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Victoria Morsell Hemingson Discusses 30th Anniversary of ‘Phantasmagoria,’ Writing

Widely regarded as one of the most successful and controversial computer video games of its time, Phantasmagoria wowed gamers when it was released in the summer of 1995.

The interactive point-and-click horror adventure created by Sierra Online, one of the first games for both MS-DOS and Windows, spanned seven discs and grossed more than $12 million dollars on its opening weekend, easily becoming one of the year’s best-selling games.

The hugely detailed 550-page script developed by Roberta Williams told the story of Adrienne Delaney (portrayed by actress Victoria Morsell Hemingson), a writer who moves into a remote mansion only to find herself terrorized by supernatural forces. The game featured both live action and cinematic footage mixed within a three-dimensionally rendered environment.

Despite the buzz and high demand it generated, Phantasmagoria was also considered controversial upon its release in 1995, with several major retailers refusing to even stock the game because of content they considered to contain “highly realistic violence.” Something that seems trivial in comparison to the games currently occupying store shelves three decades later.

Although the game was hugely successful, Victoria Morsell Hemingson decided to switch gears from acting in order to pursue a career in writing shortly after the release of Phantasmagoria, as well as to concentrate on marriage and raising a family. In 2021 she was awarded the grand prize in the Mystery/Thriller category in Book Pipeline Unpublished for her novel, “Awful Necessary Things.”

Today, she’s concentrating on several different writing projects, including novels as well as a powerfully written and personal non-fiction piece about a difficult time in her life. She’s also had the opportunity to actually play Phantasmagoria herself for the very first time on the Conversations with Curtis YouTube channel.

I recently spoke with Hemingson about Phantasmagoria’s 30th anniversary and its impact, her writing and more in this new interview.

It’s been thirty years since the release of Phantasmagoria. When you look back now with so much perspective what thoughts come to mind?

Victoria Morsell Hemingson: I remember it was actually really fun to make. We had such a great time because it was like a dream job. They put us up in cabins and we all got to stay by a lake. We were a tight knit group and it was nice to have something steady for a few months. If you follow Conversations With Curtis on YouTube, that was the first time I ever actually played the game. I remember when I was hired I really didn’t know very much about computer video games but I was told it was a new kind of game that was cutting edge. I had originally auditioned for the director for another project. He had seen me act before and knew I’d be right for the part in Phantasmagoria.

Did you know what you were getting into with this game?

Hemingson: It was hard to envision exactly what it was going to look like at first. It was a gigantic script and there was a lot we didn’t understand going in. For example, the set was in front of a blue screen and was completely empty. There was no furniture; just boxes for steps, beds and chairs. I remember we had to stand facing a monitor and could see the animation that they already had done on the TV and where we were going to be in relation to the game while we were doing it. It took a while to get used to how to move and be in the right place on screen. As an actor it was a bit of a challenge not knowing how big or small to go. We were all figuring it out as we went along.

What was it like learning the story and what were some of the little nuances in the 500+ page script?

Hemingson: Roberta Williams told me the story. The script itself was all in order but it contained everything, like first I would have to open a drawer to find the matches. Then I would open the drawer to see the matches, then open the drawer and not see the matches. Each of those kinds of variations was part of the script. I remember when we filmed we were there for a few months and then brought back in a few months later to shoot for a final few weeks.

What made you decide to make the transition from acting to writing?

Hemingson: I always wrote when I was a kid and a lot of the acting I was starting to do wasn’t as satisfying or fulfilling. I wanted to do something I was really proud of. I still remember the exact moment I realized that I was done acting. I had gone on an audition for a play and they kept everyone waiting around for hours and hours. Then when it was finally my turn to audition it was like a split second. It just felt like it wasn’t worth it. So I decided to go back to school and got a master’s in writing. The writing was something I always wanted to do.

What’s your writing process like?

Hemingson: It can be difficult trying to get into the groove but I try to write in the morning and then later on in the afternoon, Of course, it’s different when I’m revising. When I was in school I was a little more efficient with my time working and writing.

What are some of the projects you’re currently working on?

Hemingson: I recently wrote a personal non-fiction piece for Hippocampus Magazine. I used to work as a receptionist when I was younger and had an eating disorder. It was during this time that I started seeing this actor, whose name I won’t reveal.

I’ve also written a fiction piece for South Carolina Review about a woman in Los Angeles who’s trying to get off a cycle of bad choices and am working on a new novel.

What are you most looking forward to about this next phase of your career?

Hemingson: I guess it would have to be completing these new projects. I’m excited about working on them. I need to get them out of me. I may also be collaborating with my husband on something which will be fun. He’s a screenwriter who wrote the film, “The Holdovers.”

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‘True Tale of Mista Bone’: Author K.L. Doty Previews New Jack Russell Autobiography

In her new book, “The True Tale of Mista Bone: A Rock and Roll Narrative,” Author K.L. Doty unveils the long-awaited story of the life of vocalist Jack Russell. From his early years as the original front man for American rock band Great White to the band’s subsequent success with its million-selling album, Once Bitten as well as thesubsequent follow-up, Twice Shy, and their infectious cover of the Ian Hunter song, “Once Bitten, Twice Shy,” Russell gives readers an inside look into the glory days and debauchery of eighties hard rock.

Doty’s book, which will be released this summer, also promises to reveal a deeper, more complex story of Russell’s life. One that offers readers a personal and eye-opening account of the singer’s rise, fall, and return to fame following the horrific events of The Station Nightclub fire in February of 2003. In it, Doty helps to uncover Russell’s creative and enduring spirit, one showcased both in and outside of the spotlight.

I recently spoke with K.L. Doty about Jack Russell’s upcoming autobiography and more in this new interview.

How did you and Jack Russell connect?

My husband, Chip Z’Nuff is in a band Enuff Z’Nuff. They’ve been around since the eighties and still actively tour. I helped sell merchandise on the road for Enuff Z’Nuff for a long time and Jack Russell’s Great White was one of the bands that Chip toured with. That’s how I met him.

How did this project come about?

I had been approached several times over the course of a few years by Robby Lochner, who is Jack’s guitarist. I said no every time because even then I knew how much work was going to be involved. Then In September of 2020 I was asked again. At the time, I had just finished almost two years of study to become a wardrobe stylist through the New York University of Art and Science. I still wasn’t interested in taking on so much work but went to bed and literally woke up in the middle of the night thinking, “I have to do this.” That’s how it all started.

What was the writing process like?

People often ask me what my biggest advice for writing a book is, and it’s always “Don’t do it!” [laughs]. You start off with stars in your eyes but the longer you go the stars can start to dim, because it’s a lot of information. And it’s not like I was writing some cute little fairy tale from my own brain. I was writing someone else’s story and it was all true. So if someone tells me something, even if it was just a single sentence that contained a few facts, I would have to go and fact check with multiple sources. It can be hard to corral the information and still create a cohesive story. I had to learn to be organized and do whatever I could to seek out the information I needed.

What were some of the other challenges you faced during?

I didn’t realize I would be giving up as much as I did, including spending time on the road with my husband. I was working with other people’s schedules and had to put personal relationships on hold because this book had to be first. The whole process took four years in total and I spent the first two years interviewing Jack a few times a week for about an hour and half. It was all recorded and there was so much to transcribe. My goal was to get the general idea of things and then make it sound the best that I could. I received the first copy recently. It didn’t become real until I actually held it in my hands. That’s when it sunk in that this heavy thing I was holding; something that you could open up and look through, actually existed!

Did Jack share any fun “rock and roll” stories with you?

Oh, he had a lot of those. Little anecdotes, like when he was on tour with Judas Priest and they trashed the hotel room and threw everything out into the pool. It was one of the first times the band had been on the road and they wound up having to pay out a lot of money.

K.L. Doty – Photo by Jamie Benjamin

Jack says “I’m sorry” quite a bit when discussing the events of The Station Nightclub fire. How did you approach talking to him about such a difficult subject?

It was a heavy thing to have myself go through as a writer and I was very cautious talking about certain things. Jack says “I’m sorry” in the book because, legally, he wasn’t allowed to say it during the trial, because doing so would be considered an admission of guilt. This is the first time he gets to speak out on that.

Can you tell me a little about your background and how it helped shape you into who you are today?

I come from a very whimsical family and grew up around a lot of influential people in rock and roll and Hollywood. Growing up, my grandmother would host these incredible parties where random celebrities would just show up. I knew one day I wanted to be just like that — to host parties with people like that. When I was sixteen, I’d lie to get out of going to school by telling them I was sick or on a family vacation, and then I’d tell my parents that I was going on a field trip. Then I’d go to venues with these rock bands where I would just be there and interview them. Times were different then, but I’d show up and say I was so and so and I was writing articles for this or that magazine. Being female, it was inevitable that I was going to be labeled a groupie, so people looked at it the wrong way. But my main goal was to learn more about the industry.

Are there any other projects you’re currently working on right now?

I have a record that should be coming out by the end of the year. If you ask me how I would describe it, I’d say it’s what would happen if Norah Jones were to do a record with Alice Cooper, Nine Inch Nails and Beethoven. I like to give the sound the imaginary title of phantasmagoric pop. I like very soft, ghostly elements but I don’t mind the industrial drive in the bass. I’m also focusing on boxing right now. It’s something I didn’t know was in me but I really don’t mind hitting hard. We’ll see where it takes me.

Is there a message you’d like people to take away from reading the book?

I want them to take away the beauty of words. The story aside, I wrote this book in such a way where, even under the most horrible of events or feelings, it makes you feel like you’re eating something delicious. Adjectives, synonyms and what have you, it’s a beautiful little puzzle piece. My goal was to take all of the best words and put them in the right order to make a true story taste as incredible as it sounds.

The True Tale of Mista Bone: A Rock + Roll Narrative will be released this summer.

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Shinedown’s Brent Smith Previews Musikfest Performance, New Smith & Myers Single, “Bad At Love”
Photo: Sanjay Parikh

What began as a happy accident six years ago, Smith & Myers, a music project featuring Shinedown’s Brent Smith and Zach Myers, has quickly become one of music’s most ubiquitous duos. The pair’s latest single, “Bad At Love” continues that trend with a vulnerable and personal perspective detailing the difficulties of staying in a romantic relationship while realizing the breakup doesn’t always have to be a negative.

While the infectious new Smith & Myers single churns the Shinedown machine is gearing up for a round of touring following last year’s cancellations due to Covid-19. On deck is the band’s rescheduled performance at Musikfest in Bethlehem, PA on Monday, August 9th.

Shinedown is also set to release the long-awaited film, “Attention Attention,” which brings to life the story of the band’s acclaimed 2018 album of the same name. A visual and auditory experience, the film takes the viewer on a psychological and emotional journey from life’s lowest lows to the highest of highs. “Attention Attention” will be released on September 3rd.

I recently spoke with Shinedown’s Brent Smith, who previewed the band’s show in Bethlehem as well as the new Smith & Myers single, “Bad At Love.” We also discussed Shinedown’s upcoming film and more in this exclusive new interview.

What can fans expect from Shinedown’s upcoming Musikfest performance?

Smith: We’re back to doing large shows which is overwhelmingly emotional. This tour was ten months in the making, with everyone working to make sure we do this with extra effort into everyone’s safety. We’re bringing out the big guns on this one. All the bells and whistles and what the audience wants to hear.

Let’s discuss the new Smith & Myers single, “Bad at Love.” How did this project begin and what can you tell me about the single?

Smith: That first time we did an album as Smith & Myers was back in 2014. It was an all-covers album that the fans picked. This time we decided to do a double album; ten covers in the way that we do them and ten original songs that Zach and I wrote together. “Bad At Love” was the very first song that we wrote. In the song, being bad at love is not primarily a negative. What I mean by that is that traditional stories of romance are love is found, love doesn’t last, and love is lost. It’s a sad ending but it doesn’t have to be that way. I can count on one hand how many real relationships I’ve been in in my life. All of these women I’ve been with were heavy relationships and sometimes it just didn’t work out. Sure, we may not be together but we’re still friends. This song is about understanding that it’s ok. You don’t have to believe that love is always a dramatic sad ending if it doesn’t work out.

Read the rest of my

Interview with Brent Smith by Clicking Here

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‘By Request’: A.J. Croce Discusses Covers Album, Upcoming Performance At New Hope Winery
Photo: Joshua Black Wilkins

He may be the son of the legendary Jim Croce but for more than two decades A.J. Croce has been traveling his own musical road. The multi-talented pianist, singer/songwriter who was born in Bryn Mawr, PA, has had his soulful music appear on a variety of music charts, including the Top 40, Americana, College and Jazz.

The idea for Croce’s most recent album, By Request, came from his love of entertaining friends in his home. It’s an ubiquitous album which finds the Croce not only paying homage to some of his favorite musical memories from artists like Billy Preston, Faces, The Five Stairsteps and Tom Waits, but also celebrating friendship and camaraderie.

Fans will get to experience a multitude of songs from the artist’s work, including a few songs from his father’s catalog, on Friday, August 6, when Croce performs an intimate show at New Hope Winery in New Hope, PA.

I recently spoke with A.J. Croce about his upcoming performane in New Hope, his album, By Request, and more in this exclusive new interview.

What can fans expect from your upcoming performance at New Hope Winery?

Croce: It’s a duo concert and very intimate show. David Berard, who’s played bass with Dr. John for more than thirty years and with so many other artists, will be with me playing and singing. I usually hate sticking to a set list so it will be a lot of fun to have the flexibility to just pull things out of thin air and work with the feeling and the moment.

Does the area hold any kind of special meaning for you?

Croce: Absolutely. I was born in Bryn Mawr and have visited the area just about every year since I was born. My grandmother is in Philly, my godmother is in Phoenixville and I have aunts, uncles and cousins that live in the area as well.

Read the rest of my

Interview with A.J. Croce By Clicking Here

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Interview: Linda Perry Discusses Two-Day ‘Rock ’N’ Relief Concert Series & Live Stream Event’

LINDA PERRY

Legendary producer & Hall of Fame songwriter  has curated and is set to take part in this weekend’s two-day (& Live Stream) at L.A. City and mass vaccination site at Dodger Stadium in Los Angeles on March 5 and 6. CORE (Community Organized Relief Effort) is a non-profit organization started by Sean Penn and Ann Lee that has worked tirelessly, and without any government funding, to provide access to free Covid-19 testing and vaccines across Los Angeles.

This two-day live stream will benefit CORE’s life-saving programs as well as raise money for CORE’s mobile vaccination. A program which brings access to the vaccine directly to low-income and communities of color who need it most. Perry’s Rock n’ Relief concert aims to give the community live entertainment, in the safety of their cars, while they wait to receive the vaccine.

Hosted by DJ Kat Corbett of SiriusXM & KROQ, the lineup for this two-day concert series features live performances from artists like Miguel, Macy Gray, Scream, DJ Adam Bravin (She Wants Revenge), Macy Gray, Willa Ami, Juliette Lewis, Donita Sparks (L7 & Friends), Linda Perry, Pete Molinari, Kevin Bacon, Silversun Pickups, Jen Awad, Aloe Blacc, Mariachi Lindas Mexicanas, Troy Noka and house band Flashback Heart Attack. The series also includes digital performances from artists around the world, including Carly Simon w/ David Saw, Foo Fighters, Deadmau5, Gavin Rossdale, Pete Yorn, James Blunt, Jewel, Gary Barlow, Tracy Bonham, Deborah Cox, Shaed, Sheryl Crow, Sammy Hagar and Jenny Lewis & Blake of Rilo Kiley.

I recently spoke with Perry about the Rock N’ Relief Concert Series, her involvement with CORE, songwriting and much more in this exclusive new interview.

What’s it been like for you as an artist (and person) living during these uncertain times?

Linda Perry: I feel very focused, clear, creative, and determined to be of service in any way that I can. There’s a lot going on in the world right now. There are people who are dying and others who’ve lost stores they’ve spent their whole lives building. I’m extremely grateful to be alive and that my family is healthy and safe.

How did you become involved with CORE and what inspired this event?

LP: I first got involved with Sean Penn when I scored the documentary he made about his organization going to help Haiti to assist after the earthquake in 2010 and how they’re continuing to help them. Here in L.A, Sean’s CORE Response has been out for eight months. With zero government funding they’ve given out five million covid tests for free. Now they’ve given over 450,000 vaccinations (12,000 a day). I decided to help raise money for the mobile units they’re putting together to go across the county and in places like New Orleans and Chicago. There are a lot of people in the Latino community who are struggling to get to this sight to get vaccinated and older people who can’t sit in a two-hour line. They need someone to come to them. That’s why me, my team and the artists got involved. It’s a human cause to help each other get through this very difficult time. Seeing how people have come together to unite and take a stand to help the world in crisis has been a beautiful thing to see.

Read the rest of my
Interview with Linda Perry by Clicking Here.

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‘Finding The Sun’: Steve Lukather Discusses His Ubiquitous New Solo Album

Photo: Alex Solca Photography

You’d be hard pressed to find someone with a music career more indelible than Steve Lukather. Best known to fans for his guitar work in the band Toto, Lukather has performed on thousands of albums as a session musician, including Michael Jackson’s Thriller, the best-selling album of all-time.

Luke’s new solo album, continues his legacy as the quintessential guitarist. Co-produced by Ken Freeman, Luke brings a rawness and energy to the eight-track collection. With original compositions like the ethereal title track, the jazz-infused “Journey Through,” the rocking “Along For The Ride,” and the slitherly “Serpent Soul,” Luke showcases the guitar prowess and versatility that made him one of the most in-demand session players. Also included in the new set is Luke’s take on obscure but powerful covers by Traffic (“Low Spark of High Heeled Boys,” ) Joe Walsh (“Welcome To The Club,”) and Robin Trower (“Bridge of Sighs.”) The result is an album of one or two-take performances, raw production and jam fades tastefully reminsiceint of 1970s recording.

Special guests on I Found The Sun Again include Gregg Bissonette (drums), Jeff Babko (keyboards), Jorgen Carlsson and John Pierce (bass), as well as Toto bandmates David Paich (piano and organ) and Joseph Williams (vocals). One of Luke’s idols, Ringo Starr, also appears on the album, performing on the fun and hook-laden track, “Run To Me.”

I recently spoke with Lukather about I Found The Sun Again, his writing process, session work and more in this exclusive new interview.

How would describe I Found The Sun Again in terms of its sound and how it relates to some of your previous work?

It’s the most honest and real thing I’ve ever done. It’s different in the fact that it’s under-produced and everything is played live. I purposely kept the song forms loose so that there would be room for improvisation and longer fades for the jams that happened. There are all sorts of moody things on this record: jazz elements and a lot of rock, second line Little Feat, the [Jimi] Hendrix vibe and a few pop songs on there, because I just love a good pop song. There’s also a piece where I get to do my Jeff Beck impression. We ran through the songs one time, and the second take was the record.

Read the rest of my
Interview with Steve Lukather by Clicking Here!

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‘Thanks For Coming’: Princess Goes To The Butterfly Museum’s Michael C. Hall, Peter Yanowitz & Matt Katz-Bohen Discuss Debut Album

With disparate influences ranging from the glam, experimental music of David Bowie to the poetic sounds of The Velvet Underground and bands like 8 Eyed Spy and Sonic Youth, Thanks For Coming is the debut album by Princess Goes To The Butterfly Museum. The band features vocalist, lyricist, musician and actor Michael C. Hall (Dexter, Six Feet Under, Hedwig and the Angry Inch), drummer Peter Yanowitz (The Wallflowers, Morningwood) and keyboardist Matt Katz-Bohen (Blondie).

There’s a heightened sense of awareness and romanticism that exists in the band’s songwriting, as exhibited in tracks like “Armageddon Suite.” Then there’s the fun but deeply dark and disturbing undertone in songs like “Eat An Eraser.” There’s also material which began as subliminal inspiration on vintage instruments, as was the case in the groove-ridden “The Deeper Down.” Thanks For Coming also includes the band’s unique spin on Phantogram’s “Cruel World,” a song which has since become a staple of their live show.

While eschewing traditional rock instrumentation in favor of theatrical sensibility and a colorful, stripped-down synth/drum approach, Princess Goes To The Butterfly Museum combines the best elements of glam, pop, new wave and theater, as well as the noisy, art rock vibe of the New York City scene. The result is a welcomed debut that’s both ethereally melancholic and hauntingly brilliant.

I recently spoke with Michael C. Hall, Peter Yanowitz and Matt Katz-Bohen about Thanks For Coming and much more in this exclusive new interview:

How did Princess Goes To The Butterfly Museum come together?

Peter Yanowitz: The three of us met in the most unlikely of places for a rock band — on Broadway doing Hedwig [and the Angry Inch]. Mike was Hedwig and Matt and I were also part of the show. It started with us just being in the band playing someone else’s music. After we’d finished the show Matt and I kept jamming and Mike heard some of the instrumental ideas we’d started and offered to sing on them. One thing led to another and three years later, here we are.

Who are some of your musical influences?

Matt Katz-Bohen: I think we would all agree that [David] Bowie is someone we can really get behind. Then there’s a lot of the noisy art rock of New York City, starting with The Velvet Underground, No Wave, 8 Eyed Spy and Sonic Youth. There’s a lineage there we can all appreciate, just getting into that vibe from hanging around the East Village.

What’s the band’s approach to songwriting?

Michael C. Hall: There’s no set formula. We’ve written songs in every way possible. There have been instrumentals that have been the beginning of things. Then there’s melody ideas and songs with structure but no musical accompaniment. Most of the lyrics on these songs were written in the past few years. It’s been a pleasant surprise and welcome exercise to find myself in a situation where I’m called upon to write words.

Read the rest of my
Interview with the band by clicking here.

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Interview: Singer/Songwriter Bill Champlin Discusses His New Album, ‘Livin’ For Love’

Bill Champlin has had an illustrious career as a singer, songwriter, arranger, and multi-instrumentalist. Although he’s perhaps best known for his twenty-eight-year run with Chicago, where he sang on numerous hits like “Hard Habit to Break”, “I Don’t Want to Live Without your Love,” and “Look Away,” he’s also an acclaimed ensemble arranger on hits by Elton John and Donna Summer, as well as a two-time Grammy winner for his work on songs like “After The Love Is Gone” (Earth Wind & Fire) and “Turn Your Love Around” (George Benson).

Now Champlin is back with his first solo album in nearly ten years — ‘.’ An introspective, sixteen-song compilation that’s filled with personal anecdotes and honest vulnerability.

I recently spoke with Champlin about the new album and more in this exclusive new interview.

How would you describe Livin’ For Love in terms of its sound and how it relates to some of your previous work?

Bill Champlin: I’ve done numerous solo albums over the years and, in terms of writing, I always thought of them as a little bit craft-oriented. I’d read somewhere recently that if it’s not personal it’s not art, so I decided to put my heart and soul into this one a little more and dug a little deeper. I also had a few years where I was dealing with a medical issue as well as my oldest son passing away. It changed my whole view of the world. At some point of the game you realize that your list of what you care about gets shorter, and the list of what you don’t care about gets longer. I realized that what I care about is love, music, family, and friends. That’s what I wanted to establish here. This album is a little more personal and vulnerable.

What was the songwriting process like?

BC: I write with my wife, Tamara, and between the two of us, she may come up with a premise and then I’ll come up with a way to have it fit the music. I’ve been writing for a long time and always feel better about writing a song when there’s something personal about it and I took that to heart for this album. I’ve got some great people on the record that really helped me put a groove on it.There are three songs I did with Greg Mathieson: “Especially Me,” “Losin’ Ground” and The Truth Has Begun” that are right in the pocket.

Let’s discuss a few other tracks on the new album, starting with “Reason To Believe.” What can you tell me about it?

BC: That was a track sent to me by Bruce Gaitsch that Tamara and I dug right away. It had George Hawkins playing bass on it. George passed away a few years ago but this track came from when he was still living in Nashville. I asked Bruce to play guitar and keyboards on it, I played organ and Vinnie Colaiuta played drums.

Read the rest of my
Interview with Bill Champlin by Clicking Here!

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‘The Best Is Yet To Come’: Indomitable Songstress Bonnie Tyler Discusses Her Uplifting New Album

Photo: Tina Korhonen

Read the rest of my
Interview with Bonnie Tyler by Clicking Here.

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‘Beacon of Hope’: Journey’s Arnel Pineda Discusses His Timely and Relevant Single, ‘This Christmas’

The year 2020 has brought about many challenges for the world. Whether it’s the ongoing Covid crisis, the loss of wages and homes, or the devastating effects of volcanic eruptions and typhoons in places like the Philippines. Every one of us has been affected this year but has also played the hero or given hope to someone else in their time of need.

In the spirit of the holidays Arnel Pineda, lead singer of Rock & Roll Hall of Fame inductee band, Journey, has unveiled his timely and poetic single, “This Christmas — A Beacon of Hope.” The track, originally released in 2016, has been given new life by Pineda, with a fresh arrangement that includes the addition of the singer’s daughter joining him on vocals.

Pineda has found other ways to give back. The Arnel Pineda Foundation, Inc. (APFI) is a non-stock, non-profit, and independent Philippine foundation that provides underprivileged children quality education, health services and medical attention. Pineda’s ongoing tenure as frontman Journey has allowed many individuals with shared goals to join him in helping children rise above their circumstances.

I recently spoke to Pineda about “This Christmas — A Beacon of Hope” and more in this exclusive new interview.

What made you decide to release a Christmas song?

Arnel Pineda: I first released the song in 2016 but decided to release it again this year because it was very timely. It’s a song about being Santa to our friends in need — mother, father sister, brother, or strangers who are homeless or in despair. It’s about making a choice to step out of the dark and into the light and telling you that it’s all going to be ok. I changed a few lines and included my daughter in the song. It’s the older and younger and a song for everybody.

Do you find it easier to write a Christmas song as compared to a rock song?

AP: I think it’s easier to write a rock song. A lot of hits are usually just a few chords with the bass and drums steady and the singer carrying the melody. With “This Christmas” I went through a lot of process with the lyrics and arrangements. I was fortunate to be able to tap into others who helped shape the song into how I wanted it to be heard.

What inspired you to start The Arnel Pineda Foundation?

AP: It was back around 2009, shortly after I started touring with Journey. I was hanging out with friends and some of my old classmate from high school. I didn’t finish school but told them about the idea of forming a foundation. It could be our way to help people turn back to education instead of doing things like begging for money, scavenging for things to sell, or becoming a small-time criminal or prostitute. That was the start. As of today we have thirty-four scholars that we support and I’m so thankful to our sponsors for supporting us for such a long time.

Read the rest of my
Interview with Arnel Pineda by Clicking Here!