SANTOS:  Take me back twenty years and tell me about Biohazard and your early days with the Cro-Mags and how you started the band. 
EVAN:  You know it’s a crazy thing, because so many things in my life that have become longtime recurring things and the biggest challenge of my life were not completely intentional.  I wasn’t trying to build a career with Biohazard.  I was just an angry, confused, drugged-out and misdirected kid.  I was caught between having this good Jewish family and being a maniac running around the street dealing drugs and I couldn’t really decide where I would land.  I was drawn to the dark side so much.  I didn’t know how to express myself and the anger in my life and the frustration.  I grew up in Brooklyn around a lot of insanity;  around death and a lot of killing.  We lived where the true story of Goodfellas took place, so all my friends’  dads were wiseguys and people were getting whacked left and right.  It was a crazy, crazy place and drugs and violence were the norm. 

SANTOS:  How old were you when you started getting involved with all that?
EVAN:  I started getting high when I was twelve / thirteen years-old—drinking, smoking weed, taking mescaline, acid, and I started fucking around with coke and angel dust.  I really kind of lost my mind in a lot of ways.  I was headed on a crash course of destruction and music was always my outlet.  I grew up loving classic rock:  Led Zeppelin, The Beatles, the Stones, The Who, The Doors, Jimi Hendrix, AC/DC, Black Sabbath.  And as I got older, I got into the heavier and heavier music.  I got into Judas Priest and Iron Maiden, and I eventually discovered Slayer, who was just doing a demo in the 80’s.  It progressed and I got my hands on Carnivore.  I used to roadie for Carnivore when I was a teenager.  They were the quintessential fusion of metal and hardcore and musicality, and really inspired me to think I could do something on my own.  I was confused.  I went away to college for a year and hated it.  I was doing what everyone else told me to do.  I just wanted to be a rock star, but they said I couldn’t do that. 

SANTOS:  Your family was totally against that?
EVAN:  My family was completely against it!  They wanted me to be an accountant.  I said:  ‘No, I’m going to make lots of money and have other people be my accountants.’ 

SANTOS:  Did you start playing music at a young age?  Was it bass or guitar?
EVAN:  I started with the bass guitar.  I started singing.  I used to stand on my bed as a kid and sing and dress up as KISS.  I’d wrap aluminum foil around a tennis racquet and make a KISS costume.  I was standing there singing every song from Deuce and Strutter to Going Blind to Detroit Rock City.  I wanted to be Jim Morrison, and I also wanted to be Jerry Garcia and Jimi Hendrix.  I used to cut out of school with my friends and take the… back in those days it was called the double-L train down to Greenwich Village.  We’d get a nickel bag of weed for $5 bucks.  It had twelve joints in it.  We would get ourselves some Ray’s Pizza and head down to Washington Square Park, where all the hippies were still hanging out, the leftovers, and there was a guy named Lee that was a Jimi Hendrix look-alike and sound-alike.  I used to go sing The Wind Cries Mary with him.  I wasn’t very good, but it was my passion.  I always fancied myself to be a singer, like a Mick Jagger-style of singer, where he doesn’t have a great voice, but he sings great.  That’s all I ever wanted to be.  After a year and a few months of college, I was in a really dark place.  I had broken up with my first live-in girlfriend and was strung out on coke and I was dealing.  I was living in an apartment that was painted all black, working at a lumberyard and there were wise guys all over the place.  My first drummer in the band was Meo, who was a childhood friend, and he was my roommate.  I met Bobby, who was one of the guys I started Biohazard with.  We started making music to vent our frustrations about life. 

SANTOS:  You’ve mentioned a lot of classic rock, but Biohazard had an aggression and a heaviness.
EVAN:  Biohazard was influenced by all that original rock and early metal.  At the same time there were things around me that were influencing me, like Devil of the CroMags and early Agnostic Front and some of the New York hardcore skinhead scene.  There was a thing with Bad Brains that really influenced Biohazard.  There was also hip-hop, like early Run DMC, early Public Enemy, Big Daddy Kane, and hip-hop before it was a fashion show.  People always say we were the Godfather of Rap Metal.  It was really unintentional.  I was kind of insecure about my singing voice, but I thought that if I sang rhythmically in the pocket of the beat, I won’t have to do this kind of melodic thing where I might crack,  ‘cause we were smoking Crack back then.  I’ve been sober from drugs and alcohol for nineteen and a half years.    

SANTOS:  What brought you to the point of wanting to be sober?
EVAN:  When I was nineteen, I had a drug overdose from cocaine.  We used to smoke it, snort it.  I wasn’t shooting anything, but I remember the late 80’s, when crack hit the streets of New York, before it became mainstream.  We didn’t know it was a bad thing.  I remember my friends going:  “Have you tried it yet?”   I was away for the summer and when I came back to Brooklyn, they’re going:  “Have you tried the crack?”   It was called:  The Crack.   ‘What do you mean The Crack?  Crack in the sidewalk, crack in my ass?’   They said:  “No.  It was like freebase, and it was 5-bucks, and I had $20, so let’s go.”   Crack scared me.  It didn’t do to me what it did to a lot of other people.  It was certainly eye-opening, to see what it did to people around me.  I thought because I was only snorting coke and freebasing, that I wasn’t going to get caught-up.  When I woke up from this drug overdose, I felt like I had died and the doctor told me I was pretty much dead anyway.  He said:  “You’re a really lucky guy.”   I said:  ‘I don’t feel lucky, I feel like I’ve been run over by a truck.’   It was like that Rahway State Prison show, Scared Straight.  I was never going to make a conscious decision to fix my life up.  Music was all I knew.  I took all the energy I knew, good and bad, and put it in Biohazard.  In Biohazard, we would sing about all the biohazards in the world—all the man’s inhumanity to man, all the political problems of the world, all the government exploitation of human beings, all the pitfalls of drugs and alcohol, and the things that keep people down.  I’m not talking about a few drinks or a joint—I’m talking about people dying in the street.  It was a very powerful message.  We tried to send a positive message.  We weren’t preaching or anything, just asking questions of the world;  asking young people to think about their lives and their future and trying to be a positive role model and lead by example.  We’ve been in gangs, we’ve all done our share of bullshitting.  All our friends that are still doing it are in jail or dead or dying.  Our answer is to find something you’re passionate about and immerse yourself in it.

SANTOS:  You built the band up for five years, did an independent record, and then Monte Conner of Roadrunner signed you.    
EVAN:  Monte Conner tried to sign us in 1989.  What happened with Biohazard was a crazy thing that had never happened before.  We were part of a music scene that even the heavy metal music people were scared of because hardcore gave people heebie-jeebies.  These people played to a hundred or two hundred kids.  There was no marketability, no business, it was just a thing.  Biohazard was half-rooted in that and part of us was rooted in the Thrash metal and heavy metal scene and Biohazard was selling out the Moors in Brooklyn with 2000 kids.  A& R people were coming to see us and it was like they stepped off into a different dimension.  They were like:   “I’m at a sold out heavy metal club and half the kids have their heads shaved, and everyone is tattooed.”   Tattooing wasn’t very mainstream in the 80’s.  Now, every fucking basketball player with five bucks goes and gets a bunch of visible tattoos, and goes:  “Look, now I’m a gangster.”   They were really scared, Geffen Records, Columbia Records, Warner Brothers.   “We think this is really possible.  We can’t grasp it and we can’t wrap our head around it, and to be honest we’re physically afraid of your fans.”   People were beating each other in the pit.  Our shows in New York City became a forum for hardcore scene gang violence.  People were beating each other with hammers and a stick with nails in it.  It was not normal, but not unusual to walk outside from a Biohazard concert and find 20 dudes pummeling one dude and kicking him into the ground—not that we were pro-violence.  We were usually breaking up the fights and saying that they were giving our scene and band a bad rap.  There are a lot of disenfranchised people with a lot of misdirected anger and society’s not giving them anyplace to vent it.  We became the frontrunners.  People ask:  “What did you do that really mattered in your life?”   I would say, musically we really helped a lot of people release their negative energy, because a lot of those people became productive members of society.  It may sound corny, but it was a message of hope.  Just get out of that life and you can do it.  Usually it was rappers that would try to talk to us like that.  We were certainly not rappers.  We were white urban kids and when we finally signed with your friend, Monte Conner at Roadrunner, it was part of a bigger deal with Warner Brothers.  We’d do a proper independent record with Roadrunner first and then go off to Warner Brothers, the big leagues.

SANTOS:  How do you think, that a band doing what you were doing at the time, could go on and have platinum records?
EVAN:  I don’t think what Biohazard did could happen in this day and age.  Different things could happen now that couldn’t happen then.  We sold four million records with no radio play.  Now, people’s attention span is like this,  (holds up hand to form a zero).  All the bands that have one hit, they don’t want that.  They’re maybe happy to get the money, but they want to be a band that has a serious career.  I remember Jacoby from Papa Roach, a good friend of mine.  We had this heart-to-heart conversation.  He used to pour it all out like me, saying Biohazard was my biggest influence.   “I’d give anything to have Papa Roach be looked at like Biohazard.  Your first album sold more than all our albums put together.”   I go:  ‘You guys are rich.  Enjoy what you have and embrace what you have.  If you want to make people get serious about you, let people know what you’re really about.  The grass is always greener.’   

SANTOS:  Do you consider yourself more of an artist or businessman?
EVAN:  Those days, pure artist.  You’re born with your natural business acumen.  I’ve had no business training and I didn’t really care about the business.  All I cared about was the music.  I’ve always enjoyed merchandising and marketing and turning people on to something cool.  I’ve never really been one to write the marketing plan out.  I’m like:  “Nike:  Just do it!”   I used to come up with all the good album titles.  I used to write all the songs, the music lyrics.  I’ll do the t-shirt designs, and I’ll cover a concept, if you wish.  I liked directing music videos right from the beginning.  I’d love to have a hit song, but I’m kind of glad we never did, because to me, it was never about the money.  It was about the music and about me being myself and expressing myself the way I wanted to.  Boys to men and now I’m grown up and 40 years-old and I’m heading off to Australia with Biohazard and Korn for a sold out arena tour on a 20 Year Anniversary Tour. 

SANTOS:  Tell us about the tour.
EVAN:  It exciting!  We haven’t played with the whole original band since 1995.  Biohazard has gone on consistently, until about, I guess we stopped playing in 2006.  We really didn’t have a reason to do it anymore.  All of our lives have evolved.  Everyone has kids, different realities, expenses and bills.  Biohazard was not a commercially viable band in America anymore.  We always made great money in South America, and especially in Europe, Australia and Japan.  As much as I love traveling the world, we’re Americans and we wanted to have a career here in America.  For me, the catalyst of stopping was just an apathy in the marketplace, where our fans would come out and support us, but we weren’t really selling any albums, because people wanted to hear the old stuff.  I understand, because if I went to see the Misfits, I didn’t want to hear their new album.  I want to hear Mommy Can I Go Out and Kill Tonight.  There are things that are just facts and that are cyclical and not about the quality of something.  Then, I met Tera, and we fell greatly in love and she needed my help.  As a labor of love, I immersed myself in the adult industry and helped her build her company and we’ve been very, very successful and I credit that to a lot of different things—mainly, Tera’s star power, my hard work, and our ability to connect the dots and move seamlessly between the adult industry and mainstream and back and forth, and keeping her name out there, not just as a top star in the adult industry, but as a celebrity.

SANTOS:  Do you feel that you can move seamlessly from adult to mainstream?  How does that work?  How does your family or your kid feel about you being in the adult industry?
EVAN:  It’s funny.  From my family and from Tera’s family, it’s very well-received.  I think the stigma that if you’re in porn and bent over some sawhorse and some twenty guys are gangbanging you that you have to be a runaway or abused… It’s not that.  Obviously, the adult business is looked at as being very glamorous.  In 2008, porn is a celebrity’s celebrity.  People like Carmen Electra, Kanye WestandParis Hilton step up to be photographed with Tera Patrick.

SANTOS:  But Tera’s on a whole other level than the girls just doing gonzo films.
EVAN:  The girls doing gonzo films are just missing the self-promotion and marketing.  These girls are iconic in their own right.  One of Tera’s best friends is Charmane Starr, who’s a gonzo chick, but she’s done features, too.  Everywhere I go with her, people know who she is, and go:  “Oh my God, that’s…”  because porn is under the radar of what people really talk about.  It’s not like:  ‘Hey Scott, I got the new copy of Reign of Tera #2 and I jerked off four times last night.  Dude, watch this scene with me.’   It’s not like that.  It’s more personal and private.  People use it for their own release.  People use it to vent.  People use it for a release.  Tera thinks porn is a really positive thing and I agree with her.  There are a lot of people who are sexually frustrated, who are lonely.  As a man myself, who is very sexually open and very sexually satisfied, I’m still obsessing about it most of the day.  When I’m not having sex, I’m obsessing about it, thinking:  ‘When will I have it next?  What can I do to make my sex more and better?’    

SANTOS:  I want to digress a little and hear how you got to play that character in OZ.
EVAN:  Monty Conner’s wife, Kelly,introduced me to Dean Winters and brought all of the OZ cast to one of my Biohazard concerts.  We were playing in 1998, at the Hammerstein Ballroom with Insane Clown Posse, and OZ was my favorite show.  It was the second season and all the guys from the show, Christopher Meloni, Harold Perrubeau, Eamonn Walker, J.K. Simmons, Dean Winters, they all came to my concert and we went out for an after-party and I ended up at Tom Fantana’s house.  That was Thursday.  Friday afternoon I got a script in my mailbox and Monday I’m acting and I’d never acted before in my life.  I thought it was an audition and I walk in and I have a scene with the whole cast addressing the Emerald City Counsel.  Luis Guzmán sees the look on my face and says:  “Bro, they didn’t tell you that this is the show?  You better not over-act or they’ll kill you right off.  They kill three people an episode on this show.”       

SANTOS:  You lasted for quite awhile, so I guess you didn’t over-act.
EVAN:  It’s not the big screen, it’s the small screen.  You let the camera do the work.  It was on-the-job training.  I learned as I went.  I definitely felt I progressed as an actor.  It took me two or three years to really understand what acting was, even though I was doing it.  The fundamentals came second for me and I started to figure it out.  Now I’m studying acting, because I really love it and it’s something you can do forever.  You can play an old guy when you’re old.  It’s not like if you’re a model and people only want to see you at this age.  It was an amazing experience.  It was very challenging and very humbling to see somebody that you’re sitting with turn themselves into somebody else.  I think the reason the show was so good is because there were so many great actors and they were always raising the bar.  Eamonn Walker used to coach me and help me with my scenes.  During the last season of OZ, a photographer called and said that Tera Patrick wanted to meet me.  I said:  “Who is Tera Patrick?”   I didn’t know who she was.  I’d been living in a tour bus for fifteen years.  Oddly enough, I had her pictures, because I had seen her pictures and thought she was gorgeous.  She was my ideal, perfect woman.  These Asian guys had a shrine on the wall of the office of Take Out Marketing.  They had a whole wall of Tera Patrick.  I said:  ‘Man, who’s that chick?’  and they gave me some Tera Patrick screen-savers.  When I get the call, I don’t take it very seriously, because I don’t put two and two together.  When I started talking to Tera on the phone, it was not what I expected.  It became like this crazy thing.  I was in New York recording OZ and I was recording my music at night and I had my son, who was six or seven at the time, with me on the weekends.  So I couldn’t fly to L.A. to meet her.  We were stuck talking on the phone for three months.  I had a weekend crash pad in L.A. and when I finally flew out to meet Tera, it was Sept 4, 2002.  I got off the plane and it was love at first sight!  It was amazing!  It was a real Hollywood romance, but at the same time, it was boy meets girl.  She was more beautiful in person than I could ever imagine.  (Not like I think I’m some great prize as a dude or anything, but I’m passionate and I love my wife very much and I care about her.)  We got engaged in Miami, on Halloween, that year.  We did the Biohazard World Tour that year and when the smoke cleared, I was like:  ‘What are you going to do with your career?’   She said she wasn’t sure and that she was with me now.  I said:  ‘I support you in whatever you want to do.’   We just started and we started with Vivid and we got a little deal and that became a big deal.  I took Tera out on tour, feature dancing.  My good friend, Dan Davis, who is editor of Genesis magazine, gave her a job as the publisher of the magazine and gave her a column, and here we are.  She just wrote her 50th column.  We’ve done some pretty amazing things!  I’m her assistant, I’m her manager, I’m her bodyguard and I’m her publicist.  I’m her legal affairs, her business guy and I’m a buffer for her.  She’s like a really sweet, innocent little girl;  like an eight year-old trapped in this sexy siren’s body.  You know, sometimes I let her out of her cage and sometimes she wants to be protected.  We’re doing some pretty creative things and most important, we’re enjoying the ride.  The money comes, the money goes, the market changes, the business changes.

SANTOS:  Do you enjoy the business?
EVAN:  I’m romantically obsessed with the business.  I love the sex.  I like the impersonal nature of the sex as a performer.  As a commodity, it’s so hot.  Everybody wants it, but they’re afraid to touch it.  It’s the exact same thing that punk rock did for me in 1986, like it turned me on mentally, when the record company people were scared of my band.  We were that untouchable thing.  We were that element of danger.  Porn brings that.  Why was it such a big deal that Tera was on the cover of FHN?  She’s certainly more beautiful than most of the girls on the cover of that magazine.  She’s certainly more famous.  Because she’s a porn star?  What’s the big deal about being a porn star?  Everybody has sex, everybody fucks!  Because she’s willing to do it on camera?  What does that mean?  That she’s sexually confident?  Why does that shake people out of their fuckin’  tree?  I don’t know, but I’ll certainly take her to the bank!  I enjoy directing.  I enjoy producing and coming up with ideas on how to market her and how to market our films.

SANTOS:  How many people work for Teravision?
EVAN:  We’ve got a pretty diverse staff, that I call our Team.  We have about eight or nine people in the office in Van Nuys and about a dozen people who work full-time, but don’t work in the office.  Fiber Graphics is our art company and they have their own office, but work full-time for us.  We have teams of lawyers in two different law firms.  We have two different publicity firms, one in Nashville and Luck, right here in Vegas.  We have a full-time editing staff.  We’re just trying to grow and do things that are fun and interesting.  I’m in the process of just living out my fantasies at the moment.  I didn’t think it was possible to go a step further.  We have TeraPatrick.com as our number one site and Teratrailers.com which is our trailer site that shows people what we’re working on.  We have tons of online stores, Tera’s lingerie line, which is Mistress Couture;  tons of shit going on.  In the back of my mind, I thought:  ‘What if I did something just for me.’   The rub is that although Tera and I both perform on-camera with other people, it’s very protected, because we’re not in an open lifestyle.  You go to work, and have sex with somebody.     

SANTOS:  So you’re not living an open lifestyle?
EVAN:  It’s an open lifestyle, but with specific rules and boundaries like other relationships have.  Tera and I aren’t readily picking up chicks at supermarkets and bringing them home—not that it doesn’t happen and not that it can’t happen.  It’s not what our life is about.  We’re a committed married couple.  My wife knows I’m a big perv, and that I’m the kind of guy that’s always been on tour fucking two or three girls every night with the band.  I’m using everything in my vehicle to live out all my fantasies and perversions.  Tera and I had a heart-to-heart about six months ago, where I basically told her:  ‘I love you forever and I want to spend the rest of my life with you, but I basically want to fuck every good-looking girl I can get my hands on.’   I would love to figure out how to make money doing that.  I’ve built a Web site called Rockstarpimp.com and it’s basically a Web site where I proclaim my love for Tera and I publicly state my commitment to my wife as her life partner and soul mate and significant other.  I thank her on the site for giving me the freedom and long leash to live out all my fantasies, which is to have sex with all the girls in the adult industry.  Unlike these bang bust reality sites, where these guys are pretending to pick up chicks in the street in a van and calling it reality porn, which everybody knows is fake because these girls are hired.  This is maybe the world’s first true reality site.  And it’s also probably the world’s first celebrity porn site, where someone who has sold millions of albums or been on a hit TV show is actually documenting his sex life.   

SANTOS:  How are you going to go about that?
EVAN:  It’s already shot.  I’ve already got about sixty scenes in the can.  It’s the kind of thing that is very honest.  It’s exactly like what you’re seeing here.   ‘Welcome, this is Spyder Jonez.  Welcome to Rockstarpimp.com.  I just left my house.  My beautiful wife, Tera Patrick, just packed me some lunch.  Here’s my Hello Kitty lunch bag.  She made me some pasta and sent me some fresh-squeezed orange juice that I like.  Today we’re going to bring you a smoking hot chick.  She’s brand new to the business.  She’s young.  She’s only 19 years old.  She’s from Southern California and her name is blah, blah, blah.’   I bring her in and I step out of the frame, because I make it about the girl, because porn is about the girl.  I think guys can live vicariously through me, because most of my friends don’t have this kind of arrangement and most people don’t have this much sexual freedom in their life.  You know, if you can’t work it out, then you can check me out working it out, because I’m working it out.  I keep it short.  I keep it fun and keep it positive.  I think guys like to hear how slutty these girls are and how veracious their lifestyles are.  People are fascinated with the fact that the girls love fucking and love sex;  that they’re honest about it and they’re open about it and they make money with their bodies.  It’s supposed to be a taboo, wrong thing, but it’s a real turn-on for me.  So I interview the girls, very à la Ed Powers or à la Randy West.

SANTOS:  Like Up And Cummers?
EVAN:  It certainly pays homage.  I’m actually working this month on the testimonial portion of it and I’ve already got a commitment from Ed Powers, Randy West, Peter NorthandRon Jeremy, that they’re going to do little video clips for me, like:  “Hey, I’m Ron Jeremy.  Check out my good friend, Spyder.  He’s a  rock star pimp.”   They all promised me good clips and those guys are my forefathers.  I’m the next generation of that.  I want to do this forever.  I love it!  It’s a membership site.  It’s part of a network pass, called Incredible Dollars,the fastest growing internet network of adult sites.  They have some pretty bizarre shit out there.  It’s a really neat partnership and I’m updating the site once a week.  There’s a new scene each week.  There’s a hot new porn chick each week that I bring you, and I kind of deliver it very matter-of-fact, very humbly:  ‘Hey, here’s our new hot chick and we’re going to fuck her…stay tuned,”  (Rockstarpimp.com logo).  I use rock music, which I love, and even some of my own music from Spiderz and throwing in some Biohazard;  whatever’s cool.  Some of these girls are really fucking funny.  Their ability to be cute, endearing and funny, or stupid and annoying and then shift from that to getting every hole in their body pounded is amazing.  There’s something so decadent about the whole thing that turns me on in a different kind of way—not in a sexual, in my loins way, but it turns me on in here,  (he points to his chest and head).   ‘Cause they say when you’re fucking a girl, you’re not fucking her body, you’re fucking her mind.  So when I’m doing this, it lubricates my brain—Rockstarpimp.com. 

SANTOS:  Tell us a little about the Spyderz.
EVAN:  A year ago, I was riding the electric bull in New York City and I met a guy named Dirrty, a good-looking kid.  Tattooed and with a Mohawk, carrying his guitar and some girl on his arm, he said:  “Hey man, I know all about you.  I’ve followed your career pretty closely.  Here’s my card.  I’m your new guitar player.  We need to make rock music together,”  and he walked away.  I thought:  ‘He’s the biggest jerk I’d ever met or my new guitar player.’   We started talking and he’s my new guitar player and we’ve written about 15 songs together.  We went and got some other members, my friend John Monty, he played in S.O.D., M.O.D. and Ministry.  He’s a guy I’ve known for twenty years and he’s playing bass.  Lee Nelson is playing drums.  He’s a New York session guy who’s been in a hundred bands, none that anybody would really know, but really talented.  He’s been in jazz bands and metal bands and he understands the pocket of classic rock.  My other guitar player Brooke, who was in Tyketto in the 90’s,  (that was also a million seller band).  It was more like an Aerosmith kind of band.  The guy’s a guitar virtuoso and a great song writer and producer.  We’ve been playing bars in New York like Snitch, where we bring 200 people in, opening for Buck Cherry.  We’ve played with Black Label Society.  We were just in Europe, where we shared the stage with Ozzy, Velvet Revolver and Iron Maiden.  It’s amazing!  

SANTOS:  What’s the plan for the band?  
EVAN:  The band is my rebirth.  It’s my return to my roots.  The music is old Guns N’ Rosesmeets KISS, meets Social Distortion and the Misfits.  There’s little hints of STP and Bad Religion, but really, it’s me, a modern day Joe Cocker.  The plan is that we don’t have a plan.  We just plan on doing it.  We just signed with a manager from Split Media, my friend Izzy, who also manages HELLYEAH and Anthrax.  We’ve got tour dates with Korn.  The Spyderz are currently in the studio recording and we’re actually considering moving the band to Vegas.  Anyone who doesn’t see Vegas as the future of the entertainment industry is looking through their glass too dark at night indoors.  Rather than trying to drag it all over the world, I’m thinking of establishing an amazing house gig in Vegas at the Hard Rock or at the House of Blues and becoming a local band that makes it cool to be a rock star again.  We’re part of a strange time in the music scene.  Rappers can have chicks with their butts sticking out in videos, but white guys are looking at the floor and crying to be accepted by the media.  It’s okay to be cool.  You can ride a motorcycle, have money, get chicks and be a rock singer.  It’s not uncool, contrary to what MTV is trying to sell you.  I ain’t buying what they’re selling you.  And I like all kinds of music.  I just want to write songs that are true from my heart that are about love, life, and loss, and also about my lifestyle;  living the dream.  Spyderz come out on the stage with a bunch of badass go-go dancers in tight little outfits and people wonder what the fuck is going on.  The band’s playing, the chicks are dancing, and then chicks start making out with each other and girls in the crowd are dancing, and some people want to slam dance.  The people don’t know what to do and I like it.  It’s indefinable.  I’d love to see the Spyderz do shows with bands that I admire, like The Cult and Velvet Revolver.  I’m sure we’re going to do an album.  I don’t know if we’re going to do it in the conventional sense of the record label or maybe put it out through Teravision.  I’m writing music and I’m just going to follow my heart.  

SANTOS:  Where do you find your balance with your wife, Teravision, your porno, your scenes, your music and your boy?  How do you keep yourself equal and figure out where you’re going to put your energy?
EVAN:  I have to tell you, I don’t always find a balance.  I’m so scattered and obsessive/compulsive at the same time.  It’s very easy for me to get off on a tangent, where for five days straight, all I’m doing is managing Tera.  Then I’ll be in New York with my son, where all I’m doing is being a dad.  I try very hard to balance.  I think the most important thing in my life is my relationship with my family, my relationship with my son, with Tera, with my parents, my closest friends that I grew up with that I consider family.  And I always try to make a little time everyday for that.  I speak to my son everyday, no matter what.  That’s non-negotiable.  I make sure to try to spend some quality time with my wife everyday, even when she’s shooting this for that and I’m shooting this for that.  I’m in Vegas and she’s in New York, and whatever else is happening, we shut the other people out.  And we have our conversation, snuggle up or we make love, we go to dinner.  Yesterday we had the lingerie show.  We’re working on crazy deals and having meetings.  Yesterday at 7 o’clock, we pulled the plug and went to Ago’s and got our favorite little table in the back and had our favorite meal and had quality time.  It’s really important not to forget the balance.  I try to follow my heart.  I try to split the difference between what needs to be done and what I want to do, and what priorities present themselves.  Sometimes you have to go with opportunity and strike when the iron’s hot, and it might take your focus away from what you want to be doing.  Because when the window of opportunity opens, that’s been kind of our strong suit.  That’s allowed us to do so many different things and enjoy them all.  Every few months we have a focus group meeting between me and Tera and the Teravision team.  We’re going to go do a profit/loss analysis of everything that we’re doing and Tera and I do our own agenda of what we really want to do and what’s fun to us.  I think that the end game, what I want, and what I think everybody wants, is to figure out how to be happy, how to make a good living, doing something that doesn’t feel like work.  You’re the Editor of Strip Magazine and you love it.  It doesn’t feel like you’re digging a fucking ditch.  For me, anytime working for Tera doesn’t feel like work because I love her so much.  Anytime I’m playing my music, it doesn’t feel like work because it’s my first love, and anytime I’m doing something creative, it doesn’t feel like work.  So directing a porn movie or coming up with a creative way of marketing something, or a creative deal or even being interviewed, I don’t feel like I’m working hard right now.  We’re doing what comes naturally.        

SANTOS:  Thank you very much, Evan.  I appreciate it.
EVAN:  Thanks, Scott.   SLV