B-FACE

B-FACE

How were you first introduced to music and art, and did you gravitate more towards one compared to the other at first?

Music’s always been around me, so I guess that came first.  Growing up the mainstream stuff was soft-rock and later bland MTV crap, and I hated nearly all of it.  But many earlier bands appealed to me. Both the older stuff I would hear still being played on some radio stations, and records my family had.  Stones, early Kinks, Hendrix, some CCR. I think I gravitated slightly more towards art though, since I could draw wherever and whenever. Music seemed that it only came from stereos and tv (it wasn’t until I was a few years older that I discovered that you could make those sounds yourself).  But drawing could be done anywhere, anytime, and just required a pencil and a book to scribble in. Which is my earliest memory of drawing - in a book. Later in my teens music got more attention, but only slightly.  

At what point did you begin creating your own art, and who or what were your main influences at the time?

I was pretty young when I drew in that book.  3 or 4? Tough to say. I remember around 6 or 7 I was drawing critters, spaceships and robots.  Animated shows and illustrations in books were influential, but where I got the most inspiration was from old Mad Magazines.  Two of my uncles had collected issues of Mad in the ’70’s and when they moved away from my grandparents, the magazines were all left behind.  I examined the drawings for hours when visiting my grandparents. In some of those issues, there would be a reproduction of the early MAD comic books, originally put out by EC, and those really grabbed me.  My grandfather also had a print that Charles Addams had given him. I’ll always remember that. I discovered Edward Gorey around then - that shit warped me for life. That man was a genius. No friends or siblings seemed to care about any of these things.  Their loss, I know now, but at the time it sucked to have no one to share this stuff with.

One of those same uncles got me an Ed Roth shirt when he went to the drag races, and I would copy that drawing over and over.  John Holmstrom’s drawings later influenced me too. There were some cartoons I did for the insert of Love Songs for the Retarded that was essentially the same idea that he had for Rocket to Russia.  Little drawings to illustrate the songs. But in the 90’s vinyl wasn’t popular at all, so I don’t think they got around much. The record label didn’t use them in the cd version. Later, I used the same idea with the Mopes EP, and all those made it into the insert, along with some art by Dan Lumley.

Was bass your first instrument? How did you approach learning to play, and what were your initial goals as a musician?

6-string guitar was my first instrument.  One of those uncles again - I was walking behind him once and he was playing Chuck Berry on an acoustic guitar while we went.  That blew my mind! So, you’re telling me that those tunes on those records can just be made by you at any time? I wanted a guitar!  And got a cheapie. I never got good though. As for bass, I picked that up for good when I joined the Queers. I had tried it a few times, but not for long.  My main approach to learning it was playing along with the first Ramones record, because all Dee Dee’s parts were in one speaker, and guitar in the other, so you could play along to just Dee Dee if you wanted to.  Not that that really matters - the guitar and bass are mostly playing the same thing. But it was fun, and I liked the simple, solid, relentless way he played. Of course that wasn’t the only band I played along with but they were important to me.  Having Hugh O’Neill as a drummer can’t be overstated because he was so steady (well….behind the kit), so that helped me while I was learning. 

I had no real musical goals when I got a guitar.  Well, I wanted to be in a band, but that was it. And I saw that as a fact of life - I would be in a band, period.  But no goals beyond that. I knew it would be a punk band, and there was (at the time) only so much you could do with that.  It wasn’t seen as a career move in New Hampshire. There wasn’t a future in it for most people because punk was still music for mutants. 

Were you interested in creating your own album covers from the outset, or did that happen more organically? Was your first published art from your work with The Queers?

Totally organically.  I never set out to do have my artwork used for anything.  I did a flyer for my first show with the Queers, and eventually more flyers and then a t-shirt, so I just fell into being the guy to draw stuff.  

My first published art that I remember was in a newspaper when I was in junior high.  Band-wise, though, it was probably for the Queers.     

When did you begin to realize that you had a distinctive style as an artist? What are your instincts as an illustrator?

I never thought about having a style, but later I did start thinking about content, because it seemed all I was drawing for a while was punks in Converse and leather jackets.  But that’s ok. I was often just drawing what someone had asked for.

If I do have my own style, that might come from not having any proper training.  Sometimes if you’re taught how to do things a certain way, your work ends up looking a lot like other stuff.  Same with music - so if you aren’t taught “correctly” then you might end up doing something of your own. However, much of how I draw is borrowed or influenced by others.  Again, like music. So I kind of draw as best I can in an amateur hodgepodge fashion, using little things I picked up along the way. I’m positive that I could do more and do it faster if I was taught art beyond the usual high-school level.  But I’m glad I wasn’t. Same with music…

As for instincts, that’s tough to say - I know that my instinct when playing bass is to never get too complicated, but with art it’s sometimes the opposite.  It can be a simple drawing, and often is, but I might to go in again and add more details. At times I ignore my “less is more” instinct. It’s a different approach.

Did you receive support or positive feedback from family and friends when you first started out drawing? What gave you the confidence to continue? Did you receive similar encouragement for your music?

With art I always got positive feedback from my family.  My mother was always supportive from the beginning. She got me basic art supplies as a kid, and nicer stuff like bristol board when I was a little older.  I’ve only recently decided to start selling small prints, and when I showed some to my dad he told me it took me “goddamn fuckin’ long enough”, because he’s been urging me for years.  Really, though, all my family and friends have been encouraging.

Confidence was easy to come by as a kid because I was always just drawing alone and for myself, and later when I did a few things for punk bands it was still at a time when the prevailing attitude was “let’s do this” combined with “fuck it”.

I was also encouraged by my family regarding music.  They bought me a guitar in 8th grade. But no one (aside from the crazy uncle) was thrilled when I joined a local punk band called the Queers.  There wasn’t a lot of squawking, though. They knew by then that there was no point in trying to talk me out of anything. It was mainly laughing and head-shaking from them.

Many fans (including yours truly) consider you, along with Hugh and Joe, to be the “classic” line-up of The Queers. Looking back on those years with the band, what did you consider your specific role to be, and do you feel like your creative contributions were honored - both as an artist and musician?

My role changed over time.  For the first six months or so, I was just the new kid.  Joe and Hugh were both punk rock veterans, 15 years older than me, and I didn’t really play bass yet.  I had played just enough to fake my way through a tryout. And I was really, really fucking immature. Soon I was part of the band though, and when Hugh couldn’t make a couple trips or tours then I became the other guy who was always there with Joe, with a few different drummers.  Hugh came back, and the three of us were off to the races. By then I was trusted enough to briefly run the band’s bank account, at least for as long as it existed, and manage funds on the road when we didn’t have someone doing it for us. Joe did in the early days, but eventually admitted he wasn’t the best guy for the job.  I designed the shirts, generally did visual things with feeble stabs at administrative shit. Merch, lyric sheets, flyers, record art. Stuff I didn’t mind doing as much as those guys did (most I actually enjoyed). Some of my roles lasted throughout my time in the band, like designing most of the shirts, but some were fleeting, like doing the money and keeping financial records on tour.  There was never any permanent delegation. It was all haphazard and chaotic. I think each tour and record was set up and done differently.

To the second part of your question, I think what I contributed to the band was appreciated more by people not in the band.  Hugh was eventually extremely supportive, come to think of it, but at first he was tough to impress. And I was a young punk.  Also later, when JJ Rassler got involved with the band again, he seemed to see some value in what I brought. So that was nice.  I grew up (a bit) during my time in the band, but I can’t blame Joe for thinking, when I was 26, that I was still the asshole kid I was at 19.  He just always saw me like that - I guess first impressions really are everything! We were a seriously dysfunctional group of fuck-ups. It’s a wonder we managed as long as we did.   

Do you also consider yourself a songwriter? What has your experience been with that specific endeavor, and how have you approached it?

I am definitely not a songwriter.  Anyone who can consistently write a good song on their own has something I don’t.  I’ve written so few, and they’re dumb. I know, though, that I am good at collaborating or helping people write stuff.  Adding something, urging someone on. Basically mentioning things that I hear in my head. Or I might make a suggestion that will then inspire the other person to build on it.  If someone has a riff or chorus, then I come up with something, then in turn that might spur them. I love that shit. Going back to your previous question, I guess that was another way my role in the Queers evolved.  After a while, those guys actually started listening to me! We worked together so well, and never disagreed on how a song should go. And I love coming up with new stuff, collectively. It’s great. Everyone on the same page, and adding to the tunes.  That’s a band, right there.  

You’ve remained active and prominent in the pop punk scene for decades while also remaining a fairly low profile. How do you see yourself in the context of the punk community? Do you often correspond with fans? Are there examples of fan feedback that stands out to you?

I actually didn’t do much after the Real Kids for 5 or 6 years.  I might have done a couple gigs. I think there were a few Mopes things.  But not a lot. Anyway, in the context of the punk community, I’m not entrenched in it.  I don’t have an active band but in recent years I’ve done more stuff and I can’t believe how that’s snapped me back into it.  I want to play more now. That Kepi and Shonen Knife gig I met you at was one of a few that really sparked me. John Jughead threw a couple parties that reminded me of how much fun this shit is, and there have been a bunch of cool gigs recently.  So I’m gonna do more. I just did another show in California playing with Kepi and Roy McDonald, and now I have a few in Europe with Geoff Palmer. Then I’ll hunker down through the winter, keep busy here, and see what spring has in store.  

  

I correspond with anyone - these days it’s easy to be reached.  That’s one of the few good things about social media. Being able to keep in touch so quickly and easily.  

I guess for examples of fan feedback, the best kind is when someone has felt inspired enough to actually make something on their own.  Maybe a song, art, whatever. That’s the memorable stuff. But it’s all awesome.

As an artist, where do you feel your greatest strengths lie? What have been your biggest challenges, and how do you remain inspired and motivated to produce art?

Greatest strength?  There isn’t one. I manage.  Maybe that’s a strength? 

Biggest challenge?  I am horrible at just buckling down and getting stuff done.  And working with computers is a bitch. I’m trying to get a website for my art up and running, and I am so utterly fucking useless with computers that I lose my mind.  That’s a huge problem for me. I stare at the screen and I don’t even know what any of the terms mean. FTP? CPanel? No idea. Means nothing to me. I just want to show people this goddamn drawing of a frog.  

Motivation - Looking at other art inspires and motivates me.  It could be a band sticker on a phone pole, or a painting in a museum.  Twenty years ago if I saw something fucking amazing, say Bernie Wrightson’s stuff for example, that shit would make me want to not bother drawing anymore.  I could never get that good! But at some point I realized there’s a place for absolutely everything, and it’s not about who’s “better” at what. That’s important.  Again, exactly like music. You do your own thing but get inspired by others. Now I seriously get stoked by looking at amazing drawings, paintings, prints. It just gets that part of the brain working.

Are there any particular achievements or successes you’ve experienced so far that you’d consider to be most significant or meaningful? What advice might you give to aspiring creatives who might struggle with the typical second-guessing and confidence issues that hold them back from achieving their goals?

Do you mean achievements with art?  I guess there’s nothing that really stands out in my mind.  But I like that some stuff has lasted. I recently heard a podcast with Dan Vapid and he mentioned one thing he was happy about regarding a few songs he wrote.  They stood the test of time. I guess I feel the same with a few drawings I did. And if I see a tattoo of something I drew - that always awesome. It means a lot to me.  Which is funny, because tattoo artists have their art put on people permanently all the time. But I don’t, so I think it’s neat.

Advice is tough to give when you think you’d be better off receiving it.  I guess I’d say, regarding second-guessing and confidence issues, try not to be a perfectionist.  If it’s made by a human, odds are it’s not going to be perfect. You can learn to appreciate that aspect on its own level.  And there are no rules - that’s another thing to remember. You’re making it, so feel free to make it how you want it. Unless, of course, you’re doing it for someone else who’s specific about what they want, in which case I’m wrong so ignore me.

If you recall and are so inclined, please recount the story behind “DO NOT MOCK SATAN!”

If I remember correctly, we were chatting online, touching on topics such as the Dark Crystal, the Shadow over Innsmouth, and the like.  Good stuff. Then you suddenly and repeatedly tried to steer the conversation to Jar Jar Binks but I was uninterested. Growing irate, you demanded that I submit artwork for your next project, “or else”.  I asked what you had in mind but you were off babbling about Baphomet and Danzig and how I would be sorry. That made me wonder if a cartoon of Satan would suffice. You replied with “DO NOT MOCK SATAN!” So those words and a drawing were combined.

CHRIS SHARY

CHRIS SHARY

Having followed your output closely via social media over the past several years, I've been struck by how you release artwork as a musician might release singles, and compile your art for shows and bigger projects as bands might create albums. Do you agree?

That’s a very interesting way of putting it, but trust me, nothing is planned that much out in advance. I don't tend to work like that with an end goal. A lot of times I will be producing art for nothing more than my own amusement. The color block portraits I have been doing these past couple of years were never intended to be anything more than a fun way for me to make portrait. Since starting them a few have been used for things but that wasn’t the goal at all. I'm just happy people want to use them, but I'm not doing them for anyone but me usually. 

Your artwork is iconic and you have established various genres or motifs within what I would consider to be the "Chris Shary style". It conveys an individuality that I also find similar to a songwriter's personality. How did you come to establish your overall aesthetic, and what has motivated you to pursue continue the "series" approach alongside your other projects?

I guess if I have a style or styles it's due to having a lot of influences and things that appeal to me visually. I'm a very, very visual person. That’s kinda why Instagram is so appealing to me - it's mainly pictures. I guess I just absorb a lot visually everyday and sometimes I try and make sense out of those things with my art. My influences are fairly easy to identify if you study what I have made.....John Byrne (X-Men artist from the 70's/80's), Raymond Petitbon, Andy Warhol, Hanna Barbera cartoons, its all there in my work. 

Something that comes across very clearly in your work is your love and deep familiarity with the subject matter - which is often music and specifically punk rock. There's a bit of historian in you, do you agree? Do you find that part of your inspiration comes from this instinct to archive and remind your audience of that which has inspired you?

YES, 100%. I know writers are always encouraged to write what they know, I just draw what I know and what I love. Since none of this is my full time job I can do what I like and ignore the things I don't care for. I suppose in that way my work is only about what I like. Music, and as you noted, punk music, is what helped mold me into who I am and I always want to pay that back and draw attention to it. When I first got into punk I did my homework and research on all the bands that had come before, so there has always been a historian in me. If I love something I want to know everything about it, where it comes from, how it came about, whatever. Once I have a hold on that I wanna pass it along. 

You are arguably best known for your interpretation of the Milo and Allroy characters which have been featured extensively on Descendents/ALL merchandise for over 20 years. How did this relationship begin, and what has this journey taught you as you look back on your work for them? Is there a favorite project or piece you've done for each band?

I started working with Bill, Karl and Stephen in 1991 but with the band ALL initially. I had drawn a flyer for them when they came to Ft Collins where I was going to school at the time. The band really enjoyed the drawing I did, and I asked if I could send them work for a tour shirt. They were up for it, and used it for the ALLROY SAVES tour. I kept sending them stuff and never stopped. They never stopped wanting me to work with them, so here we are almost 30 years later. I don't know that I have any favorite pieces for either band, I'm really happy with just being able to continue to work with my favorite band and people. 

Another motif you're well known for is the cartoon illustrations that you've done for album covers, which has a unique comic style to it that accurately captures the essence of the real people portrayed. To what extent have you been formally taught as an artist, and at what point did you begin to recognize that you did have a unique individual style? Was there a turning point where you not only understood that you have talent, but also personality as an artist?

Well I moved to New Jersey in the 6th grade, and I recall that my drawing was the first thing that got me noticed as a new kid. You know kids try and quickly figure out what you're good at, and most seems to think I was good at drawing, so I kept at it. I'd get bored in class and do cartoon versions of my teachers which kids really liked. I loved MAD magazine so I was trying my hand at that. 11th grade year I was asked to do some for my school yearbook, which seemed insane as some of the drawings were not the most kind in regards to my subjects, but there you go. I study the people I draw a lot and I guess that accounts for capturing suitable likenesses. I always want people to know when they see a band I drew that I know who they are and I have seen them play. That’s why I take so many photos at shows. I'm doing research on posture and gear. It's all work and research. 

I've noticed that you also have a deep knowledge of skateboard history and culture - did you ever consider doing graphics for a board company or working as a designer in that industry? I could see your work easily being embraced in the same way as that of Sean Cliver, Mark McKee, Jimbo Phillips, etc.  Also, do you still skate? Who are you all time favorite skaters and which eras of skateboarding do you relate to the most?

I was a hardcore skater in the 80's and tailed off as the big pants and small wheels started becoming a thing. I still skate on occasion, and I have a board always around and ready to go. I do totally identify as a skater, even though it's not totally my lifestyle any longer. During my high school years I for sure wanted to do skate graphics, but I didn't think that would be easy to crack into, so I guess I never pursued it. Also I never really wanted my art to be my main job. I always thought it would somehow cheapen it, or dilute what I was doing. Cab, Neil Blender, Mark Gonzales, Chris Miller, Kevin Stabb have always been my favorite skaters. Having met and gotten to work for some of them has been a dream come true. 

You recently re-released a 7" that your former band put out some years back. What is your track record as a musician, and what has your experience been with songwriting specifically? How would you compare the disciplines of songwriting and illustration? Can they achieve similar goals as art in your opinion?

My high school band put out a 7" a couple years ago on Alona's Dream Records in Chicago. Tommy Stupid (my old skate buddy an drummer for the Stupids) had originally recorded the 7" in 1988 in London, and always wanted to put it out. It was meant to come out on Vinyl Solution Records in England but the band broke up when I graduated and moved to Denver so the single never happened until just recently. I'm really, really proud of the Evel Knievel Rice 7" and can't really believe it’s actually a thing now. I was all set to going the Stupids in 1988, but the band dissolved when I moved to the states in ‘88 and that was that. I "sang" for Pilot Car and Sizewell in Denver during the 90's and both bands put out singles but not much. We played a lot but never really went anywhere or were heard outside of Denver. I only ever wrote lyrics, never music as I can't play any instrument. I don't really think of myself as a singer or a musician at all even though I have done those things. I'm mainly an idiot who does not suffer from stage fright and am perfectly ok with making a fool out of myself. 

Something I've always admired about you is that you seem to have achieved early on a very clear sense of identity and have prioritized your life accordingly. Whereas I often struggle to balance my regular life with my passion for music and the world of punk rock, you seem to seamlessly combine your professional and family life with it in ways that appear completely natural. Has this ever been a source of tension and stress, or have you always found it manageable?

Well yeah of course it’s been stressful and the cause of tension from time to time. There are periods throughout the year where I cannot go to shows often, travel or take on many big projects because I'm working on a play or a Haunted House or something school related. It's my main job being a teacher so I try to not grumble about it. However, I have missed a few big things because of work, but I couldn't do a thing about it. When school started to affect my family life because I was gone too much I purposely took a giant step back and asked myself what's more important. My son and wife will always win, so I had to stop doing as many plays and reduce my outside of school commitments. It was time. 

Your personal style is as recognizable as your artwork. You've cultivated a look and persona that people can easily identify - colorful, animated, and  energetic not unlike the art you're best known for. Has this been a natural evolution, and to what extent are you picky about your own outward appearance as a form of self-expression? Would it be difficult for you, for example, to just dress like a boring adult who's given in to wearing "Under Armour" gear and Costco khakis?

I don't care much for boring living or boring people so I have never looked much like one. Punk was always about doing it your own way, and making what you like. That’s what I've always done. I'm colorful because I love color, and I don't particularly want to blend in. It's kind of funny to me how unusual that seems for most people but not me! Plus I always want to make sure you can find me at a show if you are looking for me. Why dress all in black at a punk show? It's just too normal to me. 

The Sharpie portraits you do are very unique and that series seems to have caught on with fans in a major way. When did you begin doing it? Your approach of just putting Sharpie to paper and completing the portraits quickly is not only impressive, but also reminds me of the DIY punk rock approach to writing and producing music. What have you gained as an artist from keeping this approach going and continuing to seek out new subjects? Is there a sense in which the choice of subject also makes a significant statement?

Well I was proctoring a standardized test at school one year and was totally bored out of my mind. I had some computer paper and a Sharpie on my desk so I thought, “OK why not do a drawing to help pass the time?” I did Abe Lincoln, and had so much fun using just the Sharpie that I decide to do Ian MacKaye. That was quick and fun, so I kept drawing punk icons with the lamest materials I could find, Sharpies and computer paper. Nothing fancy, nothing special, but I wanted to turn those things into something special. I hope I have to some degree. The economy of what I do is very punk and very appealing to me. I don't know if I've made any kind of statement but it's a fun exercise that I keep up with on a regular basis. 

When I approached you about this interview, you were reluctant based on your feeling that people may not be interested. Are you able to at least recognize and appreciate your own place in punk's history as an iconic artist? Having the "Shary brand of approval" does carry weight in our world, and I'd say that any band lucky enough to work with you has gained a higher level of recognition themselves by association. What are your thoughts on your current portfolio, future works, and the legacy you'll be remembered for?

Well I think you're being too kind. I'm always suspect of people who think too highly of themselves so I try to avoid doing that. I'm fairly sure that I have made my mark and it's nice to be recognized for that. I guess more than anything I 'd like people to think of me as someone who proved you don't have to be a self centered asshole to do something noteworthy. Do good work and keep at it, maybe someone will notice. 

You and I discussed the idea that creative folks who establish routines and discipline themselves to continuously put out work and prioritize being prolific often find higher levels of success later. What is your own philosophy with regard to creative routines and plugging away even when life makes is more challenging to do so?

Well I gotta say I have learned a lot from the early SST work model. You know do it for yourself, work hard, do your work, don't bitch about what you want, make it happen, and don't act like anyone owes you anything. I think if you just keep at that and keep working, eventually you'll look back on a body of work that might be worth something. I try to never rest on my laurels and not pat myself on the back for what I have done. That's in the past. I'm more excited about what I'm GOING to do.

THE ENLOWS

THE ENLOWS

(all questions answered by Arwai)

First of all, congratulations on being a band for 20 years. How'd you manage to pull that off?

Thanks!  I'd like to say it's because we're "Too Tough to Die" but anyone who has ever seen us would never describe us as a "tough" band - even in my youth rocking my classic Ramones inspired motorcycle jacket.  You know...this is a really hard question to answer. But, I guess it comes down to a few simple things. First and foremost, we're friends outside of the band; I mean, honestly, only our closest friends would stick around for years waiting for an official first full-length album to be completed!  Secondly, overall decisions are done democratically with songs brought to rehearsal in various states of completion so that the band can work together testing out various ideas until we all like it or we decide to stash it away; conversely, there is a lot of independent creativity in each member writing the majority of their own parts as opposed to one person writing the whole composition.  Together, these two opposing strategies help create an ownership and pride for these songs instead of just feeling like we're playing someone else's song. And lastly, we're still having fun and that's because we don't put any pressure or unrealistic expectations on ourselves.  

Listening to your songs, it's obvious that you are concerned with catchiness and have very poppy sensibilities, yet it seems that you've bypassed my scene (the Ramonescore pop punk circles) in favor of forging your own path to rock enlightenment. Would you agree?

In some ways, yes.  It's always flattering when people comment about how they can't quite describe our sound or when they wildly speculate about our influences.  But, if you strip our songs down, you'll find they are grounded mostly in the basic building blocks we learned as young musicians from the Ramones: power chords, 4/4 time, and minimal frills.  With this latest release, Take Aim, we really wanted to channel our early sound which was heavily influenced by the Ramones.  The songs on average two minutes in length - just like the Ramones and the early rock'n'roll that they (and we also) were inspired by.  I can only think maybe my vocals tend to hide this groundwork, since I don't sing or sound like Joey, but if you sit down and play along, it's all there.  Take our new song Off Coursefor example - the original melody I had was so close to the song Oh Oh I Love Her So by the Ramones that I debated if I should leave it as an homage although I ultimately decided to change it for the album (you can check out the original version under the title Ms. Zurie on a compilation album called File Under: Bat Guano) but you can still hear the similarities during the intro.  In the end, I always let the melody dictate the song. And a fun fact to really drive this connection home: We chose the surname Enlow for our band name specifically so that we could be a "family" like the "Ramones" though we never implemented using it for our individual stage names.

The Enlows lack a gimmick, which many bands need in order to feel viable (and/or relevant). Instead you offer great rock songs with lyrics that have an air of mystery woven into the wordplay. How would you describe your own vision of the band, and did you purposefully avoid having a trademark "thing" in order to focus on the songwriting and music?

Funny enough, before we decided on a band name, the first batch of songs were directly related to horror movies based on our mutual love for the Groovie Ghoulies.  Some of the songs included a surf instrumental called Jaws, a recap of The Exorcist called The Girl's Possessed, and a "love" song from the ghosts in Poltergeist to Carol Anne.  However, we decided we'd eventually just be too limited in content to draw from.  And as the main lyricist, it was also much more natural for me to write lyrics that drew from all aspects of my life rather than just one facet.  Also, funny enough, the new album is my half-ass attempt at a concept album. I don't think most people would notice, but there is a loose connection between the songs.  Being heavily inspired by a love for ELO's album Time and the often romanticized lost album Songs from the Black Hole by Weezer, we decided to attempt an album that followed the story of space-faring gunslinger whose love inadvertently starts a war.  There are some of the more major elements still in there, but it was getting too literal and left out half the fun of music: being able to interpret it in different ways.  So, the songs were reworked to be more open to interpretation.

What are your usual songwriting routines? Do you have any disciplines or habits that help you stay on point? 

Most songs are based off some random melody that either pops into my head (and I record quickly to my phone before it disappears) or by sitting down with a guitar and jamming until something takes shape.  The latter often happens at rehearsal with a lot of input from the whole band. I'll usually bring anywhere from 10% to 95% of a song to practice and, as a group, we'll try it out with various adjustments and arrangements.  Sometimes it doesn't work, but when it does, we know we have something. For this album, there were actually a few songs that we had barely even played that we structured the day we recorded. However, the hardest part is usually the lyrics which can take me awhile to decide on as I'm pretty indecisive.

It seems that you've had plenty of songwriting practice over the years and have a natural ear for composition and hooks. To what extent have you studied and analyzed songwriting, and how would you describe your own skill development as a songwriter?

Honestly, nothing professional or scholarly.  After learning the basics from my brother, the only studying I've ever done was listening, singing, and figuring out (as close as I could) how to play songs I love by ear.  What I can say is that although I was born in the 80's and watched a lot of music videos on MTV, I mostly listened to 50's and 60's music via the radio. Del Shannon, Buddy Holly, Sam Cooke, Kinks, Leslie Gore, Supremes, Zombies, early Beatles...these acts were burned into my brain from heavy repetition.  The only reason I ever came around to more modern music was on account of two things: my love of Weird Al and his penchant for parodying musical styles that helped broaden my palette; and a compilation album of 70's era Saturday morning cartoons which featured Ramones playing the Spider-Man theme. This primed me for the Greenday's Dookie, Offspring's Smash, and Weezer's Blue Album.  Then, when music sharing software came around, my musical tastes grew vastly asI was able to be introduced to all of sorts of acts that eventually helped me craft songs: The Queers, MTX, Screeching Weasel, Groovie Ghoulies, Nerf Herder, Superdrag, Fountains of Wayne, to name just a few.  Anything with a driving beat and catchy melody will get my attention. But at the end of the day, it's the 50's and 60's music that I always harken back to when I need inspiration. But that doesn't mean I don't pay a lot of care and attention to structure and progressions. In fact, I try to write songs around common conventions that I can find a way to bend or break them.  For instance, one of our older songs, Baybee Can't Count, uses a three chord sequence that keeps moving sequentially over four beats resulting in the effect of sounding like multiple four chord sequences.  Or, on our newest release, the song Last Days on Earth starts off pretty normal with a couple rounds of verse then chorus, but then halfway switches to a "bridge" that constantly changes melody as it barrels forward and then ends the song - instead of ever returning to the anything from the start of the song.  I especially like to use alternate progressions mid song, such as playing a pre-chorus chord pattern twice everywhere except one point in a song. I find it helps break up the repetitiveness that is inherent in the type of music we play and it gives me great joy when I can create something I've never heard done before, even if it is just in the nuances of a particular part of a composition.

Sactown has a deep history of great bands and continues to be a hub for good live shows and a strong music community from my outsider perspective. Did you have any musical heroes or mentors in the Sacramento scene growing up? Who are your favorite songwriters and bands from Sac?

I'd have to say Danny from the Moans.  Way back before the Enlows formed, he was in a legendary local punk band called The Secretions. While Jeff (our drummer) and Ryan (our bassist) were much hipper than me (having both been a part of the local scene for some time), The Secretions were my first introduction into Sac's punk scene.  Not only were these guys rad musicians who put on fun shows, they were some of the nicest people you could ever meet. So nice, they even invited The Enlows to come on stage to play our first ever set (which consisted of two songs) at the legendary music venue, Capitol Garage, using their equipment.  What kind of band gives up some of their time on stage to some random kids? Bands with people like Dan who I look up to for three reasons: 1) he rocks every instrument he uses, including his vocal cords, 2) he is always positive, interactive and funny, and 3) he has an amazing memory - all of which I personally lack!  But just knowing him inspires me to work harder at those things. The truth is, my favorite song writers are two people very close to me. One is my brother Steele. He taught me to play the guitar and has always amazed me with the ease he picks up any instrument. The album he put out under the band name Zero for Zero is probably hands down one of the best collection of songs I've ever heard.  The other is a band called The Croissants fronted by my good friend, and former Enlows drummer, Gabba. His songs always surprise me and get me amped!!!

What is your take on the "worthwhileness" of putting out rock albums in 2019 and going forward? Do you feel that there's been a significant enough shift in the listening and (lack of) purchasing habits to pose a threat to your own inspiration? Do you have any trouble maintaining motivation in the modern era of music?

After 20 years without a proper full-length, I think it is pretty obvious that moving merchandise is not the central drive of this band.  LOL Personally, I'll always be motivated to make music as: it is the creative outlet I prefer, I'm hopefully helping to keep rock alive, and I hope to inspire others to make music the way others inspired me.  While I would agree that the landscape has changed, the one thing I count on is the cyclical nature of life. Rock is going to have ups and downs and I see young bands now and then that convince me that rock's best days aren't necessarily behind us.  As for albums as a whole, I think it's really strange right now. Vinyl made a come back, and now even cassettes are seeing an uptick. Personally, I'm a millennial streamer so I know I'm part of this problem. However, I resolve this in my mind by still buying albums of bands I see or I really like, even if they remain unopened, because I know streams and bands can disappear, but physical media will last (at least) one's lifetime.  

What are some of your proudest moments as a musician? What would you consider to be your ultimate goals as an artist?

Sharing the stage with some of our greatest musical heroes like the Queers and MTX.  Talk about feeling unworthy! My personal goal would be to inspire someone more talented than I'll ever be to inspire a new generation of awesome rock.  As a band, we'd love to one day play a show at our local historic Crest Theater, especially with another one of our musical heroes.  

Where does the majority of Enlows lyrical inspiration come from? Matt (Bennett) mentioned that you guys tend to weave in some obscure references without offering much explanation.

I generally write the majority of lyrics for the band and can say that they are just the bi-product of my scatterbrain mind.  I'd blame it on being a Gemini, I think. While I wouldn't say the sources are too obscure, I do generally try to obscure them in the lyrics so it's not so "on the nose" at first glance.  Sometimes I'll pull something from a movie, like how Buddy Holly grabbed the "that'll be the day" from a John Wayne flick.  Sometimes from comics (e.g., the first names of Phoenix and Professor X in our song Hold Up), from TV, or other musicians.  Sometimes articles I read or a documentary I've watched inspires me.  Sometimes its just everyday conversation between friends or words overheard from strangers.  On this album, there are quite a number of pop-culture references such as a reinterpretation of a Twilight Zone episode, multiple nods to the band the Riverdales, plus Bill and Ted make it into the lyrics without fitting the album theme at all.  One song is even my first political song - though I hesitate to call it that as it's more apolitical than anything. Some of the lines come from re-imaginings of experiences I have had. And one line is inspired by a scene from 1997's Contact starring Jodie Foster.  Yeah, my mind is all over the place. Fun fact: The song Raider of Hearts is actually a complimentary counterpart to the song Will You Still Love Me Tomorrow performed by the Shirelles.

To what extent does your family support your music? Do you have many daily contacts who relate to the rock n' roll mission? Who have your biggest supporters been?

Well, funny enough, The Enlows started as "family" band with my brother and I way back when.  Although he went on to do other projects, The Enlows eventually became a new "family" band with Ryan and I each being the other's best men at the other's wedding and Jeff becoming Ryan's brother-in-law...so you could so we have very close family support.  But, really, all of our family's are very supportive and give us feedback and motivation which we really appreciate. Besides our family, we've gotten a lot of great support from fans but especially other musicians (both local and in other states) who tend to recognize the semi-unique composition of our songs.  We have a lot of respect for our peers, especially here in the Sacramento area, so we value their opinions.

What are your hopes and expectations for this new album ("Take Aim" comes out 7/25/19 on OUTLOUD! Records) and the future of The Enlows?

Mainly, we're hoping to channel the success of completing the album into completing the second album which is currently underway.  After that, we're going to complete the Tri-Force and begin work on album three! Then hopefully another tour. From there, who knows!

DARLINGTON

DARLINGTON

1. Though I normally begin the interviews at the beginning, I'm more interested in your recent output as you've been quite prolific and have established a new aesthetic. How would you describe the current era of your work?

CBD:  I wouldn't exactly describe myself as "prolific" - there's many artists who are far more prolific than I am! In recent years I've been just having fun recording at home, and my releases typically consist of a few originals re-recorded with changes to reflect how I perform and sing them now, or how I wished they had sounded to begin with. The rest of the songs on each release consist of cover versions of songs written by other artists. Doing covers of songs I like is typically a creative challenge since the songs are almost never "punk". Transposing songs of other musical genres that were arranged and recorded with little or no guitar and were never meant to be rock-n-roll songs is a creative challenge. Plus, it's fun!

Recording at home is basically free, and I can spend as much time as I want tracking or mixing and do it how I want to instead of paying a studio and engineer for a result I'm not happy with.  Besides the fact that I simply can't afford to go record at a traditional studio, which are quite expensive. Pressing recordings to vinyl is prohibitively expensive, other formats are dead, so it makes more sense financially just to post my recordings for free online on Youtube, although my originals are available thru streaming services such as Spotify.

The past 5 years I did have the opportunity to release two limited-to-300, 100 of each color split 7 inch vinyl Eps, with The Prozacs & The 99ers. Each release was also splitting costs with my friend Marty's labels Jerkoff Records & Ratgirl Records, and The 99ers split was also split with Mandella Records. This enabled each band and label to have lower up front costs. We split the number of copies equally, and the bands each bought additional copies from the labels for cost as we sold thru at shows. It was a great way to collaborate. Marty and I did the same with two split cassette releases as well- one with Easy out, one with The Sweethearts. Marty has been extremely helpful in releasing material on physical formats as well as helping me get on shows in the Southern California area.

The "new" aesthetic is simply a hodgepodge of music and influences I like from my life and whatever my own playing and singing style is. So, I would describe the "current era" of my work -- from 2015- present -- as an honest reflection of how I sound and perform now, and hopefully it reflects a fun attitude as well. It's just about doing my thing and having fun.

2. Though you've been mostly associated with pop punk and Ramonescore, I see you now branching out into a more individualized approach with your songcraft. How has your personal songwriting developed since you began, and what lessons have you learned along the way?

CBD: Only a very small number of my songs could really fall into the "Ramonescore" category. I covered a Ramones song in the 90s ("Glad to see you go" on Live Dallas 1999). I appreciate the Ramones and most punk rock, but punk in general is only a small influence on me musically, as I listen to and appreciate a wide variety of music and artists and always have. Growing up, I loved what was considered heavy metal and glam metal, as well as new wave and British pop in the 80s. The first vinyl record I had was a Blondie 7 inch. I'm 47 now. I grew up in a different time in the 70s and 80s, and graduated high school in 1991 so the music from those first two decades of my life was a big influence. I believe some labels I worked with labeled me as "pop punk"  because they felt that was good marketing, but my material covers too many categories to fit into just one. 

During  the "Mess" era (From 1995 thru 1997 I sang, played guitar in and wrote the songs for a band called "Mess"), I experimented with different singing styles, partly due to me being young and not having really developed my own personal style of singing and playing I liked the best yet, and partly due to me liking different styles. I was in my early twenties and I was quite literally trying to figure out myself and life. The music was faster and "more punk" or more "pop punk" because I was young and aggressive and was embracing the energy and aesthetic of "punk rock", which went hand in hand with skateboarding of which I was an avid skateboarder from 7th grade up through my twenties.

On most recordings I did from 1995 up to 2006, I had little to no money to spend on recording, so all recordings had to be done basically live with a full band on the cheap, very quickly with pretty much zero time spent mixing. That resulted in my sound and performance also being at the mercy of factors beyond my control. I simply was not able to spend hours meticulously mixing, or doing re-takes on vocal or guitar parts that I was unhappy with. In the 90's, there were no laptops or digital DAWs; some recordings (such as the split record with the Huntingtons) were originally intended to just be demos! (those songs were recorded live to Hi-8 in the back of a record store!)

Also, when a label is paying for an album you signed a contract to do for them, they often make the decisions and you don't always have a say in the matter. For example, when I recorded the the Girltroversy album, Last Beat records had an in-house producer mix and produce the record. I had minimal to zero input on that. It was recorded to ADAT format (which were similar size to VHS tapes). Back then, to cut costs, you'd also typically "rent" tape at studios- and they would record over and re-use the tapes for the next band- so there could never be any remixing. Tape cost a lot of money for a struggling band! I was young and didn't know much about gear or recording yet. I wasn't very good at guitar or singing yet either. But I took mental notes, asked lots of questions and took every opportunity to learn all I could. Technology certainly has enabled artists to have better recordings for cheaper than the old days for sure.

Over time, I tried to develop my own style, sound, and aesthetic. I believe my singing style and the way I play guitar now sounds unique and original. I spent years trying out and playing all sorts of guitars, amps, and pedals until I found what worked best and sounded best to my ears and for the playing style I developed. I still enjoy trying new gear and developing new sounds.

My favorite guitarists include Nancy Wilson, Billy Zoom, Greg Koch, Izzy Stradlin', Joe Bonamassa, John Mayer, Ace Frehley, Paul Stanley, Angus Young, Malcolm Young, Steve Stevens, Kirk Hammett, Tom Scholz, Steve Lukather, Nita Strauss, & Courtney Cox.

My favourite singing influences are female: Susanna Hoffs, Belinda Carlisle, Pat Benatar, Joan Jett, Olivia Newton-John, Kristin Kontrol, Lesley Gore, Melanie Chisholm, Emma Bunton, Rita Coolidge, Sheena Easton, Yvonne Elliman, Kate Nash, Debbie Harry, Courtney Love, Kim Shattuck, Brijitte West, Sophie Ellis-Bextor, Sheryl Crow… I wish I had a female singing voice, the range, the Joan Jett mezzo-soprano.

Although female singers in general have influenced me far more than males, I'm a big fan of male singers as well- Michael Monroe of Hanoi Rocks, Gino Vannelli, Paul Stanley, JJ Lin, Eddie Money, Rhett Miller, Rick Springfield. My bass influences include Kathy Valentine & John Taylor.

I didn't discover punk rock until I was in 8th grade. Before that I had already fallen in love with Rock-n-Roll and listened to a wide variety of popular bands and artists from various genres. I had already determined that being a Rock-n-Roller was what I was going to do with my life. But I have always listened to all sorts of music- I even love musicals and disco. Punk rock represents a very small percentage of influence for me musically. The Spice Girls were a bigger influence on me than the Ramones. I know that's not the "cool" thing to say, but it's the truth. I like what I like, what speaks to me, what gives my heart joy.That's why music is great- there's something for everybody

3. The cat aesthetic and the consistent inclusion of sexual themes in your lyrics combine for a vibe that seems both cutesy and, at times, perhaps too adult. How did you arrive at this aesthetic, and what feelings do you expect listeners to come away with after hearing, for example, Furbabies?

CBD: The question is conflating two different things, so I'll address them separately.

I personally do not believe rock-n-roll could or should ever be considered "too adult." Rock-n-roll and punk rock has ALWAYS been controversial, sexual, provocative, and full of adult themes. It was NEVER music for kids. I understand a lot of people in the "punk scene" have grown up and become parents. So they now want to "clean up" the music to be "family-friendly", but that's the complete antithesis of what punk was all about.

Rock-n-Roll has always addressed the darker sides of humanity, and the artists can and often do reflect that. Artists should be provocative, challenging. When I was a kid, I listened to adult bands that addressed adult themes. It was all sex, drugs, rock-n-roll, raise hell, fuck you, fuck everything. Also, typically the ways in which rock-n-roll and punk rock artists addressed sexual topics had a very tongue-in-cheek, humorous edge to any sexually explicit lyrics. Nobody was being very serious about such topics. Although church ladies may have been offended by the Buzzcocks and their song "orgasm addict", you can't seriously expect me to believe that most people were taking a band with that name and such a song seriously. 

Of course, now society has changed. A different generation will have different views on music and such things. That's fine. Times change. What is considered humorous has changed. But I can only speak to my own life and experience -- how I viewed things when I was young and as I grew up. I don't expect my music to appeal to teenagers now -- they have their own music and artists they are into that reflect the time they live in. I used to think music was timeless. But it's also a snapshot and reflection of the time it was created and the generation or artist that created it. So I expect my audience to be of the same generation as I am, and to view such things in a similar way as me.

My lyrics are actually not very explicit when you compare them to other rock-n-roll, punk rock, or rap artists. Many artists from those three genres have used sexually explicit or offensive lyrics, many of them far more offensive and explicit than anything I have ever written. The few songs I have written with sexual lyrics are not very explicit at all, and a song such as "ATM" is obviously meant to be humorous. Sometimes sex is serious, sometimes it's hilarious! As an artist, oftentimes when your material is heard without any context or explanation, a listener may take you seriously when you are having a laugh, or think you are joking when you are serious. Sometimes there is an element of truth, seriousness and humor all wrapped up in one song- because that's how real life is! Life is shades of grey, an equal mix of serious and funny. Music reflects that.

My personal opinion is that society needs to give up on the idea that artists be a moral compass or a role model. How about YOU being a good parent and role model for your kids instead of expecting artists to? Hey, there's plenty of "family-friendly"artists and radio stations. YOU have the choice to listen to whatever you like. If it offends you, listen to something else.  

Now in reference to the "cat" aesthetic. 5 years ago, three feral kittens were starving to death on my doorstep. One of them was badly injured -- the bone was sticking out of his leg! I saved their lives and adopted them. They became my best friends and housemates. They have enriched my life and I cannot imagine life without them.

This took me on a journey where over the course of 5 years, along with the help of several kind cat lovers and rescue groups, I was directly responsible for saving a total of 15 feral kittens' lives. In a sense, by saving them I saved myself as well by rediscovering the humanity, compassion and emotions within me. I know that sounds trite, but it is the truth. After I had used the photo of the baby mountain lions for Furbabies, and another cat for Caturday nights,, I decided I would feature my own cats on my record covers. Having an aesthetically consistent theme appeals to my meticulous sensibilities. One day my kitties will be gone, but as long as my recordings exist online their memories shall live on.

Furbabies is a full album I released in 2016 which has a variety of material that includes cover songs. I often rewrite cover song lyrics to reflect my own experiences or likes and re-arrange instrumentation to my style of playing. It's very challenging to do on some songs. How I transform and transpose a cover song gives the listener insight into how I hear music. I make each cover song my own, with meaning for me, with instrumentation that's mine which reflects my personality. A few of the many examples on Furbabies:

Hilary Duff "Come clean": This song has no actual guitar parts. I had to re-do all the instrumentation. The way I interpreted the different parts gives the listener a window into my creative process. The lyrics have meaning for me, representing a rebirth of sorts.

Selena "Como la flor": I’ve covered this Selena song since 2002. At the time, turning a "Cumbia" style song into an uptempo rock number was something I had never heard anybody do before.

Sheena Easton -- "Morning Train": I turn it around by swapping the gender roles, another favorite thing of mine to do. The instrumentation is very different from the original yet sticks to the original arrangement.

My current era of recordings, including Furbabies, are mixed to sound amazing on a good pair of headphones. I discourage people from listening thru a mono Bluetooth speaker. I personally don't like this trend of mixing music to sound good thru a mono speaker, because then it sounds shitty thru headphones. You can attempt to do a mix that sounds ok on either. You'd have to record and mix using certain gear in certain ways to achieve that, and do it in a top-class studio. But you would still have to make compromises. A track or song is like- imagine if you will, a glass. Your different instruments and vocals and drums and such is each represented by different liquids. You are limited by the size of the glass. so if you pour in more of one, that means you have less of another, and so on. You have to consider that different parts may be in the same frequency range which limits how you can mix it. This holds true for any studio regardless of gear.

I would rather my material sound incredible thru a pair of high-quality headphones or a high-end car stereo or home stereo than a Bluetooth speaker or ear buds. I mix and record and master my stuff in a way that I like to the best of my abilities with the limited gear I have to do it at home. All my currently available digital releases represent my own personal favorites, what I feel are my best efforts, what sound best to me. Hopefully anybody who listens to my stuff will enjoy it, and maybe it will show them a different perspective, a different vibe. Maybe it will change how they think about music, as some of my favorite artists did for me. 

4. Your reputation as a constantly motivated musician has interested me, in particular because you haven't ever achieved a level of success that could provide a sustainable lifestyle. What are your attitudes towards success, and what are your own personal expectations for success?

CBD: I have a reputation as constantly motivated? I don't know about that. There's lots of hard-working musicians -- many far more hardworking than me! Mick Jagger once said-- I'm paraphrasing him -- you can work hard -- but lots of people work hard. You can be talented, but lots of people are talented. What it really comes down to is who you know, timing, and luck.

Everybody has a different definition of success. If yours is measured by financial terms, then I have never achieved success. If your definition is measured by popularity, or how many fans or record sales you have, then I have not achieved success. However, if it’s reaching a point with myself and my music where I am proud of the music I create and I like what I create, where I enjoy my life, then I have achieved success.

When I was younger, I measured success by other people's terms -- by the financial and popularity yardsticks. I was desperate for success to prove my worth to others, and myself. Success to have the money to support myself. Now I know there are far more important things in life. I almost died from a heart attack in 2017. Enjoying life, enjoying what you do is, to my opinion, a far better measure of "success".

Music for me is a fun artistic hobby. I'm grateful to still be able to play music. My worst days are still far better than a large percentage of humanity. There's people out there starving to death, living under bridges, people paralyzed, people maimed, people fighting oppression. I've been homeless before. That was awful. Compared to most of humanity, I've got it easy. So to me, I've achieved success already, by getting to wake up with a roof over my head, food in the kitchen, clean water to drink, and really cool cats to keep me company.

5. Do you feel that you've been able to re-establish yourself as an artist in recent years, having surpassed the era in which your reputation was tarnished by alleged incidents resulting in legal troubles? What are your thoughts on your past and present as an artist, and how did that experience impact you both personally and as a songwriter?

CBD: I don't know that I was ever "established" as an artist to begin with. Yes, I got to release records with some cool labels, play with some cool musicians and 0pen for some cool bands and go on a few DIY tours over the years but I never had a big fan base, and that was all many years ago. It was all sort of trial and error adventures and fun. I would consider being "established" to mean that an artist has a dedicated fan base and operates on a professional level, with booking, contracts, guarantees, infrastructure, and pays their bills and their bandmates' bills thru performances and merchandise profits. To pay taxes like a business. I'm lucky to get a few opening slots playing for free here and there. It's very flattering that a few people here and there like my music, and it's wonderful that I got to do cool stuff in the past and have adventures, but I just can't consider my position "established" or "professional". I'm just having a bit of fun performing these days. 

Like many other Rock-n-Roll and punk rock artists over the decades who lived their lives in an edgy and reckless manner when young, I encountered my fair share of crazy adventures, sketchy situations, and grey areas. I made plenty of reckless, dangerous and stupid decisions, some of which resulted in unpleasant and challenging consequences. I believe that in life, one has to learn from their mistakes, and to evolve and improve themselves as they make their way thru life.  One has to keep a positive mental attitude, be humble, listen to others, admit when one is wrong and to fight when one is right. Everybody in life faces their own sets of challenges and situations that bring both positive and negative consequences to themselves and others around them. I am no different. 

I believe that the challenges I've faced, and how I responded to them resulted in my reaching the point where I am now on a mental and emotional level. I believe the person I am now is the best version of myself, the version of myself I like the most. Hindsight is 20/20; nobody can change their past. The past must also live in the past. My past informs me but does not define me; I believe in forgiving others of their mistakes and I hope others will forgive my mistakes, because we are all human, we all make mistakes in life as we grow and learn. 

To that end, my life's experiences have informed my music and creativity in many ways. Art and music is both therapeutic and expressive; it's a wonderful way to express oneself in a positive manner. It's a wonderful medium for exploring dark or negative experiences and turning them into a positive. Sometimes songs must live in the past along with the times they represent. 

Life only moves in one direction. All one can do is push forward with a positive attitude, and learn from the past to inform their present and future decisions and art.

6. I've read that you tend to work in retail, specifically mall settings. Do you feel that the mall environment lends itself to your personal style, and do you identify with the mall culture as an artist? Do you feel that malls in general represent a bygone cultural era?

CBD: That was many years ago. My retail career lasted from 1996 to 2005. That type of work appealed to my meticulous sensibilities: symmetry, keeping things organized. It was air-conditioned, easy work. Fashion was fun! I worked for many stores during that time period, including Contempo casuals, Wet seal, Claire's, The icing, Afterthoughts, Rampage, Abercrombie & Fitch, Gap, Old navy, Urban outfitters, Steve madden, Pacific sun wear, and Hot topic.

Those were part-time jobs I worked in-between touring and such. I had fun working those jobs. Got some great stories. I was young and having fun. I was a great cashier. I was a decent manager. I excelled at merchandising and displays. It provided a lot of opportunities to make friends and meet people.

Today I go to malls to walk for exercise with the old people, as well as to eat and shop. Malls are different now. For me, most of them don't represent a “bygone cultural era” -- just a bygone way of shopping. Outdoor strip malls and multi-use shopping areas replaced indoor malls from my generation. New generations want their own things: shopping areas, bands and music. Times change, styles change.

7. Without delving into matters too personal, how would you describe your current lifestyle? Do you feel that you're able to sustain yourself and live a life that suits your various needs health-wise and creatively?

CBD: I just try to enjoy life, to enjoy the small things in life, appreciate all the little things in life. Bruce Lee said -- and I'm paraphrasing him here -- to be like water, flow like water. It's a Zen-, Tao-type mindset: Go with the flow. Stay positive, only worry about little things you can control. In the end we all die. You never know when that will happen. You only have one life, got to enjoy each day while you can.

Everybody has issues and aches and pains as they age. I have my own list of physical health issues to deal with. My right knee was reconstructed in the 90s after tearing it up skateboarding, so the cartilage is disintegrating at a faster rate in that knee. Sometimes I have to use a cane because of that.

Age and time are the great equalizers. We all get old, and our bodies break down. I am trying to age with dignity and grace. 

8. Another tale I've read about involves the touring ventures in which you performed solo with an electric guitar across the USA. What was that experience like, and did you feel that it was worthwhile? Also, how does being a solo artist now compare with having worked with bands in the past?

CBD: A tale you've read? You make it sound like mythology. Although I had performed like that many times over the years in my hometown, between playing with a full band, I began performing that way on tour and full time starting in 2015. I didn't have much of a choice. What most people do not consider is how expensive touring is. You really must be popular to do it. Especially as you get older. People ask why I don't tour with a band. Well, to have a band you have to pay the musicians to leave their jobs and families to go perform. Everybody's got bills, rent, families. If you drive with gear, you have to rent a van and have lodging along the way. You have to feed everyone. It takes days and days of grueling driving. Every day away from home costs money. If you fly with a full band, everybody needs plane tickets. you have to rent gear. If you're popular, and have a booking agent and such and get contracts and guarantees and people buy tickets to shows and promoters book you, maybe. But I'm not in that position.

Booking is difficult because I'm not a popular well-known act. Venues and bars are a business. I get it. Being in the position I am, I take what I can get and I play anything -- I even do open mic. The shows that seem the most successful are ones set up with local acts where I open for them, because they will have fans and friends in their town that show up, so it doesn't matter if nobody knows who I am, since I'm just the opener.

I actually toured in my car. Just me and my guitar and amp. Toured for 50,000 miles in a leased Mini Countryman from 2015 to 2017. Slept in the car at truck stops a lot. Toured from Texas to California, from Texas to North Dakota, as far south as Terlingua down by the border. It was the adventure of a lifetime. Had more fun from 2015 thru 2017 touring than all the years before with a full band (1995-2005). I got to perform at so many cool bars and venues with so many cool bands! It was wonderful! If I could afford a new vehicle I would still be trying to do driving tours.

Imagine showing up all alone to a town you've never been, don't know a soul there, to perform alone. It's challenging but empowering. Playing with a band, you have your gang onstage, you cover for each other. Alone, any mistake or error is heard. You're up there alone and vulnerable. It takes guts to get up there alone. But there are lots of pros -- my set can change depending on what I want to play nightly, without having to have a band learn the material. I can go wherever I want, sightsee, make a mini-vacation out of each trip, without having to get bandmates to go along with it. Unfortunately I lost a large percentage of photos from that time due to phones getting damaged.

Now I fly in and out. Fly in the day of the show, taxi to the gig, taxi back to airport, hang out at the airport overnight, then fly first thing in the morning back. I can't do it all the time, because it's expensive, but it is cheaper than driving, and takes far less time. Southwest doesn't charge bag fees for checked bags.

The solo touring I've done from 2015 to now has been the most empowering, rewarding, fun times I have ever had playing music live. I also feel some of my greatest performances took place in the past 5 years as well touring solo. I understand some people require a drummer with a full band and a "show" to be entertained,. It would be great to be able to do that, but a full band just isn't an option right now.

If the situation was right I would love to be in another person's band. I don't always need to be the center of attention. I can come up with creative bass and guitar parts all day long for other people's songs. It's fun. I moonlighted for The Sweethearts on bass in summer 2015 and had a blast doing it!

9. You've taken advantage of modern technology and have managed to release a slew of albums with admirable, albeit homegrown production quality. Was there a steep learning curve or did you figure out how to produce your own material naturally? Is this also the case for the graphic design of your album covers?

CBD: All my home recordings are done on old white plastic refurbished MacBooks I buy on the cheap. I use free mastering suite software. I can't afford expensive microphones or analog gear. So I make do with what I can. Expensive gear is useless if your performance sucks or you have no creative talent. Yes, there was a learning curve. I didn't go to school for sound engineering. I used my previous experience over the years and there was lots of trial and error. As one producer I know says, “It's the ears, not the gear.”

For image design and editing, I used to use Photoshop on an older Macbook, but when that computer died the subsequent MacBooks I acquired were not compatible with that version of Photoshop, so I began using GIMP open source to scale and size images and use phone apps for initial designs. The old MacBooks are kind of janky -- it’s like a digital version of old 4 tracks. Each has weird quirks and bugs that affects the recordings in some way.

I just try to have fun and create stuff I enjoy listening to and have fun recording songs I like, and I hope that fun vibe really comes thru. If one listens to my recordings thru some good headphones I honestly believe they will be impressed. The production is much higher fidelity than "homegrown" would lead you to believe.

I could do a great job producing other artists if given the opportunity, in a real studio setting, using the knowledge and creative talents I have. It's something I would love to do going forward.

10. What are your biggest regrets in your musical career, and what have been your greatest triumphs so far? Do you expect any significant changes to your current routine (playing shows, touring, etc.), or will you simply continue to self-release albums and focus on the creative output?

CBD: I would say my greatest triumphs were touring alone from 2015 to now, as well as all the solo recordings I've done during that same period, learning how to live my life with dignity and grace. Also, going blonde. In my experience blondes DO have more fun!

Everybody has regrets from their younger years. I made the best decisions I could along the way based on what I knew, what information I had, and the options available to me. Sometimes it worked out, sometimes it didn't. Sometimes I was praised, sometimes I was pilloried. Everyone goes thru their own battles, blessings and curses. I made a lot of dumb, reckless decisions. Everybody does when they are young. Even those that appear to lead perfect lives who are popular and financially successful have negative things going on nobody knows about.

But, I like myself how I am now and those experiences or decisions which I "regret" also had a part in shaping the person I am now. So it's hard to say. If life hadn't turned out the way it did, instead of being the person I am now, I could have been an awful piece of shit. Or dead. 

I do regret selling some guitars I wish I had kept. I also regret that I was born male. If I was female I would have been a star by the age of 25 -- a sexy, glamorous ingenue with a lovely singing voice. I also would have been a flight attendant. A glamorous, sassy air hostess with a smart uniform, a cute neckerchief and poofy hair.

11. In what ways does songwriting provide you with a sense of personal satisfaction and accomplishment? Are you largely a self-taught songwriter? Do you pay much attention to the current pop punk scene, and are there current bands and/or songwriters who you admire in particular?

CBD: All art I've done in my life, including music, has provided me with personal satisfaction and a sense of accomplishment.

I am completely self- taught in the sense I never went to any school or had formal training. I can play and arrange music wonderfully by ear but cannot tell you how I am able to -- I just can. It's something I wanted to do since I was a little kid and had my first radio.

In 8th grade I got in a fistfight in history class with another kid who was a skateboarder, and by the end of the year we were good friends and he showed me how to play Possessed to skate by Suicidal tendencies on his Blade strat copy thru a Peavey rage amp. That was the 80s. In high school I discovered I could sing pretty good and got my first guitar and amp. Since then it’s been a crazy rock-n-roll adventure, and I made my childhood rock-n-roll dreams come true, but it certainly didn't happen like I thought! Life's weird like that.

There's so many talented and amazing artists and bands out there. I actually do keep up with the "pop punk" scene. I have friends and acquaintances in many bands, and there’s many talented people I respect in that scene, some people who I keep in touch with. I recommend the following currently active bands/artists:

Kurt Baker, The Surfrajettes, Geoff Palmer, The Pantones (Madrid), The Sweethearts, The Suck, The Young Rochelles, The Putz,Turbulent Hearts, Suzi Moon, Hayley and the crushers, Bruiser Queen, Fea, Given a chance, Johnny Cheapo and Ded Frendz, Christophe Murdock, Fat by the gallon, Gina Volpe, Marko and the bruisers, Stiletto bomb, Pretty pirates, Two bit johnies, The 99ers, Jagger Holly, Insanity alert, The Reely Rotnz, Brian Hardy, Scary cherry and the bang bangs, Beatnik termites, Flamingo nosebleed, The Jasons, and The Renfields, 

12. What does the future hold for Darlington? 

CBD: When I acquire some plutonium, I'll be able to get the Delorean up to 88 miles per hour and find out who wins a future world series and get rich. Until then, As Peter Griffin once said, I'm Just grinding it out  ‘til the big one hits. Sanguelto!

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