“I was living in Boston. I went to a Nirvana/Breeders show in Fitchburg, Massachusetts, way like, an hour outside of that city. I took a train there and the train had stopped running. I didn’t know how I was gonna get home. I had a backstage pass. I was, you know, just like. Kurt was walking up the stairs with a bunch of kids, and I go, does anyone know how I can get back to Boston? And he turns and looks at me and goes, I do. And I went back home with all the people he was with.”
—Jonny Polonsky (Songwriter, Rock Guitarist, Singer, Multi-instrumentalist and Record Producer)

“[On being typecast as a Terrorist] I’m labeled as a distinguished, weathered man, and I’ve been playing terrorists the last twenty five years. I’ve done Iron Man (2008), 12 Strong (2018), American Sniper (2014). I’ve done so many terrorist movies.The reason I’m picking the terrorist character is because I wanna introduce how evil they are.” —Fahim Fazli (Actor, Author, Motivational Speaker)

“I didn’t think that was going to be so strange for people, but I like to dress up. I don’t know, I thought this was show business, so I’m just trying to put on a show.” —Jesika Von Rabbit (Joshua Tree-based Solo Artist & former Gram Rabbit frontwoman)

“This man that you’re listening to, The Poorman, Jim, is the creator and the host of Loveline and I am so honored to be speaking with you. Well, the issue at hand with what you dealt with and what exists is that when you work for a company, it has been decided by somebody that whatever you do and whatever you create belongs to the company while you’re working for them. So Loveline basically is the property of the company that you worked for and you created that. That was yours. You built it. You thought of it. You hosted it, and you made it great. And the court said, well screw you, they own it because you created it while you worked for them.” —Mark Thompson (Radio Personality, DJ, formerly of The Mark & Brian Show)

“It’s fascinating because who knew that twenty five years later comic books were going to be relevant and important, and particularly to our cultural zeitgeist of what’s going on out there.” —Alexander Gray (Producer, Director, Writer)

“Well, I was the lead, or the trombone section leader, and it was pretty tight back there as the game was nearing the end. The band had gone down to field level for our traditional postgame concert, which we thought was gonna be a victory rally, and it was pretty tight in there. And so once once the clock went down to zero, it just sort of loosened up. I backed up into the end zone, and Kevin Moen just ran right through me.” —Gary Tyrrell (Stanford Trombone Player, Cal Football’s The Play, 1982)

“A little bit of fame started to happen. We started to get, you know, popular in different places like, you know, like Seattle and Detroit and Miami and Dallas. And there were cities around, and we were playing and going and, and doing all this stuff. And there was a new sound on the radio. Radio stations didn’t really know what to do with it.” — Jamie James (The Kingbees, Lead Singer, Guitarist, Founding Member)

“Me and my friend Billy golfed at Westlake last week at Westlake Golf Course. And when I took him by the bridge, it’s kinda trippy going by there. Every time I go out to Westlake, I gotta go say hi to the firefighters that rescued me.” — Matthew Thomas (Founder of Positive-Matters.Org)

“[On the NFL embracing the tradition] They like that we celebrate the last player. You know, we try and make him equal to feeling like he’s equal to the first player selected. So, you know, we give him gifts and parties and the Lowsman Trophy. And so we celebrate Kobee, I think, better than the first guy, but definitely better than the next to last guy. But that was my Dad’s idea.” — Melanie Salata-Fitch, Mr. Irrelevant Announcer

“My first film was Halls of Anger (1970), and it was about a racial high school issue. You know, they bus white kids to a black school and stuff like that.” — DeWayne Jessie (Otis Day and The Knights)

“I’m still an altar boy. Actually, I wasn’t an altar boy when I was little. I just kind of evolved into one as an adult.” — Joe Escalante (The Vandals)

“You know, it’s just kind of a well, a dream come true and why I got into doing this in the first place. Growing up in New York, I was just a huge music fan, and this is always what I wanted to be a part of.” — Mark Linett (Grammy Award-winning Record Producer and Audio Engineer)

“[What is the best generation of horror in your opinion?] Well, the eighties and nineties is what I love. You know, whenever I’m watching movies, eighties and nineties. Whenever I wanna study filmmaking and work on my own filmmaking endeavors, they’re all gonna be based on eighties and nineties, not doing anything in present time.” — Kyle Thompson (Special FX Artist, Midnight Studios FX)

“So I started answering the phone, and about a week later they hired me as receptionist. And about two weeks later, Rick Carroll let me go on the air and start doing the News on the air. And then they started paying me, and I became promotions director. It was about, I don’t know, a month later. They hired me as promotions director. [How old were you?] I was 18. [Wow.]” —April Whitney (Former KROQ DJ)

“[On creating the poster for Friday the Thirteenth Part VIII, Jason Takes Manhattan] It’s really cool because that poster got banned in New York, so that’s a cool little thing. [Why was that? What got it banned?] Because I took the ‘I Heart New York’ poster and had him slashing through it, coming from behind so his mask is kinda replacing the heart. And the city goes, “Uh, well this is our iconic image for our city, so this poster is banned.” Which is great. You always wanna be banned.” — Rick Lynch (Visual Artist, Movie Poster Designer)

“What I was doing at first when I came here, I was playing disco music, and then I was playing country music for a while because you had to like in 1980. And then in 1981, I was managing a club in Universal City and one of my DJs said you got to tune into this radio station at 106.7, it’s called KROQ. They got all these crazy guys on there, Dusty Street, Freddie Snakeskin, Jed the Fish. They got the greatest names, there’s even a guy called Poorman. And I started to listen to KROQ.” — Swedish Egil (DJ, The Godfather of Dance Music in L.A.)

“I mean, his son got him a Diet Coke the day before, and he said, “That’s the stuff, I dig that stuff!” Although he didn’t use the word ‘stuff’. And he, you know, he was just regular Brian. And the next morning, he was gone.” — Mark London (Brian Wilson Graphic Designer, Wilson Family Friend/Assistant)

“You know, I’ve been lucky to be around some really great bands over the years, and it’s such a hard thing to do. I’ve always done it for the love of it and just to show up and and do my best. And, everything that I’ve done, man, it’s been fun.” — Nick Zeigler (Drummer, Mary's Danish, The Leonards, Forty Nineteens)

“In my lifetime, I remember like two jazz explosions. One was back in the George Benson, Grover Washington Junior days that I can remember. And then I would say twenty years ago with, The Wave in Los Angeles and smooth jazz, and you could fill in the blanks. You can definitely say that jazz, you know, since its onset has gone through all kinds of different iterations.” — Eric Marienthal (Grammy Award-winning Saxophonist)

“Promoting unfortunately, these days, you know, it’s not like in the sixties when you used to walk into Capitol Records and you used to get a deal, you know, record deal. Those days are gone. You know? The record company is gone. It’s just so much. It’s all Internet work right now, artist by artist. We all have to, you know, write the music and then promote the music, And it’s, like, so crazy to do that, but, it takes it away from working with the music to concentrate on finishing music, and then you have to concentrate on calling or sending the song out to this and that. You know? So it’s really hard these days, but, we have to keep on playing that rock and roll, you know, whatever it takes. [What year did you start in music?] Oh, when I came from Italy, in the sixties.” — Tony Valentino (Lead Guitarist, Founding Member, The Standells)