Lauren Light, she’s young, she’s energetic and she’s capturing a whole generations of fans from teens to adults. Her music ranges from soulful to that pop sound that soars over the radio waves. She studied at Berklee, she captivates the crowd, and she’s got a growing fanbase that just might make her a star.

Recently Jef sat down and talked with Lauren about where she’s been, and where she’s going…

Jef: Hey Lauren, thanks so much, sorry it took so long for us to get this going.

LL: It’s ok, we are talking now.

Jef: So you’re music is connecting with people, I mean I watch as people just keep saying how much you’re music has impacted their life, why do you think that people are forming such a connection with you?

LL: Thanks that’s really a compliment. I write about stuff that everybody can relate to, I always listen to songs and think the lyrics don’t have as much meaning anymore. And I try my best to bring life to songs. I want to reach right out to someone and through my music say I know what you’re going through, whether it’s a good or bad day, it’s nice to know your not alone.

Jef: So how did you get your start, has music always been a love of yours….

LL: Yes music has alway been my love, I’ve always wanted to do music in some form or another. I was involved in music all through High School and I went to Berklee Online for Music Business and songwriting. I kinda just dove in, even if I had no idea what I was doing. I went to the studio and recorded my first three songs late 2009, while working with two cover bands and a music booking company to pay for the project. I just tried to surround myself in it all.

Jef: Is that going well? Finding someone to back your music and moving forward?

LL: It’s going really well, I got my backing band all lined up. I’m really excited, we really fit well together! We’re finally going out playing!

Jef: So what are you working on these days? You’re gaining the quite the following, you’re even doing modeling it seems these days…

LL: Well I’m going to start playing out with the full band, working on the album (which we are going to be playing those songs at the shows!) haha and yeah I’ve been doing modeling… It’s always something I loved doing on the side since I was younger. I admit I probably like the camera to much.

Jef: So does the current project have a name? Can we look forward to an album soon?

LL: Still trying to pick which song should be the single for next album. So as soon as I deside the album title will be released. I’ve been working on an album for almost a year now and I can’t wait to let every one hear it But I’m also taking my time because I want to make sure every song is a perfect fit for the album.

With a rapidly growing following and more fans then she’s ever had, Lauren Light is quickly becoming a rising star, you can keep up with her by becoming her fan on Facebook or by visiting her home site LaurenLight.com. NC

Our good friend Graeme Cameron has made the news yet again, check out a full interview with the Adventure Journal, which to be honest is a site worth checking out on it’s own. So go forth and read dear friends,, but not till you’re done here. NC

Archaia has a wide variety of interesting and unique tales being told in their publications, one of these tales is Mouse Guard, which has captured the attention and the imaginations of readers everywhere. Continuing on with Mouse Guard week, Jef spoke with Mark Smylie the Publisher of Archaia and the gentleman who brought Mouse Guard under the Archaia banner.

NC: So I understand you’re who first decided to bring Mouseguard into the Archaia family, correct?

MS: David Petersen first approached me at San Diego Comic-Con back in 2005, if I remember correctly, with his self-published black-and-white MOUSE GUARD #1. He’d heard from a mutual friend, the comics journalist Bill Baker, that Archaia was looking for new creator-owned titles and I am very thankful that he brought it over for me to look at.

NC: Is MG one of those projects you just knew would work, what made you decide that it was right for Archaia?

MS: I knew the moment I saw it that I wanted to publish it, but there were still a few concerns we had initially. At the time we were only looking to publish full-color books (which is still largely true), and so we asked David if we could bring a colorist on board. He immediately asked to do a few samples himself to show what he thought the book would look like in color if he were doing it and when he showed them to us we were thrilled. David’s art style is really pretty unique in the comics field. We were also a little concerned about the 8” x 8” format of the book, which is unusual for comics; comic store retailers have a reputation for resisting unusually sized books, and so that was a definite concern. But we thought it fit the book so well that we were willing to risk it.

NC: Now it’s doing incredibly well, and getting praise from fans and critics, why do you feel that is and was this the kind of success you expected from the title? What is it that you feel sets Mouseguard apart from other titles in the current market?

MS: David is crafting something fairly unusual for the comics market, which is a genuine all-ages title. His book can be appreciated by both adults and by younger readers in equal measure, which I think is not true for many comics written exclusively for children or younger teen readers, which can often seem simplistic to older readers. It’s an adventure story in the classic mode, about very small creatures overcoming enormous odds, so I think the story has that kind of universal, mythic appeal to it. At the same time, his world is so detailed and filled with the little things that mark a fully conceived fantasy environment, that it doesn’t come across as generic. That’s a tricky balancing act when it comes to fantasy world-building and David is pulling it off with aplomb.

NC: Do you have a theory as to what’s been the secret to it’s success?

MS: Well, if there’s a secret to the success of MOUSE GUARD it’s really David himself. He’s a very personable artist and I think his fans really respond to his personality, both in person and as it comes through in the book. He’s also a real student of the comics medium and of art in general, and really brings a measured thinker’s approach to both the art and story of MOUSE GUARD. I think readers really respond to the amount of effort and thought that goes into even the smallest panel of the book.

NC: For that matter, why do you think Archaia as a whole has done so well recently? When contrasted against titles from other Publishers in the same sort of market, and even against stuff coming out from the big two, you have some truly great projects coming out from Archaia, what is it do you think it is that seems to draw people to your over titles at other publishers?

MS: We’ve always looked at ourselves as something of an art house, where the emphasis has been on unique, off-beat art styles and original adventure storytelling. We’ve tried to make ourselves a home and family for creators and creator-driven stories, and to take risks in terms of story material, art and presentation. Hopefully, we’ve earned a reputation for quality titles.

NC: As far as 2010 in concerned, what should we be on the lookout for from Archaia Press?

MS: Very shortly a number of graphic novel collections should be in stores from us, including DAYS MISSING, THE SECRET HISTORY Omnibus, and the second volumes of THE KILLER, Alex Sheikman’s ROBOTIKA and Tom Siddell’s GUNNERKRIGG COURT. Coming soon should be the collected editions of the near-future war story TITANIUM RAIN, the crime noir mystery TUMOR, and the second volume of the samurai epic OKKO (this volume is THE CYCLE OF EARTH). HYBRID BASTARDS will be collected soon, that’s one of our more esoteric titles, kind of a Disney-on-acid take on Greek mythology. And we’ve got a new series from the creative team behind THE KILLER on tap, a near-future story called CYCLOPS, about the collision between the media and military contractors, as well as new individual issues of THE KILLER, THE SECRET HISTORY, KILLING PICKMAN and the new OKKO cycle.

But our big push right now is the launch of new titles from our partnership with the Jim Henson Company, in particular FRAGGLE ROCK. We’ve got a MOUSE GUARD/FRAGGLE ROCK flip book on line for Free Comic Book Day, and just before that in April FRAGGLE ROCK #1 will be hitting stores. It’ll be followed later in the year by our first DARK CRYSTAL series, and then by a LABYRINTH series, both with covers and art direction from Brian Froud, who did all the original design work on the original Henson movies. The FRAGGLE ROCK series will also be in the 8” x 8” format, similar to MOUSE GUARD; the format fits both titles perfectly now, which shows how far we’ve come since first contemplating that format with David’s book.

NC: What are some other titles from Archaia that are up and comers we should watch for?

MS: Some new titles debuting later this year include the original graphic novel RETURN OF THE DAPPER MEN, by New Avengers scribe Jim McCann and artist Janet Lee (doing her first comics work), and CRITICAL MILLENNIUM: DARK FRONTIER, a sci-fi epic written by Drew Gaska and illustrated by newcomer Dan Dussault. We’re also very excited about LUCID, the first title emerging from our collaboration with Zachary Quinto’s Before the Door Pictures. It’s an espionage adventure story set in a modern United States where magic actually works, sort of James Bond meets Harry Potter, being written by Michael McMillian and illustrated by Anna Wieszcyzk.

NC: Of course as Publisher, it must be difficult making the decisions on what titles will work and which won’t. Do you have a list of things you look for in a potential Archaia title? Or do you just look for a solid creative project that stands out?

MS: Well, we look for interesting art, usually in a style that isn’t just a clone of a popular style of the moment, and original storytelling, with something of a literary bent. If there are elements of history and mythology in the story, then that will tend to attract our attention, as we appreciate research, on the one hand, and settings on the other. Lots of comic work is very character-focused at the expense of a developed setting, and we like to see creators working on both. If we look at a submission and think to ourselves, “Oh, this book would fit right in with the lineup at [insert company name here],” we usually won’t be interested in publishing it. There has to be something about it that makes it unusual and unique for us to want to put it out under the Archaia name.

NC: Now I was looking on your site yesterday, and I noticed, you guys don’t have any Superhero books at all do you?

MS: No, we don’t. We have only a few titles that skirt the Superhero genre a bit.

NC: Is that a policy or just the way it worked out?

MS: That’s very much policy. We tend to believe that there are already two very good Superhero genre publishers that dominate the comics market, and don’t really see the need to compete with them. As creators, writers and readers, I think we’re more drawn to stories in the adventure genres: fantasy, science fiction, crime noir, cyberpunk, etc. Despite the fact that those genres are all very well suited to the comics medium, historically there have been fairly few comics and graphic novels that truly fall into those genres (as opposed to being superhero stories in disguise).

NC: Back to Mouseguard for a moment, it’s set for it 3rd print run, and I’m told you may be considering a 4th?

MS: The first collected edition of MOUSE GUARD: FALL 1152 is now on its third hardcover printing, and has had two softcover printings through Random House. We’ll be watching sell-through carefully to see when a fourth printing might be necessary, but the third printing was for 15,000 copies so that should hold us for a little while. I hope.

NC: In comparison with the first two volumes of Mouseguard, is there anything in you opinion that’s going to stand out in the upcoming Mouseguard projects?

MS: Well, MOUSE GUARD: LEGENDS OF THE GUARD will be a bit of a departure, as it’s an anthology series. David has invited other artists from throughout the comics industry to do short stories set in the MOUSE GUARD world, and is drawing the intro bits for each story. It’s kind of a version of the Canterbury Tales set in a tavern where various mice are engaged in a kind of tall-tales contest, telling each other stories about legendary Guardsmice and their adventures. So David is providing the art for the framework tavern scenes, and then some great indie and mainstream art talent is involved writing and drawing the various tall tales, with short stories coming from folks like Gene Ha, Ted Naifeh, Guy Davis, Jeremy Bastian, Katie Cook and Alex Sheikman. LEGENDS OF THE GUARD will be a four-issue series, leading into the next main series, THE BLACK AXE, which David is already hard at work on. THE BLACK AXE is a prequel series, filling in some of the background of the Mouse world.

NC: Well thank you for you time Mark, I look forward to talking with you again.

MS: My pleasure! Thanks for your interest in MOUSE GUARD and Archaia! NC

Not long ago an adventure began that has captured the imaginations of adults, children, and families everywhere. With beautiful artwork and a compelling story, Mouse Guard caught many of us by surprise. Soon the Mouse Guard adventure will be continued, and we talked with David Petersen the creator, writer and artist of Mouse Guard to get you all the details…

NC: Hey David, Thanks for taking the time to speak with me today.

DP: Thanks for having me!

NC: Lets start by talking about the early days of MouseGuard, How did these stories come about? Are they a idea you’d had for a long time, or the product of a story idea that just came to you?

DP: MOUSE GUARD grew from something I came up with in high school. It was a medieval animal fantasy story, but it was more like Disney’s Robin Hood. It had lots of species of animals all about the same height with human body proportions. Later on I dusted off the idea, but wanted to make the animals more like real animals and less like humans. The species list grew with mice and brown bears representing the smallest and largest creatures I would write about.

The mice being the most vulnerable, I started working on their society, figuring a way for them to survive when everything else would want to eat them. Once I had the Mouse Guard developed, I became aware that the rest of the world just needed to focus in the background, because these mice were the heart of a good story by themselves.

NC: What’s it like receiving the praise for you work from so many fans and critics?

DP: It’s amazing! I work on the book trying to make it as good as I can. But I work alone. And few people see the book before it hits shelves. So when I get that praise, it helps fuel me for another few months of working alone hoping I’m still doing everything right.

NC: How has the experience changed from the early days, to now wen you have a title known and loved by so many?

DP: Well, the pressure is on now, that’s for sure! When MOUSE GUARD started I worked a day job and drew the comic at night and on weekends. I now do MOUSE GUARD and various other cover work full time. But other than that, not much has changed on my end. I still work out of my home on the same table.

NC: When you started the “Fall” run, did you have any idea it would be such a huge success? It’s beginning it’s 3rd print run correct?

DP: Yes, we just went into the third printing! When I started FALL I thought I had something that could be successful, but was aware enough that indie books don’t usually “hit.” I thought the concept had a nice wide range of appeal, but that the format and subject matter might be a hard sell. I did well locally with the self-published version of issue #1 I had done, but was surprised when I was offered a deal with Archaia so quickly. Then when issue #1 came out, we were getting feedback from stores. We were at the first New York Comic Con the Friday after the issue came out, and storeowners were telling us they couldn’t keep it stocked. I never could have guessed that would be the reaction so quickly.

NC: So at the time you started, how far into the stories did you have planned? Was Fall the only story at the time, or were the next volumes already on your mind?

DP: I started working on this concept back in 1996 and didn’t draw issue #1 until 2005. The first issue I drew was, in many ways, a one-shot. I was self-publishing and didn’t know if I could move my inventory at a local convention. I left the end of the first issue open so that I could continue if I wanted. That nine-year gap from conception to first issue meant I had a lot of ideas and Mouse Guard history floating around, so I could easily put together enough issues to round out an arc.

Once Archaia picked up the series and I was moving along, the main plot points for more series followed quickly. WINTER and its themes were there close to the beginning, and what will be the fourth series of MOUSE GUARD was the first idea I ever came up with for the characters back in 1996. I’d say I had four series ideas mapped out by the time I finished FALL.

NC: So right now, you have two more volumes on the way right? I understand one of those two is a collaboration of sorts, and that there is a 3rd project in the works involving Fraggle Rock?

DP: The project that involves FRAGGLE ROCK is an Archaia Free Comic Book Day “flip book.” It will have MOUSE GUARD on one side and FRAGGLE ROCK on the other when you flip it over. I’m doing an all-new story for the MOUSE GUARD side of the book. I just turned in the work for it and I’m really pleased with the result. I’m excited to see the fan reaction as well as the new reader reaction.

The other books you mentioned are THE BLACK AXE (the next arc in the Mouse Guard series) and an anthology spinoff called LEGENDS OF THE GUARD featuring stories by artist/storytellers I handpicked.

NC: What can tell us about the Black Axe? It’s a prequel to the first two books correct?

DP: Yes, THE BLACK AXE takes place before FALL or WINTER by about 40 years. It’s about the character Celanawe. In WINTER, he promises to tell Lieam the story of the day his paw first touched the Black Axe itself; this is that story. Just like FALL and WINTER, it will be a six-issue arc with story and art by me, and pinups by some awesomely talented folks (some you have heard of and others you have not).

NC: Now as far the collaboration is concerned, how did that come about?

DP: When Mark Smylie and Jeremy Bastian turned in their pinups for the FALL series, I was so impressed and taken by their work. What I saw was a real understanding of my world, so I told them both “anytime you want to play in the MOUSE GUARD world, you are more than welcome to, you have free reign.” That story eventually got around to PJ Bickett, who now is president of Archaia, and he said that if I wanted to do it, I could. The rest of the series artists were chosen by me and I’m blown away by the level of work people are turning in. They also seem to be really excited to get to draw mice with swords and capes.

NC: (Laughs) Ok so, do you have plans to continue the story of events that take place after the Winter volume?

DP: Yes. The plan, as it stands, is to pick up the post-WINTER story as the fifth Mouse Guard series. I am going to leave a gap of time between those stories. I want the reader to have some wiggle room for what they imagine could happen to the characters, which wouldn’t be possible if I mapped out every moment of their lives. I also want to have some things transpire “off page” so that when the reader is brought back to the story, they are already in motion.

NC: Now on the art side of things, I understand you do everything old school correct? All pen and watercolor?

DP: The art is all hand drawn, but the colors are digital. I have a watercolor background, so it’s flattering that people see what I’m doing digitally and think it looks like traditional media. When I self-published that first issue (which was black and white only), I sold off the pages so I could afford to print a second issue. I ended up signing with Archaia before I got to issue #2, though. And when Archaia wanted the work colored, I had no choice but to digitally color the pages. I tried to make the color look as much like the watercolored cover I did for issue #1 and to not fight the line work.

NC: What do you feel sets MG apart from other adventure tales on the market today?

DP: I don’t really know. I just aim for making it a true all-ages book, meaning that it’s not graphic and adult, and it doesn’t talk down to kids.

NC: How do feel today knowing that so many are enjoying your work?

DP: It’s great! It makes me nervous because now I have a lot of people waiting for the next book and expecting it to live up to the past work. But I always strive to be doing my best work, and that’s all I can do.

NC: We have a lot of readers involved in the indy comic communities, what advice do you have for them?

DP: To put your best work out there. Self publish, print on demand, use the web for digital distribution. Any way you can build a fanbase while honing your craft is going to benefit you.

NC: What is the creative process like for you?

DP: I tend to “pitch” plots to my wife or friends when I get a story idea. It’s through their reactions and multiple re-tellings of my pitch that I hone into what is important for the story. I’ll work from outlines for an arc as well as for each issue. But they are very simple outlines that just list the major events. I’ll assign a number of pages to each point on my list and hope that the result is 23 (the amount of pages I have for story in each issue).

I sketch ideas out from those outlines, using my page counts to tell me how long a scene can be. The sketching/page layout part of the creative process takes the longest, or is the most unpredictable. I can work for days on a single page layout if things are going really poorly. I scan my sketches and resize them on the computer in a template of the page so I can see what the page will look like. I can also reposition drawings and composite multiple drawings into a single page or panel if I need to.

The inking and coloring are the ones that typically are the most fun for me. They allow me to do a bit of auto-piloting. The dialogue is placed last, but could have been written anywhere between the outline and now..it all depends on when the words come to me.

NC: Well thank you so much for talking with me David, I hope we can do it again soon.

DP: You are welcome! Anytime. NC

What’s the secret behind Archaia and Mouse Guard’s success? Jef spoke with the President of Archaia to find out…

NC: Now, Archaia has been a very interesting brand to watch recently, you guys have had a lot going on, and seem to have some very strong titles emerging. What do you think sets you apart from the other publishers in your market?

PJ: The most obvious difference to me is that Archaia is focused on creating high-quality products that are both compelling in terms of artwork and story, as well as presentation. With that, Archaia’s core product focus is hardcover graphic novels. This gives us a tremendous leg up on our competition in not having to cater to 22-page stories every time. More importantly, it truly allows creative freedom to our plethora of Creators—including Petersen, Tapalansky, Siddell, Matz, Smylie, Hester, Sheikman, Lewis and Churilla—to tell the story as they envisioned it to read, look and feel.

NC: This is a two fold question I guess. I’m curious as to what kind of marketing strategies are you employing at Archaia to stop the ongoing decline in print media over digital media? And, do you feel that this trend is affecting the comic market? As I haven’t really seen the big push for Digital Comics from you guys…

PJ: There are a lot of factors playing into the overall decline of print sales, not just digital. The declines in print sales, however, are almost purely limited to single issues, rather than graphic novels. So, the declines that are happening in the industry as a whole are not impacting Archaia’s core business, hence Archaia’s ability to thrive even in a down economy.

In terms of Archaia’s presence in the digital landscape, we have taken a much more targeted approach to build upon each success, rather than a shotgun approach of other publishers, diluting their digital brand in the process and wondering why nothing is working. To point to specific Archaia digital successes, we were the first to have a direct-to-Kindle graphic novel in Tumor, which took six of the top 10 best seller spots in that category for several months. As for iPhone success, Archaia released the first volume of Days Missing in consecutive weeks to find it as the number one download each week. In fact, Days Missing #1 is number 42 on iVerse’s top 50 downloads, having only been out for a month. For the month of April, Archaia has our big digital releases coming out, including our own app store in conjunction with iVerse, specifically designed for the iPad.

In terms of a large digital push, which will happen in the months leading up to SDCC, building on Archaia’s already proved digital track record. We know digi-bution is going to be a marathon, not a sprint, so we are careful considering every aspect, with the most important factor being fans’ experience and interaction with Archaia digital comics. We want to make sure that, while digital, we are not creating “throwaway” content. After all, we need readers to follow series, not just single issues, to really make digital a true success.

NC: It seems that Archaia is continuously growing, when others are simply fighting to keep their current market. Why do you feel this may be?

PJ: Well, it is the reality. Archaia is growing every month. Not to oversimplify our success, but it is for one very simple reason: We are an extremely balanced company. This isn’t a company of pure Creators. Nor is Archaia a company of pure business-minded individuals.

The first question we ask before signing any new title is, “Is this a great story that can be told for generations?” If the answer is yes, then we ask the pertinent business questions. If it is still in the affirmative, we quickly and aggressively move forward, minimizing as much risk as possible. I would be remiss if, again, I didn’t point out the fact that we are not built on the success or failures of single-issue comics. We are built around the success of Archaia’s graphic novels in whatever form they take: print, digital or other. Additionally, Archaia is in the business of publishing perennial content, not annuals.

NC: Since Mel has been talking with us at NC, I’ve noticed that you guys at Archaia have a very unique collection of titles, what is it you look for in the titles under the Archaia name?

PJ: To be honest, we actually have a very lengthy process of approving titles, as we take the quality of our titles extremely serious. But, the number one criterion is that it has to be a great story—not just a good one—that can be told for generations. It really doesn’t matter the genre or audience just as long as it is a great story. From there, we look at the artwork and other contributing factors. Archaia has an open submission policy, too. We are always looking for great material and encourage Creators, new and seasoned, to submit to Archaia at submissions (at) archaia.com.

While we pass on about 50 titles for every one we accept, it is important to note that many we pass on are just better suited for other publishers. And, luckily, many do get picked up by other publishers. The best way for Creators to know their chances with Archaia is to look at their story and answer some basic questions: Can my story transcend audiences and genres? Can my story be told for generations? Does my story have a unique quality that stands out from all similar stories? If the answer is yes to all these questions, I strongly encourage the Creator to submit to Archaia.

NC: Mouse Guard is quickly becoming a pop culture icon, I recently spoke with another editor who said, “It may be one of the best things to ever happen in comics”. Is this the kind of reaction you expected from the press when Mouse Guard first came across your desk?

PJ: I have spoken about this many times with Mark Smylie, who was the fortunate one to view and approve it for Archaia. The reason why I am still amazed by Mark approving this title was because it was so drastically different than all the other dark and noir titles Archaia was putting out at the time. But, if you go back to what I have said several times, a great story is a great story and that means everything to Archaia. So, it was a no-brainer for Mark to approve. And, while Mouse Guard truly is an all-ages title, it has many moments of authentic emotional struggles that can easily be related to in real life.

At the end of the day, Mouse Guard is true brilliance and is a benchmark for Archaia to measure storytelling and artwork.

NC: Public praise for the series has been amazing as well, but it’s not the only project Archaia has that’s been doing well. You guys have some other titles over there that are starting to really take of as well don’t you?

PJ: The reality is much different than the constant perception that Archaia has to fight. Mouse Guard is true brilliance and one of our best-selling titles for Archaia, hands down. But, it is important to note that we actually have several well-known titles that rival Marvel and DC graphic novel sales, including Artesia (Smylie), Awakening (Tapalansky), Gunnerkrigg Court (Siddell), Robotika (Sheikman), The Killer (Matz) and Okko (Hub), to name a few.

Archaia titles sell significantly better than if they are sold through another publisher. We know this because there have been several titles that have either come to us from other publishers or left to go to self-publish or to another publisher. In every instance, Archaia outperformed sales of other non-Archaia published volumes in the neighborhood of 3 to 1. Those are significant numbers.

NC: So what should readers be looking for in 2010 from Archaia?

PJ: Archaia has many great titles in the works, including Return of the Dapper Men (McCann), Berona’s Hundred Year War (Labbe/Coffey), the second volume of Awakening (Tapalansky), Mouse Guard: Legends of the Guard and a third volume of Mouse Guard series (Petersen), The God Machine (Free), and about 12 other new titles, including Fraggle Rock, Dark Crystal and Labyrinth with The Jim Henson Company and Days Missing Vol. 2 with Roddenberry Productions.

I truly believe that all these titles are absolutely amazing! If they weren’t, Archaia wouldn’t be publishing them. But, the ones I want to make sure get a little extra attention as they may otherwise fly underneath the radar are The God Machine (Free) and Berona’s Hundred Year War (Labbe/Coffey). Both titles are just absolutely remarkable! NC

When I first talked with Jerrell he was already working on moving, writing, drawing, and a whole slew of other tasks that make the rest of us scream, but he was ready to talk and go into detail with me on just what theREDr was and what he was trying to do with it. This is one of those books that draws you into it’s universe, the kind of book that has you loaning it out to your friends and excited to read more.

Jerrell isn’t a boastful guy, like many in the comic industry are, he seems laid back, calm and ready for whatever the road in front of him was bringing. We’ve talked of and on for a few months now, he’s a interesting guy, a smart guy, and he’s written a book that’s as simple as it is complicated. (Read our Review)

Last week Jerrell and I talked about his book and work…

Jef- Alright Jerrell, so for those who don’t already know, what is “The Red R”?

Jerrell- The red r is basically a short reference for Revelations (a graphic novel series i stared back in 2001) the logo for the books is a backwards red “R” people started referring to it as such and it has seemed to stick.

Jef- (Laughs) Nice. So where did this idea come from?

Jerrell- Revelations came from my senior year in college when i was searching for a MEANINGFUL senior thesis project that i was passionate about and deeply invested to.

Jef- So that brings us to the next question, of course your faith comes into play with this story, how much so?

Jerrell- As I mentioned earlier, this project surfaced in a search for a relevant outlet for my art. i am very deeply invested in biblical history and the richness of the stories contained in scripture, as well as the entertainment culture that surrounds all of us (film, animation, video games, comics, etc), which at times seem diametrically opposed…

But i felt like, what better material to explore in these mediums, then the greatest stories ever told?!? far too often i’d see these stories in watered down portrayals and not in ways that were all that interesting to me or even on par with what the ‘world’ was doing. Revelations is a project that i wanted to stay true in spirit and content, but equally matched with the quality of the portrayal.

Jef- Sounds like a plan. How has this kind of book been received at the Comic Cons You’ve been too? I know you were at Longbeach CC last year…

Jerrell- Revelations has been at many of the cons in NY, SF, LB, and of course SD (many-a-time) it’s been received, uh… inerestingly… hahah they’ve always been mixed. People seem to like it for the art, right away and pretty much across the board, but when it comes to the content there are very different reactions. some are excited about it being a biblically themed story and something that they recognize and are familiar with, and others are almost offended, some cut conversations short and just bolt, others may give a confused or appalled look. Very seldom is there indifference.

Jef- Not surprissing, the Christian faith is under fire in America like never before right now. So the story itself, walk us through it…

Jerrell- In a nutshell. “Revelations: the Prophets” is a graphic novel mini series (3 installments) telling the story of the two prophets/witnesses that are spoken of during the first part of the tribulation period, while the antichrist is coming into power, and the church is out of the picture. The Bible doesn’t go into a lot of the specifics about their story line, but cross referencing Old Testament with the New, and current events as well as other parallel Biblical stories Revelations is more of an interpretation or retelling of the same story, but still staying true to the original, but filling in gaps and flushing the story and characters out a bit.

Jef- And You’ve done a fantastic job at that. Now what’s your creative process like? Are you someone who moves from concept to final project quickly or is it a long process?

Jerrell- I think i move fairly quickly (give that i actually have time to work on the project *side note* i’ve been working on a feature animation with cheech and chong for over a year now and have been off and on with Revelations every few months… haven’t touched it in a couple months now… yikes!) but in general, for the books it’s an INVOLVED process; I lock down the story (months prior) have some trusted friends read over it and give me notes, i revise, put it away for a while and come back to it.

Then quite a bit later i’ll storyboard out the sequences for the book, don’t ask why they are boarded cinematically for a graphic novel… maybe that’s just from my background, then I take the boards and build them in page layout form with word bubbles and etc, then I bring all those hand drawings into photoshop lay them down in spread format, then use them as a template for the final artwork. And that’s where i spend the majority of the rest of my time on, 2-3 days per spread typically.

Jef- Wow, that’s incredibly involved. Art wise, who influences or inspires you?

Jerrell- I pull inspiration from everything around me, wether it be a movie i’ve recently seen, or a painting at an art show. but in terms of influential artists a few of the notables are, Classic: Schiele, Mucha, Klimt, and Rockwell.

Contempory? Ragnar, Macaig, Hewlett, and especially Ashley Wood, who’s work I really got into RIGHT before i jumped into Revelations as a graphic novel.

Jef- What advice do you have for young artists and writers trying to make their mark?

Jerrell- Well, things really started falling in place for me when I found something that i was really passionate about and put my talents to work in regards to it. A lot of times it can be the hardest part, because it is the first step of moving in your calling. Prayer was definitely a big part of it too, because it at times is such a shot in the dark and out of our hands to some extent. so really searching hard for things that you find interest in and are always eager to talk about in groups of friends or find yourself immersed in it in your spare time, or something that bothers you that you feel is lacking in comics, movies, games, TV or etc, that you feel you can fill. another good place is to team up with other artists/writers who have the same mindset or are already headed in a similar direction, a lot of the time a writer will have a project, but not know how or be able to bring that vision to the page, or screen and vise versa.

No man is an island and most of the time your calling will bring you in direct contact with others that can help your vision come to fruition, or the other way around.

Jef- All solid advice. Now back to Revelations for a second, how did this project start? The idea is one thing, but how did it turn into a Graphic novel project?

Jerrell- Revelations started back in 2001 as my senior thesis project, but it was quite different. back then it was a short animated trailer for a movie that didn’t exist, so basically it was a mock presentation, with movie posters and concept art, etc. But it ended at that, there were no thoughts of taking it beyond a school project. flash forward about 2 years later (after a myriad of questions from friends/coleagues about Revelations) i decided to pick up the project again, but there was no way to do a full on animation of such an epic production on my own, so I opted to do a graphic novel mini series and once that was done use the books as the visual screenplay to pitch the feature animation pitch, down the line.

Jef- What’s it like writing and drawing everything yourself?

Jerrell- It definitely makes things twice as long, because I’m doing double duty. However, I have noticed that when i’m working on scenes and doing the artwork, sometimes i catch something that I might want to change or edit in the writing or structure of a sequence and i suppose that’s a luxury of being responsible for both, being able to jump back and forth like that and write in things i visually want to do, or write out things that i don’t. But again, wearing so many hats on the project, holding that chunk of responsibility means things take FOREVER… so that’s also a drawback as well.

Jef- What can we hope to see in the future, are there more tale from theREDr after this?

Jerrell- Hopefully a finished Revelations book II, and III sometime soon-ish… it’s been REALLY REALLY tough juggling it with multiple other projects, book II has been off and on for a couple years now!!!

Jef- How may books are in the first story arc? or is it book to book, I know I’ve just read the first for the 5th time before our interview, and it really leaves you hanging…

Jerrell- Like I mentioned briefly, Revelations is a graphic novel mini series. it is split into three chapters. book I is already out, book II is in production, and book III is… uh… a little ways off.

oh yeah, hahah the cliff hanger. I spaced out the books so there were definite points of interests that the readers would want to resolve with the next issue… but i never expected it’d be this long of a departure between books, and it eats me up, when I’m at the convention and a fan walks up looking for something new, some kind of resolution… of any kind… and all I can do is shed a single tear… well it’s not that dramatic… but it’s close. New stuff is on the way… It’s close.

Jef-Now beyond just the core book(s) you’ve created quite the universe, are we going to see stories beyond just the core story?

Jerrell- The way i’ve envisioned the 3 books they definitely carry through a story arc and there is a resolution at the end, so I never intended on taking the story beyond the one in the trilogy. that being said, I believe the story is open for more to happen beyond these 3. simply put Revelation (the Biblical one) is a MASSIVE, INVOLVED story line. Revelations: the Prophets only tackles about 3 paragraphs of the whole book! so i’d say there is potential there. who know’s what God has in store for it.

Jef- So what would we find in your artbox?

Jerrell- A bunch of old used paint brushes and painting supplies, sketches and prints on one side, and a Wacom Tablet, Macbook Pro, and G5 tower on the other.

Jef- So you do really use a mixture of the Computer and traditional art.

Jerrell- For Revelations, yes. initially I wanted to have it be a nice blend of painted backgrounds and hand drawn elements in photoshop. but book I ended up being about 100 pages and it was just going to take forever. so, I settled on a 90-95% photoshop with a few painted elements here and there.

Jef- Which do you prefer or lean towards?

Jerrell- Most of my commissioned work ends up being pretty commercial. so digital seems to be the majority of my gigs, I try to keep things gritty and not looking TOO digital, though. also, I never want to give up getting my hands dirty on the analog side. so, I do a lot of art shows and paint, and screen print, and do a lot of mixed medium stuff, to mix it up.

Jef- So what does 2010 hold for theRedr?

Jerrell- Who can say? only the Lord really knows. I have set goals to finish part of book II to release at Comic Con in SD as a bit of a preview of things to come.

1. As a bone for the fans out there to have something to move them along and 2. as a way to see if I can get any publisher to pick up the book so I can transition to doing it full time and finish the whole series… in my lifetime! But all that remains to be seen.

Jef- (Laughing) Alright, thanks Jerrel, we’ll talk again soon!

Jerrell- Thanks it was my pleasure!

Jerrell has a lot on his plate that’s for sure, but something tells me he’s just getting started. NC

Once again the Executive Editor of Marvel Comics talks with Jef about all things Marvel, from how he’s still not able to talk about the Marvel/Disney deal to what we can look forward to in 2010.

Jef- Hey Tom! Thanks for talking to us again.

TB- Sure, my pleasure.

Jef- So it seems like since the last time we talked things have only gotten crazier over there. With more books on the market then any other publisher, it’s easy to get lost in it all, what books does the Marvel reader need to be watching out for right now?

TB- Is that really true? I would think that DC, with all of its imprints, has more releases per month than we do. Maybe not more releases that people care about, though. It goes without saying that SIEGE will be a big deal, but it’d also be worth paying attention to things like FALL OF THE HULKS and DOOMWAR. And I think ULTIMATE ENEMY is going to surprise some people as well.

Jef- You may have a point there, I wasn’t thinking about all the imprints like Wildstorm. But to be sure you guys have more stuff out then the core books published under the “DC” Label. In any case this has been a really huge year for Marvel, not just for your books, but for the brand. What’s to come in 2010?

TB- More of the same, but with a move away from line-wide event storytelling and more into focusing on each book or family of books as a distinct entity. We’ll still be doing huge storylines, but they’ll be more likely to be contained to a particular publishing family than to expand out crazily over the whole of the publishing line.

Jef- Sounds exciting. Now this whole Disney thing, We know you can’t Talk about it, but if I don’t ask, I’ll get letters…

TB- Because it’s still a pending situation, I can’t actually say anything about it at all. The SEC has strict guidelines when it comes to mergers and acquisitions.

Jef- This will probably fall right in line with that last one, but just in case, what kind of impact, if any, do you think it will have, or even maybe has already had, on the work done behind the books?

TB- Sorry, can’t conjecture about that yet.

Jef- Fair enough, now let me ask you this, does Bendis ever run out of ideas? This guy is non stop!

TB- He’s the hardest-working man in comics, and the writer who most earns his accolades through blood, sweat and tears.

Jef- He pretty much has got to be as much as he does, he’s everywhere. Does he ever bring you something that is just really crazy and can’t be done?

TB- All the time. And often, we talk through what he wants to go, and find a way to do it nonetheless, even if it’s in a modified form.

Jef- So… What’s coming up after Siege? What kind of ramifications are we going to see from this?

TB- Can’t say too much just yet, but we have teased the banner name of what’s coming next: THE HEROIC AGE.

Jef- Now that sounds cool! The promo’s for Siege say this event is 7 years in the making, I assume this is the blockbuster event us fans have all been waiting for?

TB- Hopefully so. I suppose it depends just exactly what you’ve been waiting for. But it is a point that we’ve been driving towards for a very long time, and as has happened each time we’ve done one of these massive events in the past, it’s going to alter the landscape of the Marvel Universe in such a way as we’ll be reflecting it for months and months to come.

Jef- Sounds like the big event to me.What should we watch out for during this event?

TB- There are three key casualties, at least one of which I suspect will take people by surprise.

Jef- Three? Great forums everywhere are lighting up as we speak. What’s it like to be working at Marvel through some of the biggest events to ever take place in comics?

TB- I’ve now been at Marvel just shy of twenty years, so I’ve been through it all, ups and downs alike. It shouldn’t surprise anyone that the ups are better.

Jef- Can you take us through a normal day at the office?

TB- There’s no such thing as a normal day–every day is different, and each week has its own problems and concerns. But typically, on any given day, it’s likely that I’ll be reading and commenting on scripts and plot outlines, both for the titles I directly edit and for those produced by the other editors in my group (Bill Rosemann, Steve Wacker and Ralph Macchio), I’ll be looking at artwork as it arrives in pencil, ink and colored forms and commenting on that as well, as necessary. I’ll be proofreading lettered pages, which is where I tend to do most of my fine-tuning on a given story. I’ll be calling or e-mailing with a variety of creators, some to check in on, some to urge to turn in work, some to hire for new assignments, etc. I’ll go to a variety of meetings, involving advance planning or scheduling, or specific issues or new initiatives that need to be dealt with. And I’ll be coming up with ideas for new projects, or new directions our existing stories could take the characters in.

Jef- Very cool Tom, twenty years is fantastic, and it sounds like you guys keep incredibly busy.  Thanks for taking time to talk to us during the holidays, I know how crazy it must be.

TB- Sure thing! NC

Not that long ago my Myspace had a full inbox of musicians wanting me to check them out. Well I couldn’t check out everything, not when there were so many at one time, so instead of just deleting them all and starting fresh, I decided to check out every other one. After about an hour of bad Hip-Hop and crappy Techno jams I found myself on the Myspace of Sarah Solovay.

Now at first I thought she just sounded good because it wasn’t one of those awful uninspired Techno groups or maybe because she wasn’t wearing war paint and was actually playing real music, but then after listening to all her songs, I realized something, this girl was good, not just hot for a moment good, but the kind of good music that stays with you and makes you want, no, long to hear what they put out next. After hearing all that nonsense, I was even more excited to have found this wonderful new artist. So of course I sent Sarah an email saying I enjoyed her music, and that I looked forward to hearing more from her. Much to my surprise I received an email back the next day, and after talking to Sarah for only a moment I knew this was an artist to bring to the readers of NC. So without any more of my rambling, here’s my interview with Sarah Solovay!

(NC) Hey Sarah,Thanks for talking with us. You have a great voice and style that seems to be a bit beyond your age. Where did your journey with music start?

(SS) Thanks so much!  I guess my journey with music started 9 years ago, when I first picked up a guitar.  I would practice every moment I had free, and eventually I started writing songs.  I put my songs up on myspace and I started performing in music venues around the city, and eventually people started responding.  I’m still kind of in that stage– performing, myspacing, talking with anyone who likes my music.  It all happened pretty organically… I’m just doing what I love and seeing where it takes me.

(NC) When was it when you said, “I want to do this for a living”? How did your family react? If a lot of kids said, Hey I’m going to be a musician, well most parents might not react well…

(SS) Well, I’ve basically always said that I wanted to play music for a living, so it never really came as a surprise to my parents.  About a year or two ago, though, I started to be a bit more serious about it and take baby steps towards it.  My parents have been so incredibly supportive about it.  My mom comes with me to all my meetings and whatnot, and my dad always hears the full recap and offers lots of advice.  As long as I’m focused and hardworking in school, they are completely in support of my “musical endeavors.”

(NC) So what are your influences? What inspires you?

(SS) Basically anything can inspire me, but most of the time it’s relationships.  Breakups in particular.  Most of my songs are about my own life, but I’ve also written a few about my friends’ relationships and breakups and everything in between.  Really, for me to write a song about something, I have to be pretty emotionally invested in it, in one way or another.  As far as musical influences go, I have a huge list.  I listen to basically every genre… I love Jackson Browne and Tom Petty and the Stones and the Beatles and all the greats, but I also love artists like MGMT and the Killers and Anna Nalick, etc. Anyone who writes good songs.

(NC) What’s it like at this point in your career, you’re on iTunes now, people are starting to know who you are, you’re starting to really take off. What’s that like? Has it been a big adjustment for you?

(SS) Being at this point in my career is awesome. I’m having so much fun every day just doing what I’m doing. I wouldn’t say that it’s been a big adjustment for me, but I definitely am a LOT happier and more inspired. That being said, there’s a lot more that I want to achieve and to be throughout the course of my career. I’m so excited by everything that’s been happening, but I still have this energy and drive to keep working hard to get to the next level. That’s what makes it all fun.

(NC) Well we’ve gotta ask you what has become the standard NecessaryCool.com question, Are you a Gadget Girl? And are there any you can classify as favs?

(SS) Hmmm… I’m not sure if I’m really a Gadget Girl.  I’m not so tech-savvy… myspace, facebook, twitter and hotmail are kind of the extent of my gadget-related knowledge.  I do use a blackberry.  I live on the thing… it keeps my life so organized. Other than that, though, I am pretty much gadget-less.

(NC) Well thanks so much for talking with us Sarah, we love your music and look forward to hearing more from you. Any last thoughts for our readers?

(SS) Just thanks for reading this!  It really means a lot to me.  It would also be great if you would check out my music, or reach out to me on one of the social networking sites.  I love hearing from anyone who likes my music.

(NC) Thanks again Sarah.

(SS) Thanks for having me!  This was awesome.

Well You heard the girl! Go check out her sites and be sure to pick up Sarah’s EP off of iTunes, just don’t blame me when you’re walking around work humming the tune to her single Gone.

-Jef Price Editor/Co-Founder

So I had the chance to speak with another wonderful writer over at Marvel Comics recently, the writer of Uncanny X-Men, Invincible Iron Man (my favorite book), as well as Thor, Punisher, Iron Fist and many others, oh, and did I mention this guy also has his own awesome creator owned projects? That’s right, even though he’s in the big leagues wining Eisner awards at Marvel, Matt is still active in the world of Indy comics. You know, this is a great interview, and I’m just going to let it speak for itself, so without further delay, Mr Matt Fraction…

(Jef) Hey Matt, it’s great to be talking with you, thanks for talking with us.

(MF) No worries. Thanks for having me. And sorry for the delay. I had swine flu.

(Jef) Man that’s crazy, I’m glad you’re ok. No worries on the delay man, that’s understandable. So tell me, what’s it like going from writing smaller Indy books to writing huge titles like Uncanny X-Men, Iron Man and Iron Fist?

(MF) Well, you get a pay check, so now writing comics is my full-time job. That’s the craziest part– that it went from a hobby to What I Do. Creatively, though, it’s not a wholly dissimilar prospect. There’re the same basic concerns and problems and all that. Oh, people have HEARD of X-Men and Iron Man and stuff like that so there’s a degree of awareness you’re suddenly hit with… um… man, what do I know. It’s great, that’s how it is. It’s amazing. Especially as I’ve not had to stop writing my smaller indy books in the meantime.

(Jef) That makes sense, and it’s great that you’re still working in the indy world. Now speaking of Iron Fist, that’s on hiatus right now, are we going to see you returning to the title?

(MF) No.

(Jef) Well Ok then haha. There were a lot of people like myself who were never a big fan of the Iron Fist books, but that loved your run on it, why do you think this is? What did you do that made it stand apart from previous Danny Rand books?

(MF) I think because “kung fu billionaire”– which is one possible way to strip down Danny’s character– is kind of perfect comic book material. I can’t speak to what made it stand apart from previous books as I lack that perspective. We all just tried to dig into the core of the character, knock away or disregard politely that which obscured it, and celebrate the awesome stuff.

Also a dude got kicked through a train.

(Jef) Haha well you did a great job. That might have also played a part, but you’re right, that’s what I felt reading the title. Now, we’ve been hearing some rumors about a Iron Fist movie, is there any interest on your part to be involved with that in any way?

(MF) Well, I got to consult on IRON MAN 2. I have absolutely no information about an IRON FIST film, but if there ever WAS an IRON FIST film and it ever got into that stage of things, sure, who WOULDN’T want to go hang out at Marvel Studios for a week and talk about what makes the comics you love awesome?

(Jef) That’s VERY good news for fans, and of course we’ve got to talk Iron Man. You’ve had an amazing run on this title, awards, critic praise, fan praise, I don’t think I’ve ever spoken with someone who hasn’t loved your run on this book. Is this a title you really expected to take of so well?

(MF) I don’t really… I didn’t really have any expectations. On any book, regardless of the scale, I just want to write the kind of book I would want to read and I always expect it to be like pulling teeth to get there. Anything else and you just go crazy, right? So… so, yeah. The success of the book both critically and commercially has been stunning to say the least.

There’re people that don’t love the run. Trust me.

(Jef) Well all the Iron Man fans like myself I’ve met have really enjoyed it to say the least. Now we know the “Disassembled” arc is here, but what’s next for Tony?

(MF) Tony’s trapped in his head and doesn’t know or understand why, meanwhile the people that know and love him are trying to bring him back.

If you thought 20 was big, wait ’till you see 21.

(Jef) Speaking of “Disassembled”, what can we expect from this story?

(MF) The reduction of Stark to the core of who he is, to the absolute molten heart of his heroism. An assassination attempt. The last two women he slept with swap stories. Cameos. More than two doctors. Surgery. The end of the world.

(Jef) Sounds exciting! Now as far as War Machine is concerned, are we going to see him around again soon?

(MF) Yes.

(Jef) Any interest from you in writing the War Machine title? A lot of us that are old fans would love to see what you would do with him….

(MF) No, I’d like to have him around more in IRON MAN but my plate’s pretty full. Besides I couldn’t hold a candle to Greg’s book.

(Jef) Now from Iron Fist and Iron Man to Uncanny X-Man, what your process like for writing, and does it defer from each of these?

(MF) At its root it’s the same but the execution tends to be very different. I’ve always likened it to circuit training or something, where you’re exercising different muscle groups in different ways. The process is starting big then going smaller. What’s the story about? What happens? What are the moments in my head? Who are the characters and what’re they up to and why? What’s the connective tissue between it all? What butterflies are on the stick and why? Do they fit? Do they work?

Then it turns into lists, that get turned into page breakdowns, that get turned into panels, that get written out into the book’s script. I don’t know if that makes sense. Comics are all about visual storytelling reduced to discrete measures of time; I do that in macro and micro again and again until it’s done.

(Jef) Jumping over to Uncanny now, what’s it like to be writing one of the most famous teams in comics?

(MF) Daunting, if you stop to think about it, so I try my best not to think about what I’m writing and just write it. If that makes any sense. As a longtime fan it’s a dream come true. And it’s the most fun you can have in comics, I think. At least it’s the most fun *I’ve* had. Also the most work, the most challenging. It’s a complex relationship.

(Jef) Can you walk us through your creative process?

(MF) I don’t really examine it too thoroughly for fear of scaring it away. Explaining it is maybe useless, I dunno. There are these ideas or images or notions like butterflies that flap around my head and I have a stick covered with honey. If they intrigue me enough i swing it in the air and try to stick them to the stick in the right order and then I look at my butterfly-covered stick and start figuring out which butterflies are right and which are wrong and which ones died being captured and what ones I still need to put something together and…

…see? Useless.

(Jef) So we’ve reached the NC standard question, are gadgets your friend or foe?

(MF) They’re great when they work. Cell phones and the internet will be great when they work.

(Jef) Ha isn’t that true. Do you have any advice for writers and artists just getting started?

(MF) If I could go back in time and tell myself anything it would be to do what you want to do every single day. Even just a little bit– hone your craft and define your idiom every single day. Because I had a good stretch there where I *didn’t* do that, and, like, I would think an awful lot about wanting to BE a writer but I did very little writing. It’s like thinking about how hungry you are but never actually eating. I was amazed at what happened with my career once I stopped thinking about, or writing about, writing, and started actually writing every day.

(Jef) Solid advice. Any other Non Marvel projects we should look forward to from you in the future?

(MF) Do you mean creator-owned projects? Then yes.

(Jef) So these creator owned projects coming up… Care to tell us more?

(MF) Nope.

(Jef) Right, so what comics are you reading right now?

(MF) I can’t wait for Gilbert Hernandez’s TROUBLEMAKERS graphic novel. Rick and Tony’s PUNISHER is off-the-chain insane and I loved how ballsy it was. WINTERMEN is finally out in trade– treat yourself if you’ve never seen it, heard about it, or read it. Hickman’s FF has, in just three issues, become a top-of-the-pile must-read. Ellis’ SUPERGOD. Ivan and Nic’s VIKING. I love love loved the new POWERS. Chaykin’s DIE HARD and DOMINIC FORTUNE.

(Jef) Well thanks so much for your time Matt, it’s been great talking with you and I hope we can do it again soon…

(MF) Hey, thank you. And again, sorry for the wait.

(Jef) No problem Matt, we’ll be in touch and thanks again!

Want to hear more from Matt? Well you can follow him on Twitter or keep tabs on him over at his site! He’s also said he would talk with me again soon, so keep watch! NC

Jef Price Editor/Co-Founder

Comic Related ‘s John Wilson interviewed NecessaryCool Co-Founder Jef Price at  the Champion City Comic Con, and it’s available exclusively on Comic Related. The interview also features other creators from the Champion City CC, including Mike Watson, Victor Dandridge, Pat Bumgardner, Josh Benton and Joe Pruitt. Jef’s interview is the 3rd one on the podcast.

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