that I even thought about making it into a documentary.
TC: Who were the friends that reached out to you about making the film?
AM: One of my friends from the band Mae reached out to help form it into a documentary and a few other people. I explained to them that I had shot my life through the last few years and they asked if they could watch it. They had done similar stuff before and had experience. They basically did the first edit and had a few friends step in and finish it out and put the first story together.
TC: What do you hope the audience will get out of this film?
AM: I think originally as we were doing it we wanted people to see that there is a lot of hope to be found in a really scary situation. The real story is of the love of my family and friends helping me in a really dark situation. I wanted people to see a really raw experience from a first hand perspective. I think that there are a lot of other people who have gone through the same thing and it will be good for them to see it.
TC: Does it scare you to have so many people witnessing such personal events in your life?
AM: I go back and forth you know? It’s been a story that, whether or not I like it, has followed me closely. I can’t seem to get away from it even as a recover. I’m hoping that this film is kind of a way for me to close the tracks on this whole thing. It’s a way of closure. People will see something deeply personal, but they are always digging for it. If you really want to know, this is what it really looks like.
TC: In that sense do you feel that this documentary will give your fans a better understanding or context for your songwriting?
AM: Maybe yes and maybe no. It might shed more light on where I come from. It’s about my battle with cancer but also it’s about my family and the people who shaped me. It’s about their will and who they are have made me who I am. I think it won’t shed light on my creativity so much as it will shed light on my drive.
TC: I understand that you are doing a small solo tour currently to promote the documentary. What is it like performing alone as opposed to with the band?
AM: It’s pretty strange. I’ve only done these things a couple of times and it’s pretty terrifying to be by yourself. I knew that I wanted to do something intimate and personal, though, mostly because it was just a challenge. I’m up there alone playing songs I haven’t played in years to crowds of 200 or 300 people. I like that almost a decade into my career I’m having a brand new experience. It’s about as personal as it can get. It’s a cool moment to sort of have a connection that you don’t have when you are playing for crowds of thousands of people.
TC: So the proceeds of this documentary are going towards your charity, The Dear Jack Foundation. Can you tell me a little about what kind of work you do?
AM: The foundation essentially helps fund initiatives and various different partnerships. It’s not a full functioning non-for profit; I don’t have a staff. We raise money and donate to bigger charities. Such as the Lukemia and Lymphoma society and UCLA which saved my life. We collect money and find great places to put it so we can help find a cure for blood cancers.
TC: Is there any possibility of a Something Corporate reunion?
AM: I mean it’s hysterical how these rumors are started. No one ever said that Something Corporate is going to get back together. Me and the guys have discussed getting together for some reunion shows. Nothing is on the books, but it’s something we would all be up for. We still hold the band close to our hearts and we would never want to just let it go. People can expect reunion shows at some point, I just can’t say when.
Source
The Chronicle: Can you start off by giving me a short synopsis as to what your new documentary, “Dear Jack” is about?
Andrew McMahon: Basically it’s the period of time starting around the beginning of the new project with Jack’s Mannequin and I was given the camera from the record company to document the beginning of the first album. Soon after, I was diagnosed with cancer and it became something I could do to occupy my time while I was not feeling well. When I was having a really bad day I would use the camera to talk to. It turned into this great collection of footage, interviews, and family videos that just documented the entire time in my life.
TC: What was your original reasoning for making this film?
AM: It was really just the label giving me a camera to document the making of the album but it was never meant to be a full-length documentary. It was more the record company hoping to have footage to make some viral videos of studio footage as an extra to the album or something. It was actually the first time I had ever had a camera. I was 20 years old at the time and it was the first time I had ever been away from my family so I thought it would be something great to have on film and maybe it would turn into internet clips or something. I never had the intention of making a movie. When I got sick I wasn’t really able to do much song writing. It really just became another way that I could express myself. If I was having a hard day or something the camera almost became like a friend. It was a place I could get the bad stuff out. It wasn’t until later on that some friends found out I had been filming myself that I even thought about making it into a documentary.
TC: Who were the friends that reached out to you about making the film?
AM: One of my friends from the band Mae reached out to help form it into a documentary and a few other people. I explained to them that I had shot my life through the last few years and they asked if they could watch it. They had done similar stuff before and had experience. They basically did the first edit and had a few friends step in and finish it out and put the first story together.
TC: What do you hope the audience will get out of this film?
AM: I think originally as we were doing it we wanted people to see that there is a lot of hope to be found in a really scary situation. The real story is of the love of my family and friends helping me in a really dark situation. I wanted people to see a really raw experience from a first hand perspective. I think that there are a lot of other people who have gone through the same thing and it will be good for them to see it.
TC: Does it scare you to have so many people witnessing such personal events in your life?
AM: I go back and forth you know? It’s been a story that, whether or not I like it, has followed me closely. I can’t seem to get away from it even as a recover. I’m hoping that this film is kind of a way for me to close the tracks on this whole thing. It’s a way of closure. People will see something deeply personal, but they are always digging for it. If you really want to know, this is what it really looks like.
TC: In that sense do you feel that this documentary will give your fans a better understanding or context for your songwriting?
AM: Maybe yes and maybe no. It might shed more light on where I come from. It’s about my battle with cancer but also it’s about my family and the people who shaped me. It’s about their will and who they are have made me who I am. I think it won’t shed light on my creativity so much as it will shed light on my drive.
TC: I understand that you are doing a small solo tour currently to promote the documentary. What is it like performing alone as opposed to with the band?
AM: It’s pretty strange. I’ve only done these things a couple of times and it’s pretty terrifying to be by yourself. I knew that I wanted to do something intimate and personal, though, mostly because it was just a challenge. I’m up there alone playing songs I haven’t played in years to crowds of 200 or 300 people. I like that almost a decade into my career I’m having a brand new experience. It’s about as personal as it can get. It’s a cool moment to sort of have a connection that you don’t have when you are playing for crowds of thousands of people.
TC: So the proceeds of this documentary are going towards your charity, The Dear Jack Foundation. Can you tell me a little about what kind of work you do?
AM: The foundation essentially helps fund initiatives and various different partnerships. It’s not a full functioning non-for profit; I don’t have a staff. We raise money and donate to bigger charities. Such as the Lukemia and Lymphoma society and UCLA which saved my life. We collect money and find great places to put it so we can help find a cure for blood cancers.
TC: Is there any possibility of a Something Corporate reunion?
AM: I mean it’s hysterical how these rumors are started. No one ever said that Something Corporate is going to get back together. Me and the guys have discussed getting together for some reunion shows. Nothing is on the books, but it’s something we would all be up for. We still hold the band close to our hearts and we would never want to just let it go. People can expect reunion shows at some point, I just can’t say when.
Friday, 9 October 2009
Emotional Punk Interview - September 23rd, 2009
By Matt Zimmerman
Source
Thanks for taking some time to chat. What are you doing on this fine Wednesday morning?
AM: Just chilling at my home in Los Angeles.
EP: For all this talk of fall coming, it still feels like a typical day in So Cal, ha.
Well, I guess we can start off by talking about the new documentary Dear Jack, to be released in this November. Can you describe the film and why it’s finally coming to light now?
AM: The film itself is essentially a by-product of footage I took from December 2004 through 2005 when I got sick [with leukemia]. I was given a video camera to shoot the eventual recording of my record and it was my first time on my own, away from Something Corporate. The video camera became like my secondary art project. I would document my day-to-day, shoot some short movies and whatnot. So I think the reason the process [of releasing it] has taken so long is that it’s taken a few years for me to objectively be able to look at that period in my life. It’s hard when you’re still so close to it to and trying to create a piece of art from that. When I came back this summer from The Fray tour, I had crossed the four year mark since my transplant and all of a sudden, it seemed like that chapter in my life was closing. That is why we chose to come out with the film now; any later and it would be too late. Frankly, it feels like this is a chapter in my life that is closing so [the film] serves as a nice period after the sentence, ha.
What feelings come up when you re-watch the footage? Does it feel like you are reliving those difficult times?
AM: The thing I am most proud about the movie is it is a very truthful portrayal of what it was like to be in that moment. For what it’s worth, I think the reason the film is compelling is that I’m sure people know others who have encountered something like this themselves and the film gives a perspective of how that is. For me, it’s difficult to watch. It’s definitely got a powerful effect on me. Seeing it now, it doesn’t put me back in that space; it’s more like “wow, that happened.” I’m far enough now that I can see the value in it.
EP: I guess, in a way, you can look at the event like you would a family member who has past. Not in the way that it happened to someone else but I guess what I’m trying to say is, you can look at the positives versus the hard times.
AM: For me, it may surprise people to hear but that was an incredibly positive time in my life. There’s not doubt it was hard but I learned a lot of powerful lessons about how important the people around you really are and those were lessons I was glad to learn. Granted, it didn’t feel good but there was a strange amount of peace in moment.
Your story is such an inspirational one but do you ever worry that “the story” could overshadow the music i.e. it defines your career more so than the music?
AM: It’s one of those things that I’ve struggled with a lot. I’ve had to reconcile that it is a part of my life and I would’ve had to go on hiatus for probably a decade until nobody remembered who I was, ha. Cancer is so universal and so many people deal with it, it becomes a huge part in my life and in my story. The goal has always been to focus on the music and the reality is, there is a part of that which happened for a reason. Maybe that reason is that we are out here and able to do such great work and make a difference. There was a time when I resented it but I realized I can’t help what people latch onto except maybe get this film out so people can see what it was really about versus an idealized version of it in their head. If nothing else, from now on I can say “there is a movie about it, you’re welcome to check it out but that is not where I am right now.” In large part, that is why we are doing this.
You have worked with multiple fundraising charities including Light the Night, and of course your own foundation Dear Jack, to raise money and awareness for leukemia. I wanted to give you a chance to talk about those organizations and where people can get more information on them.
AM: We’re going again for another year hoping to raise $100,000 for the Light The Night walks. There is a Jack’s Mannequin team that walks nationwide. You can find out about that at dearjackfoundation.com or Leukemia/Lymphoma Society website. You can donate to that through November. We’ve already raised over $50,000. In October/November, Macbeth will launch a Jack’s Mannequin shoe. All the proceeds we collect will go to the foundation. If anybody wants to find out more, we will be launching a new dearjackfoundation.com website in the near future.
I also wanted to talk about the video for “The Resolution”, off your latest album The Glass Passenger, which was directed by Stephanie Meyer of the Twilight series fame. How did you come about getting her to direct the video?
AM: It started out as a friend of mine whose wife was really into the books. She told me that [Stephanie] mentioned me in the ‘thank-you’s of her novels. I was flattered but didn’t know what to think of it. So we were banging our heads against a wall because none of the treatments for the video really spoke to us. One day we were ripping with my marketing directed about getting an author or actor; someone who brought a different perspective. The conversation I had with my wife’s friend came into my mind and I thought what about Stephanie Myer who was now huge due to the film. We called her and she said yes; it was pretty simple. She really stepped up and wrote a great treatment that we loved.
EP: I actually got this question from my girlfriend who is a big fan of the novels.
AM: That’s cool. I think it really opened us up to a lot of those fans who read the books. It was a good thing for us. Its funny when you go into that pop realm, you can really end up getting a lot of new fans.
EP: Have you kept in contact with her?
AM: I have actually. We hooked up at a concert in Michigan for The Fray tour. She’s really cool. It’s fun to see her out of the business aspect which we were in for the video.
You have a solo tour which you will begin at the end of this month. What made you decide to do this tour and what can fans expect from it?
AM: There were a number of components. One is that when I took stock in how long I’ve consistently been on the road. Other than the six months I took off when I was sick, I’ve been on the road ever month, to some extent, for seven or eight years. I was getting a little burned out but I knew I had to be out supporting the documentary. The idea came about of doing something really grassroots and playing some small venues. When you play those size venues, you pretty much guaranteed to get the people who have been around for a long time. That seems to be an appropriate and nurturing environment to put something out as personal as a documentary. For the music component, it made sense. It’s not really my environment; there’s a chance some songs will be really powerful and then some may fall flat, ha. It’s a new thing but it helps me do something exciting and new. I’ll make a point to incorporate a few Something Corporate songs into the set. You’re going get a chance to hear songs you know and love approached differently. There is something cool about the intimacy. I can’t say what to expect but when you get into a room with people who really want to be there, good things happen.
EP: Other than the Trouabour show right before Glass Passenger was released, the last small venue I saw you in was the last Something Corporate show at Chain Reaction.
AM: Oh shit, ha. The old Chain Reaction days...
Got to love ‘em! So what are your plans after the tour?
AM: That tour will finish out the year. After that, I will probably spend some time writing and recording which I’m really excited about. I definitely feel inspired in this moment. Like I said, with the closing of this chapter in my life, a lot of my focus will shift to new music. We may go out in the new year to do the make-up dates we canceled to go out with The Fray.
EP: Is there a timeline for the new record yet?
AM: It’s really up in the air right now. I started working on a couple songs which have taken shape and make me excited for it but the reality is that from this point until I feel the record is done, it could take a year or two years. I just don’t know. I have a good feeling that this thing is going to just happen but until we get further down the road, I would hate to attach any expectations to it.
EP: I know that happened with the last album. There was an expected release schedule and when it wasn’t met, fans freaked out when they weren’t met.
AM: Ha, yeah, exactly! It was great to have so many people excited about a record but I learned a lot of lessons from that. I learned to wait until the moment it happens to really say anything. I think that is the way we approached the documentary too.
EP: I think Glass Passenger turned out all for the better though. Obviously I don’t know what it was in its initial stages but the album turned out so well in the long run.
AM: I’m happy with the record. It was going to be a difficult album no matter what. I think some of that confusion actually added to the art of the record itself.
I was asked by a fan to make sure and ask about the always-rumored Something Corporate reunion. What, if any, plans are there in the future for that?
AM: At this point, it’s closer to the ground that it has been but to call it plans would not be totally fair. Again, this speaks to the not wanting to attach too much expectation to anything. I’ll be honest, we’ve talked about it and it’ll happen at the right time. Give me until the end of February to finish out the dates for this record and we’ll readdress it at that point.
I’ll finish up with a few quick Q & A’s. First, what is some of your favorite music right now, past or present?
AM: The album I’ve been listening to for about the past month or two is the new Regina Spektor record [Far]. I have a thing for her tunes. She has soulfulness to her music; there is something very evolved about her. Also, band we took out recently Low Vs. Diamond which I really got hooked on. I have to admit I have had this guilty pleasure for that Owl City record. It’s quirky and youthful, almost too playful, but I’m a sucker for melodies and this guy delivers some sweet melodies. I got hung up on John Mayer’s Continuum record recently.
EP: That is a really great record. I just a chance to listen to the new Paramore record Brand New Eyes and they definitely have that youthful energy you talked about. It’s a solid pop record but they really branched out I feel on this one. I wasn’t a fan of the last one as much as this.
AM: What sells me on a song is usually a good melody and a hopefully a lyric, no matter what angle it comes from, that sounds like it came from the heart. Those are pretty much the two factors. Everything else is up in the air. Haley is a total badass! I’m always rooting for her and the Paramore guys.
Other than music, any good books you’ve read lately or movies you’ve seen?
AM: I just finished an amazing book titled The History Of Love [by Nicole Krauss]. It’s a really great book. It sounds like it would be a romance novel but it’s definitely not. Movies I’ve watched... nothing I’ve seen lately knocked me on my ass. I saw The Hangover. I thought that was hysterical. I also saw a documentary on John Smith which was ridiculous. I saw it on an airplane of all places. Have you seen Lars And The Real Girl?
EP: No but I’ve been meaning to.
AM: It’s almost slow in a sense, like Lost In Translation where there is a lack of things happening but it makes you feel like you’re in the movie. I think you’ll really like it. I don’t get a lot of time to watch movies. I don’t have as much time for movies as I used to. When I’m home, I’m either writing or just taking a minute to breath. I usually just catch things on Netflix.
Yeah, same here. I’ll definitely check out Lars though; you sold me on it! Well, I’ve wrapped up my questions. Is there anything else you’d like to add for our readers?
AM: Let them know we’re going to put an EP out in the next few months. There are a bunch of songs throughout the making of the film which are featured. I went through and collected them and will be putting out a 4-song EP next month.
Source
Thanks for taking some time to chat. What are you doing on this fine Wednesday morning?
AM: Just chilling at my home in Los Angeles.
EP: For all this talk of fall coming, it still feels like a typical day in So Cal, ha.
Well, I guess we can start off by talking about the new documentary Dear Jack, to be released in this November. Can you describe the film and why it’s finally coming to light now?
AM: The film itself is essentially a by-product of footage I took from December 2004 through 2005 when I got sick [with leukemia]. I was given a video camera to shoot the eventual recording of my record and it was my first time on my own, away from Something Corporate. The video camera became like my secondary art project. I would document my day-to-day, shoot some short movies and whatnot. So I think the reason the process [of releasing it] has taken so long is that it’s taken a few years for me to objectively be able to look at that period in my life. It’s hard when you’re still so close to it to and trying to create a piece of art from that. When I came back this summer from The Fray tour, I had crossed the four year mark since my transplant and all of a sudden, it seemed like that chapter in my life was closing. That is why we chose to come out with the film now; any later and it would be too late. Frankly, it feels like this is a chapter in my life that is closing so [the film] serves as a nice period after the sentence, ha.
What feelings come up when you re-watch the footage? Does it feel like you are reliving those difficult times?
AM: The thing I am most proud about the movie is it is a very truthful portrayal of what it was like to be in that moment. For what it’s worth, I think the reason the film is compelling is that I’m sure people know others who have encountered something like this themselves and the film gives a perspective of how that is. For me, it’s difficult to watch. It’s definitely got a powerful effect on me. Seeing it now, it doesn’t put me back in that space; it’s more like “wow, that happened.” I’m far enough now that I can see the value in it.
EP: I guess, in a way, you can look at the event like you would a family member who has past. Not in the way that it happened to someone else but I guess what I’m trying to say is, you can look at the positives versus the hard times.
AM: For me, it may surprise people to hear but that was an incredibly positive time in my life. There’s not doubt it was hard but I learned a lot of powerful lessons about how important the people around you really are and those were lessons I was glad to learn. Granted, it didn’t feel good but there was a strange amount of peace in moment.
Your story is such an inspirational one but do you ever worry that “the story” could overshadow the music i.e. it defines your career more so than the music?
AM: It’s one of those things that I’ve struggled with a lot. I’ve had to reconcile that it is a part of my life and I would’ve had to go on hiatus for probably a decade until nobody remembered who I was, ha. Cancer is so universal and so many people deal with it, it becomes a huge part in my life and in my story. The goal has always been to focus on the music and the reality is, there is a part of that which happened for a reason. Maybe that reason is that we are out here and able to do such great work and make a difference. There was a time when I resented it but I realized I can’t help what people latch onto except maybe get this film out so people can see what it was really about versus an idealized version of it in their head. If nothing else, from now on I can say “there is a movie about it, you’re welcome to check it out but that is not where I am right now.” In large part, that is why we are doing this.
You have worked with multiple fundraising charities including Light the Night, and of course your own foundation Dear Jack, to raise money and awareness for leukemia. I wanted to give you a chance to talk about those organizations and where people can get more information on them.
AM: We’re going again for another year hoping to raise $100,000 for the Light The Night walks. There is a Jack’s Mannequin team that walks nationwide. You can find out about that at dearjackfoundation.com or Leukemia/Lymphoma Society website. You can donate to that through November. We’ve already raised over $50,000. In October/November, Macbeth will launch a Jack’s Mannequin shoe. All the proceeds we collect will go to the foundation. If anybody wants to find out more, we will be launching a new dearjackfoundation.com website in the near future.
I also wanted to talk about the video for “The Resolution”, off your latest album The Glass Passenger, which was directed by Stephanie Meyer of the Twilight series fame. How did you come about getting her to direct the video?
AM: It started out as a friend of mine whose wife was really into the books. She told me that [Stephanie] mentioned me in the ‘thank-you’s of her novels. I was flattered but didn’t know what to think of it. So we were banging our heads against a wall because none of the treatments for the video really spoke to us. One day we were ripping with my marketing directed about getting an author or actor; someone who brought a different perspective. The conversation I had with my wife’s friend came into my mind and I thought what about Stephanie Myer who was now huge due to the film. We called her and she said yes; it was pretty simple. She really stepped up and wrote a great treatment that we loved.
EP: I actually got this question from my girlfriend who is a big fan of the novels.
AM: That’s cool. I think it really opened us up to a lot of those fans who read the books. It was a good thing for us. Its funny when you go into that pop realm, you can really end up getting a lot of new fans.
EP: Have you kept in contact with her?
AM: I have actually. We hooked up at a concert in Michigan for The Fray tour. She’s really cool. It’s fun to see her out of the business aspect which we were in for the video.
You have a solo tour which you will begin at the end of this month. What made you decide to do this tour and what can fans expect from it?
AM: There were a number of components. One is that when I took stock in how long I’ve consistently been on the road. Other than the six months I took off when I was sick, I’ve been on the road ever month, to some extent, for seven or eight years. I was getting a little burned out but I knew I had to be out supporting the documentary. The idea came about of doing something really grassroots and playing some small venues. When you play those size venues, you pretty much guaranteed to get the people who have been around for a long time. That seems to be an appropriate and nurturing environment to put something out as personal as a documentary. For the music component, it made sense. It’s not really my environment; there’s a chance some songs will be really powerful and then some may fall flat, ha. It’s a new thing but it helps me do something exciting and new. I’ll make a point to incorporate a few Something Corporate songs into the set. You’re going get a chance to hear songs you know and love approached differently. There is something cool about the intimacy. I can’t say what to expect but when you get into a room with people who really want to be there, good things happen.
EP: Other than the Trouabour show right before Glass Passenger was released, the last small venue I saw you in was the last Something Corporate show at Chain Reaction.
AM: Oh shit, ha. The old Chain Reaction days...
Got to love ‘em! So what are your plans after the tour?
AM: That tour will finish out the year. After that, I will probably spend some time writing and recording which I’m really excited about. I definitely feel inspired in this moment. Like I said, with the closing of this chapter in my life, a lot of my focus will shift to new music. We may go out in the new year to do the make-up dates we canceled to go out with The Fray.
EP: Is there a timeline for the new record yet?
AM: It’s really up in the air right now. I started working on a couple songs which have taken shape and make me excited for it but the reality is that from this point until I feel the record is done, it could take a year or two years. I just don’t know. I have a good feeling that this thing is going to just happen but until we get further down the road, I would hate to attach any expectations to it.
EP: I know that happened with the last album. There was an expected release schedule and when it wasn’t met, fans freaked out when they weren’t met.
AM: Ha, yeah, exactly! It was great to have so many people excited about a record but I learned a lot of lessons from that. I learned to wait until the moment it happens to really say anything. I think that is the way we approached the documentary too.
EP: I think Glass Passenger turned out all for the better though. Obviously I don’t know what it was in its initial stages but the album turned out so well in the long run.
AM: I’m happy with the record. It was going to be a difficult album no matter what. I think some of that confusion actually added to the art of the record itself.
I was asked by a fan to make sure and ask about the always-rumored Something Corporate reunion. What, if any, plans are there in the future for that?
AM: At this point, it’s closer to the ground that it has been but to call it plans would not be totally fair. Again, this speaks to the not wanting to attach too much expectation to anything. I’ll be honest, we’ve talked about it and it’ll happen at the right time. Give me until the end of February to finish out the dates for this record and we’ll readdress it at that point.
I’ll finish up with a few quick Q & A’s. First, what is some of your favorite music right now, past or present?
AM: The album I’ve been listening to for about the past month or two is the new Regina Spektor record [Far]. I have a thing for her tunes. She has soulfulness to her music; there is something very evolved about her. Also, band we took out recently Low Vs. Diamond which I really got hooked on. I have to admit I have had this guilty pleasure for that Owl City record. It’s quirky and youthful, almost too playful, but I’m a sucker for melodies and this guy delivers some sweet melodies. I got hung up on John Mayer’s Continuum record recently.
EP: That is a really great record. I just a chance to listen to the new Paramore record Brand New Eyes and they definitely have that youthful energy you talked about. It’s a solid pop record but they really branched out I feel on this one. I wasn’t a fan of the last one as much as this.
AM: What sells me on a song is usually a good melody and a hopefully a lyric, no matter what angle it comes from, that sounds like it came from the heart. Those are pretty much the two factors. Everything else is up in the air. Haley is a total badass! I’m always rooting for her and the Paramore guys.
Other than music, any good books you’ve read lately or movies you’ve seen?
AM: I just finished an amazing book titled The History Of Love [by Nicole Krauss]. It’s a really great book. It sounds like it would be a romance novel but it’s definitely not. Movies I’ve watched... nothing I’ve seen lately knocked me on my ass. I saw The Hangover. I thought that was hysterical. I also saw a documentary on John Smith which was ridiculous. I saw it on an airplane of all places. Have you seen Lars And The Real Girl?
EP: No but I’ve been meaning to.
AM: It’s almost slow in a sense, like Lost In Translation where there is a lack of things happening but it makes you feel like you’re in the movie. I think you’ll really like it. I don’t get a lot of time to watch movies. I don’t have as much time for movies as I used to. When I’m home, I’m either writing or just taking a minute to breath. I usually just catch things on Netflix.
Yeah, same here. I’ll definitely check out Lars though; you sold me on it! Well, I’ve wrapped up my questions. Is there anything else you’d like to add for our readers?
AM: Let them know we’re going to put an EP out in the next few months. There are a bunch of songs throughout the making of the film which are featured. I went through and collected them and will be putting out a 4-song EP next month.
Friday, 2 October 2009
AP.net Interview - October 1st, 2009
By Adam Pfleider
Source
You told Paul Tao back at the end of 2007 that the footage (that would become Dear Jack) was just shot to be shot, and that it was initially hard to watch. With the release coming up in a month, are you hesitant, whatsoever, to finally surface this footage?
I have mixed feelings about it...I'm proud of it on a couple of levels. It came together from a lot of people around me, and the filmmakers who put their time in and worked on edits for a couple of years now. I think it's a really good movie [Laughs] you know, I mean, it's a little bit easier to be objective with some time behind me - these guys have just done a really amazing job telling the story. I feel like a part of me is a pretty private person. I say a lot in my songs, and I've been pretty forthcoming since the experience and being in the hospital, but I still consider myself as a pretty private guy. I think that [the DVD] really shows how I live, or how I lived, and how I got through this in such a personal way - really just my personal home movies. Yeah, there's a part of me that gets nervous putting that much of myself out there. I try and hold true to the tenants of why we started the private movie in the first place. One, to show people the reality and, I think, the truth of what it's like to be in that situation from a very personal angle, and also the idea that it would instill some hope in people, that there is something positive and wonderful on the other side, that if you keep your head in it and do everything to get yourself better.
When was the first time you sat down and plugged the camera in and watched the footage? Looking back at the footage on Dear Jack, was it hard?
The first time I saw...well...we saw an initial, very rough edit, you know, that's just catalog footage essentially. It was sort of scatterbrained enough that I was like, "Wow, I can't believe I shot that," but it hadn't really been woven together in a story at that point. The first time I really saw it, I can't even pinpoint the date, but I want to say it was sometime in early 2007, I remember we went to [director] Corey Moss' house...a bunch of us went over there and watched it at his house. It wasn't finished...I remember sitting there and watching it, and it was pretty intense, and it sort of put me in a pretty strange head space. It was kind of the first time seeing all the stuff pieced together...I shot most of the footage myself, and so much of it was my perspective. I remember I woke up the following morning sick [Laughs], well not actually sick, but in a psychosomatic kind of way. My body felt like it was back in that time and place, and it sort of spoke of the power of the footage, just seeing things through my own eyes again really kind of put me back there.That said, a couple years have passed. Now I see it and appreciate it for how well it was put together and what it represents.
Have you watched it with family, and if so, what was their reaction?
My wife has seen it, and at this point, that is it. The last week that we were editing and putting together the last cuts. I've been pretty guarded about not showing this to anybody until it's finished. They're having a lot of edits, and they're having a lot of different versions come out, timing the one we're really happy with it. So I think in the next week or so I will distribute it out to my family and some of my close friends for them to see.
How did Tommy Lee get picked to narrate the movie?
There's a lot of reasons. When we went and looked back at a lot of the footage...to be clear, the way this whole thing happened, it spun out, [was that] we got a camera during the making of the [Everything in] Transit sessions. Six months before, when we looked back at a lot of the footage, we were working a lot at the time, both on his record and on mine, he was in a lot of the footage. [Laughs] He was sort of a big part of that period of time in my life. In some ways I think he represented a symbol of that period of time. I was going out with him fairly regularly, I was spending a lot of time in the studio with him, and I was just partying and having an amazing time. That was sort of the backdrop for when I got pulled off the road all of a sudden. We saw him in a lot of the footage, and we knew we needed a narrator, and it was kind of like, "Do we go hunting down a guy to do voice over work?" or, you know, we got a buddy that happens to be a big celebrity who actually was really involved and really a part of this period of time in our lives and also happens to have a very cool, recognizable voice. So it was like, Tommy Lee is like our Morgan Freeman. He's the dude who will hopefully bring a little bit of celebrity in the story - maybe perks up a couple of people's ears who don't necessarily know what we're about, but checks us out because Tommy is involved - you know, he's a good friend.
I'm a Leukemia survivor as well, but with my condition, I had ALA Leukemia, essentially spawning defective white blood cells, but you had a strand called Acute Lymphoblasic Leukemia, or ALL. Medical jargon aside, can you explain what was going on with your body?
Effectively, my body was taken over by cancer cells that were, to my understanding, I had defective bone marrow. Your bone marrow is where you process a lot of cells and shoots those cells out to the body. What happened to me, or how it lays out on paper, if you were to look at a score of my blood counts, from hemoglobin to - sorry to get technical, but all the different components of blood - everything was being processed through a cancerous organism apparently. All of my blood counts were going down to nothing...Every component of my blood was effected because all the cancer cells completely destroyed all the blood in my body. The treatment that I had with Leukemia is to essentially kill all the cancerous blood cells so you can generate new ones, but because it's in the bone marrow, you have to fix the problem at the source...so that's why we chose to do the transplant.
I had a transplant as well, and several spinal taps too. I take it you went through the same radiation?
When I started the [the treatment of possible prolonged chemotherapy to eventually get into remission], what ended up happening is that I that I had a match, and my doctor felt my odds for survival would be better should I be able to get through the process of the transplant, so we went for that. The preparation for that is pretty huge amounts of radiation, brain radiation, body radiation for several days, and I did really heavy, high doses of chemotherapy that just kills everything in your body, and then sort of brings you back to life. You know, you've been through it. I got that really specialized ass kicking from the docs, because that's what you have to do to prepare for the transplant.
Was there any point in that time where you felt like, "Why did this happen to me?" or "How could this have happened?" or was it always a positive uphill battle with yourself and your friends and family?
Definitely. There were definitely moments when you have questions. I think i was able to make peace with it quickly. I don't know if the "Why me?" thing really came into play during my illness as much as "Why do I hurt so bad?" [Laughs] And I mean, I think there was a part of me that felt upset that I couldn't be out, and I got plucked, if felt like, at a certain important time in my life. There was a point that, even really more after the fact, and after the recovery. During it, there was sort of this, bizarre coincidence. So many things happened at the period of time that I found out I was sick, that I seemed to weave this whole picture together. I looked back at [Everything in Transit], I think I was living, at that period of time in my life, in a very serendipitous kind of way. There were so many things were just coming together for me and the world was just working, and I was listening to the universe, I was just trying to follow the path that would lead me to the best music, but you know I felt so tied in and keyed into the universe, that when I got sick, in a strange way, that's just what was supposed to happen. Listening back to the album, and hearing all those references to hospitals and being sick, I think there was a lot of serendipity in a way that I found out I was sick. You almost felt like it was meant to happen. Something about it felt like, "I'm the guy for this," like it was just meant to happen - not something out of anger, like I was meant to be punished - but something about it felt like, "I'm the guy for this, this is what I have to deal with now." So I did, and I dealt with it peacefully. You have these moments where you feel worried you're going to die, then you really get scared. Those moments are hard to be consoled, even if you are treating yourself in a positive way.
Looking back on those years, I know it's cliche, but do you feel stronger because of it? Did it give you a fresh look on life that carried over into your song writing?
It's not to say that I don't feel like a stronger person. I feel as my life continues on, this will have made me stronger inherently. The couple years following my recovery, I felt anything but strong, I think I felt really fragile, kind of like I was drifting a little bit, even into the making of [The Glass] Passenger. [That album] really came about the struggle to find my confidence as a musician again. The struggle to find my confidence as a writer and as an artist. I think the cancer stripped a lot of that away from me. I think the follow-up to this, [besides] my struggle with Leukemia, is my struggle to get back to that place where I felt like I was working with the world around me, making songs. I finally feel like I'm there. I think making Passenger and getting this documentary done and doing all these things are really an influential stepping stone in getting back to this place where I can put all this shit behind me and move along. I think I'm finally at that place...I think it took a lot away from me in some respects. I think all the things I've replaced are better, stronger parts and are slowly coming back. Most of my "Why me?" and most of my anger about being sick happened in the years following [my remission].
How has The Dear Jack Foundation been going? What's been the feedback?
It's been great. We've been able to fund a lot of big research...We've raised about $200,000 if not more than that at this point, going towards various research projects. Medical research is a tricky thing. We're not going to be able to sit there and quantify every success. In general, having your money go towards these doctors that are spending day in and day out to get to the bottom of things, you might fund research that didn't work, and that's a part of what they found out. This doesn't work, then you go on to the next one. Our goal is to continue to fund that research, and help supporting doctors, so they can find cures. It's been a great success. I feel it has really roused a lot of people together in a name of a great cause. We're a little foundation. We don't generate millions of dollars, but you know, we've made a few hundred thousand dollars in the course of a few years, and I feel really proud to do my part.
Going out on tour for the first time after the recovery, what was your initial feeling? How long did it take for someone who went through the same thing to come up to you, and what was your response? Was it overwhelming?
The first time I talked to another person, a fan, it was probably a few months following the transplant. I started to feel better enough to do these kind of "incubated" shows, kind of acoustic, kind of things to give me hope, give me something to train for, get my body back, get my health back, kind of working with the transplant to feel better. That's when I started to see people reaching out. It's intense. It's sort of a weird responsibility to council somebody who is sick, or is in a dangerous spot in their own life. I think that's something where there's a feeling to look after other people who don't feel well after you've gone through something like that. You sort of are happy to step in and say, "Well, this worked for me, and try to stay positive," and I sort of think that's the natural response to recovery is to reach out to those who are in the process themselves. So it happened pretty early. Playing those initial shows, there were mix feelings. A lot of it came with nerves, because you were wondering if you would get sick before you do the show, or if my voice would hold - those kinds of things. I think if I'd recover, my performance would recover too. I didn't think I'd come out swinging, jumping on the piano [Laughs] and waving my body for the first several months down the road, but you can certainly chart my progress physically through my shows in a lot of respects. You would probably see my shows getting a lot more active as I recovered.
If there's one thing you specifically learned from your experience, that you would want to pass down onto all your fans, what would it be?
Not to say I am any sort of authority. A lot of people have idealized my situation, because I play music and am somewhat of a public figure. If I could say anything, if I've learned anything from it - you never know what's coming for you. I don't say that to instill any sort of paranoia, but the point being, you don't' know that you might not wake up tomorrow, and it's you or your friend, or some other possible road block that you might not know happen. You try and make sure that your day to day that you're living, not to that you are prepared for something like that, but you're living in a way that would make you okay with it. That could mean a lot of different things to a lot of people. For me, it's as simple as trying to live a life as a kind person, and doing things that I'm proud of, and looking after the people that I love in my life, and being as connected to the things and people that hold you in and are special to me. Trying to live a life that you're psyched on. Know that it's not always going to be around, so you might as well enjoy yourself. That you might as well be in a place where you reconcile enough that you can enjoy life a little, because none of us know what's happening next. Just live in the moment, that's all I can say. Try to be present in the moment, because the past and the future really don't exist.
Oh yeah, and I'm sure people are wondering, any new Something Corporate news, or do some of us just need to move on?
[Laughs] I think everyone should move on with their lives, because we shouldn't get hung up on a rock band. [Laughs] The only way to answer that question is to be as cautious as possible, because I've definitely gotten myself in trouble both in Something Corporate world and Jack's Mannequin world by thinking I know what's coming next. It almost speaks in some way to the last question you asked me, which is the past and the future don't exist. I don't know what my tomorrow is going to bring. At the moment, in my head, I think it's a realistic possibility that we will go out and play some shows. When I say some, I doubt it will be a full scale tour. In the interest of living my life in the moment, I have to be open to just writing new songs, and being around a lot of what inspires me artistically. That said, the Something Corporate guys are my close, close friends. We still have maintained a very close friendship even though we've moved on with other things in our lives. I think, because we have moved on to other things in our lives, the idea of getting together and getting on a stage and playing music does not seem far fetched to us. I will not anticipate that anything that happens, whether we play a few shows or whatever, is going to indicate us making new music. If I could suggest moving on from that head space, I would move on. If people want to see Something Corporate and check out a few shows, I think it is highly possible. I can't say when, because it's not on the books. There are discussions, but they're not on the books. I'm just going to have to wait until the dates show up to talk about it. So bare with me. [Laughs]
Source
You told Paul Tao back at the end of 2007 that the footage (that would become Dear Jack) was just shot to be shot, and that it was initially hard to watch. With the release coming up in a month, are you hesitant, whatsoever, to finally surface this footage?
I have mixed feelings about it...I'm proud of it on a couple of levels. It came together from a lot of people around me, and the filmmakers who put their time in and worked on edits for a couple of years now. I think it's a really good movie [Laughs] you know, I mean, it's a little bit easier to be objective with some time behind me - these guys have just done a really amazing job telling the story. I feel like a part of me is a pretty private person. I say a lot in my songs, and I've been pretty forthcoming since the experience and being in the hospital, but I still consider myself as a pretty private guy. I think that [the DVD] really shows how I live, or how I lived, and how I got through this in such a personal way - really just my personal home movies. Yeah, there's a part of me that gets nervous putting that much of myself out there. I try and hold true to the tenants of why we started the private movie in the first place. One, to show people the reality and, I think, the truth of what it's like to be in that situation from a very personal angle, and also the idea that it would instill some hope in people, that there is something positive and wonderful on the other side, that if you keep your head in it and do everything to get yourself better.
When was the first time you sat down and plugged the camera in and watched the footage? Looking back at the footage on Dear Jack, was it hard?
The first time I saw...well...we saw an initial, very rough edit, you know, that's just catalog footage essentially. It was sort of scatterbrained enough that I was like, "Wow, I can't believe I shot that," but it hadn't really been woven together in a story at that point. The first time I really saw it, I can't even pinpoint the date, but I want to say it was sometime in early 2007, I remember we went to [director] Corey Moss' house...a bunch of us went over there and watched it at his house. It wasn't finished...I remember sitting there and watching it, and it was pretty intense, and it sort of put me in a pretty strange head space. It was kind of the first time seeing all the stuff pieced together...I shot most of the footage myself, and so much of it was my perspective. I remember I woke up the following morning sick [Laughs], well not actually sick, but in a psychosomatic kind of way. My body felt like it was back in that time and place, and it sort of spoke of the power of the footage, just seeing things through my own eyes again really kind of put me back there.That said, a couple years have passed. Now I see it and appreciate it for how well it was put together and what it represents.
Have you watched it with family, and if so, what was their reaction?
My wife has seen it, and at this point, that is it. The last week that we were editing and putting together the last cuts. I've been pretty guarded about not showing this to anybody until it's finished. They're having a lot of edits, and they're having a lot of different versions come out, timing the one we're really happy with it. So I think in the next week or so I will distribute it out to my family and some of my close friends for them to see.
How did Tommy Lee get picked to narrate the movie?
There's a lot of reasons. When we went and looked back at a lot of the footage...to be clear, the way this whole thing happened, it spun out, [was that] we got a camera during the making of the [Everything in] Transit sessions. Six months before, when we looked back at a lot of the footage, we were working a lot at the time, both on his record and on mine, he was in a lot of the footage. [Laughs] He was sort of a big part of that period of time in my life. In some ways I think he represented a symbol of that period of time. I was going out with him fairly regularly, I was spending a lot of time in the studio with him, and I was just partying and having an amazing time. That was sort of the backdrop for when I got pulled off the road all of a sudden. We saw him in a lot of the footage, and we knew we needed a narrator, and it was kind of like, "Do we go hunting down a guy to do voice over work?" or, you know, we got a buddy that happens to be a big celebrity who actually was really involved and really a part of this period of time in our lives and also happens to have a very cool, recognizable voice. So it was like, Tommy Lee is like our Morgan Freeman. He's the dude who will hopefully bring a little bit of celebrity in the story - maybe perks up a couple of people's ears who don't necessarily know what we're about, but checks us out because Tommy is involved - you know, he's a good friend.
I'm a Leukemia survivor as well, but with my condition, I had ALA Leukemia, essentially spawning defective white blood cells, but you had a strand called Acute Lymphoblasic Leukemia, or ALL. Medical jargon aside, can you explain what was going on with your body?
Effectively, my body was taken over by cancer cells that were, to my understanding, I had defective bone marrow. Your bone marrow is where you process a lot of cells and shoots those cells out to the body. What happened to me, or how it lays out on paper, if you were to look at a score of my blood counts, from hemoglobin to - sorry to get technical, but all the different components of blood - everything was being processed through a cancerous organism apparently. All of my blood counts were going down to nothing...Every component of my blood was effected because all the cancer cells completely destroyed all the blood in my body. The treatment that I had with Leukemia is to essentially kill all the cancerous blood cells so you can generate new ones, but because it's in the bone marrow, you have to fix the problem at the source...so that's why we chose to do the transplant.
I had a transplant as well, and several spinal taps too. I take it you went through the same radiation?
When I started the [the treatment of possible prolonged chemotherapy to eventually get into remission], what ended up happening is that I that I had a match, and my doctor felt my odds for survival would be better should I be able to get through the process of the transplant, so we went for that. The preparation for that is pretty huge amounts of radiation, brain radiation, body radiation for several days, and I did really heavy, high doses of chemotherapy that just kills everything in your body, and then sort of brings you back to life. You know, you've been through it. I got that really specialized ass kicking from the docs, because that's what you have to do to prepare for the transplant.
Was there any point in that time where you felt like, "Why did this happen to me?" or "How could this have happened?" or was it always a positive uphill battle with yourself and your friends and family?
Definitely. There were definitely moments when you have questions. I think i was able to make peace with it quickly. I don't know if the "Why me?" thing really came into play during my illness as much as "Why do I hurt so bad?" [Laughs] And I mean, I think there was a part of me that felt upset that I couldn't be out, and I got plucked, if felt like, at a certain important time in my life. There was a point that, even really more after the fact, and after the recovery. During it, there was sort of this, bizarre coincidence. So many things happened at the period of time that I found out I was sick, that I seemed to weave this whole picture together. I looked back at [Everything in Transit], I think I was living, at that period of time in my life, in a very serendipitous kind of way. There were so many things were just coming together for me and the world was just working, and I was listening to the universe, I was just trying to follow the path that would lead me to the best music, but you know I felt so tied in and keyed into the universe, that when I got sick, in a strange way, that's just what was supposed to happen. Listening back to the album, and hearing all those references to hospitals and being sick, I think there was a lot of serendipity in a way that I found out I was sick. You almost felt like it was meant to happen. Something about it felt like, "I'm the guy for this," like it was just meant to happen - not something out of anger, like I was meant to be punished - but something about it felt like, "I'm the guy for this, this is what I have to deal with now." So I did, and I dealt with it peacefully. You have these moments where you feel worried you're going to die, then you really get scared. Those moments are hard to be consoled, even if you are treating yourself in a positive way.
Looking back on those years, I know it's cliche, but do you feel stronger because of it? Did it give you a fresh look on life that carried over into your song writing?
It's not to say that I don't feel like a stronger person. I feel as my life continues on, this will have made me stronger inherently. The couple years following my recovery, I felt anything but strong, I think I felt really fragile, kind of like I was drifting a little bit, even into the making of [The Glass] Passenger. [That album] really came about the struggle to find my confidence as a musician again. The struggle to find my confidence as a writer and as an artist. I think the cancer stripped a lot of that away from me. I think the follow-up to this, [besides] my struggle with Leukemia, is my struggle to get back to that place where I felt like I was working with the world around me, making songs. I finally feel like I'm there. I think making Passenger and getting this documentary done and doing all these things are really an influential stepping stone in getting back to this place where I can put all this shit behind me and move along. I think I'm finally at that place...I think it took a lot away from me in some respects. I think all the things I've replaced are better, stronger parts and are slowly coming back. Most of my "Why me?" and most of my anger about being sick happened in the years following [my remission].
How has The Dear Jack Foundation been going? What's been the feedback?
It's been great. We've been able to fund a lot of big research...We've raised about $200,000 if not more than that at this point, going towards various research projects. Medical research is a tricky thing. We're not going to be able to sit there and quantify every success. In general, having your money go towards these doctors that are spending day in and day out to get to the bottom of things, you might fund research that didn't work, and that's a part of what they found out. This doesn't work, then you go on to the next one. Our goal is to continue to fund that research, and help supporting doctors, so they can find cures. It's been a great success. I feel it has really roused a lot of people together in a name of a great cause. We're a little foundation. We don't generate millions of dollars, but you know, we've made a few hundred thousand dollars in the course of a few years, and I feel really proud to do my part.
Going out on tour for the first time after the recovery, what was your initial feeling? How long did it take for someone who went through the same thing to come up to you, and what was your response? Was it overwhelming?
The first time I talked to another person, a fan, it was probably a few months following the transplant. I started to feel better enough to do these kind of "incubated" shows, kind of acoustic, kind of things to give me hope, give me something to train for, get my body back, get my health back, kind of working with the transplant to feel better. That's when I started to see people reaching out. It's intense. It's sort of a weird responsibility to council somebody who is sick, or is in a dangerous spot in their own life. I think that's something where there's a feeling to look after other people who don't feel well after you've gone through something like that. You sort of are happy to step in and say, "Well, this worked for me, and try to stay positive," and I sort of think that's the natural response to recovery is to reach out to those who are in the process themselves. So it happened pretty early. Playing those initial shows, there were mix feelings. A lot of it came with nerves, because you were wondering if you would get sick before you do the show, or if my voice would hold - those kinds of things. I think if I'd recover, my performance would recover too. I didn't think I'd come out swinging, jumping on the piano [Laughs] and waving my body for the first several months down the road, but you can certainly chart my progress physically through my shows in a lot of respects. You would probably see my shows getting a lot more active as I recovered.
If there's one thing you specifically learned from your experience, that you would want to pass down onto all your fans, what would it be?
Not to say I am any sort of authority. A lot of people have idealized my situation, because I play music and am somewhat of a public figure. If I could say anything, if I've learned anything from it - you never know what's coming for you. I don't say that to instill any sort of paranoia, but the point being, you don't' know that you might not wake up tomorrow, and it's you or your friend, or some other possible road block that you might not know happen. You try and make sure that your day to day that you're living, not to that you are prepared for something like that, but you're living in a way that would make you okay with it. That could mean a lot of different things to a lot of people. For me, it's as simple as trying to live a life as a kind person, and doing things that I'm proud of, and looking after the people that I love in my life, and being as connected to the things and people that hold you in and are special to me. Trying to live a life that you're psyched on. Know that it's not always going to be around, so you might as well enjoy yourself. That you might as well be in a place where you reconcile enough that you can enjoy life a little, because none of us know what's happening next. Just live in the moment, that's all I can say. Try to be present in the moment, because the past and the future really don't exist.
Oh yeah, and I'm sure people are wondering, any new Something Corporate news, or do some of us just need to move on?
[Laughs] I think everyone should move on with their lives, because we shouldn't get hung up on a rock band. [Laughs] The only way to answer that question is to be as cautious as possible, because I've definitely gotten myself in trouble both in Something Corporate world and Jack's Mannequin world by thinking I know what's coming next. It almost speaks in some way to the last question you asked me, which is the past and the future don't exist. I don't know what my tomorrow is going to bring. At the moment, in my head, I think it's a realistic possibility that we will go out and play some shows. When I say some, I doubt it will be a full scale tour. In the interest of living my life in the moment, I have to be open to just writing new songs, and being around a lot of what inspires me artistically. That said, the Something Corporate guys are my close, close friends. We still have maintained a very close friendship even though we've moved on with other things in our lives. I think, because we have moved on to other things in our lives, the idea of getting together and getting on a stage and playing music does not seem far fetched to us. I will not anticipate that anything that happens, whether we play a few shows or whatever, is going to indicate us making new music. If I could suggest moving on from that head space, I would move on. If people want to see Something Corporate and check out a few shows, I think it is highly possible. I can't say when, because it's not on the books. There are discussions, but they're not on the books. I'm just going to have to wait until the dates show up to talk about it. So bare with me. [Laughs]
Monday, 28 September 2009
The Deadbolt Interview - September 25th, 2009
By Troy Rogers
Source
THE DEADBOLT: Can you remember how it felt when you were first diagnosed?
ANDREW MCMAHON: Yeah. I mean to be totally connected to that feeling, being that it was several years ago, there is definitely a part of that that I will always recall.
THE DEADBOLT: How has Leukemia changed your sound since the diagnosis?
MCMAHON: I don't know. I guess in the same sense that any major life event is going to affect [anything]. By sound, I'm assuming you mean the art and how it comes out?
THE DEADBOLT: Right.
MCMAHON: I think any experience is going to inform your decisions. Obviously one that massive is a pretty big game changer. But I wouldn't say it has any different affect of any other major event life event, too. This one lasts a little bit longer and the halo-effect spreads out over a few more years than say maybe a break-up or something to that effect. But it's a very real. It's real like anything else and a process that needs to enter the art form for sure.
THE DEADBOLT: I'm interested to know what you wanted to tell with Dear Jack? When I first saw the trailer, I got a lump in my throat.
MCMAHON: [laughs] Yeah, it's a pretty heavy thing. I mean, I think our goal was just to tell the truth. I don't think there was an [agenda]. The idea was really, when they approached, they were like, "Look, we just want to tell the story." Frankly, I was documenting my life up to that moment for several months. So I think what compelled the guys who initially brought us the idea of turning this thing into a documentary is, "It's told from a very clear point of view in that sense of what you were doing before and how it all played out in your life. You have this perspective. You know this very personal perspective." At first it was just my home movies and I think our goal was just to kind of be able to tell a very true story about what happened in that situation. I think a lot of people face it and we had this window into it that we thought was a valid kind of point of view to present.
THE DEADBOLT: Was there anything that came out of the documentary that hit you unexpectedly in a rewarding manner?
MCMAHON: Well, it's any interesting thing. I think watching it kind of in its finished state for the first time, which happened maybe a month and a half ago, maybe two months at the most. I mean, we've been working on the thing forever. We've done edits on the movie probably over the course of two years. For whatever reason it just wasn't the right moment. It was good but it wasn't totally perfect. I think we were really sensitive about not just handing it out there but just waiting until it was locked up.
I think if nothing else, the most positive thing for me that comes out of it is just having that period of time on film and seeing how it played out and how important the people around me were to the success of my recovery. That's something that I'm glad I had it on film to be reminded. Really, it was in a lot of ways this sort support structure around me that made it possible for me to be at peace, and for me to be positive while I fought, because they really sat alongside me and did a lot of the heavy lifting in a lot of respects. So I think that reminder is a very positive thing. To see that and know how valuable your relationships are I think is big.
THE DEADBOLT: How did the diagnosis affect the other members of Jack's?
MCMAHON: Well, I think there's obviously a handful of realities to something like that. One, I think, from the human side. These are guys who I've become close with. You share a stage and play music with people, that's a pretty powerful bond. Even at that point I had moved from playing with Something Corporate, but it was sort of the same thing. You now, it's just like watching your brother get sick, in some respects, and I think there is sort of a brotherhood in playing music. So I think it was heavy for everybody.
Of course there's also the fact that's how we're all surviving, rolling around in a van together playing music. That's how we were getting paid and eating. So I think there are other questions of survival and whatnot. But again, it points to how as soon as I got sick the people in my life, my management company, my record company and everything, really looked after the rest of the band and made sure there was work playing in a few other bands that they had met through people in our world. Again, I think it sort of spoke to the positivity of having these people around you who are good people and looked after the band as well.
THE DEADBOLT: Can you talk about some of the positive elements of fear that have helped you, the music, and the band?
MCMAHON: You know, I don't know if there are a lot of positive elements to fear to be honest [laughs]. I mean, I'm not saying that it's not a completely valid emotion, but I think fear begets fear. You know what I mean? I think you have to try to keep your fear in check. There's no question I think of moments in my career and in my life when I've been afraid. But I also tend to find those moments are kind of when you check out sometimes and you can overcome them. I don't know. Maybe I'm looking at it from the wrong angle.
THE DEADBOLT: Will Dear Jack be getting a wide theatrical release?
MCMAHON: I'm sort of going around in the wagon behind the movie, going into these cities and just basically dropping it off in the theater, I guess, in three different cities. Chicago, New York, and Los Angeles will get to see it in a theater. You know, it's hard. Documentaries in general are pretty tough to get that sort of a release anyway, so I think we went down that road for a minute. Then, for a number of reasons, some of them personal and others business, I just think it made more sense for us to go directly to the fans and the people who wanted to hear the story first and then from there the movie will take on its own life. I like the idea of not jamming this down everybody's throat. I think that is the most appropriate way to go about it.
THE DEADBOLT: Since it took awhile to put this all together, what were some of the challenges? I heard that you had reservations about going back and looking at yourself like that.
MCMAHON: Yeah. It was never anything that stopped me from considering doing this movie. I think that just being too close to it, obviously, is difficult to be objective. So I think a lot of the reasons, it did take time. In the same sense The Glass Passenger took time was because there's sort of this halo effect of that kind of experience and it lasts a long time and you revisit it quite a bit. It sort of seemed like maybe the time for the movie would be when I felt those feelings had passed, like I was really in a different chapter in my life. Frankly, I think the past five or six talks after having the record released and getting it played, putting it out there it sort of moved me further and it was possible to be objective. That's why I think just within the past few months we really sat down and started looking hard at the movie again. I think in that moment where I felt finally objective about it, we really all of a sudden hit the "Go" button and it was ready to go.
THE DEADBOLT: I also wanted to know about the stem cell part of your recovery, considering the last administration was kind of against all of the research.
MCMAHON:Well, yes and no. I think a lot of people mix up the idea of the stem cell transplant with the idea of controversial stem cell research. They're very different things, different deals obviously.
THE DEADBOLT: Well, when you were given the option of more chemo or the stem cell procedure, what was going through your mind, no more chemo or was that just the better way to go?
MCMAHON: Well, frankly, it really came down to a conversation and a lot of research and a lot of talking to my doctor and whatnot. My doctor, who is one of the better Leukemia doctors in the world, that's kind of why we went to him. He felt pretty strongly that this would be the best chance at a lasting cure for me. There was obviously a whole series of risks that went a long with it that certainly made it a conversation as to whether or not to do it. But to me, I think once I sat with him and had the conversation, it seemed to make sense if my goal was to really move forward and have a life without this in it. That's how the decision was made. And it was scary, it's a new frontier. It's something you don't know a lot about. But that's why you lean on these people who know more about it to guide you. My doctor, I call him a Ninja because he found the path for me and got in there with me and made it happen. I give him a lot of credit. You'll see him in the movie, he's the coolest.
THE DEADBOLT: As for Jack's Mannequin, what was the summer tour like with The Fray?
MCMAHON: It was awesome. It was probably one of the more relaxed, sort of fun-loving events I can think of on tour. You know, when you're touring venues that size, you just have a little bit more freedom in your day. I was going to yoga everyday when I was on that tour and you eat good food and all of that stuff and the fans were great. A lot of our fans came out to the dates, which I was pleasantly surprised at, because a lot of times if they see we're opening up, they'll stay away until we come back and headline. But we had a lot of people out for us and it seemed like we were making new fans. Yeah, we had a blast.
THE DEADBOLT: Tell me about the promo spot for Three Rivers?
MCMAHON: It's actually kind of a funny, sort of one of those kismet kind of things. I was actually doing a showcase for CBS. I do the showcase and there's this lady who works there and is just awesome, kind of a very cool supervisor who works at the network. We were chatting and she sent up something after the thing and she said, "Oh, I just heard Jack's Mannequin and we should definitely try to get them into one of our shows." And the guy wrote back and said, "Dude, that's so wild. I've been attaching 'Swim' to Three Rivers and it really works well."
She started telling me about the show and I was like, "Are you aware I'm a transplant patient?" And she's like, "What are you talking about?" I'm like, "That's hysterical that that's the show you would put me into." Granted, it's not organ transplant. But yeah, I remember saying, "Is this shit going to follow me around for the rest of my life?" [laughs]. But it was kind of funny that it was so coincidental. But she kind of jockeyed the thing for us, and a couple of guys in my management company really helped get these spots put together, and it's definitely a good little blip for us as far as some access to the mainstream I guess.
THE DEADBOLT: I noticed you guys just released a video for "Swim". What are you guys working on now?
MCMAHON: [laughs] We're working on a really slow format of radio, as we speak, and all of us are crossing our fingers that we're able to push past - I mean, we're hovering around 40 on that Hot Indies chart. So we'll see if towards the holidays if it starts moving up the chart. Maybe that's the video we'll see a little bit more of than just the viral stuff. But yeah, in the meantime, putting out the documentary has been kind of our huge focus and I also have an EP that will be coming out sort of alongside the documentary probably in the next month or so. You are literally probably like the second person I've even told about this, because we were debating whether or not to do it, and I have a bunch of these songs that were relevant for stuff that got played in the context of the documentary. So I went in and finished these tracks this week and we're going to get them out there in the next month or so. That's kind of what we're working on.
THE DEADBOLT: I wanted to know about Stephenie Meyer and whether fans have been bugging you guys about the New Moon soundtrack?
MCMAHON: Bugging us in what sense? That's like one of those competitive soundtracks to get on and of course we didn't make it this time around. But yeah, what do you want to know?
THE DEADBOLT: Were they wondering if you guys were going to be on it?
MCMAHON: You know, I haven't talked to too many kids about it just because we've been on the road. But sort of in a very subtle manner, sneaking out for a weekend here and there or going out to Europe. So I haven't really heard much news about it. But cross my fingers, they have two more of those movies to make. So I'm hoping to make it on one of those soundtracks. So we'll see what happens [laughs].
THE DEADBOLT: I figured that the fans may have thought you guys were a shoe-in because you know Stephenie.
MCMAHON: Well, the thing is: Stephenie is the author of the books and she's really involved in the movies from a story standpoint. You know, she's on set a lot. But I think the way the deal got structured - I mean, Stephenie obviously has a lot of say and the music is a big part of those movies and it was a big part of her writing those books. But I think the way it got structured was that she sort of said I'm going to concede to the person who puts the soundtrack together to make sure they put together the right soundtrack for the movie. I would never ask Stephenie to put me on one of those things, that's a separate thing. We're friendly with each other, but I'd feel uncomfortable, you know, "Hey, would you put me on your soundtrack?" So I'll just keep submitting songs for the next couple and hope to get on there.
THE DEADBOLT: Also, since you worked with Stephenie on "The Resolution," I thought people might have thought you guys were earmarked for the New Moon soundtrack.
MCMAHON: Yeah, well, if you listen to the soundtracks - I mean, they're not really so Jack's Mannequin friendly. You now what I mean? [laughs] It's a lot of Muse, and it's a lot of darker, heavier rock bands and really kind of moody melancholy stuff. Frankly, in the Jack's stuff, I've kind of shied away from that other than a handful of moments. So it's not something I think about too much [laughs].
Source
THE DEADBOLT: Can you remember how it felt when you were first diagnosed?
ANDREW MCMAHON: Yeah. I mean to be totally connected to that feeling, being that it was several years ago, there is definitely a part of that that I will always recall.
THE DEADBOLT: How has Leukemia changed your sound since the diagnosis?
MCMAHON: I don't know. I guess in the same sense that any major life event is going to affect [anything]. By sound, I'm assuming you mean the art and how it comes out?
THE DEADBOLT: Right.
MCMAHON: I think any experience is going to inform your decisions. Obviously one that massive is a pretty big game changer. But I wouldn't say it has any different affect of any other major event life event, too. This one lasts a little bit longer and the halo-effect spreads out over a few more years than say maybe a break-up or something to that effect. But it's a very real. It's real like anything else and a process that needs to enter the art form for sure.
THE DEADBOLT: I'm interested to know what you wanted to tell with Dear Jack? When I first saw the trailer, I got a lump in my throat.
MCMAHON: [laughs] Yeah, it's a pretty heavy thing. I mean, I think our goal was just to tell the truth. I don't think there was an [agenda]. The idea was really, when they approached, they were like, "Look, we just want to tell the story." Frankly, I was documenting my life up to that moment for several months. So I think what compelled the guys who initially brought us the idea of turning this thing into a documentary is, "It's told from a very clear point of view in that sense of what you were doing before and how it all played out in your life. You have this perspective. You know this very personal perspective." At first it was just my home movies and I think our goal was just to kind of be able to tell a very true story about what happened in that situation. I think a lot of people face it and we had this window into it that we thought was a valid kind of point of view to present.
THE DEADBOLT: Was there anything that came out of the documentary that hit you unexpectedly in a rewarding manner?
MCMAHON: Well, it's any interesting thing. I think watching it kind of in its finished state for the first time, which happened maybe a month and a half ago, maybe two months at the most. I mean, we've been working on the thing forever. We've done edits on the movie probably over the course of two years. For whatever reason it just wasn't the right moment. It was good but it wasn't totally perfect. I think we were really sensitive about not just handing it out there but just waiting until it was locked up.
I think if nothing else, the most positive thing for me that comes out of it is just having that period of time on film and seeing how it played out and how important the people around me were to the success of my recovery. That's something that I'm glad I had it on film to be reminded. Really, it was in a lot of ways this sort support structure around me that made it possible for me to be at peace, and for me to be positive while I fought, because they really sat alongside me and did a lot of the heavy lifting in a lot of respects. So I think that reminder is a very positive thing. To see that and know how valuable your relationships are I think is big.
THE DEADBOLT: How did the diagnosis affect the other members of Jack's?
MCMAHON: Well, I think there's obviously a handful of realities to something like that. One, I think, from the human side. These are guys who I've become close with. You share a stage and play music with people, that's a pretty powerful bond. Even at that point I had moved from playing with Something Corporate, but it was sort of the same thing. You now, it's just like watching your brother get sick, in some respects, and I think there is sort of a brotherhood in playing music. So I think it was heavy for everybody.
Of course there's also the fact that's how we're all surviving, rolling around in a van together playing music. That's how we were getting paid and eating. So I think there are other questions of survival and whatnot. But again, it points to how as soon as I got sick the people in my life, my management company, my record company and everything, really looked after the rest of the band and made sure there was work playing in a few other bands that they had met through people in our world. Again, I think it sort of spoke to the positivity of having these people around you who are good people and looked after the band as well.
THE DEADBOLT: Can you talk about some of the positive elements of fear that have helped you, the music, and the band?
MCMAHON: You know, I don't know if there are a lot of positive elements to fear to be honest [laughs]. I mean, I'm not saying that it's not a completely valid emotion, but I think fear begets fear. You know what I mean? I think you have to try to keep your fear in check. There's no question I think of moments in my career and in my life when I've been afraid. But I also tend to find those moments are kind of when you check out sometimes and you can overcome them. I don't know. Maybe I'm looking at it from the wrong angle.
THE DEADBOLT: Will Dear Jack be getting a wide theatrical release?
MCMAHON: I'm sort of going around in the wagon behind the movie, going into these cities and just basically dropping it off in the theater, I guess, in three different cities. Chicago, New York, and Los Angeles will get to see it in a theater. You know, it's hard. Documentaries in general are pretty tough to get that sort of a release anyway, so I think we went down that road for a minute. Then, for a number of reasons, some of them personal and others business, I just think it made more sense for us to go directly to the fans and the people who wanted to hear the story first and then from there the movie will take on its own life. I like the idea of not jamming this down everybody's throat. I think that is the most appropriate way to go about it.
THE DEADBOLT: Since it took awhile to put this all together, what were some of the challenges? I heard that you had reservations about going back and looking at yourself like that.
MCMAHON: Yeah. It was never anything that stopped me from considering doing this movie. I think that just being too close to it, obviously, is difficult to be objective. So I think a lot of the reasons, it did take time. In the same sense The Glass Passenger took time was because there's sort of this halo effect of that kind of experience and it lasts a long time and you revisit it quite a bit. It sort of seemed like maybe the time for the movie would be when I felt those feelings had passed, like I was really in a different chapter in my life. Frankly, I think the past five or six talks after having the record released and getting it played, putting it out there it sort of moved me further and it was possible to be objective. That's why I think just within the past few months we really sat down and started looking hard at the movie again. I think in that moment where I felt finally objective about it, we really all of a sudden hit the "Go" button and it was ready to go.
THE DEADBOLT: I also wanted to know about the stem cell part of your recovery, considering the last administration was kind of against all of the research.
MCMAHON:Well, yes and no. I think a lot of people mix up the idea of the stem cell transplant with the idea of controversial stem cell research. They're very different things, different deals obviously.
THE DEADBOLT: Well, when you were given the option of more chemo or the stem cell procedure, what was going through your mind, no more chemo or was that just the better way to go?
MCMAHON: Well, frankly, it really came down to a conversation and a lot of research and a lot of talking to my doctor and whatnot. My doctor, who is one of the better Leukemia doctors in the world, that's kind of why we went to him. He felt pretty strongly that this would be the best chance at a lasting cure for me. There was obviously a whole series of risks that went a long with it that certainly made it a conversation as to whether or not to do it. But to me, I think once I sat with him and had the conversation, it seemed to make sense if my goal was to really move forward and have a life without this in it. That's how the decision was made. And it was scary, it's a new frontier. It's something you don't know a lot about. But that's why you lean on these people who know more about it to guide you. My doctor, I call him a Ninja because he found the path for me and got in there with me and made it happen. I give him a lot of credit. You'll see him in the movie, he's the coolest.
THE DEADBOLT: As for Jack's Mannequin, what was the summer tour like with The Fray?
MCMAHON: It was awesome. It was probably one of the more relaxed, sort of fun-loving events I can think of on tour. You know, when you're touring venues that size, you just have a little bit more freedom in your day. I was going to yoga everyday when I was on that tour and you eat good food and all of that stuff and the fans were great. A lot of our fans came out to the dates, which I was pleasantly surprised at, because a lot of times if they see we're opening up, they'll stay away until we come back and headline. But we had a lot of people out for us and it seemed like we were making new fans. Yeah, we had a blast.
THE DEADBOLT: Tell me about the promo spot for Three Rivers?
MCMAHON: It's actually kind of a funny, sort of one of those kismet kind of things. I was actually doing a showcase for CBS. I do the showcase and there's this lady who works there and is just awesome, kind of a very cool supervisor who works at the network. We were chatting and she sent up something after the thing and she said, "Oh, I just heard Jack's Mannequin and we should definitely try to get them into one of our shows." And the guy wrote back and said, "Dude, that's so wild. I've been attaching 'Swim' to Three Rivers and it really works well."
She started telling me about the show and I was like, "Are you aware I'm a transplant patient?" And she's like, "What are you talking about?" I'm like, "That's hysterical that that's the show you would put me into." Granted, it's not organ transplant. But yeah, I remember saying, "Is this shit going to follow me around for the rest of my life?" [laughs]. But it was kind of funny that it was so coincidental. But she kind of jockeyed the thing for us, and a couple of guys in my management company really helped get these spots put together, and it's definitely a good little blip for us as far as some access to the mainstream I guess.
THE DEADBOLT: I noticed you guys just released a video for "Swim". What are you guys working on now?
MCMAHON: [laughs] We're working on a really slow format of radio, as we speak, and all of us are crossing our fingers that we're able to push past - I mean, we're hovering around 40 on that Hot Indies chart. So we'll see if towards the holidays if it starts moving up the chart. Maybe that's the video we'll see a little bit more of than just the viral stuff. But yeah, in the meantime, putting out the documentary has been kind of our huge focus and I also have an EP that will be coming out sort of alongside the documentary probably in the next month or so. You are literally probably like the second person I've even told about this, because we were debating whether or not to do it, and I have a bunch of these songs that were relevant for stuff that got played in the context of the documentary. So I went in and finished these tracks this week and we're going to get them out there in the next month or so. That's kind of what we're working on.
THE DEADBOLT: I wanted to know about Stephenie Meyer and whether fans have been bugging you guys about the New Moon soundtrack?
MCMAHON: Bugging us in what sense? That's like one of those competitive soundtracks to get on and of course we didn't make it this time around. But yeah, what do you want to know?
THE DEADBOLT: Were they wondering if you guys were going to be on it?
MCMAHON: You know, I haven't talked to too many kids about it just because we've been on the road. But sort of in a very subtle manner, sneaking out for a weekend here and there or going out to Europe. So I haven't really heard much news about it. But cross my fingers, they have two more of those movies to make. So I'm hoping to make it on one of those soundtracks. So we'll see what happens [laughs].
THE DEADBOLT: I figured that the fans may have thought you guys were a shoe-in because you know Stephenie.
MCMAHON: Well, the thing is: Stephenie is the author of the books and she's really involved in the movies from a story standpoint. You know, she's on set a lot. But I think the way the deal got structured - I mean, Stephenie obviously has a lot of say and the music is a big part of those movies and it was a big part of her writing those books. But I think the way it got structured was that she sort of said I'm going to concede to the person who puts the soundtrack together to make sure they put together the right soundtrack for the movie. I would never ask Stephenie to put me on one of those things, that's a separate thing. We're friendly with each other, but I'd feel uncomfortable, you know, "Hey, would you put me on your soundtrack?" So I'll just keep submitting songs for the next couple and hope to get on there.
THE DEADBOLT: Also, since you worked with Stephenie on "The Resolution," I thought people might have thought you guys were earmarked for the New Moon soundtrack.
MCMAHON: Yeah, well, if you listen to the soundtracks - I mean, they're not really so Jack's Mannequin friendly. You now what I mean? [laughs] It's a lot of Muse, and it's a lot of darker, heavier rock bands and really kind of moody melancholy stuff. Frankly, in the Jack's stuff, I've kind of shied away from that other than a handful of moments. So it's not something I think about too much [laughs].
Sunday, 20 September 2009
For The Sound Interview - September 20th, 2009
By Danielle Weitzman
Source
How did Corey Moss and Josh Morrisroes approach you about the film?
Actually, we approached them. Originally, we had a couple of different guys who started kind of the first rough draft of it. Actually, one of the guys, Jacob Marshall, is the drummer for the band Mae. I’ve done a lot of the stuff for Mae over the years, who I happen to be good friends with as well… So those guys came to me and said, “You know… we think this could be a really powerful story and something worth telling.” Then we looked at the footage and tried to put something together, so they sort of did the rough initial draft of the movie and then from there, we got to Josh and Corey, who I’ve known for years… doing some Something Corporate stuff. Corey had been cutting clips together for us while working for MTV. They did kind of one of the first clips of me, that was seen on MTV, doing Jack’s Mannequin stuff for a piece that Kurt Loder introduced. And we just really liked his style and we asked him to come in and come help compile all of this stuff together.
Of all the people that could have done it, why choose Tommy Lee to narrate the film?
Well, I think a lot of it had to do with the role that Tommy Lee had been playing in my life up until that point. I think that Tommy and I were especially close during the making of the first record. He was the drummer on the first album and I worked quite a bit in the studio with him, as well. So we were kind of trying to find somebody that put in there, obviously, the idea of having some of a celebrity voice and somebody who brought in with him a little more attention to the film. My mind immediately went to Tommy. One, because he’s got a great voice and a really recognizable voice, and two, because he was definitely a part of the story up to that point.
Have you watched the film in its entirety since it’s been finished?
Yeah, we got the final edit actually about three weeks ago and then in the process, I might actually have the color-corrected, audio mixed version. But yes, I have definitely seen the final edit since it’s been completed.
Is it hard for you, on an emotional level, to watch some of the footage again?
It was definitely harder at the beginning. I think one of the reasons in taking a look back to… put the finishing touches on it is that I certainly struggled being objective in the early days when we started with the edit… I sort of lacked the objectivity to sort of sit and say here’s what needs to be cut. I think it really wasn’t until a couple of months ago when me and Josh and Cory got together and we watched the movie together and it was the first time we’d done that. And finally, I think for the first time, I was objective enough to sit down and criticize from a more analytical standpoint. That said, of course, you know, you watch something like this and it certainly brings you back there. There’s a bit of muscle memory that will kick in. And yeah, it can be a little bit disconcerting. But at this point, I’m far enough away from it that at least I can appreciate it.
In the trailer, from what scenes we’ve been able to see in it, one of the main focuses is that you’re really adamant about putting forth Everything in Transit. Why was it so important to you that the album be released?
Well, I think for me, you know, that period of time in my life and I think for the creative type that I am, getting sick was sort of the tail end of this moment where I think for the first time I broke away from my band, and from my girlfriend, and from my family, from all of these sort of elements in my life that I think I’ve been very attached to and sort of stepped out on them and onto my own. And I think that Transit was really the artistic manifestation of all of that. You know, it was sort of proof that it had happened, I guess, and I think that when I was diagnosed, it was obvious that I didn’t think it was going to take me down necessarily, but it was very real… very solid proof to the fact that whether I was going to be here or not was kind of still up in the air. And I think it was important to me to have it and have that moment for myself where I could probably say I’d been attempting (something) on my own that I was really behind and passionate about. And in a lot ways, I think it gave me something to come back to, knowing that the record was out and knowing that to really get out there and push it, I had to get well. I think it was sort of a little bit of a motivator or a huge motivator for me to fight and beat the cancer and get right back to music.
And you recorded “The Lights and Buzz”, which was the first thing you recorded after the stem-cell transplant, right?
Yes, it was the first recording after the transplant. I did a version of “Holiday From Real” in the month leading up to the transplant and I did kind of a song called “There, There, Katie,” as well. But “Lights and Buzz” was kind of the first song back in the studio after all that.
Looking back on that, and your first performance of the song, how big of a milestone was that for you?
You know, it was a milestone in the sense that it had been really difficult to write music during my recovery and that was sort of something I had written largely in my head in the hospital. I had the words to the song, I had the melody for the chorus and all of that. It was important, but I really don’t know that I viewed it as a milestone at that time… to get back into the studio, like anything, to get back on the stage after something like that… it was definitely an important thing.
On The Glass Passenger there are a lot of songs that obviously stem from your treatment like “Caves,” “The Resolution,” and “Swim,” but there are others that are independent of that theme. Was that something kind of done intentionally?
Music comes to me in mysterious ways, so I can’t say that I really ever intentionally craft anything one direction or another. I mean, sometimes when you’re finishing a record, you kind of have enough perspective to say “I really need to write this kind of a song” or something. With Passenger, I think truthfully, if there was any intention in a lot of moments along the way, I would really try to avoid that subject if anything. (Laughs) I thought in the early stages of writing the record that it was avoidable somehow and truthfully, it wasn’t until deeper into the record that I really got into songs like “Caves” and “The Resolution.” I think that sort of happened in the moment where I realized that you can’t sort of avoid that kind of subject matter. It’s a part of what the past few years have been for me, so in that sense, I think my greater intention was to avoid that subject matter. I sort of only answered the call when it just came to me. Then I had to think about it.
You spoke of “Caves,” which is the epic track of the album. Was it a song you really want to perfect, considering the length of it, the change in structure, and the subject matter of it?
There’s a lot of those kinds of songs that I think, on every record or every other record, pops up kind of like that. You know, this sort of big moment or long song or whatever. It just sort of happens naturally. Again, I think most of the material that… manifests itself in a way of talking about the recovery. Your being on the other side of it and how it affected me, I think “Caves” is really the one song that put me and put the listener into the hospital room. Again, it was a mysterious thing that was one of those songs that I woke up in the middle of the night… and that melody was in my head and I just sat down and it sort of came out. As soon as I was writing it, that kind of second bit popped up into the second half of the song. I write it when it comes. There’s really not a lot of method to it or intention behind everything that goes into a song that’s driving me. Yeah, it was important to me that I got it out there and the fact that I had a song that spoke so honestly about the topic.
Do you think that when you start work on your next album, whenever that is, you will give yourself a little more lyrical freedom because a lot of what was building up inside of you because of your treatment and your experience with Leukemia is a little bit far behind you at this point?
Yeah, I think that there’s no question that having the record out and having the documentary out has sort of put the exclamation point on this chapter of my life. I don’t think I’ll be singing about the same thing on this (next) record as what I was singing about on the last record in the sense that I wasn’t singing about the same thing on this record (”The Glass Passenger”) as I was on “Everything in Transit.” So I definitely think that it’ll take a much different turn and there will be a larger amount of freedom involved because I don’t think there will be that same elephant in the room that I have to reference to get past it. So I definitely see an opportunity for a lot more freedom with it.
You just finished up the tour for “The Glass Passenger” with The Fray and started on the new solo tour and promotion of the film. Is there any particular reason you chose to bring such an important group of shows to college campuses like my own?
The solo shows aren’t college-campus related, we’ll probably be playing full band. I’m not sure which school you’re at, but usually the college shows will be full band as a result of the college we show up at. As far as doing the solo tour, I think that there are a couple of reasons behind doing the big solo. One, obviously it’s to promote the movie, which is a pretty personal thing, and I thought maybe this would be an opportunity to do something like this and present the band in a different scenario after doing The Fray tour recently. Maybe doing something small, a little more personal. That and we’re trying to raise funds for research and for the foundation. In that sense, we wanted to keep it light and keep it inexpensive so we could generate more money for the foundation.
Speaking of colleges, there are a slough of your fans who are currently in college, like myself, who have listened to your music in some form from fifth, sixth, or seventh grade, on through college and grad school. How does it feel to know there are a lot of people out there who have essentially grown up listening to you?
It’s probably one of the things I’m most proud of, as a result of being in a band. I don’t think it was something I really anticipated starting out. You don’t even think about that kind of thing when you’re dreaming about being on a stage. Every time, somebody comes up to me after a show, and it happens to me regularly, and says “I’ve been listening to you since you were in Something Corporate and I was eighteen years old…” I’ve grown up listening to music, you know what I mean? I wrote a lot of the songs that people first clued into my music when I was fifteen or sixteen years old and now I’m twenty seven. To see that it actually translated to people and their own lives enough that they didn’t walk away from my music at a certain stage and they stuck with me through two bands. And it’s a pretty powerful bond that I’m blessed to have.
And because you have this massive outreach to different people of all different ages and of different walks of like, what do you hope that “Dear Jack” accomplishes? Is there a message that you hope people who see the film will walk away with?
Yeah, there are a couple of things. In a big way, I think we’re really hoping that this will generate money. Part of what we’re trying to do here is raise money so that we can make a difference and affect research and this is a great tool for that. When Jacob (Marshall) and Benji (Brownell) first came to me about the movie, what they felt that it had the power to do was to show people in a similar situation that there is a reason to have hope and there is something on the other side of all of this. I think that point, when this whole project started out, that meant the most to me was that we could tell a story that had a happy ending that looked like it could have gone either way. My hope is that people can find that thread of hope within the film and, whether it relates to their personal lives as far as an illness is concerned or some other major roadblock, that it is just the nature of life. You’re gonna be in the middle of your universe and everything is gonna be going well, but then something massive is going to come and knock you down. The point being, the best thing to deal with any of that is to try and get back on your feet as quickly as possible and keep your mind in a positive place. Hopefully, people get that kind of positivity out of the movie.
Is there anything that anyone said to you in treatment that you found really helped you get through it more than anything else… that if someone who is reading this interview is going through the same thing, you would want to pass onto them?
Breathe. Breathe. You know, I think that was the most important… that single word and action that was probably the most important thing that I learned in the process. When all else fails, deep breaths. As many of them and for as long as you can do it. I know it sounds maybe sort of hokey, I’m not really sure, but it’s the one piece of advice when I talked to sick people who found me because of our sort of common experience. I think it was really when I learned that it’s just like you’ve got to breathe deep and you’ve gotta focus on the positive. And that’s what will kind of empower you to push through the hard days.
How is everything going with the Dear Jack Foundation?
It’s going really well. I just finished up doing the Light the Night walk. Right now, for the Leukemia and Lymphoma Society, we’ve got a pair of shoes. We partnered with Macbeth Shoes and they’re coming out in November. They’re donating portions of the proceeds from the shoe back to the foundation. We’ve got the movie coming out, which is exciting, and should hopefully be a good source of revenue, as well. We’re excited. It seems like this year is kind of bigger than ever and we’ve already pushed through the $60,000 mark with the Light the Night walk and still have another couple of months to hopefully get that $100,000 mark that we hit last year. In a down economy, I’m surprised we’ve be able to generate as much as we have and I’m pretty excited about that.
We wish you, at For The Sound, the best of luck and really appreciate you taking the time to sit down with us.
It’s my pleasure.
Is there anything else you’d like to say to our readers and your fans?
Just thanks for listening and thanks for being out there. We’re always trying to make new music and new stuff for you guys to hear, so I appreciate the support.
Source
How did Corey Moss and Josh Morrisroes approach you about the film?
Actually, we approached them. Originally, we had a couple of different guys who started kind of the first rough draft of it. Actually, one of the guys, Jacob Marshall, is the drummer for the band Mae. I’ve done a lot of the stuff for Mae over the years, who I happen to be good friends with as well… So those guys came to me and said, “You know… we think this could be a really powerful story and something worth telling.” Then we looked at the footage and tried to put something together, so they sort of did the rough initial draft of the movie and then from there, we got to Josh and Corey, who I’ve known for years… doing some Something Corporate stuff. Corey had been cutting clips together for us while working for MTV. They did kind of one of the first clips of me, that was seen on MTV, doing Jack’s Mannequin stuff for a piece that Kurt Loder introduced. And we just really liked his style and we asked him to come in and come help compile all of this stuff together.
Of all the people that could have done it, why choose Tommy Lee to narrate the film?
Well, I think a lot of it had to do with the role that Tommy Lee had been playing in my life up until that point. I think that Tommy and I were especially close during the making of the first record. He was the drummer on the first album and I worked quite a bit in the studio with him, as well. So we were kind of trying to find somebody that put in there, obviously, the idea of having some of a celebrity voice and somebody who brought in with him a little more attention to the film. My mind immediately went to Tommy. One, because he’s got a great voice and a really recognizable voice, and two, because he was definitely a part of the story up to that point.
Have you watched the film in its entirety since it’s been finished?
Yeah, we got the final edit actually about three weeks ago and then in the process, I might actually have the color-corrected, audio mixed version. But yes, I have definitely seen the final edit since it’s been completed.
Is it hard for you, on an emotional level, to watch some of the footage again?
It was definitely harder at the beginning. I think one of the reasons in taking a look back to… put the finishing touches on it is that I certainly struggled being objective in the early days when we started with the edit… I sort of lacked the objectivity to sort of sit and say here’s what needs to be cut. I think it really wasn’t until a couple of months ago when me and Josh and Cory got together and we watched the movie together and it was the first time we’d done that. And finally, I think for the first time, I was objective enough to sit down and criticize from a more analytical standpoint. That said, of course, you know, you watch something like this and it certainly brings you back there. There’s a bit of muscle memory that will kick in. And yeah, it can be a little bit disconcerting. But at this point, I’m far enough away from it that at least I can appreciate it.
In the trailer, from what scenes we’ve been able to see in it, one of the main focuses is that you’re really adamant about putting forth Everything in Transit. Why was it so important to you that the album be released?
Well, I think for me, you know, that period of time in my life and I think for the creative type that I am, getting sick was sort of the tail end of this moment where I think for the first time I broke away from my band, and from my girlfriend, and from my family, from all of these sort of elements in my life that I think I’ve been very attached to and sort of stepped out on them and onto my own. And I think that Transit was really the artistic manifestation of all of that. You know, it was sort of proof that it had happened, I guess, and I think that when I was diagnosed, it was obvious that I didn’t think it was going to take me down necessarily, but it was very real… very solid proof to the fact that whether I was going to be here or not was kind of still up in the air. And I think it was important to me to have it and have that moment for myself where I could probably say I’d been attempting (something) on my own that I was really behind and passionate about. And in a lot ways, I think it gave me something to come back to, knowing that the record was out and knowing that to really get out there and push it, I had to get well. I think it was sort of a little bit of a motivator or a huge motivator for me to fight and beat the cancer and get right back to music.
And you recorded “The Lights and Buzz”, which was the first thing you recorded after the stem-cell transplant, right?
Yes, it was the first recording after the transplant. I did a version of “Holiday From Real” in the month leading up to the transplant and I did kind of a song called “There, There, Katie,” as well. But “Lights and Buzz” was kind of the first song back in the studio after all that.
Looking back on that, and your first performance of the song, how big of a milestone was that for you?
You know, it was a milestone in the sense that it had been really difficult to write music during my recovery and that was sort of something I had written largely in my head in the hospital. I had the words to the song, I had the melody for the chorus and all of that. It was important, but I really don’t know that I viewed it as a milestone at that time… to get back into the studio, like anything, to get back on the stage after something like that… it was definitely an important thing.
On The Glass Passenger there are a lot of songs that obviously stem from your treatment like “Caves,” “The Resolution,” and “Swim,” but there are others that are independent of that theme. Was that something kind of done intentionally?
Music comes to me in mysterious ways, so I can’t say that I really ever intentionally craft anything one direction or another. I mean, sometimes when you’re finishing a record, you kind of have enough perspective to say “I really need to write this kind of a song” or something. With Passenger, I think truthfully, if there was any intention in a lot of moments along the way, I would really try to avoid that subject if anything. (Laughs) I thought in the early stages of writing the record that it was avoidable somehow and truthfully, it wasn’t until deeper into the record that I really got into songs like “Caves” and “The Resolution.” I think that sort of happened in the moment where I realized that you can’t sort of avoid that kind of subject matter. It’s a part of what the past few years have been for me, so in that sense, I think my greater intention was to avoid that subject matter. I sort of only answered the call when it just came to me. Then I had to think about it.
You spoke of “Caves,” which is the epic track of the album. Was it a song you really want to perfect, considering the length of it, the change in structure, and the subject matter of it?
There’s a lot of those kinds of songs that I think, on every record or every other record, pops up kind of like that. You know, this sort of big moment or long song or whatever. It just sort of happens naturally. Again, I think most of the material that… manifests itself in a way of talking about the recovery. Your being on the other side of it and how it affected me, I think “Caves” is really the one song that put me and put the listener into the hospital room. Again, it was a mysterious thing that was one of those songs that I woke up in the middle of the night… and that melody was in my head and I just sat down and it sort of came out. As soon as I was writing it, that kind of second bit popped up into the second half of the song. I write it when it comes. There’s really not a lot of method to it or intention behind everything that goes into a song that’s driving me. Yeah, it was important to me that I got it out there and the fact that I had a song that spoke so honestly about the topic.
Do you think that when you start work on your next album, whenever that is, you will give yourself a little more lyrical freedom because a lot of what was building up inside of you because of your treatment and your experience with Leukemia is a little bit far behind you at this point?
Yeah, I think that there’s no question that having the record out and having the documentary out has sort of put the exclamation point on this chapter of my life. I don’t think I’ll be singing about the same thing on this (next) record as what I was singing about on the last record in the sense that I wasn’t singing about the same thing on this record (”The Glass Passenger”) as I was on “Everything in Transit.” So I definitely think that it’ll take a much different turn and there will be a larger amount of freedom involved because I don’t think there will be that same elephant in the room that I have to reference to get past it. So I definitely see an opportunity for a lot more freedom with it.
You just finished up the tour for “The Glass Passenger” with The Fray and started on the new solo tour and promotion of the film. Is there any particular reason you chose to bring such an important group of shows to college campuses like my own?
The solo shows aren’t college-campus related, we’ll probably be playing full band. I’m not sure which school you’re at, but usually the college shows will be full band as a result of the college we show up at. As far as doing the solo tour, I think that there are a couple of reasons behind doing the big solo. One, obviously it’s to promote the movie, which is a pretty personal thing, and I thought maybe this would be an opportunity to do something like this and present the band in a different scenario after doing The Fray tour recently. Maybe doing something small, a little more personal. That and we’re trying to raise funds for research and for the foundation. In that sense, we wanted to keep it light and keep it inexpensive so we could generate more money for the foundation.
Speaking of colleges, there are a slough of your fans who are currently in college, like myself, who have listened to your music in some form from fifth, sixth, or seventh grade, on through college and grad school. How does it feel to know there are a lot of people out there who have essentially grown up listening to you?
It’s probably one of the things I’m most proud of, as a result of being in a band. I don’t think it was something I really anticipated starting out. You don’t even think about that kind of thing when you’re dreaming about being on a stage. Every time, somebody comes up to me after a show, and it happens to me regularly, and says “I’ve been listening to you since you were in Something Corporate and I was eighteen years old…” I’ve grown up listening to music, you know what I mean? I wrote a lot of the songs that people first clued into my music when I was fifteen or sixteen years old and now I’m twenty seven. To see that it actually translated to people and their own lives enough that they didn’t walk away from my music at a certain stage and they stuck with me through two bands. And it’s a pretty powerful bond that I’m blessed to have.
And because you have this massive outreach to different people of all different ages and of different walks of like, what do you hope that “Dear Jack” accomplishes? Is there a message that you hope people who see the film will walk away with?
Yeah, there are a couple of things. In a big way, I think we’re really hoping that this will generate money. Part of what we’re trying to do here is raise money so that we can make a difference and affect research and this is a great tool for that. When Jacob (Marshall) and Benji (Brownell) first came to me about the movie, what they felt that it had the power to do was to show people in a similar situation that there is a reason to have hope and there is something on the other side of all of this. I think that point, when this whole project started out, that meant the most to me was that we could tell a story that had a happy ending that looked like it could have gone either way. My hope is that people can find that thread of hope within the film and, whether it relates to their personal lives as far as an illness is concerned or some other major roadblock, that it is just the nature of life. You’re gonna be in the middle of your universe and everything is gonna be going well, but then something massive is going to come and knock you down. The point being, the best thing to deal with any of that is to try and get back on your feet as quickly as possible and keep your mind in a positive place. Hopefully, people get that kind of positivity out of the movie.
Is there anything that anyone said to you in treatment that you found really helped you get through it more than anything else… that if someone who is reading this interview is going through the same thing, you would want to pass onto them?
Breathe. Breathe. You know, I think that was the most important… that single word and action that was probably the most important thing that I learned in the process. When all else fails, deep breaths. As many of them and for as long as you can do it. I know it sounds maybe sort of hokey, I’m not really sure, but it’s the one piece of advice when I talked to sick people who found me because of our sort of common experience. I think it was really when I learned that it’s just like you’ve got to breathe deep and you’ve gotta focus on the positive. And that’s what will kind of empower you to push through the hard days.
How is everything going with the Dear Jack Foundation?
It’s going really well. I just finished up doing the Light the Night walk. Right now, for the Leukemia and Lymphoma Society, we’ve got a pair of shoes. We partnered with Macbeth Shoes and they’re coming out in November. They’re donating portions of the proceeds from the shoe back to the foundation. We’ve got the movie coming out, which is exciting, and should hopefully be a good source of revenue, as well. We’re excited. It seems like this year is kind of bigger than ever and we’ve already pushed through the $60,000 mark with the Light the Night walk and still have another couple of months to hopefully get that $100,000 mark that we hit last year. In a down economy, I’m surprised we’ve be able to generate as much as we have and I’m pretty excited about that.
We wish you, at For The Sound, the best of luck and really appreciate you taking the time to sit down with us.
It’s my pleasure.
Is there anything else you’d like to say to our readers and your fans?
Just thanks for listening and thanks for being out there. We’re always trying to make new music and new stuff for you guys to hear, so I appreciate the support.
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