When it comes to the world of film and television, John Schneider is a man who needs little introduction. He quickly rose to superstardom and captured the attention of an entire generation with his television debut in 1978 as Bo Duke on “The Dukes of Hazzard.” He would go on to hone his craft with memorable roles in TV movies like “Dream House, “Happy Endings,” and opposite Kirk Douglas on the big screen in Eddie Macon’s “Run”. Schneider also starred as Jonathan Kent on “Smallville,” and is now playing the role of Judge Jim Cryer in the smash Tyler Perry hit, “The Haves and the Have Nots.”
Often overlooked, however, decades after his television debut is his tremendous work as a singer/songwriter. It began in the early 80’s when Schneider signed with the Scotti Brothers Label and released his debut full-length, “Now or Never,” which peaked at #8 on the US Country Billboard charts. Also from the album came “It’s Now or Never,” a remake of the Elvis Presley hit. The song peaked at #4 on the US Country Billboard charts in 1981and remains the top charting Elvis cover of all time in any genre to date. Continuing to release albums year after year, Schneider unleashed “Quiet Man” and “If You Believe” and in 1984, he signed with MCA Nashville. Through MCA Nashville, Schneider released “Too Good to Stop Now” which included his first #1 hits, “I’ve Been Around Enough to Know” and “Country Girls,” which climbed to #1 on the CAN Country music charts, cementing his way into the country music world. The following year, Schneider rolled out “Tryin’ To Outrun the Wind”, followed by “A Memory Like You” which debuted at #1 on the US Country Billboard charts, a first for Schneider. Off the pinnacle album “A Memory Like You” came “What’s a Memory Like You (Doing In A Love Like This)” and “You’re The Last Thing I Needed Tonight.” Both singles both peaked at #1 on the US Country Billboard charts and CAN Country. In the late 80’s, Schneider continued unleashing albums including his quintessential Greatest Hits record.
In 2016, John Schneider would find music rushing back into his life in a most unexpected way. When Southern Louisiana was hit by two floods of biblical proportions in a matter of six months, Schneider found himself sitting in a water-logged recording studio with no furniture. Reflecting on the devastation, tragedy, and resilience he witnessed in the days following the flood, he found himself himself deeply inspired. It was there where he began arranging songs like “How Do You Stop The Water”, “The Cajun Navy”, and “Every Friday Night” before enlisting in songwriters Scott Innis, Phil Redrow, and Clifton Brown to help bring the songs to life. Instead of sitting in songwriting sessions, Schneider and producing partner Alicia Allain sent photos and video to each songwriter of the devastation that Louisiana endured to eloquently capture the monstrosity of the flooding through music. The songs came to life when Schneider recorded each track in his bare studio creating a perfect space to take in the right sound. Schneider then enlisted in LeRoux’s keyboardist/vocalist Nelson Blanchard to mix and master the 10-track album. In addition to Blanchard, the album also features Louisiana’s royalty including LeRoux (‘New Orleans Lady’), Jo-El Sonnier, Doug Kershaw, David Hyde and Randy Carpenter. “Ruffled Skirts” not only delivers a true sense of urgency and hope but offers a heaping helping of the down-home charm and stick-to-it-ness for which Southern Louisiana (and John Schneider for that matter) are known.
Jason Price of Icon Vs. Icon recently caught up with John Schneider to discuss his career, unexpected return to music, the making of ‘Ruffled Skirts’ and what the future may hold for him as an artist!
You are an instantly recognizable face in film and television. Let’s start at the beginning. What got you started on a career in the arts?
Oh, hell! I didn’t know any better! [laughs] You have to pursue your passion. I started when I was 8 years old in theater and, I guess you could say, I didn’t know the road I had chosen was difficult. It was what I wanted to do at 7 or 8 years old and, at that age, you have the strength of your ignorance! [laughs] I just figured other people had done it, so why not! I just went for it. I remember having conversations with my dad about it. He said, “A lot of people want what you want.” To which I said, “Yeah, well, I’m not a lot of people!” [laughs] That is something I’ve actually written into several scripts. A lot of times I write characters that have that kind of let’s-go-do-this mentality. If it wasn’t difficult, then why bother?! Right? [laughs]
Music played a tremendous role in your life. What are some of your first memories of music?
Wow! Well, I remember listening to my dad play in his square dance band. He had a group of pilots and they had a square dance band called The Crop Dusters. I listen to them quite a bit. I remember sitting in the basement with my uncle listening to whatever the new 45 was that came out that week. It would be whatever the new Animals, Beatles or Bread single was that week. I had a very eclectic taste for music because of my family. My father liked Chet Atkins, my mother skewed toward Motown and my uncle skewed toward The Beatles. I had a very varied early musical life. I still love all different kinds of music and appreciate music well played.
Was finding your creative voice an easy process as a young man?
I was born in 1960, so the singer/songwriter thing was huge back then. We had Carole King, Jim Croce and Cat Stevens, who were all folks who really had something to say. It didn’t seem like a big struggle. It felt like more of a combination of those people and trying to find the right combination of words to express complicated thoughts using as few words as possible. I think Jim Croce certainly did that as well as anyone ever has. That is what influenced me and that is where my love for using the proper words came from. For example, “If I Could Save Time In A Bottle” or Carole King’s “Tapestry.” That is all great stuff! Then Billy Joel came into my sights! I love Billy Joel. My god, “Always A Woman To Me,” what a song that is and talk about the right words! [laughs] The older I get the more right those words are!
Did you have anyone in your life who served as a mentor and gave you a push when you needed it?
There were a lot. I did a lot of musical theater. You see, I was a large child! [laughs] When I was 12 or 13 years old I was probably 6’ tall and 225 to 230 pounds. I hung out with older people. I remember doing a show called “Li’l Abner” and I really, really wanted to get the role of Li’l Abner’s buddy Earthquake McGoon. The guy who played Li’l Abner was probably 35 years old and I was 13! I really thought I was going to get it. When I didn’t, the guy who did get it said to me, “I can’t believe I almost lost this role to a 13-year-old but you would’ve been great!” It’s little things like that have been very important to me. I moved to Atlanta when I was 14 years old with my mother. In ninth grade, the high school chorus teacher at North Springs High School, which is just outside of Atlanta, Georgia, gave me the lead of Tevye in ‘Fiddler On The Roof,’ over the high school senior who should have gotten it. He felt I was the right guy for the role. I think Mr. King’s belief in me and his willingness to do which was tragically non-politically correct in 1974-1975, changed my life. A person believing in you, especially as a child, has a tremendous impact on you and really bolsters your confidence. As an adult, I try to do that as well. When I see passion in young people I really try to do everything I can to encourage it!
What was the first song you wrote? Is it one that still comes to mind?
Yeah, it was called “I Need Someone To Miss” and it was on my first record for Scotti Brothers. I wrote that with a couple of guys at Scotti Brothers. It goes, “I need someone to miss, a dream for me to hold. Someone to think about when the nights alone and cold. Someone I know who will be there waiting when my traveling days are through, someone to miss and someone who will miss me too.” It’s a little Hallmark-y but still those are pretty interesting words coming from a 19-year-old! [laughs]
You had your fair share of hits along the way. Which of the songs you’ve written had the biggest impact on you?
That’s a good question. I would have to say that the songs that are on “Ruffled Skirts” have had a big impact on me, specifically “How Do You Stop The Water.” It has a great impact on me when I sing it. I didn’t realize when we were writing it that it was quite as haunting a song as it is. That is currently my favorite. I got to sing it on a television show yesterday and I can’t help but see this poor old fellow in his house where everything is going away and him holding on as long as he can to everything he owns for as long as he can before he just has to get out of there. I tend to look toward the cinematic sort of songs and I think that is the best one I have ever had anything to do with. There are fun songs on there too! There is “The FEMA Song,” which is great fun! It’s the epitome of getting your skirts ruffled! Deal with a government agency while you are living in a storage shed and wait for them to come to your rescue and you will write some really great lyrics! [laughs] That’s why we are all flying fingers for FEMA! That was fun but, again, I think “How Do You Stop The Water” is the best thing I have ever had anything to do with!
For those who may not know, how did the ball get rolling on “Ruffled Skirts” and the experiences that inspired it?
We had two floods last year. 2016 brought the 100-year flood in March and then what they call the 1000-year flood in August. We watched everything we had get threatened in March. We have a film studio down here and we had wardrobe, sets and all kinds of things that got wet but they weren’t personal items and the house didn’t get flooded. Then, come August, we had almost 4 feet of water in the kitchen of the house where we lived, so everything 4 feet and under got destroyed, which is most everything you have. We also saw that our neighbors and everywhere you drove from where we live into Baton Rouge or 35 miles toward New Orleans was under a tremendous amount of water. All of those folks had to drag their worldly possessions up to the curb to bring them to higher ground. We witnessed not only ourselves but everyone we knew and a lot of people we had never met before in the throws of losing everything they had over the course of about four days. Seeing that and what it brought out in people, which was largely a willingness to help others and determination to still have fun in the process. We have a song called “(Down In Louisiana They’re … ) Just Going With The Flow.” That song was inspired by people who had their deep freezers destroyed. There are a lot of sportsmen, hunters and fishers, down here. Their attitude was, “Hey, we’re going to lose all this stuff anyway. Why don’t we have a barbecue? Let’s cook it!” You would see amazingly tragic things right on the heels of really encouraging things like people fishing from the roof, we’re making fun of the fact that they could get any rubber draft and float around on their street. It was an amazing time! From that came a desire to put what we were seeing in our living room, up the street and on the side of the road down on paper somehow and there’s no better way to express a thought or emotion than through a song. Alicia [Allain] and I got together with a friend of mine out in Los Angeles and with friends of ours here in Louisiana through the phone because we were still here in the process of trying to save whatever we could from getting moldier. We wrote these songs with Scott Innes and Carl, who are here, and Phil Redrow from Los Angeles. It was a great time. It was kind of a record that demanded to be written. It wasn’t like, “Oh, this will be fun. Let’s write this … ” We just couldn’t help it. We had to write the songs. Record them right away and get them out while the floods, devastation and camaraderie was still first and foremost on people’s minds, at least down here.
How has the community, as well as your family, bounced back from the floods?
We’ve done okay. We’ve gotten the studio back into shape. It’s different. It has a different face now and there’s sand everywhere. It used to be green and lush but now a lot of that area down by the river is still covered with mud. There’s sand in the baseball field but we are doing okay. We’re here for the long haul. I chose Louisiana because I love Louisiana. I’m originally from New York state and I’m a New Yorker at heart but I’m not going to go anywhere. A lot of businesses have gone away here. It really was devastating. I believe they said 90% of businesses in Livingston Parish were affected by the flood. I think out of the 90% that were affected, I would venture to say, 25 to 30% won’t come back. It was a bad thing and it got no press! I really don’t know why that is! That wasn’t a tropical storm and they didn’t give it a name, so there was no catchy thing to say. They couldn’t come up with a logo for a storm that had no name and get ratings on the national news, so no one bothered to cover it. I’m told I had the best coverage of it on my live Facebook feed. [laughs] We were right down in the middle of it! I took my phone right through 3 or 4 feet of water on what used to be a road in my pickup truck. It was some kind of time! Part of me wishes I never went through it but I think it actually changed me for the better!
It had been quite a while since you had out any new music.
Oh, my gosh! It had been a LONG time!
Did you plan to get back into music or was it this flood that brought you back to the craft?
This flood absolutely did it! It washed the guitar back into my hands!
Hopefully, it hasn’t found a new resting place anytime soon!
I think so! I’m absolutely loving it! I had forgotten how much I enjoy doing music. I’m delighted that the music is back in my life. It’s also a great way to promote the movies. We are self distributed with our movies and music. It’s like the good ol’ “Dukes of Hazzard.” We’re still fighting the system; I guess you could say! [laughs] It’s a great time!
You touched on it already but what can you tell us about the songwriting process for this album? What did these other folks bring out of you creatively?
Well, I’ll tell ya, it was interesting. I would say to them, “I just saw someone who pulled all of their treasures out of their house … ” and I would send a picture. Then they would write something back to me about what I had written to them. I wouldn’t worry about rhyming or trying to write something that sounded like a song, that was incumbent upon them to do. Then they would write something back and I would change it a little bit. I would say, “That’s great but let’s do this instead.” For example, we have a song called “Too Much Rain.” I talked to a friend of mine out in California about a truck driver who would be coming home. His wife is on the phone and she is afraid about the amount of water coming up to their house. He wrote a couple of verses to “Too Much Rain” and he made it a happy song. I said, “No. There are several people who have lost their lives here, so it can’t be a happy song. It has to be more of a downer and a thought provoking song.” I sat with him and we changed the bridge so that the wife actually left the house because of the flood and she winds up getting caught underneath the truck and drowning which, I think, is far more cinematic. [laughs] Sorry wife but it was much more cinematic! That’s another one of the songs that makes people cry when they hear it. It was that kind of back and forth process. It was also not over-thought, which I think is good. The record kind of has an immediacy about it. From its inception to the time we sent the masters off was maybe a month for all of, which is an incredibly fast process for a record. Often times, people write for years before they release anything. We all agreed that we wanted this record to come out while people still remembered the flood and I think it was better because of it. Sometimes you can overthink things. Actually, most of the time you can overthink things! Not this time!
You also included a Johnny Cash cover on “Ruffled Skirts.” Was it an obvious choice?
Oh yeah! I used to live with John and he said to me years ago, if he had any songs in a shoebox that fit something I was doing that I should feel free to take them out and do them. When these songs came together, a friend of mine said, “You know, you have to do the Johnny Cash song.” I’m not really sure what he called it but I called it “Five Feet High and Rising.” I think he called it “Two Feet High and Rising.” I think it should be called “Something About Mama.” [laughs] It became a very obvious choice and I love it. I have to say that I did not try to sound like Johnny but you can’t sing a Johnny Cash song and not sound a little bit like Johnny Cash. [laughs]
Another great song on the album is “Every Friday Night.” I know your fans from “The Dukes of Hazzard” will enjoy it immensely. How did that tune come about?
“Every Friday Night” is a great song! I think that is going to be the new favorite “Dukes of Hazzard” song. Nothing against Waylon Jennings’ song and, of course, everyone is going to remember that one forever but I think “Every Friday Night” is one of the pickin’-est songs I’ve ever heard. That came from Scott [Innes], who had written it but it had an entirely different angle. Originally, it was about him as a young boy who always watched “Dukes” and was a big fan as a kid. He had pitched that song to me several times before and I said, “It doesn’t make any sense for me to sing a song about someone who grew up watching ‘The Dukes of Hazzard.’” I said, “Look, I’m going to change the perspective of it. I’m going to sing it about someone who grew up watching ‘Dukes.’” He also had reference to the Confederate flag and I changed it to Skynyrd’s flag. He had all the car designations wrong. He didn’t have the 440 Magnum or any of that. It wasn’t as informed as it should be! [laughs] I changed that all around and I think it is a fantastic song! When I play it for people, they turn into children again!
I can attest to that! I enjoyed it and it definitely took me back!
Yeah! I’m very happy with that song!
I also loved the little tribute to the late James Best’s Roscoe P. Coltrane at the end of the song with his signature laugh!
Yeah! I had to pay tribute to Jimmy! Jimmy was a great guy and he is missed.
Having worked with him for many years on “The Dukes of Hazzard,” what type of impact did he have on you?
Jimmy was a great acting coach. I didn’t actually take his class but I saw a lot of people who had. He was the kind of guy who would tell you little tricks like “Don’t blink,” which is something I now tell people all the time. Every time you blink you diminish your power, unless you are playing someone who is kind of weak and then you can blink a lot and it will help your character. He was a big one for little tricks like turning your head a certain way or not blinking. I remember someone saying, “I asked him as a director to cry here as if you lost your buddy Boss Hogg.” He said, “Out of which eye?” [laughs] I don’t think he was kidding! He was truly a great guy and working with him, Sorrell Booke and Denver Pyle was an amazing experience. Those are three guys who had been around for a long time in television. Jimmy had been around when television was really invented. He came out of radio and moved to this new thing called television, so it was a great experience working with him.
As a fan, it is cool to hear your passion about “Ruffled Skirts.” Looking back on bringing it to life and everything you lived through that inspired it, what is the biggest lesson you learned?
The lesson I learned, and I think we kind of touched on it, is not to overthink things. Art is something that demands to be done. A canvas demands to be painted on and this record demanded to be recorded and the songs demanded to be written. I think the trick, just like writing a screenplay or perhaps with anything in life, is to not let the noises in your own head keep you from hearing these things that demand to be done. It can equate simply to raising children and you are on your way to the office on a Saturday because you think you need to get something done but there’s this little voice in your head that says, “Go throw the Frisbee with your son.” You’re so busy thinking about the office and how you can get ahead for Monday that you don’t go throw the Frisbee with your son, when that’s exactly what you should be doing. What you should be doing is writing that song. We could’ve let the fact that we couldn’t sit with Scott, Phil or Carl while writing any of these songs. Instead, we had the phone and said, “We have to do this and we have to do it right now! Let’s do it! Let’s go!” Many things could have gotten in the way but we didn’t let the thoughts of the day get in our way. That’s a big lesson for me because I edit, write and structure things out, so there’s a tendency to have whatever is coming up keep me from doing what I should be doing right now.
As you said, the guitar has been washed back into your hands. Is it safe to assume you will work on more new material in the near future?
We are working on some songs now! They’re going to be fun and a few that will be somewhat political. We are writing one about General Lee not being in Jackson Square anymore. I think that will have some “Dukes” to it. There are a couple of love songs as well. These new songs won’t be as singular in theme as the songs on “Ruffled Skirts.” This one was born from tragedy and came out because it had to be heard. The next one will be things that I would like for people to hear and I’m sure it’s going to be good. I’m sure it’s going to be great but it won’t have that dammit-you-have-to-listen-to-this-come-hell-or-high-water feel that this one does.
When you look back on your body of work, how have you most evolved as an artist?
As with anything, it gets easier the more I do it. I think the old adage less is more has really come into play and is the result of the evolution of any skill set. For example, watch people over 40 years old play softball. I would bet on an all over 40 softball team against a 20-year-old softball team anytime! It’s the same thing with bowling or golf. You watch those 60 or 70-year-old golfers out there and know that unless you’re pro, you’re not going to beat them! The evolution for me with the writing, acting and music is that less is truly more. So again, don’t overthink it!
Words to live by! Do you see yourself hitting the road in support of the album in the near future?
Yeah! We’re talking about that with people right now. The first order of business is getting some airplay for the album. Like I said, we’re self distributed so getting airplay is going to be tricky but we are getting some. “Every Friday Night” is getting some airplay, which I think is great! Once the population is aware that I’m out here doing this again, then booking a tour will be easier. It’s going to be a little tricky. I don’t just want to go out because I’m a guy on television. I don’t want people to think I’m like the Disco Duck! I want people to go, “Oh yeah! He had four number one songs and he really does this! Let’s listen to him again!” So, much smarter people than I are planning that out! It has to be because people want it and not just because I want it.
The music industry changed immensely since you first started. What’s the best part about being a working artist in today’s climate?
Today, we have a direct line to the fans now that we never had before. The Internet is an amazing thing. As an artist, we can put our thoughts out there and say, “Hey, we want to come out and do a tour.” By doing that, we can kind of poll the audience through the Internet and help promote not only our records, movies and concert appearances. We never had any of that before and we had to completely rely on the record label and all of their relationships in order to do that. Now, it’s not bad to have those as well but we have a huge leg up. When I was doing music before, you had to do direct mail to tell people you are out there because there was no such thing as email, no Facebook, Twitter, Snapchat, Instagram or anything else. So it’s great to have a way we can get directly to the folks out there and see if there’s interest before we go rent a bus! [laughs]
One of the things I am inspired by is your DIY attitude from making this album to all the hard work you put into your studio. What can you tell us about what is coming out of there?
We had a film come out on Valentine’s Day called “Anderson Bench,” which is available on our own Digital-On-Demand site. That’s the second film we have released and we plan to release three more this year. That’s very near and dear to my heart. If you go to www.johnschneiderofficial.com, you will find a link to “Ruffled Skirts” on iTunes and the film, “Anderson Bench” and “Like A Son.” We have a film festival that we did last fall where we have around 30 films from independent filmmakers that are on our Digital-On-Demand site, so you can go there and check those out. We are going to do the festival again this year. We are going to do two more movies this year, another album this year and I also do the “Haves And The Have Nots” with Tyler Perry, so we have 44 episodes of that to do sometime this summer! So, I’m not slowing down at all!
That is awesome to hear and it is cool you have access to everything you need to bring these unique projects to life at John Schneider Studios.
Right! It sounds like I’m working harder but I’m not! I think I’m just working smarter than I have in the past. I’m using time better and paying more attention to those creative vibes that are out there that say, “You must do this! You must do ‘Anderson Bench.’ You must do ‘Ruffled Skirts.’” And I’m loving every single minute of it!
I checked out the website for John Schneider Studios. You have some beautiful locations done there.
Yeah and Louisiana is still the greatest state to film in too!
How did this great place come onto your radar?
I came down here to film a movie a couple of years ago and really enjoyed the people. In the past, when I was traveling with music, I will tour through Louisiana. I loved the people and the attitude. So, when my last child got out of the house and things were not going all that well at home, I decided to go out and chase my dream. I just kind of wound up in Louisiana through a “Dukes of Hazzard” event and realized that this was a place that I could actually set up shop and get the movies that I wanted to make done. I can do them here at this particular property and I have a tendency to write toward rural atmosphere and backgrounds. I jumped into this like I do with everything else; I jumped into it with both feet! After about two years, I met Alicia, who not only had been doing films herself in Louisiana and Los Angeles for a couple of decades, but she knew the ins and outs of the production side. I don’t know anything about the production side, so I met someone who had a skill set that I needed in order to do what I wanted to do. At the same time, I had a skill set that she needed in order to do what she wanted to get done. Ever since then we’ve been unstoppable! We would have made all these movies and I’m sure the flood would have chased me away if it weren’t for Alicia.
It’s really interesting how all these things in your life have come full circle. Very cool!
Oh yeah! Absolutely! Working with Tyler Perry is amazing because he is someone who has faced tremendous adversity and managed to come out of it being one of the most successful writer/directors on the planet. I’m in the presence of someone who has done it! Rather than just thinking, “This can be done. I can do this! I’m stubborn, talented and I’m gonna get this done!” You need all that; you need that tenacity but it doesn’t hurt to have someone in your life who has actually done it. And there he is! It’s astonishing!
What is the best lesson we can take from your journey so far?
Follow your heart. You’ve been given a voice, a vision or something to do. You know what it is. It’s probably what you wanted to do when you were about 7 or 8 years old and then life talked you out of it. Go back and do that! If you don’t enjoy what you do or dread getting in your car and going to work everyday, I’m not saying to throw everything out, but start making plans to throw everything out because how good can you really be at something you despise? There, chew on that for awhile! [laughs]
I’m sure that’s just one of the many lessons you can share with us. You think we’ll ever get a book out of you in one form or another?
Well, maybe! [laughs] Alicia wants me to write a book but I think people write books when they’re closer to the end!
That’s true and you have the advantage of expressing yourself through great songs, so that is a plus!
I would be remiss if I didn’t ask you about the potential for seeing the cast of “Dukes of Hazzard” reuniting in some form to celebrate the 40th anniversary in 2019. I know we’ve had a few stumbling blocks over the past two years with the political correctness and all. However, you think we will see you and your castmates on the screen together at some point in the future?
I hope so and maybe we will do that through the studio here! If we had the remaining castmates together, we could be doing just about anything and it would be fun for people to watch. Warner Bros. owns “The Dukes of Hazzard” and I think they prove beyond a shadow of a doubt when they did that awful movie that they have no idea what it is. So, I think the likelihood of Warner Bros. doing a “The Dukes of Hazzard” project again is very slim. However, I could do something here with the cast and I think people would watch it. I think it would be great fun and I would love to work with Tom [Wopat], Catherine [Bach], Ben [Jones], Sonny [Shroyer Jr.], Rick [Hurst] and all those who are left! It would be great to do a movie where everyone in it was on “The Dukes of Hazzard.” It could be about anything! It could be about Wall Street for that matter. It doesn’t matter what it’s about if that’s the gimmick that gets people into the theater!
Before we wrap it up, I want to shine a light on your work with The Children’s Miracle Network.
Yeah, I started that!
By all means, for the uninitiated, please tell us about all the work this great charity does and we can learn more.
Just go to www.childrensmiraclenetworkhospitals.org. That’s all you have to do! It’s the single largest children’s charity in the world! We started back in 1982 and we raise money for children’s hospitals that provide healthcare regardless of the family’s ability to pay the bill and we’ve been going strong ever since! We’ve raised a little bit over $5 billion for children’s hospitals. Go to www.childrensmiraclenetworkhospitals.org and you can see some wonderful videos there. You can get involved because wherever you are there is a children’s hospital and we are affiliated with it! We encourage people to get involved locally because that’s really what we do. We helped local children’s hospitals raise money for themselves. It’s a great organization and I’m proud to be apart of it!
That’s awesome! Thank you so much for your time today, John! I really appreciate it and I wish you continued success in all your endeavors!
Thank you, Jason! I appreciate your time! Have a great day!
Jason Price founded the mighty Icon Vs. Icon more than a decade ago. Along the way, he’s assembled an amazing group of like-minded individuals to spread the word on some of the most unique people and projects on the pop culture landscape.