A Chicago native who studied music at the University of Southern California, Ross Golan has worked with many of music’s biggest artists. His credits include Maroon 5, Justin Bieber, Nicki Minaj, Michael Bublé, Keith Urban, One Direction, Idina Menzel, and Linkin Park. Ross has also had multiple record deals as an artist, and is the writer of Ovation Award-winning musical The Wrong Man, which will soon be recorded and released by Interscope Records.
Those credits would be enough for most artists, but Ross is also the host of the And The Writer Is podcast. Launched in January, And The Writer Is — as produced by fellow hitmaker Joe London (Thomas Rhett, Jason Derulo, Pitbull) — features exclusive conversations with other notable songwriters. The first episode, for example, featured Benny Blanco, as known for his work on Ed Sheeran’s “Don’t,” Ke$ha’s “Tik Tok,” Maroon 5’s “Moves Like Jagger” and Katy Perry’s “Teenage Dream.” In turn, listeners get to hear great creative minds talking shop and plenty more.
How did you wind up in the co-writing game? When did you realize it exists?
Ross Golan: There are two kinds of songwriters — the ones that were artists and the ones that want to be artists. Both Joe and I were in bands. We had been collaborating with other musicians for years but you get in the game when someone introduces you to the game. For me, it was Evan Bogart and Ryan Tedder. Evan, who wrote “SOS” for Rihanna and “Halo” for Beyoncé, was my booking agent and Ryan, lead singer of OneRepublic, and I played shows around L.A. While I was handing out CDs at shows one club at a time, their songs were getting played around the world. Songs tour faster.
What was your first cut that had you excited?
RG: I co-wrote a song called “Here Comes Trouble” for the band Honor Society. They were opening for the Jonas Brothers during their prime arena days. They named their headlining tour Here Comes Trouble. That was like getting called up to the pros from the minors and pinch hitting a single. In itself, it didn’t move the needle much. But it assured me that with enough at bats, I might be able to hit one out.
When it comes to songwriting, do you treat it like a day job where you can do it anytime? Or do you need to feel inspired?
RG: Amateurs look for inspiration. If you’re an artist, you can do whatever you want. But if you want to be a professional writer, act like one.
RG: Depends on the month. Anywhere from one to twenty. But never zero.
What was the impetus for this podcast? Has there been a highlight for you so far?
RG: I have a book that everyone signs at the end of a session. It’s basically my yearbook. It has signatures from Bon Jovi to Michael Buble and Lamont Dozier to Max Martin. These people are fascinating. What are the odds that a kid from the north suburbs of Chicago would end up in a room with them? I suppose that’s the question I’m trying to answer. So, in that sense, all of the interviews are highlights.
Podcast aside, what’s coming up for you career-wise?
RG: The Wrong Man, my musical, signed to Interscope at the end of last year. We’ll be recording it this summer. That’s a 15-year project that keeps on ticking.
When not busy with music, how do you like to spend your free time?
RG: I’m a husband. I have a pug. I play ice hockey and golf. I eat. I drink. I feel like there’s a concept in all that.
When it comes to comedies, few films are as universally-respected as 1993’s Groundhog Day. The movie — co-written by Danny Rubin and director Harold Ramis and starring Bill Murray — manages to be very funny, while maintaining both heart and originality. All these years later, it retains a 96% rating on Rotten Tomatoes while holding top honors from BAFTA, the Writers Guild Of America, and the American Film Institute.
Last year, a theatrical adaptation of Groundhog Day opened at The Old Vic on London’s West End. The production was critically-acclaimed as can be, earning various “best” nominations from the Evening Standard Theatre Awards, the Critics Circle Theatre Awards, and the Laurence Olivier Awards. Fortunately for New Yorkers, a Broadway production of Groundhog Day begins previews at the August Wilson Theatre on Mar. 16; the show opens Apr. 17.
The team behind the Groundhog Day musical is very impressive, even by Broadway standards. Director Matthew Warchus was nominated for “Best Director” at the 2014 British Independent Film Awards for his work on Pride, also succeeding Kevin Spacey as the new Artistic Director of the Old Vic Theatre London that year. Choreographer Peter Darling worked on Billy Elliot The Musical and Matilda The Musical. Designer Rob Howell won the Drama Desk Award for Outstanding Set Design for Ghost The Musical and an Olivier Award for his work on Matilda The Musical in 2012. Composer Tim Minchin is another award-winning member of the Matilda team, although you may recognize him as Atticus Fetch from the show Californication. Andy Karl — who plays the Bill Murray-helmed “Phil Connors” role — received a nomination for the Tony Award for Best Featured Actor in a Musical for his work in Rocky The Musical. And those are just a few of the cast and crew members that have received major honors.
Downtown had the pleasure of chatting with Groundhog Day actor John Sanders, who will play the lovable Ned Ryerson role, as originated by Stephen Tobolowsky. John is another former Matilda cast member, beyond spending time on Broadway in Peter and the Starcatcher. Prior to moving to New York, he was a veteran of the Chicago theater scene. Beyond his work with Groundhog Day, John can be seen in the upcoming Netflix series Iron Fist.
More on John and the rest of the Groundhog Day cast can be found at www.groundhogdaymusical.com. The show can also be followed on Twitter via @GHDMusical.
Do you remember the first time you saw Groundhog Day? Was it in the theater?
John Sanders: Groundhog Day was one of my favorite movies when I was younger. I don’t remember my first viewing, I’m pretty sure it was on VHS. I’ve always loved the combination of comedy and mind-bending metaphysics in this story.
Do you have a favorite scene in the movie?
John Sanders: I love watching Bill Murray stuff pastries into his face while contemplating whether he’s a god. Who wouldn’t want to be able to eat like that with no consequences?
Aside from it being a musical, are there any major differences between the movie and the play? Or will fans of the movie be pleased either way?
John Sanders: Fans of the film will not be disappointed. First of all, we have the same writer as the movie, the brilliant Danny Rubin. He’s brought so many of the iconic lines and moments that fans of the movie will love to see and hear. But telling the story as a musical opens up a lot of new possibilities. We never attempt to explain the same-day phenomenon, but we do get to hear so much more about what’s inside these characters’ heads and hearts. And I must say my character Ned has some really surprising depth that isn’t in the film, and that’s really fun to play and to sing about.
Had you worked with any of the Groundhog Day cast before being cast in this production?
John Sanders: I have. A number of actors from my time at Matilda are here, at least five or six of us from that production. And most of the creative team from Matilda are the ones behind Groundhog Day. And of course there are the dozens of backstage crew who I’ve worked with before, and many that I’m getting to know now. I’m a California boy who worked in the Chicago theater scene for 11 years, so I sometimes have to pinch myself that I get to be part of this Broadway community.
Do you have a theory on the time loop duration of Groundhog Day? I’ve heard that it’s 10 years, and I’ve read Harold Ramis say that it was 10,000 years.
John Sanders: I think it must be longer than 10 years, since Phil changes so profoundly. It’s like we get to witness someone live an entire alternate lifetime and come out the other end a changed man. Sort of like, dare I say it, that episode of Star Trek when Patrick Stewart lives a whole life on this other planet in the space of 20 minutes. Did I just up the dork factor in here? Yes, yes I did. But I also think 10,000 years seems a little long — Phil would just be comatose and insane at the end of that, like Leo DiCaprio near the end of Inception.
John Sanders: Only through his work, which I love. But he certainly seems like a fascinating and well-rounded guy. My first encounter with him was watching him as Ned Ryerson in Groundhog Day. Since then I’ve loved him in Californication, Silicon Valley, and his Tobolowsky Files podcast. He also has a fantastic episode on The Nerdist, which I highly recommend.
Although you have worked in television and have appeared on film, what is it that draws you to theater?
John Sanders: My parents were great and took me to theatre in San Francisco when I was young. I remember being blown away by the original touring production of Les Miserables. We also saw a version of this farce called Charley’s Aunt at ATC back in the 80’s, and I remember marveling at the lead actor’s skill and physical precision. He seemed to be juggling eight things at once and walking the line between control and chaos. He had us all on the edge of our seats, and I just remember thinking I wanna do that! I wanna have an audience in the palm of my hand like that! Camera acting can be very fulfilling, but there’s nothing like performing live.
Is Broadway what inspired you to move to New York?
John Sanders: Actually, it was luck that got me here. I was a working actor in Chicago back in 2012, with a gig lined up down in Indianapolis and no plans whatsoever to move to New York. Then the casting director Jim Carnahan made a trip through Chicago looking for new people, and I wound up getting cast in the Broadway premiere of Peter and the Starcatcher. They called me up and asked if I could be at rehearsal in New York in 10 days! I had to drop everything, look for a place to live, and try to find the rehearsal hall. It was a shock to the system, but I’m so happy here now.
What was the first acting credit you ever landed that made you feel like this was a career, not just working for a little bit?
John Sanders: Well, I had always been a pretty good student, but I purposefully didn’t develop a backup plan for my acting career. I knew that if I had one, that’s what I’d end up doing since starting out in this business is so difficult. So I guess I always knew I was in it for the long haul. But the impostor syndrome started to subside when I joined the union and started paying my bills as an actor, though that didn’t happen until my early 30’s.
Groundhog Day aside, do you have any projects coming up? Appearances?
John Sanders: You may be able to see a little of me in the upcoming Netflix Marvel series Iron Fist. Other than that, I’m consumed with living the same day over and over again for now!
When not busy with acting, how do you like to spend your free time?
John Sanders: My favorite thing in the world is skiing, and I just spent a week in Aspen with my dad and a few old friends before rehearsals started. I love travelling and can’t wait to hit somewhere tropical soon.
Do you have a favorite restaurant in New York?
John Sanders: There are two places on the same block in Chelsea that I love. Dinner at Salinas on the patio. Then late nite drinks at Bathtub Gin, a crazy speakeasy hidden behind a tiny coffee stand.
What about go-to lunch spots near your theater?
John Sanders: I’m a pretty utilitarian eater when I’m working, so when I want something tasty and healthy I usually head to Dig Inn on 8th & 52nd. But if I wanna relax there’s always a burrito at Blockheads. Can’t wait till the weather changes and we can all bask in that courtyard again!
Finally, John, any last words for the kids?
John Sanders: Art done well is like science. And science done well is like art. And farts are always funny.
“We Got The Beat,” “Vacation,” “Head Over Heels,” “Our Lips Are Sealed”…It’s been close to 40 years since The Go-Go’s first formed, yet the music remains popular as ever. Unfortunately, 2016 brings the farewell tour of The Go-Go’s, and the group’s final New York City show will be at Central Park’s Summerstage on Aug. 13. Best Coast and Kaya Stewart will be supporting The Go-Go’s on those shows.
In advance of the Aug. 13 outing, founding guitarist Charlotte Caffey caught up with Downtown. Beyond her hits with The Go-Go’s, Charlotte has found success in other musical ventures over the years. After the first break-up of The Go-Go’s, Charlotte was part of The Graces, which featured a then-unknown Meredith Brooks and recorded for A&M Records. She composed the theme song to the television series Clueless with Anna Waronker, played piano on the Jewel hit “Foolish Games,” and co-wrote a #1 single for Keith Urban, to name only a few of her notable accomplishments.
The music of The Go-Go’s — which also includes vocalist Belinda Carlisle, guitarist Jane Wiedlin and drummer Gina Schock — will not only live on through video and radio play after this farewell tour, but as Charlotte alluded to within our Q&A, a Go-Go’s musical is currently in the works with a major team. She herself, along with husband Jeff McDonald of the cult alternative rock band Redd Kross, has passed the musical torch along as daughter Astrid fronts the L.A.-based band The Side Eyes.
For all things Go-Go’s, the group can still be followed on Facebook and Twitter, while its official website remains www.gogos.com.
The Go-Go’s – Photo by Carl Timpone
Any chance you guys might do one-offs in the future? Or is the absolute end of the band?
Charlotte Caffey: I always say “never say never” with this band. I would be open to one-offs!
You’ve co-written for notable artists over the years. When did you first realize that it was an option to write for other performers?
CC: Very early in my career with The Go-Go’s, because I started getting requests for songs.
Do you have a co-write that you’re most proud of?
CC: I’m proud of a lot of the songs I’ve written with other artists and writers, but the first one that came to mind was “But For The Grace Of God” with Keith Urban. It was his first #1 AND the first time I had written a country song.
Speaking of co-writes, I was a big fan of the co-write that Billie Joe Armstrong did with your band called “Unforgiven.” Prior to that collaboration, had you been aware that Green Day was influenced by your band?
CC: Yes! We were on tour in Japan at the same time as Green Day and Billie Joe was so awesome and fun to hang out with. He told us that we were an influence…I was honored, to say the least!
Is there a Go-Go’s accomplishment that you’re most proud of?
CC: So many (again) but the one that comes to mind first is the fact that we had a #1 album for six consecutive weeks with Beauty And The Beat. We could have never imagined that would happen!
Do you have a favorite song to play live?
CC: I love “This Town”…
What do you remember about the first gig that you ever played in New York City?
CC: I think it was The Mudd Club. I remember being VERY nervous because we heard the New York audiences were tough. But we had an incredible show and the audience loved us!
Your upcoming New York show is at Central Park, where you previously recorded a DVD. Was this being the site of your last New York City show on purpose?
CC: We were presented with the idea to play Central Park, and we said yes because out last show there was great!
Where did the idea to tour with Best Coast come from? Did you know Bethany before the tour was put together?
CC: I believe our management suggested it. I had heard about Best Coast from my daughter Astrid, who is a fan. She has great taste in music. I am thrilled about this tour and I’m looking forward to meeting Bethany.
After this tour has wrapped, what’s ahead for you?
CC: I am working on a couple of musicals. The Go-Go’s musical is in the development phase. We just did a workshop at Vassar College at the beginning of July with Michael Mayer and Tom Kitt. So amazing and fun! Even though we aren’t going on tours anymore, our songs will still live on the stage in a musical called Head Over Heels. It will be a must-see!
I’m also working on Hit The Wall, which is a play about the night the Stonewall riots started in New York City in 1969. Anna Waronker and I have worked some songs into the piece and now we have the go-ahead to turn it into a musical. The Stonewall was just named a national monument on Jun. 24 of this year.
What about more from Ze Malibu Kids? Any other writing?
CC: I am ALWAYS up for another Ze Malibu Kids record. But my daughter Astrid now has her own band, The Side Eyes, so I’m not sure when we could fit that in!
When you’re not busy with music, how do you like to spend your free time?
CC: Go on hikes, go to the beach, watch trashy TV, meditate, read…
