John Ondrasik, widely recognized as the frontman and creative force behind the band Five For Fighting, is more than just the voice behind the hit song “Superman (It’s Not Easy)”. In a candid interview, Ondrasik delves into his personal history, musical inspirations, and evolving political perspectives, revealing a multifaceted artist deeply engaged with both personal reflection and global issues. This exploration provides a richer understanding of John Ondrasik, the man behind the music, and his unique place in contemporary culture.
From Slovakian Roots to American Stages: Exploring John Ondrasik’s Heritage
While John Ondrasik is known by his stage name, his birth name, Vladimir John Ondrasik III, hints at his Slovakian heritage. When asked about his connection to his cultural background, Ondrasik acknowledges his Slovakian roots, particularly noting the historical connection of his family to the wire business. “The wire business goes back a hundred years to Slovakian artisans,” he explains, linking it to his family’s company, Precision Wire, established in 1911.
Ondrasik expresses a desire to explore his Eastern European heritage further, mentioning a planned family trip to connect with his roots. Reflecting on his travels, including a trip to Poland bookending a visit to Ukraine in 2022 and a subsequent trip to Israel, Ondrasik notes a growing awareness of his heritage’s importance. His experiences in these culturally rich locations sparked a desire to “learn a little bit more about my heritage and connect with that because it is important.” This nascent journey into his past adds depth to the persona of John Ondrasik, revealing a man grounded in his history while navigating a globalized world.
Tragedy, Inspiration, and Songwriting: The Heart of Five For Fighting
Many of Five For Fighting’s songs resonate with themes of tragedy and resilience, prompting questions about the source of this emotional depth. Ondrasik addresses this directly, acknowledging the shift in his songwriting perspective. He admits he “couldn’t write ‘Superman’ today because I’ve learned it’s pretty easy to be me,” contrasting his earlier perspective with his current understanding of genuine hardship.
This evolution comes from encountering individuals who have faced profound adversity. Ondrasik speaks poignantly about meeting “hostage families” and “Gold Star families,” experiences that have profoundly impacted him. “Looking them in the eyes…there’s no words for that,” he states, highlighting the inexpressible nature of their suffering and the empathy it evokes in him. While Ondrasik acknowledges he hasn’t faced tragedy on the same scale, he shares a personal experience that brought fear into his family’s life – an attempted murder at his home involving their housekeeper. Mistakenly believed to be directed at him by the FBI initially, the incident, later revealed to be a domestic dispute, instilled a period of fear. These encounters with both vicarious and personal experiences of tragedy deeply inform the emotional landscape of John Ondrasik’s songwriting.
Navigating the Uncomfortable: Stalkers and Public Persona
The life of a public figure inevitably includes interactions that blur the lines between admiration and intrusion. Ondrasik candidly discusses the reality of dealing with stalkers, differentiating between those who are merely “uncomfortable” and those who might be “dangerous.” When pressed on how to distinguish between the two, he admits, “I don’t have a great answer. I just hope.”
He recounts unsettling encounters, such as someone buying tickets to every show, sitting in the front row, and staring intensely without smiling or singing. These anecdotes offer a glimpse into the less glamorous side of fame, where John Ondrasik must navigate personal boundaries while maintaining connection with his audience. Despite these unnerving experiences, Ondrasik maintains a positive outlook, stating, “But overall, no. Overall, everybody’s been great,” suggesting a resilience and appreciation for his fanbase despite the occasional discomfort.
From Stage to Congress? John Ondrasik’s Political Musings
John Ondrasik’s political views have become increasingly prominent in his recent work, prompting questions about potential political ambitions. While he gives a “typical politician answer” – “I have no desire to run till when I decide to run” – he acknowledges being asked about running for public office.
However, Ondrasik suggests his current impact is greater through his art. “I do think especially over the last few months, I have more impact doing what I’m doing through the arts than I would as a politician,” he asserts. He highlights his engagement with political figures across the spectrum, mentioning friendships with congressmen like Joni Ernst, Mike Waltz, and Tom Cotton, and his work with them on issues like Israel. Ondrasik emphasizes his preference for “supporting good people” over the demanding aspects of political life, such as fundraising.
He views his recent songs addressing world events as “moral messages and not political ones.” He cites examples of how songs like “Blood on My Hands” (critical of the Afghanistan withdrawal), “Can One Man Save the World” (supporting Ukraine), and “OK” (We Are Not OK) (addressing institutional collapse) have been received differently across the political spectrum. Despite varied reactions, Ondrasik finds common ground on certain issues, evidenced by his collaborations with figures like Mark Levin and Debra Messing on support for Israel. This nuanced political engagement positions John Ondrasik as an artist who uses his platform to address complex moral and global issues, even if he remains outside the formal political arena.
Reagan, Sharansky, and the Roots of Conviction: Influences Shaping John Ondrasik
Ondrasik identifies as a “Reagan guy” and a “National Review conservative,” revealing the ideological influences shaping his political outlook. He recounts a memorable experience of Ronald Reagan sitting behind him at a hockey game, and his subsequent work with the Reagan Foundation. This affinity for Reagan’s “strong foreign policy” underscores a consistent thread in Ondrasik’s political thought.
A significant intellectual influence he cites is Natan Sharansky, the Soviet dissident and human rights advocate. Ondrasik’s admiration for Sharansky dates back to his youth, a somewhat unusual interest for a young rock musician. He describes meeting Sharansky in Israel and showing him the “Can One Man Save the World” video filmed in Ukraine. The emotional impact of this encounter, with Sharansky tearing up at his song, was “surreal and humbling” for Ondrasik, highlighting the deep connection he feels to Sharansky’s fight for freedom and human rights. This early intellectual engagement with figures like Sharansky and publications like National Review reveals a depth of thought underpinning John Ondrasik’s artistic and political expressions.
Beyond Rockstar Stereotypes: Voice Care and Disciplined Craft
Contrasting with rockstar stereotypes, John Ondrasik reveals a disciplined approach to his craft, particularly vocal care. He dismisses the “drugs or girls or fast cars” image, admitting to an interest in cars (still owning a ’65 Fastback Mustang) and girls, but never embracing drug culture. He explains his early aversion to drugs and alcohol stemmed from observing their detrimental effects on singers’ voices, emphasizing his “obsession with singing.”
Ondrasik details a rigorous vocal care routine, including voice lessons, warm-ups, warm-downs, and a “pharmacy” of remedies he travels with. He mentions dietary restrictions like limiting dairy and using antacids to prevent acid reflux, crucial for maintaining vocal health. His past tonsillitis and throat cauterization further underscore the ongoing challenges and vigilance required to maintain his voice. This dedication to vocal health highlights a professional commitment beyond the rockstar image, revealing the disciplined artist behind Five For Fighting.
“Fighting the Good Fight”: The Meaning Behind the Name
The band name “Five For Fighting” itself carries a deeper meaning, reflecting Ondrasik’s broader worldview. When asked if he should have named himself “Five for Fighting for Democracy Abroad,” Ondrasik responds, “Well, in a way, it’s kind of what it is. Fighting the good fight.” He clarifies that the name embodies “these simple things, freedom and human rights,” connecting his music and his political sensibilities to a fundamental commitment to these values.
While he recounts a junior high school fight and a broken nose in taekwondo as his limited experiences with physical fighting, the name symbolizes a broader metaphorical fight – a fight for principles, for artistic expression, and for the values he holds dear. This interpretation provides a fitting conclusion, encapsulating John Ondrasik’s multifaceted persona as a musician, a thinker, and an engaged citizen, all united under the banner of “fighting the good fight.”
