Friday, February 26, 2010

WEEKEND GETAWAY- Barnsley Gardens Resort

















TRAGIC LOVE
THE HAUNTED HISTORY OF BARNSLEY GARDENS
by Bret Love

Barnsley Gardens Resort
597 Barnsley Gardens Road
Adairsville, GA 30103
770.773.7480 or 877.773.2447

www.barnsleyresort.com

There’s an eerie air to the ruins at Barnsley Gardens at night. Even if it weren’t for the dim light that guides our way through the maze of English boxwoods in the formal garden, the wind rushing through ancient imported trees or the imposing frame of the once-stunning Italian style manor that looms before us, there’s still the estate’s 160-year history, which begins with a love story as tragic as anything Shakespeare ever concocted.

 

As told by resident historian and museum director Clent Coker, the Barnsley saga is a Southern epic practically begging for Hollywood adaptation. In the 1840s, English cotton baron Godfrey Barnsley purchased 8,000 acres of former Cherokee land in Bartow County (about 40 minutes north of the perimeter, in the rolling foothills of the Blue Ridge Mountains), on which he planned to build a magnificent estate for his beloved wife Julia, a shipping heiress from Savannah. But she succumbed to consumption before construction was completed, dying mere hours before her husband returned from New Orleans. The grief-stricken Barnsley abandoned his dream for a year until, according to legend, Julia’s ghost appeared to him in the gardens and instructed him to finish work on the manor for their six children.

 

Godfrey forged on, only to lose his vast fortune in the Civil War, when Union soldiers ransacked the estate and stole more than $150,000 in valuables (which would be worth millions today). After he returned to New Orleans and unsuccessfully attempted to rebuild his wealth, daughter Julia– said to be the inspiration for author Margaret Mitchell’s Scarlet O’Hara– struggled to rebuild the property. In 1906 a tornado blew the roof off of the home, forcing the nearly destitute family to move into the kitchen wing, and in 1935 one of Godfrey’s great-grandsons murdered his brother in a dispute over control of the property. Seven years later, the estate was sold at auction, and eventually fell into ruin due to owner neglect.

 

The property’s return to glory began in 1988, when Prince Hubertus Fugger of Bavaria purchased the 1300 acres of land on which it resides. Told of the estate’s rich past by Mr. Coker, whose family’s connection to the Barnsleys stretched back over 100 years (and who owns dozens of the historical artifacts now housed in the Barnsley Museum), the Prince and his wife began restoring the gardens, opening them to the public in 1992. A few years later, the Fuggers decided to build a resort that would recreate an authentic 19th-century pedestrian village in which guests would feel as if they were visiting a true country estate. Now owned by a team of private investors, the result is like nothing I’d ever seen, transporting guests into a seemingly time-warped alternate reality that seems both historic and strangely modern at the same time.

 

Our Barnsley Gardens experience began before we even checked in, with a visit to their European style spa. Like all 45 buildings on the estate, the spa’s architecture was based on the principles of Andrew Jackson Downing, the original designer of The White House grounds and the Washington Mall, whose belief that manmade elements should fit naturally into their surroundings inspired Godfrey Barnsley greatly. But inside the services are decidedly 21st century, with a broad range of facial and body treatments, massage treatments and salon services; complimentary steam, sauna and whirlpool; as well as a variety of customizable packages designed to deliver hours of pampering. A 50 minute couples massage worked wonders for rubbing away the stress of our busy work week, and we eagerly drove from Registration to our Manor Cottage suite to enjoy the other fruits of our romantic “Couples Retreat” weekend.

 

The cottages themselves are remarkable: It’s easy to see why Barnsley Gardens has received accolades such as Travel & Leisure’s “500 World’s Best Hotels,” Condé Nast’s “Top 75 North American Resorts,” and Zagat Survey’s “Top 50 Small Hotels in the U.S.” The English-style garden was immaculate even in the middle of winter, and the rustic rocking chairs on the front porch were perfectly in-tune with the resort’s laid-back country vibe. Opening the barn-wood door, we were wowed by an interior filled with homey antiques, a stone-hearth fireplace and wet bar, where a chilled bottle of champagne awaited us. The high-ceiling bedroom featured an antique king sized bed, while the ample bathroom featured a massive marble-tiled shower and a claw-footed bathtub.

 

Later that night we made our way along the village’s tree-lined walkways to the Woodlands Grill, a lodge-like steakhouse, where we struggled to determine whether the lightly fried lobster tail with horseradish sauce, gargantuan jumbo shrimp over lobster risotto, or perfectly cooked filet mignon is more delicious. Our meal the next night in the Rice House, which offers an epicurean spin on classic Southern cuisine, was equally divine. The Grill offers a buffet breakfast we heard rave reviews about (though we elected to stay in and have room service), and there’s also a seasonal German-style beer garden featuring light snacks, beer and wine in an outdoor setting centered around a roaring open-pit fire.

 

For those seeking an active vacation, Barnsley Gardens features a broad range of outdoor activities ranging from horseback riding, cycling and paintball to hiking, fishing and canoeing on their 10-acre lake. The on-site Orvis Pro Shop offers private shooting and fly-casting instruction, as well as a sporting clay course, while garden-variety sports enthusiasts can play croquet, bocce ball or badminton in the picturesque Town Square. For links addicts, Barnsley also offers one of the state’s top-ranked championship golf courses, Jim Fazio-designed par 72 layout known as The General.

 

In short, there are a million things to do in this unusual, world-class resort. But with its luxurious cottages, top-notch amenities and attentive service, the truth is that you can have a memorable time simply by embracing the distinctively Southern serenity of Godfrey Barnsley’s love-inspired dream.

 

 

 

 

 

 

 

 

 

Thursday, February 25, 2010

JOHN MAYER- Battle Studies Review















JOHN MAYER

Battle Studies

Columbia

 

It seems like an eternity since John Mayer came to Atlanta a wide-eyed Berklee College of Music dropout, partnering with Clay Cook to peddle his sensitive singer-songwriter shtick on the local coffeehouse circuit. But ever since Cook left in the late ‘90s to join the Marshall Tucker Band (he’s now working with Zac Brown), Mayer’s been refining an increasingly radio-friendly pop-rock sound, trading his funkier, more stripped-down jazz and blues influences for an adult contemporary smoothness designed to go down easy like Sunday morning.

 

It’s no secret that Mayer has emerged in recent years as pop music’s most formidable lothario (or douchebag, depending on how you see it), bedding a string of sexy sirens (including Jennifer Love Hewitt, Jessica Simpson, Minka Kelly, Jennifer Aniston, etc.) that have made him a regular tabloid staple. So perhaps it’s no surprise that his fourth studio album, Battle Studies, boasts a strong seductive vibe squarely aimed at the fairer sex.

 

As if his personal life wasn’t enough to convince you that the former Atlanta folkie has “gone Hollywood,” the album was recorded in a house near Topanga Canyon, with Mayer claiming he wanted to get a “hazy, rustic, California, Don Henley, Fleetwood Mac feel.” The resulting record fits squarely into the adult-oriented rock tradition, channeling legends like Sting, Dire Straits and Eric Clapton. Its mood is perfectly suited for romantic evenings with a good wine and a warm fire, but from the U2-lite vibe of the opening “Heartbreak Warfare” to a tepid cover pf Robert Johnson’s “Crossroads,” it’s not terribly exciting.

 

Still, from the teary-eyed balladry of “All We Ever Do Is Say Goodbye” to the soulful “Edge Of Desire,” this album is clearly aimed at the ladies. And if Mayer’s mandate was to hit the female of the species (or at least the kind most likely to be sipping on a merlot at Chastain Park) square in the heart, Battle Studies is mission accomplished. – BRET LOVE


(originally appeared in Georgia Music Magazine)

Wednesday, February 24, 2010

SUBURBAN SWANK- Hi Life Kitchen & Cocktails Review














HI LIFE KITCHEN & COCKTAILS

3380 Holcomb Bridge Rd, Norcross

770-409-0101

www.hiliferestaurant.com

 

Once a shining beacon on the Gwinnett restaurant scene, Hi Life had seen a gradual decline in quality in recent years as its original owners– the proprietors behind the wildly successful Marlowe’s Tavern– focused on other ventures. Now, under the leadership of owner/Executive Chef Gregg Zeringue, the upscale restaurant has re-emerged as a haven for OTP foodies.

 

Don’t let its strip shopping center location fool you: Beyond the neon sign and chain restaurant canopies, you’ll find a warm, romantic interior. Cobalt blue lamps hang over cozy booths and polished wood accents, while mellow music (live jazz some weekends) ensures that the buzzing bar area rarely rises to a cacophonous din.

 

Zeringue’s menu puts an emphasis on New American cuisine with a dash of creative fusion. Appetizer standbys such as calamari are reinvented with the addition of a sweet chili glaze, while tandoori beef satays with cucumber crème fraiche and truffled tuna tempura with curry yogurt sauce add a bit of exotic spice. Every entrée we tried– from sesame seabass with jasmine rice to seared jumbo scallops with wasabi whipped potatoes, from fontini ravioli with lobster and asparagus to truffle honey glazed rack of lamb with roast fingerling potato- was exceptional. 


With an expansive wine list, full bar, and desserts and specials that change daily, Gregg Zeringue and company have finally restored Hi Life to its former glory. –BRET LOVE  

OTIS REDDING- The Best See & Hear














OTIS REDDING

The Best See & Hear

Shout Factory

 

The loss of any artist is tragic, but it seems all the more difficult when a legend-in-the-making is taken before their talent has had a chance to fully flourish. Dawson, Georgia’s favorite son was 26 when he died– old enough for his gritty Southern sound to make him one of the world’s most influential soul singers, yet too young for his formidable songwriting skills to have reached full maturity. We’ll never know what Otis Redding might have accomplished had he lived into his thirties or forties. But The Best See & Hear offers a wonderful portrait of the greatness he managed to achieve in his short life.

 

There have been dozens of posthumous albums released over the 42 years since Redding’s untimely death. But this Shout Factory set distinguishes itself by including both a CD of his greatest Stax/Volt hits and a 12-song DVD directed by D.A. Pennebaker (Don’t Look Back, Monterey Pop).  Recorded live in concert in Oslo, Norway (April, 1967) and Monterey, California (June, 1967), with Booker T. & the MG’s serving as his backing band, the DVD shows Redding just beginning to reach his peak.

 

He attacks songs such as “Shake,” “Satisfaction” and “Respect” (which he recorded before Aretha Franklin hit the charts with her version) with a joyous fervor before letting labelmates Sam & Dave deliver a short, inspired set. Then he returns to bring down the house with a sweat-drenched take on “Try A Little Tenderness,” whipping the respectful European crowd into a frenzy.

 

There’s nothing new here that Redding fans haven’t heard before, but seeing one of Georgia’s finest artists pouring his heart and soul into a riveting show reminds us what a cultural treasure the state lost in that plane crash on December 10, 1967. –BRET LOVE


(originally appeared in Georgia Music Magazine)

Tuesday, February 23, 2010

THE FOOD FEUD- My INC Street Food Review















THE FOOD FEUD

By bringing Latin American Street Food Inside, Roswell’s INC Combines the Best of Both Worlds

By Bret Love

 

INC Street Food

948 Canton St, Roswell

770.998.3114

www.incstreetfood.com

 

Although you don’t often see it in Atlanta, in some American cities there are budding feuds between food trucks and brick-and-mortar restaurants.  These mobile eateries serve up street food fare fast, and at prices the rent-paying restaurants can ill afford to match.  The battle has gotten so bad along L.A.’s Miracle Mile (where some owners estimate food trucks have cut their sales by 20%) that the restaurants recently enlisted help from a city councilman to outlaw these portable proprietors.

 

Hicham Azhari, Fikret Kovac and Executive Chef Richard Wilt– the team behind Roswell’s dearly missed Little Alley and the always-busy Salt Factory– sagely recognized how the economic downturn was impacting the way people dine out.  Their latest venture, INC Street Food, is the best of both worlds, offering up robust Latin American street food in a hip atmosphere at recession-friendly prices.

 

The interior design quite literally brings the street inside, with vivid graffiti lining seemingly age-worn walls, rustically painted tables and sturdy industrial-style light fixtures.  The open kitchen is cleverly designed to look like a food truck, complete with metal sides, a license plate and a ladder on the back.  Lively Latin music pulses through the speaker; the bustling bar attracts a colorful, multi-racial crowd; and the waiters are dressed in jeans, baseball Ts and shoulder bags reminiscent of young street vendors.  It’s all very casual and cool, the kind of jumping joint you’d see on a weekend night in urban Brazil or Colombia.

 

“All the Mexican restaurants in Atlanta are basically the same,” says Azhari when asked about the inspiration behind his new venture.  “I can recite their menus by heart. But the real food of Latin America needs to be discovered.”

 

To that end, Wilt has crafted a diverse menu drawing on traditional influences spanning Central and South America.  Posole– corn soaked in limewater and lightly fried to tangy, crunchy perfection– is brought to the table as a unique alternative to chips and salsa, providing perfect accompaniment to the sweetness of the INC Margarita, which comes with a Chambord Raspberry liqueur floater.  The Bocaditos (or “starters”) are universally excellent, from the Argentinian Style Empanadas and Gaucho Marinated Skirt Steak Skewers to Salvadoran Chicken Pupusa and steamed Pork Tamales.  At under $10 each, they could easily be combined for a shared tapas-style meal.

 

Their tacos (served with arroz Mexicano and black beans) are a world away from what you’d expect at a typical Mexican joint, stuffed with everything from Chili-Rubbed Skirt Steak and Seared Ahi Tuna to BBQ Octopus and melt-in-your-mouth Veal Cheek. You can also get more substantial entrees such as Brazilian Style Fish Stew, which has a delicately spicy coconut milk broth, and Pollo Con Poblano Salsa Gratinados, a roasted half-chicken served with chili potatoes, poblano and queso.

 

The kitchen had not yet started serving desserts when we visited during INC’s opening week, but their Aguas Frescas (including authentic Coconut water and rice and cinnamon-infused Horchata) offered a refreshing end to our meal. All in all there were surprisingly few kinks left to be ironed out, foreshadowing a bright future for INC Street Food on the burgeoning Roswell restaurant scene.


(originally appeared in Jezebel)

 

 

 

THE INDEPENDENT- My Interview w/Angie Aparo









THE INDEPENDENT- HOW ANGIE APARO LOST HIS LABEL & FOUND HIS HOME

by Bret Love

 

There are millions of musicians who would kill for the good fortune of Atlanta-based singer-songwriter Angie Aparo, who hooked up with producer Matt Serletic and signed to Clive Davis’ Arista Records in the late ‘90s. His debut album, The American, broke through at modern rock radio in 2000 on the strength of his hit single, “Spaceship,” and his song “Cry” was later covered by Faith Hill, who ultimately won a Best Female Vocal Performance Grammy.

But while Aparo admits enjoying his brief climb to the music biz mountaintop, tectonic shifts in the industry’s structure soon left him without a label, major or otherwise. These days Aparo is among the thousands of indie artists using the Internet to build his fan base, and his last 5-song EP, El Primero Del Tres, was entirely self-released despite production by Dan Huff (Dixie Chicks, Faith Hill, Rascall Flatts). We recently caught up with Aparo to discuss his return to the indie world, and how websites like MySpace are changing the way music is marketed and promoted.

 

How did your life change when you went from being an unknown singer-songwriter to a Top 40 artist on a major label?

 

It changed it dramatically. From an artistic standpoint, working with those kinds of people always produces huge growth if you’re willing to let it. In a weird way, I struggled with losing the independent spirit I’d grown up in. I had creative freedom, but it took me a while to adapt to having people around me when I was used to getting in a car with my guitar and playing up the coast. It becomes a whole machine, and it took me a while to realize that everyone was on my side. But the interaction with Clive Davis was especially amazing.

 

Was there anything in particular you learned from him that stays with you now that you’re back in the indie world?

 

Oh, sure! My philosophy is that if you think you know what anything in life is as you approach it, you eliminate everything it could be. Going into that relationship I was just so open to it, and I picked up so many little things from Clive– everything from how to build a set list to how to view art. I tend to enjoy those lessons, and I definitely carry them with me.

 

It was a fruitful collaboration; why did your relationship with Arista fall apart?

 

Clive was being pushed out of the company and we got caught up in it. We were about to release “Cry” as the next single, so we were postured to break out. We had an option to follow him, but we thought it would take him a year to start the new company, so we figured we’d get lost in the shuffle either way. We bet on staying with L.A. Reid, and it just didn’t pan out.

 

How do you view the monolithic changes in the music business since you began your career? It seems like a completely different ballgame now.

 

Yeah, it really is all about the Internet now. I love it, and we’re using every aspect of it. To be able to shoot me singing a song in my hotel room and have it as a podcast an hour later is just insane. It’s approaching the immediacy of live performing. I still think the right relationship with a strong indie or major label is valuable. But where before it was, “God, give us ANY record deal, please!” now it has to be really right. I think all the access to fans through the Internet has really strengthened indie labels, and that’s the most exciting thing for me. I think it’s good for business.

 

You may be releasing your music independently these days, but you’re working with Dan Huff. How did that relationship come about?

 

That was through the interaction with Faith. I was close to having three songs on her last record, two of which I sang on, but for various reasons they got dropped from the record. I met Dan during those sessions when I was singing backup for her, and he and I hit it off. We were sitting around one night and I said, “I don’t have a deal and I don’t have any money for someone of your stature, but would you wanna do something together?” He said yeah.

 

The success Faith had with “Cry” must have given you some financial freedom. Has your success as a songwriter made it easier for you to take a more independent road as a performer?

 

Yeah, I think so. I’m living in Atlanta, but I’ve been going to Nashville every couple of months. I’d never co-written a song before I started meeting all these unbelievably wonderful writers, and it’s good for me because I’ve found a community up there. If you’re a good songwriter, you can go up to Nashville and make a good living. But without really going after [a career as a songwriter], I don’t know how many “Cry”-type hits you’re gonna get. I think being a songwriter will allow me to take more risks as a performer, but I don’t know, because I’m not making a conscious effort to get cuts. But it definitely allows you to make decisions like, “Well, I don’t really want a label right now...”

 

Your last release was the first of three planned EPs. What’s the concept behind them?

 

I was writing songs for the first EP, and there was a line in “Spider Song” that says, “We all need our enemies.” That just sat in the back of my head for a while, and the more I thought about it, the more these songs about conflict and war and peace came to me. Not just the war of nations, but internal conflicts, relationships... So the whole second record came from that one line, and the third record deals with love and unity, and the inspiration for that came from a song on the first EP called “Only.” So in a weird way the first EP gave birth to these other two records. The whole idea of conceptual works has sort of gotten lost in the age of digital music. So it all goes back to the idea of being free as an artist, and wanting to remind myself that the best art comes when you’re not worrying about the business side of things.

Monday, February 22, 2010

SOUTHERN FRIED FOODIE- South City Kitchen Vinings review














SOUTH CITY KITCHEN- VININGS

1675 Cumberland Pkwy, Suite 401, Smyrna GA 30080

770-435-0700

www.southcitykitchen.com.

 

Anyone who lives OTP knows how hard it can be to find a decent upscale restaurant, but the Vinings area seems to be getting more than its fair share of winners. Opened in 2006– 13 years after the award winning original South City Kitchen in Midtown– this Fifth Group restaurant is an equally impressive gem, bringing modern Southern cuisine to the Cobb County ‘burbs.

 

The restaurant’s laid-back cosmopolitan sophistication proves perfectly suited to the Vinings vibe, featuring a massive bar with communal tables and cozy booths that encourages groups to linger into the night. The open exhibition kitchen provides an entertaining view for the 140-seat dining room, where warm hardwoods, white linen tablecloths and dim lighting combine to create a cozy atmosphere.

 

Executive Chef Chip Ulbrich (formerly of Food Studio) has done a wonderful job with the restaurant’s Southern-style menu, crafting simple yet eloquent dishes that come across like gourmet comfort food. Starters such as Fried Green Tomatoes with goat cheese and sweet red pepper coulis, and Georgia Gouda Fritters with charred corn salad, BBQ aioli and cane syrup were almost wickedly delicious. But the entrees, including traditional faves such as Buttermilk Fried Chicken, Sautéed Shrimp & Scallops with grits and garlic gravy, and Smoked Beef Brisket with bacon braised mustard greens, were somehow even better. Best of all, the menu is seasonal, so there’s almost always something new to tempt your taste buds. – BRET LOVE

Saturday, February 20, 2010

THE PAGE'S TURN- My Interview w/30 Rock's Jack McBrayer















THE PAGE’S TURN

WITH AN EMMY NOD FOR 30 ROCK, JACK MCBRAYER HAS HIS MOMENT IN THE SPOTLIGHT

By Bret Love

 

It’s not difficult to gauge the impact the scene-stealing role of Kenneth Parcell has had on 30 Rock star Kenneth McBrayer’s career. Before he was cast on the critically acclaimed show (which has won 14 Emmys and been nominated for an amazing 37 more), McBrayer’s biggest claim to fame was a 2-episode stint on Arrested Development; now he’s got a Best Supporting Actor Emmy nod under his belt, not to mention roles in hit films like Talladega Nights, Walk Hard and Forgetting Sarah Marshall. We recently caught up with the 36-year-old actor to discuss his Southern roots, improv background and what’s next for everyone’s favorite NBC page in the fourth season of 30 Rock.

 

 

You actually grew up in Georgia, didn’t you?

 

Yeah, I lived in Macon until I was 15 and then I went to high school in Conyers, which is a little suburb right outside Atlanta.

 

How has being so Southern impacted your ability to get ahead in show business? Did you have any problems before 30 Rock with people wanting you to get rid of the accent?

 

Yes, absolutely! But it was one of those things where it's like, this is what I have to work with. You know, if they said, “I wish you were shorter,” there's not really a lot I can do about that either. So you just maximize your assets and minimize your liabilities and hope that something will stick to the wall at one point.

 

You've done improv for years at Upright Citizens Brigade, improvOlympic and Second City. How did that training help when went into acting for television and film?

 

I think in a very general sense doing improv taught me to be prepared for anything and just roll with the punches. It’s also about working together with a group to create something that's ideally funny at the end of the day. In terms of making it easy to work with this group in particular, anything that the writers give you– no matter how ludicrous it is– you're like, “Yes I will do this and do it with gusto!” So it’s just about commitment to their ideas, and a lot of that I did learn through improv.

 

You initially worked with Tina Fey at iO and Second City, right? Could you talk about working with her?

 

Oh God, absolutely. I wouldn't be talking to you right now if it weren't for old Tina Fey. I was in Chicago for seven years, 1995-2002, and that is where I met Tina. Her husband, Jeff Richmond, was my first director at Second City. Although I probably knew Jeff better than Tina there, when I moved to New York I got to know her and her comedy better. Chicago totally prepared me 100% for what I'm doing now. And it’s weird that, without even knowing it, I was networking back then and it really did get me to where I am.

 

Your comedic timing is excellent. Was that something that always came naturally to you or did you have to work at it?

 

Well, I always enjoyed making people laugh when I was growing up and being in school and stuff. But I spent several years at the Second City and improvOlympic in Chicago, and that's where I honed my skills. But I'm telling you, the writing here on 30 Rock makes it so easy. Even if I had the worst timing in the world, these guys will make you look funny week after week.

 

How much interplay is there between the writers and performers? Do you guys ever improvise stuff that makes it into the script?

 

There's very little improv involved with this, mainly because the writers do such a good job in the first place. Also, what I didn't realize getting into this is that a 30-minute sitcom is actually only 21.5 minutes, so there ain't a lot of breathing room. If it ain't broke, don't fix it, so we've just been trusting the writers for the most part.

 

Do you have any favorite episodes of 30 Rock?

 

Oh, definitely! I’ve enjoyed so many of the episodes, but I guess one that really sticks out in my mind is where Kenneth has a party at his apartment that everybody has to get an invitation to. We only saw three seconds of the actual party, but it was just so fun shooting that because it's so rare that the entire cast gets together. In Season 1 I had to play a poker game with Alec Baldwin's character. That was fun, but also very scary because I still wasn't real familiar with Alec Baldwin as a person, so I was very grateful that I had to be nervous during that scene.

 

Are there any roles other than Kenneth you’ve played that you especially enjoyed?

 

Yeah! I mean, I haven't even done too many other gigs, but in Forgetting Sarah Marshall I just loved being a newlywed at a Hawaiian resort. So if you’ve got any more roles like that, please feel free to pass those on to my people. (Laughs)

 

You're so closely identified with Kenneth now. When you’re on hiatus and doing other things, are you actively trying to get away from that type of role?

 

Unfortunately I'm not that great of an actor! (Laughs) I can lose the navy blazer, but that's about it. No, I know what I can do and what I like to do and they're pretty much along those same veins, so when people are tired of seeing that then I might flex some other muscles. But right now I'm real happy with where I am and what people are asking me to do.

 

Tina Fey has said that she created the character for you and made Kenneth a lot like you. What are the things you have in common with him?

 

Well, I think just very generally being a people-pleaser and always wanting to do good at my job. And I will be the first to admit that sometimes I'm not exactly sure how this big world works, but I just try to cope with it as well as I can.

 

What continues to challenge you about the role now that you’re four seasons into 30 Rock’s run?

 

Well, it sounds like I'm complaining, but if this is the worst part then I guess I'm doing all right. Sometimes I just have to have a LOT of caffeine to be that peppy at ungodly hours in the morning or at night, you know? Sometimes I'm like, “Oh, daddy needs a nap!” That's where the Diet Mt. Dew comes in handy and all is well.

 

Why do you think people continue to tune in and watch the show?

 

Well, what we’ve found is that it is just so relatable as a workplace comedy. Anybody who's ever had a job has had a domineering boss or very needy coworkers or just crazy people around. So in that sense I think that people can just relate to it.

 

With the economy nudging companies to hire more interns as the new entry-level positions, do you think Kenneth is becoming a hero of this rising young working class?

 

Well, the thing about posing yourself as a hero is that one day it's going to bite you in the ass! (Laughs) My only frame of reference for the role that I'm playing and the people that I deal with are the real-life pages over at Rockefeller Center. So far they seem happy with the way they're being depicted and how they're being treated by people, but I’m always awaiting the day that kind of thing will come back and get you.

 

What do you think of Community joining your Thursday night comedy block?

 

I'm a big fan of it! One of the actors on the show was previously one of our writers– Donald Glover, who plays Troy on Community– so I'm real happy for him. And honestly I'm just happy whenever NBC gets anything fun and enjoyable on there because, you know, TV is just a very tenuous area right now. I'm like, let's go with anything that might stick around for a while!

 

Can you talk a little bit about what storylines Kenneth might have coming up this season?

 

Well, it’s pretty much my usual high-jinx. We do have a little bit of fun with Kenneth in a couple of things. I don't think I'll get in trouble here, but at one point Alec Baldwin and Tina Fey's characters go down to Kenneth's hometown of Stone Mountain, GA for a talent search. I think some of the characters that you will see in that hometown might resemble Kenneth quite a bit, but you have to look closely. It’s kind of like Where's Waldo, but we had some fun with that. Otherwise it's just the usual stuff. Kenneth’s just always wanting to be the best at the job, as menial as it may be. The more menial, the better!

 

(originally appeared in INsite Magazine)