"Quantum Leap" head writer coming to Chicago as part of Ray Bradbury Festival

By ERIC SCHELKOPF

Ray Bradbury's influence was far and wide.

From June 7-9, Otherworld Theatre will present The Ray Bradbury Festival at Strawdog Theatre's Hudgens Hall, 3829 N. Broadway St., Chicago. More information is at www.OtherWorldTheatre.org.

Deborah Pratt, the co-executive producer and head writer of the beloved show "Quantum Leap," will be part of a panel discussion on "Ray Bradbury: The Man and the Legacy." She will also be speaking at 11 a.m. June 1 in Room 7 at the Whole Life Expo at the Schaumburg Convention Center, 1551 North Thoreau Drive, Schaumburg. More information is at www.wholelifeexpo.com.

I had the chance to talk to Pratt about Bradbury and how he shaped her career.

Q - Great to talk to you. You will be part of a panel discussion on Ray Bradbury. What kind of impact did Ray Bradbury have on you and your career? What do you think his legacy is?

He fired my readers' imagination.  His writing and choice of words always made me feel I was right there in the word he’d created for me.

The characters were my friend or my enemy. The danger was real and the people on the page I cared about, needed me to keep reading to make sure they were okay.

It’s a quality I strive for whenever I put thoughts onto a page/screen. I ask the Socratic questions of  “who, what, where, when and why” and seek the answers in the characters and in the world I’m creating.

How can I make this world as real as textured as I can so the reader discovers too late they have been drawn inside so deep, they never want to come out.

Q - What do you think a science fiction novel should accomplish?

An odyssey of the mind.  I consider myself a fantasy writer first, something Mr. Bradbury often said, (Well, other than “Fahrenheit 451.”) I think the writer should take the reader into the created world of place, time, people and things.

Make us feel, care and visualize with every word; ever blade of grass, taste, sight, sound and feeling externally and internally.

Q - What do you try to accomplish through your books?

All of the above and perhaps the inspiration to have the reader ask themselves the question “What if?”  I think Ray did that brilliantly is “Fahrenheit 451." He took a possible future world and played it out asking, what would you do if you found yourself here? 

He allowed the mind of the reader to make the leap of what life in a repressed society would be like and question themselves morally. I think the Vision Quest  begs the question morally as well as spiritually.

Q - Of course, you were the co-executive producer and lead writer of "Quantum Leap," a show that is still beloved to this day. Did you think when you were working on the show that it would have such an impact?

I don’t believe anyone creates and writes with that thought in mind. You do the best writing with the most truth, heart and feeling you can and hope that someone out there is moved by what you have offered.

Q - What were your goals for the show?

To stay on the air. They moved us six times in the five years we were on.  

To do the best show we could produce in the time and with the money we had. To have a great time and enjoy the wonderful people we were blessed to work with.

Q - What do you think Scott Bakula and Dean Stockwell brought to their roles?

Everything: charm, humor, pathos, warmth, humanity and drama. Scott was a hunk/hottie, the ladies loved and the men wanted for their best friend.

He could do anything we asked and more and Dean was a seasoned performer who always gave a 100 percent - and he was seriously cute and amazingly kind and nice. They both were.

Q - Do you think the show would have been as popular without them?

Not at all. They had great chemistry and made my work as a writer and a producer a blessing to go to work every day.  

We had a great staff and an amazing crew and when it all came together we were a wonderful show. Many people say we changed TV and by doing so changed, not just the U.S., but the world. Thanks to syndication, "Quantum Leap" is finding new audiences every day and its legacy lives on.

Q - One of the episodes that you wrote, "The Color of Truth," received a Lillian Gish award. What was your inspiration in writing the episode? Do you consider it one of your favorite episodes of the show?

I was reading through several "LIFE" magazines from the early '50s, and found a story about an elderly black man who worked for an elderly white woman in the segregated south.  

He would cook and clean and drive her around their small southern town and every day he would make her lunch and everyday they would eat at separate tables. I looked at the picture of them at their separate tables; she in the dining room and he in the kitchen and all I saw was two lonely people trapped by the norms of 1953.  

Norms that dictated this invisible wall that had to be there to keep them from a simple act of human kindness.  So I asked myself, what if a man from today {Sam Becket) was in that position. 

He was from 40 years in the future, long after civil rights had awakened America. He taught her that humanity was more important that the safety of past rules and ritual.  

And when the hospital wouldn’t take the little black girl and Miss Melly made them that moment for me was a salute to …. Who discovered blood plasma and died because a white hospital, who was using his transfusion technology, wouldn’t admit him.

That was the beauty of "Quantum Leap." We could comment on history from a present day perspective and we got to teach someone from the past the lessons of the present. 

I remember the movie “Driving Miss Daisy” came out after “The Color of Truth” aired and as beautiful as the film was and as wonderful as the performances were, I think “The Color of Truth” said and did more to share a very emotional lesson about the power of one person standing up against what’s wrong for what’s right, especially when it goes against everything we are taught.

I think that no matter what we are taught, in our hearts, in our DNA, we know what is right and good.  And it’s those who have the courage to stand up and fight for good will affect change. 

Q - Your daughter, Troian Bellisario, guest starred on "Quantum Leap" and now is on the hit show "Pretty Little Liars." What advice have you given her in her acting career? 

She did an episode I wrote called “Another Mother” and Dean Stockwell, who’d been a child star, told me not to make her work through her childhood. I honored that and let Troian find her way to the stage and screen herself.

I loved her with open arms and answered her questions when she had them. Rehearsed with her when she wanted my direction.

Filmed her when she needed audition tapes and let her know without question, that if she gave a thousand percent each time she stepped in to the lights; on stage or screen or life, she would succeed as long as she believed in herself and trusted without question that I and all who love her, believed her.  

She knows I always have her back.

Q - You've done so many things over the years. Do you have any dream projects or collaborations?

The "Vision Quest” series is my passion piece.  It’s my sci fi fantasy of an empowered humanity and a better world. I am creating it into a massive, transmedia event including more books, films, TV, persistent worlds and numerous, interactive games.

I believe it’s ahead of its time and its finding its way.

I’m working on a new novel, book two of “Age of Eve." I’m co-writing (my first co-creation since "Quantum Leap"), a trilogy of books with a wonderful writer named Lynn Isenberg called “The Field Paradox."

We are close to finishing the first book and a draft of screenplay.

I am close to directing a small film I wrote called “Heartswear” and that would mean a great deal to me. And as far as dream projects go…I would like to write a one woman show for myself and go back to the stage.

I have always liked working in front of audience. Fingers crossed.

The Fabulous Miss Wendy storming across the country with guitar in hand

By ERIC SCHELKOPF

She has opened for Slash and been called a 21st century Joan Jett.

In fiery fashion, The Fabulous Miss Wendy is proving that a female can wield the guitar with as much power as a man. She recently played in Chicago as part of the national Femme Fest 2013 tour.

I had the chance to talk to Wendy, www.thefabulousmisswendy.com, about her current activities.


Q - How has the tour been going?

It has been going absolutely wonderfully. We have been well-received at every single city we have gone to.

Q - Why do you like being part of a festival like this?

I love Femme Fest because it is all about girl power, and the fact that rock 'n' roll isn't a man's world any more.

Q - Do you still find yourself fighting for credibility?

Whenever I tell someone I play guitar and I shred on it, they look at me like I'm from the planet Mars.

It is difficult as a girl to get credibility, because I think a lot of people tend to write off girls as guitar players just right off the bat.

It's the great thing for me, but it is also kind of like my Achilles heel at the same time. It's a mixed bag, and I don't feel like a female guitar player, I feel like a human guitar player.

Q - So it's a novelty?

It kind of is in a way, but I don't think it should be. And in the future, I don't think it will be. The evidence in that is that there are more little girls picking up guitars than little boys.

Q - Because you yourself picked up the guitar at age 10. What attracted you to the guitar?

My older brother very much got me into rock 'n' roll music. He actually tried to teach me how to play when I was 5, but I was just so little, my hands couldn't even get around the guitar.

He played a lot of music for me that I wouldn't have necessarily heard otherwise, like grunge music and punk music, and all kinds of stuff. And he played guitar, and I just wanted to be like my big brother.

Q - And now you have this new album, "No One Can Stop Me!" that is going to be released nationally in July. You raised more than $5,000 through Kickstarter to help fund the record. Was that easy to do?

By the time it was all said and done, it was about $14,000 to make the record. Kickstarter is very, very common these days.

The reason I did Kickstarter was because a lot of people were telling me, "Wendy, you should do Kickstarter." And so I finally decided to listen to everybody's advice.

It's so wonderful. It's kind of bringing the world closer to unity, because it's encouraging cooperative efforts and entrepreneurial endeavours.

I ended up writing a lot of songs for people who gave $100.

Q - Kim Fowley, who managed the group The Runaways in the 1970s, produced the album. What did he bring to the table?

I was so happy to be working with Kim, and I also felt validated that I really did make the best record that I could. I tried so hard to make a good record, and it just felt great that somebody like Kim Fowley thought it was good.

Q - I guess he also called you a 21st century Joan Jett.

Sometimes he also calls me Joan Jett's daughter. It makes me feel great. I just have so much love and respect for Kim.

Q - Do you consider The Runaways or Joan Jett to be inspirations?

I do. They are the originators of girl rock. Nobody really came before them, to speak of. I think Joan Jett is still the queen of female rock 'n' roll.

Q - What did you learn from the experience of opening for Slash?

I learned so much. Slash is such a nice guy.

I remember the first night that I played with Slash, there was probably about 4,000 people in the audience. I dedicated the song "Crazy F..... Up B...." to all the ladies in the audience, and I heard 2,000 girls scream.
And that's when it just me that I was playing in front of 4,000 people.

Q - Did you feel that you had made it?

I felt that I was definitely on the right track. I feel like success is a lifetime process. I don't feel like success is just something that happens one day, or it doesn't.

I think that in order to be successful, you really have to apply yourself as a career artist for your entire life.

You just have to be dedicated, and keep going.

Pioneering band Chrome to perform rare show in Chicago

Photo by Angie Skulls

By ERIC SCHELKOPF

Long before there was Sonic Youth or Nine Inch Nails, there was San Francisco experimental band Chrome.

Chrome will perform a rare show May 18 at the Empty Bottle, 1035 N. Western Ave., Chicago, as part of the HoZac Blackout Fest. More information is at www.emptybottle.com.

I had the chance to talk to Chrome guitarist Helios Creed, www.helioscreed.com, about the show and Creed's upcoming album of unreleased material, "Half Machine from the Sun, the Lost Chrome Tracks from '79 to '80."

Q - Great to be able to talk to you. Will you be performing any of your unreleased tracks at the May 18 Chicago show? What should people expect from the show?

Hi. Yeah, we are performing some of the Lost Chrome Tracks, which are something like 35 years old, but haven’t been released yet. And we are performing our new single, " Prophecy," from our upcoming album of 2012 and 2013 material. 

"Prophecy" is on our www.Pledgemusic.com/chrome site for pledgers if you want to hear it. Expect a great show, what else!

Q - I understand the "Lost Chrome Tracks" were actually lost. When you heard them again, what were your thoughts? Do you regret not using the material on "Half Machine Lip Moves" and "Red Exposure?"

When I heard them, my thoughts were about how good the songs were and wondering why we didn’t release them.

It took a while to remember all the head trips of why. Yeah sometimes I regret it, but if I did they wouldn’t be able to be released now, so there wouldn’t be anything new from that era to hear now years later.

It's interesting to release all this time later, we’ll see what happens.

Q - In forming Chrome, what were your goals? Did you think you were pioneers at the time?

No, not really, we were trying to make cool music.

Q - Chrome is credited for influencing a number of bands, including Sonic Youth, Nine Inch Nails, Ministry and others. Do you see that as a compliment that so many bands would credit you for influencing them? What do you think about what those bands have created?

If they’ve credited Chrome, that's kind of cool, it's cool to inspire artists to find a new sound of their own, everyone feeds off everyone. I don’t find them very Chromish, though.

Q - After Damon Edge passed away in 1997, you continued with the band. What made you want to continue Chrome?

Because he didn’t do any live shows and I thought people deserved good live shows after supporting the band all these years.

Q - "Angel of the Clouds" was re-released this year. Do you see the album gaining new fans with its re-release?

Hopefully, it did really good in Germany I hope it does really good here.

Q - The music business has changed drastically since you first started. Do you think it's easier or harder to be a musician these days? What advice would you give to an up-and-coming guitarist?

Get a job.

Q - Are there any musicians today that you admire what they are doing? What do you think of the music scene in general these days?

I think its a good music scene, there is a lot of good music out there and a lot of good musicians to go see and support, there will always be that, support your local good bands.

Q - After the album is released in June, what's next for you and Chrome? Do you have any dream projects or collaborations?

After the release "Half Machine from the Sun the Lost Tracks from ‘79-80," we will finish our album of new material that is almost done also. Then more live shows, and hopefully a world tour.

Chicago band JC Brooks and The Uptown Sound explores new musical ground on upcoming CD

Photo by Clayton Hauck

By ERIC SCHELKOPF

On its upcoming CD, "Howl," Chicago indie soul band JC Brooks and The Uptown Sound turns personal.

The album, its second for Chicago-based Bloodshot Records and third overall, is darker both musically and lyrically than its previous efforts. But that's just another step in the evolution of the band, which had gained attention for its inventive take on Wilco's "I Am Trying To Break Your Heart," which JC Brooks and The Uptown Sound performed with Jeff Tweedy in 2011 at Wilco's Solid Sound Festival.

"Howl" will be released on May 21, and the band, www.jcbrooksandtheuptownsound, will celebrate its release by performing May 25 at Mayne Stage, 1328 W. Morse Ave., Chicago. The show starts at 9 p.m., and tickets are $28, available at www.ticketweb.com.

I had the chance to talk to JC Brooks about the new album.

Q - Great talking to you again. You guys just got back from playing in France. How are audiences over there different from those in the states? Have you been able to build a good fan base over there?

Thanks man, right back at ya.  Over there it feels like shows are based more on emotion because the language barrier keeps me from using too much banter.

They appreciate that we've come so far to play for them, and we're excited to be there so it creates this feedback loop of good energy that makes for great shows. This was just our first trip to France, but I feel like we made a bunch of new fans and laid a good foundation for a return trip.

Q - Of course, the band's new album comes out this month. It seems like "Howl" is darker musically and lyrically than your last album, "Want More." In sitting down to make "Howl," what were your goals and do you think you achieved them?

We wanted to make something a lot more personal that speaks to people who feel like they're alone or yearning. I just wrote from the heart - we all did, and I'm very excited about the result.

Q - I understand "Howl" is a song about young love. What are the major themes on the album?

Isolation, despair, loneliness, heartbreak...sounds like a total downer, but we tried to find a way to delve into these ideas without being all 'woe is me' about it.

Q - How did the "Rouse Yourself" campaign go? I understand celebrity guests will be featured in the video. Can you tell me about the concept for the video?

As of right now, it's still going on. Billy has a friend out in L.A. who was willing to help us out because he likes the band but he's a busy guy with a tight schedule so we had to get out out there and shoot some stuff before he was unavailable. I don't want to say too much but it has hints of Scorsese's "The King Of Comedy."

Q - Howard Bilerman, who has worked with such bands as Arcade Fire and Godspeed You! Black Emperor, produced "Howl." How did you hook up with him and what do you think he brought to the table?

We came to work with Howard because we were looking for a producer who would be able to help us flesh out the new sound that we're working with.

After putting out lines to a couple of different guys, Howard seemed like he really understood what we were trying to do. We're working with different themes and new sounds -stylistically and with instrumentation (i.e., synths as opposed to Hammond, etc) but we didn't want to lose the rawness that was sort of the essence of our previous records.

Howard understood that and work with us in a really relaxed way. Based on our demos he had ideas coming into the process, but he did more gentle guiding than being dictatorial about it.

We rewrote stuff that was fun but didn't quite work, and he helped us find a common thread that brought all of the different sounds together.

Q - Who are your biggest musical inspirations and how do you think they play a part in your music?

As far as song writing it changes day to day because I feel like I'm constantly immersed in awesome music. For performance, its a lot of lady musicians - Beyoncé, Janelle Monáe, Patti LaBelle, Tina Turner.

They're all highly emotive, energetic performers who leave it all on the stage. I can't imagine someone going to one of their shows and not feeling like they got their money's worth.

Q - I know that you don't like the term neo soul in describing the band, but there seems to be continued interest in soul music, both on a local and national level. Why do you think soul music has such a long shelf life?

Hey, "neo-soul" is better than "soul-revivalist", lol.  I think that soul music continues to be popular in one form or another because it tends to come from a genuine place, which a lot of music does, but it also usually has a very pleasing groove, so the music pulls you in and you identify with the content at the same time.

It's also a genre associated with expressing strong ideas in tumultuous times

Q - This is your second record for Chicago-based Bloodshot Records. Being a Chicago band, is it extra special to be on a Chicago record label?

Absolutely! We live in a great city with an awesome musical heritage, and I'm glad to keep it all in the family - so to speak.

Q - Do you think you guys grew your fan base after playing at last year's Lollapalooza's festival in Chicago? Was that a privilege, knowing you were playing at a prestigious festival right in your backyard?

I know that we got in front of a lot of people who had never heard of us before, so in that respect, yes. It was super cool to be able to play Lollapalooza because there were a ton of incredible acts on the bill, and it's flattering to be included in their number - plus it was nice to only have to drive 15 minutes to load in.

Q - It frustrated me that radio stations like WXRT continued to only play your Wilco cover, "I Am Trying To Break Your Heart" even though you had a new album out, "Want More." Do you find it frustrating when radio stations overlook your current songs and don't give them a chance?

A little, but it's also a thrill to hear your work getting played on the radio. As much as I wished that any station would explore the album beyond that single, you have to trust that the programming directors know what they're doing. XRT's been super supportive of us, and we get a lot of great feedback from their DJs.

Q - How do you think the band has grown since it formed in 2007? Where do you see the band going from here?

I think that our sound has coalesced into something that is more uniquely us as opposed to a somewhat angular mix of our influences.

I honestly don't know where we're going to go from here, if you asked me a year ago what the next record with sound like I might have had some ideas but I also probably wouldn't have described what "Howl" turned out to be.

It's totally a growth process  - you never know where inspiration or influence is going to come from, and believe me, I'm really shitty at predicting the future :)