PARADE OF FLESH

Interview conducted in January with Mi Ami. Their debut album, Watersports, is being released February 17th on Quarterstick. The first single Echononecho is already available. Mi Ami’s members are: Jacob Long (bass), Daniel Martin-McCormick (vocals/guitar) and Damon Palermo (drums). Jacob & Daniel were part of the legendary, short-lived, Washington D.C. Dischord punk band Black Eyes. I was able to see Black Eyes two or three times and they are probably the most intense group of musicians I’ve seen perform live. Mi Ami will be performing at Lounge on Elm St, along with Thank You (Baltimore) and The Watchers (Dallas) on March 5th.

PARADE OF FLESH: Mi Ami’s debut full-length album, Watersports, was recorded live in only 2 1/2 days. How were the recording sessions laid out? How will the live tour compare to the studio recording of Watersports?
JACOB LONG: We just set up and played. It’s how I’ve always approached recording. As a band, one of our strengths is the looseness/space in our songs to play off/with each other and there really would be no other way for us to get the songs “right” than to just set up and play. We did the basic tracks that way and then added vocal overdubs and a few other things (a little percussion, guitar, synth, etc). The mix was also approached as another performance element in a lot of ways and there was a lot of on the fly fx/mixing throughout. I think sound-wise we did a good job of capturing what we sound like live on record.
DAMON PALERMO: (The album) was recorded in 1/2 days and mixed in 2/3 days. The layout was: record the songs straight through , then overdub - vocals & some synths later. There were no drum overdubs on that record. (Live will be) louder, faster & less together than the record!
DANIEL MARTIN-MCCORMICK: I agree with Jacob 100% that we could not accurately or convincingly translate our music to tape without playing it live, together in a room. Besides, what’s the fucking point? As for live, we have a couple of new songs, and the pattern seems to be that new material is always slightly more dynamic/purposeful/subtle and open to us, so I’m sure we’ll be playing it and exploring the possibilities that we hear. However, I think Damon is correct that there will be some loose jamming and probably a bit of careening through some sets.

POF: Any particular songs that you guys were unable to master in time for the recording of the album?
JL: No, the album pretty much is all the songs we were happy with when we went in to record. We had a few songs we were on the fence about but they just got cut from our repertoire when we decided we weren’t going to try and record them.
DP: There were no issues with running out of studio/mastering time. We ditched 1/2 songs in the studio or prior to the studio, but it was by choice, and not because of time limitations.

POF: What was the main influence behind Watersports? I know some prior
singles had a very african/tribal roots…
DMM: First of all I am going to start off by calling out “tribal” as arguably the most offensive bullshit word being bandied around rock critic circles in the new millennium. I mean, for fuck’s sake, let’s get it together… it sounds like campfire scene from Ace Ventura 2. We are not going ooga booga with a djembe, so let’s throw it out right now. As for the percieved African influence, this is most likely my fault for naming our song “African Rhythms.” The title referred to the lyrics rather than the percussion; the song is about patterns of colonialism and imperialism, and the feeling of mourning and paranoia that comes with living in America as it turns Iraq and Afghanistan into chaotic jungles for the sake of a little profit back home.

Not to be too confrontational, though…I feel African influence is both obvious and something I feel uneasy claiming. There is clearly some African music that I and we are influenced by, but the influence is more intuitive than explicit, and it’s mixed with healthy doses of disco, dub, punk, Bad Brains, minimalist compostion, krautrock, Tangerine Dream, gamelan, post punk, free jazz, drone, noise, and so on into infinity. Maybe the best way to contextualize it is we all go for repetitive song structure, “groove,” percussion, negative space and intensity. But all this genre lumping has got to go. No African would claim our music as local. Not even close.

JL: I think the African thing is there but a little over emphasized? We all love music from all over the world (and I have been pretty heavy into various African music lately) but it wasn’t a purposeful thing. Plus “African” music is such a broad thing its like saying we are influenced by “American” music….i feel influence from touareg “blues” bands, and the vibe of Ethiopian music from the 70s, and konono no1, and king sunny ade, etc. but I don’t think we really approach sounding like any of them. If anything I think somewhat the overall idea of playing very repetitive, cyclical lines is a tie together between a lot of those musics and the idea of a “jam” as compositional structure…

I would say my biggest influence over the last couple of years has been immersing myself in jamaican music. and Can is always a big influence especially when trying to minmize what i’m playing on bass while maintaing the necessary amount of low end weight…

DP: I cannot speak for the band since we are all inspired bydifferent things…some of which have nothing to do with music!, but I agree with Jacob…in that the African infuence is exagerated by write ups? I didn’t know what a polyrhythm (or) who Olatuni was until our first 12″ starting get press.

POF: If you’re replacing the adjective ‘african’, what would you use instead to accurately describe the sound and percussion portions (or at least on the unintentionally
ambiguously titled “African Rythyms” 12″)?
DMM: Personally, I feel more comfortable with terms that actually approach the sounds we are making rather than terms that try to place it within someone else’s world. Of course there are some surface similarities to drum centered music from Africa, but I think you’re better off starting with: Percussive, noisy, cyclical, hectic, heavy, aggressive, mercurial and joyful.

The biggest complaint I have about terms like African and Tribal being used to describe music like ours is the undercurrent of racism and ignorance that allows them to slip by unnoticed. Traditional African polyrhythmic drumming is some of the most complex music on the planet, and can really only beplayed by master percussionists. To play that music well is to devote your life to a style that, while not exactly, can be seen as a parallel, and certain equal, l to the virtuosic classical traditions of the colonizers. It’s not people chilling out in a drum circle in the park.

Our music is most definitely in conversation with a lot of other music from around the world, but we are not at all trying to do some blackface punk African music.

POF: What instruments do you all use/ (or) what is the setup?
JL: Our setup is pretty straightforward. Guitar, bass (and) drums. Damon’s kit is kind of unconventional (bass drum, snare, floor tom + roto toms, timbale as a rack tom + electronic drums pads/triggers and some electronics). Daniel and I both us a varying amount of fx on our instruments as well as recently re-introducing some keyboards and other live electronics use in some of our new songs. But for the most part I think of us as a pretty straightforward “power trio” setup…
Dan: I would add Bass FX too. I mean, I use distortion and delay on guitar, but I feel the way Jacob uses FX is a semi-independent counterpoint to his actual basslines. Volume might be another instrument of choice?

POF: Mi Ami is comprised of two-thirds of Black Eyes. Is Mi Ami where Black Eyes left off or what? With such a long absence are you guys surprised at the continued relevance of Black Eyes?
JL: Obviously, Daniel and I are playing instruments we played in that band (although for the last year or so of that band I barely played bass) and we have very personal approaches to how we play our instruments. However I think the sonic pallete/approach to composition/etc of this band is very different than it was in Black Eyes, so any sort of continuum between the 2 bands might be heard more from the outside rather than what we feel as those involved with the creation of this music. In a lot of ways I feel that some of the other music Daniel and I played together (and on our own) after Black Eyes really led the way to how we approach music in this band much more (becoming comfortable with free structure/improvising, using SOUND as an organizing approach, expanding sonics through use of fx, etc)
DMM: The only thing I can say about Black Eyes is that, as important as it was to me, it was most certainly not where I left off. Rather, I would say that the end of Black Eyes was the beginning of the rest of my musical life. Mi Ami is infinitely more focused, personal, and intense for me, and is more informed by the musical/philosophical/geographic/personal explorations that followed the demise of that band than anything Black Eyes did. I am sometimes a little surprised when people talk to me about Black Eyes now, because I remember moving to California in 2005 and assuming that I would have no trouble meeting people thanks to that band, and finding instead that pretty much no one cared. Now everyone wants to talk about it. It’s totally fine, but it’s very much in the past. I would say that anyone who thinks Mi Ami is where Black Eyes left off is probably doing a cursory itunes+computer speaker listening session, skipping through the songs instead of listening all the way through/actually paying attention.
JL: Daniel and I played in 2 bands after Black Eyes (and both played solo music for a while as well) that explored ideas/concepts that much more directly led to what we are doing today in Mi Ami than I feel our time in Black Eyes did. Among other things these projects led us to explore: free improvisation/improvised structure/instant composing, sound itself as important as a compositional tool, repetitive ideas, minimizing song structure and allowing other elements to drive a songs development…

POF: Other than Thank You, whom would you have wanted on this tour? It is really paired well for what both bands are currently creating musically with their latest releases.
JL: Yeah, I agree and am very excited to share this tour with them. Initially the idea was thrown around to have Psychic Paramount on this tour as well which I would have loved as they may be my favorite rock band operating at the moment.
DP: For this tour we weren’t really think about WHO we were going to tour with. We were just trying to figure out HOW we were going to tour. At the perfect time we were contacted/asked to tour with Thank You!
DMM: The last few years have brought a number of incredible bands to my ears. I don’t know if it’s the cultural climate or just good luck, but off the top of my head I can name a number of great groups who I would love to play with: Grouper, Psychic Paramount, Inca Ore, Growing, Steve Summers, Food for Animals, Lexie Mountain Boys, Zomes, Abe Vigoda, 51717, Finally Punk, Blue Sabbath Black Cheer, Zs. The list goes on…. Getting to tour with Thank You is something I am very thankful for, though.

POF: Okay, the name Mi Ami, What’s it about and do you hear a lot of folks say Miami, like the city?
DMM: I wanted a name that had some kind of meaning or association already attached to it. I don’t like band names that fall flat on the floor, and if nothing else, people can see this and think of the Miami Dolphins or something. But I had wanted to be in a band with some serious BASS, a la Miami Bass music, and I also liked the weird fucked up aspect of this semi-gutted party city with massive disparities between the rich and the poor. Well, I don’t like it, but it’s an intense image. I also like the way you can look at the name Miami forever and not notice that it’s mi ami put together.

February 3rd, 2009 | Category: News & Notes, interviews | Leave a comment

Interview with two-sevenths of When Dinosaurs Ruled the Earth and one-third of Pterodactyl. Maybe in time I can interview the other five members of WDRTE.

In January, I conducted an interview with George Dishner and Jesse Hodges, dueling lead singers of Austin grunge ensemble: WHEN DINOSAURS RULED THE EARTH. Currently they have an EP on Emperor Jones, a full length out on Chalk Circle Records and appear on the endlessly impressive Love & Circuits: A Cardboard Records Compilation. Jesse Hodges is also the newest member of the band PTERODACTYL, which will be playing SXSW this year and making a stop at the inaugural SOUTH BY SOUTH FLESH in Dallas on March 22nd.

Parade of Flesh: What’s the best (and worst) part of being in a seven-piece band?
Jesse Hodges: Well I mean we’re all friends and that was super important in the formation of the band. Being in a single vehicle with 7 people for a really long stretch of time can be a bit frustrating especially when you’re in an atmosphere inspired by Taco Bell visits and hangovers.  I’m really only around for tours and random visits so there’s a whole other dinos world with it’s own answers on that one.
George Dishner: We are all good friends, so it’s nice to be surrounded when we play and go on tour.  It does get cramped in the van, and scheduling practices and shows can be difficult.  We like rolling deep. 

POF: Oh yeah, I completely forgot you are living in NYC now. How does that work with Jesse being so distance?
GD: Jesse being in a different city has been a part of dinos’ structure for a few years now.  He was in Chicago and Tuscaloosa before NYC.  On the 7 inch recording (sessions), we sent rough demos from iphone recordings for him to get an idea of the song, then sent the initial studio mixes as well. Then when we mixed, we dumped in his vocals.  With Not Noiice, I think we scheduled recording days on one of his visits to Austin.  We don’t have a set way of operating around the distance. 
JH: Our friend Jonny “Two Eyes” Schenke of the band Mittens on Strings helped me with record stuff for Not Noiice and mastered it as well.  He’s a bad ass!  There is one secret version of “It’s not the Heat” that has clarinet (played by our friend Jacob Daneman also in MOS).  It had that whole “When I’m 64″ vibe with the long drawn out notes. I really liked it but the other dinos weren’t as hip to it.  It will probably never see the light of day but I listen to it every once in a while when I’m feeling nostalgic and I still love it.  Point being that the distance provides it’s own unique opportunities as well as pains.

POF: What are the other bands that everyone is, or has been, involved with?
GD: (Here is a) list of bands everyone has been in, (that I can think of):

Nate Cross (guitar) - Awesome Cool Dudes, Expensive Shit, Dakota Building, Tuxedo Killers, The New Drugs
Brandon Crowe (drums) – Oh, Beast!, Awesome Cool Dudes, The New Drugs, The Hammicks, (his could go on forever)
George Dishner (vocals) - Tuxedo Killers, Dakota Building, Expensive Shit, Bury Me With My Gun
Jesse Hodges (vocals) - Twin Powers, Pterodactyl, Dakota Building, Tuxedo Killers
Cory Plump (bass) - Awesome Cool Dudes, Expensive Shit, Foggy Mountain Cop Killing Boys, Fagg Jr, Dakota Building, The New Drugs
Chris Stephenson (drums) – Dykes of Holland, Fire vs. Extinguisher
Marc Voorhees (guitar)- Fagg Jr., Tuxedo Killers

POF: Jesse, So just coincidence being in two bands that are Jurassic in nature? 
JH: Well it’s a recent development.  Only in the last year have I been in two bands with dinosaur names.  A lot of people have the same response when they find out…”oh you must really love dinosaurs?” and I usually respond with “not really” as I didn’t name either band.  It just worked out that way.  I guess I’m more into people who like dinosaurs than dinosaurs themselves. 

POF: Have you thought of lending efforts to Dinosaur Jr. as well?
JH: I don’t think I would ever want to be in Dinosaur Jr. because J Mascis makes me nervous.  I saw him at a Fucked Up show at Beerland during last year’s SXSW and all I could think about was what I got out of reading Our Band Could Be Your Life, which is that J Mascis would probably make me feel kind of nervous and awkward.  To be honest though most people make me feel that way but it sounds like being in that band was a passive aggressive nightmare.  No thanks.

POF: Did the band’s name “When Dinosaurs Ruled the Earth” come from the 1970 movie with the same title?
JH: I don’t think so at least not directly.   It’s funny how naming your band directly affects your knowledge of certain things.  I know way more about that movie than I should although I’ve never seen it.  In a lot of ways I wish we would have just taken one for the team and called our band Wayne’s World.  We are all willing to go there for hours and would make googling ourselves much more interesting.  I can’t wait for Wayne’s World 3: The Quickening.
GD: The name came from Marc.  I wasn’t in the original line up, so I’m not sure how it came about.  He has always been fascinated with Dinosaurs.  I haven’t seen the movie, and I’m not sure if any of us have.  Strangely enough, despite the name (or perhaps because of it) we do our best to avoid any sort of Dinosaur imagery when it comes to the band. 

POF: Okay, last one about dinosaurs. What is your favorite dinosaur and why?
GD: The archaeopteryx (though it probably isn’t dinosaur in the strict sense), not so much for any cool attributes in possesses, but for the fact that it stands as a link between ancient dinosaurs and modern birds.  The fact that people still dispute evolution in favor of something that is rooted in neither, logic or rational thinking astounds me. 
JH: Caudipteryx. It’s like a two-foot tall chicken with talons that swallowed prey hole instead of chewing it.  Pretty-scary looking.  I picked it because I feel like I can relate

POF: Whose idea was the “Nirvana Unplugged” inspired video for “It’s Not the Heat, It’s the Humidity”?
GD: I can’t really remember whose idea it was for the Nirvana aspect of the video.  The original idea I think was to do something like a greatest hits of the unplugged series, however the costumes, etc would cost too much.  All of us grew up watching MTV, and I personally think for the most part Unplugged is kinda silly (KISS, LL Cool J, The Eagles, Clapton etc).  I think the Nirvana idea came about when we bought into the gag of doubles of everyone. 
JH: I think it was Marc’s although the decision was made while I was living in Chicago or Alabama.  Can’t remember that either.  It’s been a long year.  I can say that the inspiration definitely resides in our collective sense of humor/weirdness as a band though so I think the idea would have eventually presented itself regardless of who first thought it.  If not Nirvana, it might have been Beavis & Butthead inspired or possibly even Jar Jar Binks.  We’re really just oversized seventh graders.

POF: Tell us about “Houston Voice”, your contribution to the yet-to-be-released US Two records split with Batwings?
JH: It’s about being a creep, right George?  It feels kinda anxious to me.  That’s me breathing in at the end.  I was anxious doing that song because of my situation this year of moving around so much and trying to keep up with all the projects I’m involved with.  I did a little less singing and more just manipulation of vocal tracks to create more background texture and the occasional weird flourish.
GD: “Houston Voice” is lyrically about being a little bit of a creep despite your best efforts, specifically college campuses. I’ll spare you the boring details. The name came from a term coined by Oh, Beast!  wherein someone has almost overwhelmingly gravelly voice, not unlike what Hulk Hogan’s voice sounds like. 

POF: Jesse, How did you manage to land a job at Panache Booking?
JH: I used to work for SXSW in my early twenties.  I met Michelle Cable (owner of Panache Booking) while I was doing some booking stuff there.  We hit it off really well and when I left SXSW and Austin for Chicago, we stayed in touch and decided that we wanted to work together because we got along so well and shared a lot of the same common interests in music and an enthusiasm for touring in general.  I helped her out, here and there, while I was working at the Empty Bottle in Chicago and then flew out to New York to discuss doing Panache full time and now I’m living New York and I’m doing it.

POF: I envy you’re appearance in the Marnie Stern video for “Ruler”. Any story behind that?
JH: My friend Matt Marlin (drums in Pterodactyl) played with Marnie for a while and we’re all friends.  He was given the opportunity to shoot a video for “Ruler” and was super excited.  We talked about the theme and I offered to help.  Matt and I have a really weird sense of humor around each other, which basically stems almost exclusively from our love of the movie Step Brothers.  I think in our countless hours together saying stuff like “chest pubes” and “ball fro” he got the idea that I could be this humorous character in the video.  I got really excited because I love Marnie’s stuff so much and it sounded fun.  My girlfriend Adrienne helped pull the fake chicken around in that scene and Joe Kremer (guitar, Pterodactyl) also helped as well so it was all in the family.  If you look close you can see that my teeth are totally fucked up.  I broke my four front teeth really badly as a kid and have to get them replaced every ten years or so.  I was in between sets and so they are particularly gnarly and weird looking.  

POF: What’s in the works for you two, either professionally, personally (or both) in 2009?
GD: 2009 will hopefully bring us more touring.  Professionally, I’m hoping for more money I guess
JH: 2009 is going to be a great year.  I totally feel it.  There’s something stirring in the air right now, isn’t there?  I’m going to work a lot and tour some.  I’m working hard on getting my other project Twin Powers up and ready for live shows.  Our first show ever is going to be with Daniel Francis Doyle (former WDRTE drummer) and our friend BJ Warshaw from Parts & Labor’s other project Shooting Spires, so Adrienne and I are stoked!  My main goal of 2009 is to get to the UK sometime this year to visit my dear old friend Gary Cottis.  See Gary, our plan is on the internet now so it must be official.

POF: With an initial line-up already posted, who do you want to see this year at SXSW?
JH: I am always excited to see The Carrots.  I’ve heard some newer things they have been working on and I’m stoked.  Such beautiful sounds!  Bands that I will 100% be seeing in one way or another: Vivian Girls, Shawn David McMillen, The Sonics, The Coathangers, and Total Abuse. **
GD: I honestly don’t usually make definite plans to see certain bands, with playing shows and trying to see out of town friends, it’s more fun to me to take in casual. Just go with the flow.  I usually try to concentrate on seeing acts who don’t tour or play out much. 

POF: Some nostalgia; What is the best show you’ve ever played and why? And it doesn’t have to involve WDRTE.
JH: This last tour had some really crazy moments that topped the list.  For spectacle reasons I would say our best shows were at the Empty Bottle in Chicago and at the Lazer Puzzy in Little Rock.  Those two involved shows involved the following: punches, sunglass bartering, chocolate gravy, overuse of a strobes and a smoke machine, and getting to go backstage at a Metallica concert.  Shit was intense.  My personal favorite WDRTE show based upon music alone was the last show of the only tour we did with Dan Doyle at Emos Lounge.  Something clicked between all of us in a way that’s just hard to reproduce and “Bananafana”( aka Nanners) slayed.
GD: Best show lists are pretty hard… The Dinos vs Gorch Fock free week last year was fun.  On last tour in Little rock was fun — we played in a tiny basement at a really fun party.  The Tuxedo Killers’ art mansion pillow fight party years ago with Awesome Cool Dudes and Those Peabodys; (this is) when Jesse and I first started playing and hanging with Cory and Nate. Dinos show with Attractive & Popular and These are Powers.  The Philly Show when we (played a) 12+ member stoner jammed “Bananafana” with Teeth Mountain and Hearts of Darknesses in a basement.  The AAM Day Party at the end of CMJ a few years ago when we got way drunk at 10 am.  The Sunday Show last year at SXSW when we go way drunk at 11am.  The Prehistoric themed Glasslands show with Pterodactyl.  The shows we have played with the Sneeze (RIP) and Skullening (RIP too) at RanchO RelaxO.  Those are a few that come to mind (and) are all fun for different reasons, but generally because we played with awesome bands and great crowds.  We’re a party band!  Still Tippin’ Down.

When Dinosaurs Ruled the Earth will be appearing at this year’s SXSW and a bunch of other neat cool places throughout the duration of 2009. Their US Two Records Split 7″ with Batwings should be ready by mid-March.

January 18th, 2009 | Tags: interview, videos | Category: News & Notes, interviews | Leave a comment

Interview with Matty McLoughlin of The Soft Pack (formerly known as the Muslims). This interview was conducted right after Thanksgiving, but I have been too slammed to put it up on the web.

Parade of Flesh: First obvious, almost obligatory question:  Why the abrupt name change from The Muslims to The Soft Pack; and any significance it was announced the day before Thanksgiving?
Matty McLoughlin:  We decided to change the name because we were sick of it. Sick of questions, jihad comments, basically everything about it. It became a total nuisance. We didn’t care about it, were excited to change it. No significance on the announcement, we had (wanted) to change it for a year now but all of the names we came up with were terrible. The only one we got excited about was The Soft Pack.

POF:  Are fans to expect any changes in line-up or the overall sound with The Soft Pack?
MM: No lineup changes. The first record was done by Matt (Lamkin) and I. Brian (Lantzman) and David (Hill) joined in January of this year. Right now we are working on new material and it is much more of a collaborative process. The sound and songs are getting better.

POF: “The sound and songs are getting better” . . . In what ways do you think it has improved?
MM: Brian and David bring great ideas and open things up for what Matt and I can do. We can do whatever we want. We have been playing a lot together through touring and working on new stuff, so we are more powerful and exciting with our instruments. 

POF: Who recorded what on the first LP? Are both you and Matt Lamkin versatile musicians? 
MM:  Matt and I wrote all of the material and played guitars and bass on all of the tracks except for 2. David played bass on two tracks and Brian played drums on two tracks. The rest of the drums were done by a bunch of different people.

POF: If you had to choose one track for people to listen to and form an opinion about your band, then what track would it be, and why?
MM:  Every new song we write becomes my favorite song to play. The most recently recorded one is called called “Parasites”. It’s on a 7 inch. That’s probably my favorite (one recorded). My real favorite is one we haven’t recorded called “Everything I Know.”

POF: In the video for “Extinction”, is that true frustration or just some good acting?
MM: Well you’d have to ask Matt that question. But I think it was a little of both.

POF: I first heard of The Muslims when they were announced as tour support for The Night Marchers (Jon Reis’ current project) in 2008. How did that come about?  (or just b/c everyone is from San Diego?)
MM:  Speedo asked us to go on tour with them when we were at SXSW. We we’re really excited, as we are huge fans of the bands he’s been in. I’m guessing being from San Diego didn’t hurt but we had never spoken with him prior to that conversation.

POF: On the first full length LP, on 1928 Recordings there are series of holes in the Sleeve. What’s the story behind this?  Also, did the band come up with the packaging, concept and inserts? Anyone have a background in printmaking? 
MM:  Matt came up with the concept of shooting the records. We didn’t have enough money to do a colored silk screen so Matt thought it would be a good idea to shoot the records. Our friend Ryan at 1928 Recordings hand typed all of the inserts and silk-screened the all of the records. I thought he did a great job. He’s a pro.

POF: Is there drama in the SoCal music scene because you guys are based in LA now; but then get nominated for Best Album at the 2008 San Diego Music Awards?
MM: No drama in Socal from what I can tell. We knew we weren’t going to win the sdma award. I don’t think anyone cares that we live in LA now.

POF: Whom do you guys get compared to most often in the press? 
MM: We probably get compared to the Velvet Underground or Strokes the most.

POF: And finally, how did the name The Soft Pack come about . . . anything to do with cigarettes? And why Pack (singular) instead of Packs (plural)? 
MM: Na, nothing to do with cigarettes. I hate soft packs of cigarettes. Pack, you know like a pack a fuckin’ dudes.   

December 10th, 2008 | Tags: interview | Category: News & Notes, interviews | Comments (2)