THE FUTURE OF MUSIC, PANDEMIC, TRAVEL TO BRAZIL AND THE GUITAR COLLECTION: A TALK WITH JAMIE PERRETT

 By: Juliana Vannucchi (support: Marinho)

This time our interviewee is Jamie Perrett, who since 2017 has established himself as the guitarist of the acclaimed musician Peter Perrett, his father, who is one of the greatest myths of British Punk Rock. Jamie already played in bands like Strangefruit, Babyshambles and Love Minus Zero and already played in some of the major stages of Europe. Jamie has built a continuous and commendable musical career, and is steadily establishing himself as a talented and promising musician.

1. Jamie, you told to me that you've been to Brazil some years ago. What were your impressions about the country? What did you like the most here? 

I went to Rio in November 2014.  It had always been a lifelong dream of mine. And it didn’t disappoint. It was something I will never forget. I was only sad that I didn’t get to stay longer and explore more parts of the country.

The beaches are particularly beautiful. And all the juice bars (with delicious exotic fruit) dotted around on every street corner. I particularly loved the vibrant and intoxicating Lapa – a sensory overload - with the sound of thunderous drums dancing through the night and juxtaposed in a stone’s throw away, by the tranquility and bohemia of hilltop Santa Teresa. With it’s pastel colours and hippy cafes. I travelled around by myself and was humbled by how friendly everyone I encountered was. The people, for me, are what usually make a place and I met some lovely and fun people there - People who had a thirst and hunger for life.

2. Unfortunately, now Brazil is going through a very difficult moment, but maybe someday you can play here... we hope that Bolsonaro doesn’t destroy the country until then...

I really hope so. I feel like I have more of a South American soul than an English one! I’ve heard the audiences over there are pretty amazing. Unfortunately it’s pretty expensive to get over to that part of the world though. And I’m guessing you would need visas too. Hopefully one day soon!

It’s very sad that tyrannical and maniacal despots, for profit and greed, run the majority of the world.  Capitalism (for me) doesn’t seem to be working very well.  Lol. It really does feel like society is on the tipping point. There’s so much more frustration and anger and the division between the left and the right is growing rapidly. The prevalence of social media and addiction to smart phones just helps create a world of angry, self important and entitled automatons. Screaming at each other.

"It’s been a strange and crazy time for everyone but the lack of live music has been really hard for lots of people".

3. Please tell us a little about your music career. Did you learn to play guitar with your father? Besides him, who are your favorite guitarists?

At the age of 11 my dad taught me a few chords, which was a great start. My dad is more of a rhythm player though and once I heard Hendrix I always wanted to play lead.  

I started a band with my older brother Peter J, called The Cu*ts (‘cos that’s what our dad used to call us) around the time when Brit Pop was still going strong. We were being offered record deals when we 12 years old but our parents advised us against signing anything as they were worried we’d be seen as a novelty act. Later on in 2004 we (Peter J and I) joined Peter Doherty’s band Babyshambles for a short stint. It became too difficult to hold one’s breath for 7-hour journeys continuously on the road so we soon departed.  

In 2005, I fronted my own band with my brother called Love Minus Zero. Which was hilariously fun. Although it was never going to last that long. As it was incredibly dysfunctional, incendiary and we hated each other! We released one E.P called ‘Psychobaby’ and dissipated soon afterwards.  In 2008 I formed a band with Jenny Maxwell, an incredible singer; who I heard singing at a house party - called Strangefruit. We released an E.P titled “Between The Earth And Sea” which garnered radio and press attention that resulted in us being offered a publishing deal with Rondor (a Universal Music Group).

From 2015 I started playing with my father, playing guitar on his 2 comeback albums “How The West Was Won” and “Humanworld” which were both released on Domino Records. The latter for which I earned a production credit.
 
As for guitarists, I don’t tend to listen to many guitarists to study them. I’m always more interested in songs, lyrics and melody. But I love guitarists who have an identity that you can just hear a few notes of their playing and know who it is.  My favourites would be: Jimi Hendrix for taking the art of guitar playing to a new level, Peter Green for his tone and emotion. Richard Thompson for his modal improvisations, Neil Young and John Fogerty for their lyricism and phrasing (you can really tell they’re singers)

4. How long have you been playing with Peter? Did you always wanted to be a musician?

I have always played with my father on and off for years, but only since 2015 have we been in a band together. When I first picked up a guitar there was both magic and fire in my hands. I didn’t know how to play but I felt like a young wizard holding his first wand, I was mesmerised and it felt very much like my destiny. I guess it was the most natural thing to me really.

Peter Perrett and Jamie Perrett

5. What was the most memorable gig you've ever done? 

For the wrong reasons: One of the 1st gigs I played was as one of the guitarists with Peter Doherty’s Babyshambles. It was up in Stoke On Trent. And within ten minutes of us playing, the gig ended up in a riot. People were going crazy, tearing up the venue, the audience came onstage and stole our equipment –“fans” were running down the streets with snare drums and guitar pedals in their hands. Like they were some sorts of trophies.

Members of the entourage thought it was “rock n roll” I just thought it was pretty sad we only played for 10 minutes. And got the majority of our gear stolen.

And for the right reasons: my recent solo show in Leon, Spain. It felt pretty emotional to be back on a stage and in this current climate. It was a socially distanced show, with only a small number of people. But I ended up playing for 1hr 45mins, destroying cover version after cover version. Haha.

6. Have you ever thought about producing a solo album? Do you write lyrics? 

Yeah. That’s what I enjoy most really- writing my own songs and singing and producing them. I’ve been recording some songs for an album but then in that time I’ve written another 10 songs, which I want to get down. Yeah I write lyrics. I’ve been interested in writing since I was at school. Sometimes with songs, you might think of a title or a couplet that will inspire the direction and lyrical content on the song or most often I tend to write melodies 1st and think of lyrics later.

7. Well, I’m sure some guitarists will read this interview, so I would like to know what model of guitar you currently use. And what are your favorite pedal models? You must have a great collection of guitars...

I finally managed to get hold of my dream guitar after years and years of saving, a 1962 pre CBS Fender Stratocaster, refinished in fiesta red. It is the 1st guitar I’ve bought. The other guitar I play is a 1970 Gibson 345 which was handed down to me from my father. Thanks dad! As for pedals, I like some Electro Harmonix pedals. The Memory Boy, Ravish Sitar and Mel 9 are all pretty fun. I also particularly like Roger Mayer’s (Jimi Hendrix’s guitar technician) Voodoo Vibe. For recording, I like to push the valves in my 90’s Fender Pro Junior and Vibro King amps for overdrive tones. I also use a 1960’s Germanium Arbiter Fuzz Face, an Ibanez Tubescreamer and rare 1970’s fuzz, which I won’t disclose. I also use various 1960’s and 1970’s tape echo machines. 

8. Can you give some advice to people who are starting to learn to play the guitar? People like me...

Just keep playing, try and play a little every day, and enjoy it. Don’t try and start with things that are too difficult. Put dedicated time aside without distractions.

9. You played Léon last month, right? How was the experience of playing in the “new normal” way? How did people react?

It was a truly heart warming show. It’s been a strange and crazy time for everyone but the lack of live music has been really hard for lots of people. I think the people who came were really happy to see live music again.

10. Do you feel satisfied playing this way? Do you think these new experiences will be as good as they were before the pandemic? Probably better to play like this way, than not to play... 

It’s very different, but I enjoyed playing in this way. In some ways the audience were more appreciative and receptive. Of course its great to play to packed out venues but for the venues particularly it is difficult to make sure shows happen in this new way. As they struggle to cover their costs. I think anything is better than nothing at this stage. It would be great if our governments supported the creative industries more considering how much money it brings in.

11.What is your opinion on the drive-in gigs? I think it will be excellent to the elite, that always gave advantage to enjoy the art and the culture - at least here in Brazil it will be like this. Who does not drive, who can not have a car and who is poor will not have access...

Interesting although the idea of watching a show whilst sat in a car doesn’t really appeal to me. Plus I don’t drive. So….

12. You recently posted on Facebook that you were mixing some tracks and working on a lot of new things. Can you tell us a little more about it? 

I’ve finally gotten around to recording some of my own tracks. And I’ve got 9 songs recorded and mixed. I’m hoping to get them released at some point at the beginning of the year. Unfortunately the music industry is in a strange place at the moment. And although it’s super easy to self-release online, the lack of a creative live outlet is something that is unsettling. 

Hopefully there will be some clarity and a renewed optimism that comes with the start of a new year and there be some light at the end of a bleak horizon. It’s been a humbling and surreal few months but we just need to keep on keeping on. It’s the only option, to keep moving. Otherwise your brain and body shut down. A lot of musicians and creatives may feel like their voices are muted and blunted but once we emerge from this, there will be a strong appetite for new music and art. Which is something that helps me stay optimistic.

Read More

INTERVIEW WITH HARRY HOWARD:

 By: Juliana Vannucchi and Abel Marinho

Harry Howard: Played bass guitar on Crime And City Solution, These Immortal Souls, The Birthday Party and currently plays on the band Harry And The NDE.

1. Harry, could you tell us a little bit about your musical career?

I first started to play with friends in 1978/9. I had inherited Rowland's acoustic on which i would try to work out the theme to Get Smart. i was pretty hopeless (so what's changed,?) I didn't know any real chords so I played bass and sang. I moved to London and became involved in music with my more famous friends and relations like Rowland and Mick Harvey. I never made any money but we travelled the world and became notorious in our way. That's not a bad thing.

2. How was your experience with the Australian Punk scene?

Australias "punk scene" was an opportunity presenting itself. A: you could be hateful toward authority and normality and B: you could achieve this on the cheap with less skill required (attitude and style taking up the slack).

There was plenty of inspiration coming from overseas and Australian bands who were scene makers themselves. The Saints were fabulous, snarling,  garage punk and there was Radio Birman too who really played proto punk / rock n roll stuff.


3. What do you think of the current music scene and what is your opinion for the future?

I'm always hopeful about music. i don't follow what is happening so much as allow the things i like to find me. And they do. I think people find new ways to say things musically and to break rules because of changing technology and because they are people and its in us to do that.

Harry Howard & The NDE.

4. Is Punk still alive? What does it mean to be Punk?

Is 1977 punk rock still an active viable thing? No. Punk is alive in different ways. Punk broke down the demand for highly skilled players and allowed people to make it up for themselves and feel ok about that. i don't think that will ever go away ~ punk reclaimed that for us all ~ nice punk.


5. You have not only lived the scene of Punk movement, but also lived Post Punk scene. How did you see the changes from one musical style to another?


It didn't take long at all before punk morphed into post punk but really that just meant you could be more arty and draw from broader influences from pre punk musicians like Bowie, Roxy Music, Iggy Pop's work, Eno, Can and blues and even reggae etc.

And then Bands like The Boys Next Door, The Young Charlatans, Whirly World, The Laughing Clowns and Crime and the City Solution all became important in my life.


6. I have already seen comments that associate you with the Gothic culture. Do you consider yourself part of this culture?

The gothic scene was never something i never felt involved in. I like some aspects of it but i thought t was a bit embarrassing that i might be identified as part of that.

Gothic is a useful word though and the Gothic Scene certainly doesn't own it.

7. As far as I know, you admire the poet John Keats. What do you like about his poetry?

Keat's theory of negative capability. look it up if you are unaware of it. Being a very lazy scholar i have never pursued my interest in poetry. My loss.

 (...) I have enormous respect for Rowland's talent. it was fabulous to play in bands with him (...)

8. Do you have other literary influences? Which are? And what's your favorite book? Why?  

I have been influenced by so many books from The Odyssey, Don Quixote, Notre-Dame de Paris, Moby Dick, trashy 30's crime novels, private detective type hard boiled prose, science fiction, dystopias, social satire, Victoriana. Never limit yourself to one book. Silas Marner by George Eliot is a very beautiful book which makes my heart ache but i don't have a favourite book.


9. What do you feel when you think about your past and the story you wrote in your whole life?

I feel mildly pleased that i was born me and had my own particular adventures.


10. You already played with The Birthday Party. How was the experience of playing with such a chaotic band?

Yes extremely chaotic certainly, but also quite a civilised intelligent group of people. It was terrifying being on stage with them at first but it is something I have always been proud of.


11. What was it like being part of bands with your brother? You played with him in Crime, These Immortal Souls and briefly with Lydia Lunch in the '90s.  

I have enormous respect for Rowland's talent. it was fabulous to play in bands with him. I consider myself lucky to have had such a high standard of material to contribute to. And I shared all that time and experience with someone dear to me.


12. What are your favorite bands?

All the good ones! (i don't like the bad ones.)


13. Which band would you like to collaborate with?

All the good ones! (and maybe some of the bad ones because they are rich)


14. Has any band in which you played that is more special to you? Why?

All the bands I have played in have been special to me. Because Rowland is no longer here those bands i was in with him are now the most special to me.

Read More

INTERVIEW WITH MARY D'NELLON

 By: Juliana Vannucchi and Abel Marinho

Mary D'Nellon: Played percussion with the Virgin Prunes from 1981 to 1984.

1. How did you get into the Virgin Prunes? What you were doing before joining the band?

I saw Virgin Prunes supporting the Clash when I was 16 and I thought they were amazing – especially for a town like Dublin. After that I went to all their shows, and as Dublin is a small town, I started to meet them in cafés or at concerts. They were totally different from anybody I had ever known – alien, arrogant, frightening… I’d started a band called System X, I was the guitarist. We played quite a lot of shows in Dublin and The Virgin Prunes came to see us sometimes. I became friends with them, especially Gavin. Then when they sacked Bintti from the group before ‘New Form of Beauty’ Gavin called me and asked me to join the band as drummer. I’d never played drums before but 6 weeks later I was on stage.

2. How were the recordings of the album "…If I Die, I Die"?

Some of the songs like ‘Caucasian Walk’ were in fact quite old and we were really excited about finally recording them, other songs like ‘Baby turns Blue’ or ‘Bau-dachong’ were new. We had the idea for the two different sides to the album before recording as it reflected our stage show at the time. Colin Newman wasn’t our first choice as producer but Nick Launay (who produced ‘Pagan Lovesong’) wasn’t available. Colin Newman didn’t really understand our vibe – think the multi-layered approach he used worked on material like ‘Ulakanakulot’, ‘Sweethome...’ etc. but we weren’t really happy with ‘Caucasian Walk’, ‘Walls of Jericho’, all the songs on the ‘blue’ side of the album. There was quite a lot of conflict in the studio, I really wish we had used another producer – when I see videos of us playing ‘Caucasion Walk’ at that time I think a more direct approach would have been better. Apart from that, as a band, we were very happy with what we were creating at that time.

3. Most people rate Virgin Prunes as a gothic band. Do you agree with this label? Were you or are you gothic?

As I said, Virgin Prunes were playing concerts in 1978 – long before anyone talked about ‘Gothic’ music. There was a lot of religious imagery that we were interested in, but also Dadaism, Surrealism and we listened to all sorts of music, all those things influence creation, but we never wanted to sound like another band, or be a part of any movement. Obviously, there was a point when a lot of people coming to our shows had a certain ‘look’ and liked the more ‘Gothic’ elements of the group. We played with bands like Sisters of Mercy, Southern Death Cult… But we didn’t feel we had anything particular in common with those bands. I’ve never thought of myself as Gothic or anything else.

4. What were the main influences and inspirations of the band?

Really varied. We were influenced by the people around us, the films we saw, the books we read… the feelings, the vibes we used to get from those sources were translated into songs, sounds, visuals or stage shows. It probably won’t be a surprise to anyone to hear we all loved Bowie, Iggy, Roxy Music, The Velvets, they were certainly key to us wanting to make music but we never wanted to ‘sound’ like anyone else. Punk was the catalyst that made all of us feel we could go out and make music.

"There was no formality. No-one in Virgin Prunes had any kind of formal education regarding music or art, everything we did was instinctive, there were no rules".

5. What kind of effect do you think Virgin Prunes songs cause on people? What led you to make this kind of music so peculiar and artistic?

I’m lucky, because I saw the band before I was in the band, so I know exactly the kind of effect Virgin Prunes can have on people. I think that people who came to our shows often felt like I felt when I first saw the band. That anything is possible, that everything you think is ‘normal’ or ‘expected’ doesn’t have to be like that. That if you have the courage and the imagination you can create your own world and live your life the way you want.

Nothing ‘led’ us to make this particular type of music. The combination of personalities meant it had to be like that. It occurred naturally, organically.

6. Virgin Prunes has a very peculiar aura. Why do you think the band managed to create such a different atmosphere?

There’s a lot of different elements that went into Virgin Prunes. Where we grew up, our frustrations, our imaginations. Dublin was not an easy place to live in if you were ‘different’ at that time. We found a family in the people in Virgin Prunes and the people around the band and that allowed us to express ourselves. So, we had a common bond but we were very different in lots of ways and that mix made something unique. There was no formality. No-one in Virgin Prunes had any kind of formal education regarding music or art, everything we did was instinctive, there were no rules.

7. What is the best memory you have of your participation in the band?

Performing live, there were some amazing shows we did – before ‘…If I die, I die’ nearly every show was like a special event – we prepared each show differently, wrote special pieces, created visuals, etc. We had to buy Pigs heads, fish, all sorts of stuff. We borrowed furniture and set up the stage with sofas and TV’s. There were leaves, mannequins, bits of trees…When we were touring, that was no longer possible but, even so, every concert has a different energy, the audience reacts differently, the feeling between the musicians is different… I couldn't pick one concert but for sure there was something extra special when Guggi and Dik were in Virgin Prunes and I was behind them.

8. What are your favorite bands? And besides music, what do you like to do?

I don’t really think in terms of ‘bands’ any more. I listen to music I like. I stream, so I just listen to a song and if I like it I keep it. Like I said Bowie, Lou Reed, etc. have always been part of my life. I like hanging out in Paris, it’s a nice place to live.

9. How were the Virgin Prunes concert and where did you get all those theatrical elements? How did the public respond to you?

The theatrical part came from Gavin and Guggi, they were influenced by performance artists like Nigel Rolfe who did some pretty weird stuff, films like Nosferatu or Onibaba, theatre like Bertolt Brecht and just people whose mannerisms and gestures they found cool. They both painted and the visual side of the group was always important – they put a lot of thought into the make up, the clothes, album covers…

The response was sometimes violent at the beginning. In Dublin the clothes Virgin Prunes wore and the music we played were very provocative to a lot of people. Later, violence wasn’t a problem but the audiences could react in very different ways. Sometimes there would be silence and people would say to us after the show ‘We loved it but we didn’t think it was appropriate to clap.’ Other times there would be near riots – the audiences in Italy for example were very emotional! The stage show was not very black and white – people could interpret things in different ways. That’s what made people react differently, I think people were imagining their own story and felt we were communicating with them personally – I think that’s one of the things that made us special.

10. How was the transition from being the drummer to the guitarist? Have you played guitar before?

As I said before, I started playing guitar, so it wasn’t a problem. I love playing guitar and writing songs – I never play drums now. To be honest though I preferred Virgin prunes with Dik on guitar.

11. Is there any current band that you enjoy?

Like I said I don’t really ‘follow bands’ I just look for music I like. I did see a band last week called ‘My Great Blue Cadillac’ they were pretty cool.

12. Could you tell us about The Prunes, the project you had with Strongman and Busaras? Were you part of any other band after this one?

The Prunes was a reaction to Gavin leaving Virgin Prunes. We had been through a very difficult period and we were just about to go on a tour of the U.S. and Japan. Gavin just came in and said he didn’t want to go. We were devastated and felt personally betrayed. That’s the reason we kept part of the name. That probably wasn’t a good idea because we wanted to do something different - obviously we couldn’t do shows or make records like Virgin Prunes when there were just the three of us. We weren’t very focused – there wasn’t a leader like Gavin to drive the group. I’m not very happy with the records we made, I think there are some good songs, some good ideas, but we never really found our own identity. That said, I think the music we made is better than the music Gavin has made since leaving Virgin Prunes ;-). I’ve never wanted to be in another band. I’ve written music for films and TV series here in France – I still love making music.

13. Do you still keep in touch with your old bandmates?

Strongman was here in Paris last week. Him and Dave-id are like family to me. I exchange messages with Gavin but I haven’t spoken to Guggi or Dik for years. I love them all though. They were very special years we spent together and Virgin Prunes will always be a part of me.

Read More

INTERVIEW WITH TOBBY DAMMIT:

 By: Juliana Vannucchi and Abel Marinho
  
Tobby Dammit: He currently plays on Nick Cave & The Bad Seeds and already played with Iggy Pop, The Stooges and Jessie Evans.

1. Toby, I read that you are a "multi-instrumentalist" of Nick Cave And The Bad Seeds. In addition to drums, what other instruments do you play? And what was the first one you learned to play?

I've only been playing drums for Nick this past month. However for the past five years I've been his keyboard player, occasionaly playing vibraphone and other odd melodic instruments and singing quite a lot. I'm a classically trained percussionist since I was a child, so that is my primary instrument.

2. I always see very different definitions for Nick Cave And The Bad Seeds songs. This is very interesting because I think it shows how peculiar they are. In your opinion, is it possible to say which the band’s musical category is?
I couldn't categorize the wide variety songs made by this band, but generally I believe anyone can find something to identify with at some point and become quite attached for their own personal reasons. It might be one song in 5 decades of songwriting, but once a person has found that link, they often become curious to exploring the entire trove.

"Honestly I feel I'm exactly in the right place for me right now (...)"

3. How did the opportunity to play with The Bad Seeds come about? How and when was your first meeting with Nick Cave?

I met all these guys in January 1993 in Australia. The Bad Seeds were part of a package tour with Iggy Pop, whom I was playing drums for. We traveled together for a couple of weeks and bonded as friends for life. This was a simple phone call and the timing was right.

4. Please, tell us how was the show you did in Brazil in October. Have you ever played in the country before or was it the first time you came here? How was it to be in São Paulo?

I've spent a fair amount of time in São Paulo before, Nick lived here, has a Brasilian family and the Bad Seeds made one of their greatest (in my opinion) albums here, so of course this show was special for us for a long list of personal reasons.

5. What was your feeling playing in a country that lives in such a complicated political situation and and realizing that people took it with them to the audience? Were you aware that this could happen?
I'm aware of the current election, due to the high number of friends I have here and the wild press flying around internationally, but in the end our job is to give everyone a night off from that and a time to have fun and enjoy these songs together. People find a release this way, even for one night, or a reinforcement the next day to look at things in a different way, perhaps based on a feeling they found from that show, that I hope can help them through a decision or a turning point. The songs from the Bad Seeds are almost always about difficult decisions and drastic turning points.

" I collect Brazilian records...a very dangerous hobby."

6. There was an interesting detail: Roger Waters fans and audience did not like it when he expressed himself in politics. But Nick Cave’s fans applauded and praised him when he said "ele não”/”not him." Why do you think this happened? Are these two audiences (of Roger Waters and Nick Caves) so different from each other?

I've never met Roger Waters, nor attended one of his concerts, so I can't answer this honestly. I do know a good portion of his records from the 1960's and 1970's and I really liked those albums and his original band.

7. You've played with Iggy Pop and with The Stooges, and the songs of some Iggy’s solo career (like Avenue B) are very different from The Stooges songs. What was it like working with Iggy Pop creating so different kind of music? And which album did you most enjoy recording with him?
The time I began working with Iggy Pop was an “exploratory” period for him as a songwriter, and I know I pushed that side of him. I think the best results was the “American Caesar” album. In this time, he and I also scored a motion picture for Johnny Depp called “The Brave”, which was certainly the deepest level we traveled together.

8. Your musical works with Jessie Evans has a very peculiar aura. How was the recording of “Is It Fire?” and “Glittermine”? Are any of these albums more special to you?
Both of those albums were adventures, both musically and literally. Those albums involved many journeys recording in multiple parts of the world and involving many people from around the world together. Musically they were both hybrids of sound & culture that were our own bizarre blended vision of what made sense to us, based on our influences and fantasies.

9. Budgie, another fantastic drummer had played drums on the album “Is It Fire?” I think it's great that you two have taken part in a single album. How was it to record with him?

It was “long-time-coming” dream come true for me. I've known Budgie since the early 90's. Though a very dear friend over the years, we never had the chance to play music together as drummers. The timing was right and he needed this moment as much as I did. It was a euphoric day for us both.

10. Do you know Brazilian musicians/bands? What do you think about Brazilian music?
Yes of course! I collect Brazilian records...a very dangerous hobby. I only recently discovered Arthur Verocai and Célia, but for years I've been crazy about Marcos Valle, Jorge Ben, Secos & Molhados, Os Mutantes...on and ON!

11. What was the happiest moment of your musical career?

Walking up the red carpet at the Cannes Film Festival with Johnny Depp and Iggy Pop was a very good day.

12. If you could play with an artist you’ve never played before, who would you choose?

There are many maestros I dreamt of... Morricone has retired. Honestly I feel I'm exactly in the right place for me right now, to offer my support and experience to Nick right now, when he needs it more than ever. Though we've been friends for so many years, now is the right time and he asked.

Read More