Interview with Jesse "Luscious" Townley - Podcast 3

Alright, thanks for listening to Sound Scene Revolution. This is a weekly broadcast of Bay Area local and underground artists of all sorts and shapes and sizes. This week we had an interview with Jesse Luscious Townley of a whole bunch of bands you may have heard of. He was in The Frisk, The Criminals, The Blatts. Well, the fact of the matter is this interview ran ridiculously long. It ran over an hour and a half long, so we had to cut a lot of it. And we hope we got enough of it that it's still good, but unfortunately it's still really long, so we have to cut everything else really, really short this week. But we will be giving you two tracks throughout the interview from The Frisk's EP Rank Restraint, which was on Adeline Records, but you can still find it if you visit TheFrisk.com.

We're going to be playing the tracks Mystery Spot and Leech off of that album. And if you guys have any questions, feel free to hit us up at SoundSceneRevolution.com or use our comment section. Again, this interview this week is with Jesse Luscious. And next week, with any luck, we should have an interview with Mike Park of Asian Man Records. So keep it locked. And again, hit us up with any comments. Or if you're a band, we always want to hear from you. All right, thanks for listening.

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So if we could just real quick, since we're primarily focusing on music and local music, just brief rundown about what you've been in and what you've done. Sure.

I'm from Philadelphia, and I moved out here in 1989.

Came out for the Anarchist Gathering in 89, San Francisco. And one of the shows around that event was at Gilman Street. So I walked in, talked my way in for free. That's pretty good. Which is, you know, you shouldn't do. You know, whatever. They let me in and say fuck it. But basically, I just never left Gilman. Yep. But while there, I ended up hanging out with people who became, who actually already were a band called Blats. And then we did Blats for a couple years. We had Anna, Joy, and Annie, and Marshall, and Eggland, and Joey. We did a split record with Filth. And then Chaos Disorder, Bucket of Monkeys, all kinds of stuff. And then that broke up, started a band called The Corrupts, G-R-U-P-S, with Anna Joy from Blats, and then Kamala from Cringer, Matt Freeman, and Dev Disaster.

We went on to Queen Mab and some other bands. That Transmortive 5, we went to Europe, toured the States a couple times with that band. And the second version of that band had Daniela and Dagny, and then started a band called The Criminals. That went on for five years. We were on Lookout, and then on Adaline Records. And we started a new band out of Ashes of the Criminals in 2000 with, well, yeah, out of Ashes of the Criminals, and that was called The Frisk. And we're going to be playing our last couple shows in the end of November, beginning of December. All throughout then, from the past 14, 16, fuck me, 16 years, I've been a volunteer at Gun Street. I've been at KALXC University, UC Berkeley's radio station since 91.

So I kind of have a habit of sticking around, if it's something that's, I think is really awesome, and it's artistic, et cetera. That's cool. And right now I work at Alternative Tentacles Records. In the past, I worked for Lookout Records as well. I ran my own record label with Kamala, called Sapio Records, in the middle of the 90s. And I'm sure more things will come up. There's more things, yeah. I hope so, otherwise this interview is over. Well, that was good. We'll wrap it down. That was quite a history. Out of all of that, what do you think is it?

Probably playing live. Second to that is probably writing words. I don't write music. You know, writing words that people actually take to heart, and the first time somebody came up to me and said, your words got me through high school, or got me through junior high, or made my life seem worth living, or identified with it, and it got me through a really tough time, it shocked me. And I felt honored, and small, in a good way. Oh, yeah. You know? And, you know, like, there's always, this is kind of highfalutin, but you get to the point with being a human being, and trying to, you know, this huge world, incredibly complex existence. And you want to make a difference. You want to, you know, be unique. You want to stand out from the crowd somehow.

But at the same time, you want to do it in a way that's ethical, or that, for me, my big test is, can I sleep at night, kind of thing. I don't like tossing and turning about a problem, you know, or something I'm doing wrong, you know, that I think is wrong, whatever. And to be able to do all that, and still affect people's lives, is kind of like a way to immortality on a small scale. And I think that's what a lot of people are looking for, you're looking for the meaning of life. You know, I'm someone who doesn't believe that there is life after death. So, for me, this is it. And so, yeah, and so, this, exactly. And so, this is like, that is like, to me, like a small piece of immortality. That's the selfish version.

Of course, the actual, the more important version is, you know, wow, I was able to help this person through art. But I was able to help someone through art get through a tough time. And I think that's what the best thing art can do. Well, you said there were a lot of, you know, great bands that, you know, you've seen and that have just, you know, made a difference. Was it, through your experiences, have you ever gotten to, like, meet any of those people and it's been like, those are the people who you've looked up to for so long? And, like, how has any of that gone? I've been lucky enough to meet a lot of those people. And it's been really good, in general. I'm not sure I'd say all of them, even when, even when Sparks kind of flew, eventually became good.

It worked its way out. Yeah, yeah. Like, I tell you what, Joey Shithead was the first punk rock star in DOA who I met so I was nervous to meet. And then later, I met the Ramones. And by that point, I was like, I kind of was able to kind of hold it together and say, great to meet you, I love your music. I'll shut up now. Yeah. You know, because it's like, I was just, you know, having lunch across from fucking Joey Ramone to, and then to my left was Marky Ramone. And it was just bizarre to be in that situation, like, you know, going with a bunch of, you know, other bands and the Ramones to, you know, a restaurant for dinner. It's like, this is really crazy and great and okay. But, you know, my friends were there in the other bands, so it was okay.

Yeah. But there's also bands who I would never want to meet and stars I would never want to meet. Joan Jett. My first concert was Joan Jett. And actually, the Ramones opened up enough. But that was, you know, but I didn't go to see the Ramones. I mean, I heard them. Yeah. But I was there for Joan Jett. But I don't want to meet her. You know, it's like, you have that rock. Like, for someone like DOA, or even the Ramones, there's the punk rock thing of, like, you know, the feel of not having a difference between the crowd and the person on stage. Yeah. But at the same time, like, the rock and roll star is still attractive in a lot of ways. And, like, I don't want to meet David Bowie. I don't want to meet Joan Jett.

I don't want to meet Angus Young or Brian Johnson from ACDC. You see, I mean, you know, I don't, I like them as these things, these sculptures in music that are out there and these things, you know, these things you look up to. You know, I mean, they don't want to hang out, sure. I'm not going to turn it down, but at the same time, I'm not going to, you know. Yeah, it's not something you would jump at or fall over somebody for. No. You know. I mean, I'm lucky enough to work at Katie Lux, and we get, between the different places that I work at or volunteer at, I get a decent amount of chances to meet a lot of people. Yeah. And a lot of them, it's just like, that's cool. I mean, you know, I like them. I sometimes love their music, but I don't want to.

Yeah. It's not, you know, like, I think someone like Joe Strummer would be somebody who I would have been equally, you know, uneasy about meeting, but would really want to meet, but would be kind of scared, like, you know, fanboy, big fucking deal, you know. Yeah. And so it's like, it's probably better to not even go there. Yeah. Did you ever, now, you were talking about, was there ever, like, a bad encounter with somebody? Sound like? Well, not a bad encounter, but the first time. At Gilman, the guys used to come through every May 20th, right? Mm-hmm. And so I booked the, I think the second and third times, the two final times that they played Gilman. Yeah. I booked the show, or helped book the show. I don't even remember.

I think the second time I didn't book the show, because they wanted it to be an unannounced show. Mm-hmm. And so it was the second and final time that they played Gilman. So, that pissed a bunch of us off again. Mm-hmm. Like, fuck that, you know. Who do they think they are? They're all two people with britches. I'm not saying this is, like, an intelligent train of thought. No. It's not. Well, it happens. It happens. And now, looking back, you know, with, you know, friends who've gone on, like, Offspring, Rancid, and Green Day. Yeah. Who, you would do the exact same thing, but they would never play there in the first place, because even an unannounced show by any of those bands would totally overwhelm Gilman Street.

Yeah. At that point, Fugazi was at the same place. Yeah. And so it makes sense, like, when they asked, look, we don't want to, excuse me, we don't want to have an announced show, because we don't want to turn away a thousand people outside. They don't want to have the whole show shut down. Yeah. You know, I mean, as it happens, like, every Fugazi show, Gilman, you turn people away. Mm-hmm. You know, so it's not like their fears were unbounded. So anyway, whatever. So if that's, you know, so let's go back to 1991, I think it was, I think it was 91. And so we made it all, so a bunch of us made all these great flyers, and they, like, my favorite one was made by Fraggle, and it had a Hangman's, it was like the Hangman game, you know?

Yeah. And it just had all of the consonants of the band name Fugazi, and then, like, it had the vowels, the missing vowels, like the U, the A, and the I, like, underneath it in the same typeface, you know? So, and it said, guess who's playing Gilman? Brilliant. Nice. So they were pretty unhandled about that. Yeah. And, yeah, I can understand that. And also, I mean, this is a really long story, and it's really involved, so I'm not going to go into it, but, like, basically the week, so the year before, I got it in my head, we had a, the weekend that Fugazi played, I had also booked the fuck-ups and Fright Break on the Friday and the Saturday, and we had Fugazi on Sunday. Yeah. So, I said, well, fuck it, we'll just have, I'll put the theme flyer for, you know, sorry, a series of three flyers for all three nights.

Yeah. And so, and it has the same typeface for the fuck-ups, Fright Weekend Fugazi, and they're all really offensive, fucked-up flyers, but one was a Raymond Petty Bunn drawing. And the Fugazi one, which they were really pissed off about, was from a Lydia Lunch play that I stole from Force Exposure magazine. So it was completely, like, from within the community. Yeah. It wasn't like, and then the, the, the Fright Week one was an Aubrey Beardsley pen and ink drawing them, like, you know, Aubrey Beardsley things. Who knows, like, boobs and stuff. So, like, they're all, like, really fucked-up images and whatever. Like, the Fugazi one had, had a woman being penetrated from, from behind by, and she had clothes on, except for the one.

Yeah. And she was being fucked from behind by a big, naked guy over the hood of a car in, like, a, in a, in a, a mechanic shop. Yeah. And it, the, the caption from the woman was, oh, fuck me, grease monkey fucker. So, you know, whatever. But, yeah, it's, like I said, it's a Lydia Lunch related thing, and it's from Force Exposure. So, I said, you know, wow, this is really rad, and it's Fugazi, so it's, like, you know, nudge, nudge, wink, wink. And that was an announced show, by the way, too, so it's like Fugazi. So, they were already pissed off about the flyers from me. And so, but eventually, years later, and they came down to it, like, and it was, like I said, there's all these, these other issues that were going on, like, there was these white power people who were trying to sneak in and bum rush the door, and so, like, it was a really long, long show.

This is the second show with the unannounced show. Yeah. So, there are all these problems with that show, anyway. And, so, they were pissed off, and we were waiting for them to come in so we could do the payout, because at Gilman Street, as, you know, you know, and I'm sure your listeners probably know. Better than that. It's, well, okay, basically, at Gilman, the way the payout goes is, you got all the money, the people running the show, the volunteers running the show, doing, like, an initial split of the payout, based on distance and draw and whatever. And then, get all, all the bands who were playing that night into the side room and say, this is what we came up with, this is all the money, this is what, you know, what came in, what we paid security, blah, blah, blah, blah.

And then, breakdown, basically. This is the breakdown, if you guys want to change it, or want to give money to other bands, or whatever, go for it. Yeah. It's your money, basically. Yeah. And this is the time to speak up, because we, because that's the worst thing, when people talk shit, when they have an opportunity. Yeah. And they're given the chance. Yeah. Yeah. And so we, and people still doing, which is brilliant. It's a lot easier to talk behind someone's back than coming forward, but anyhow. And, but that's all they're, so anyway, so we're basically at the other four bands. Yeah. And so, they just, they were really pissed off about the Flyers, I guess, I don't know. I think, and also because we were pressuring them to come in and give money, which, of course, being Fugazi, they gave back the Gilms tree, which was great, but it just, it was fantastic.

And, like, they were, like, really great people, like, in terms of, like, their ethics, and like, you know, really spot on, I gotta say. And they still are, too. Yeah. So, it was just a fucking mess. But, basically, like I said, years later, like, hung out with Ian, and we said, well, yeah, that was, like, however many years ago, whenever, you know, and, so I've written a big letter explaining the whole situation. Yeah, yeah, yeah. And said, you know, look, it's, anyway.

Well, that's good. I mean, he, until I can think of another question, I'm going to keep going all of this on. Oh, that's fine. He seems like one of those guys that wouldn't let something like that go. Like, he doesn't seem to harbor a grudge on many people for stuff, so, apparently. Yeah, I mean, he seems to be really on top of the person who's just pretty realistic, pretty blunt, which is really nice. Yeah. Especially when you're dealing with the music scene, because people like to, you know, suck your dick and tell you that you're doing a great job, and you should really break your brain.

That's a beautiful metaphor. It's going to be in my head the rest of the night. Well, if I don't ask another good question, or I probably haven't, but if I continue to ask bad questions, because somewhere in the back, that's running through my mind. I see how it goes. I've got to blame you. It can't be my fault the show sucks. Right. But, okay. Well, yeah, you have to work with what you have. Yeah. To paraphrase, Rumsfeld. It's the government you got, not the government you want. Yeah. But, anyhow, so, like, being a musician usually doesn't pay for crap, and you said, like, now you work for Alternative Tentacles. What else have you done to help, like, pay the bills and all that through all of this? Yeah, I'd have to say that music has never done more than pay an electric bill.

Like, it's, I mean, you know what's interesting? Okay, to me it's interesting. I don't think it's interesting. I'll say it's interesting to me if it's not. I'll say it. See, there you go. Well, yeah. No, but, okay. But is, now, kids are used to having bands that don't suck on major levels. Yeah. You know, they're used to having, oh, Green Day, yeah, they've always been on major levels. What? No, they haven't. Yeah. You know, and living through all that, blah, blah, blah, blah, blah. Oh, where's my geritol? Means that I have a much different attitude towards music. Like, I don't, I think there's a lot of stupid people out there who think that if you make money off of your art, you're sold out. I think that's complete bullshit.

Complete and utter bullshit. Like, there's no, you know, anybody who says it's better to, you know, work for McDonald's and cram your art, artistic efforts into your spare time is an asshole and an idiot and should either aim right at their mom's house and get a fucking job and see how they fucking like it. Yeah. Or B, stop fucking squatting and get a real fucking job and see how they fucking like it and have to pay fucking rent. Either one has to go with pay rent and get a real job. I mean, but that's the problem. It's like, yes, you know, we rent, you know, I've been a tenant all of my life and it's just the way it is. Basically, what my point is, it's, it's really nice to say that you shouldn't make any money off of your art, but the problem is, because, you know, you want to support a DIY, DIY scene, you know, you want to be in it just for really pure motives.

But the problem is, there are no DIY gas stations, number one. That's a huge issue. You know, if we can get a barter system going with gasoline and like, you know, colored vinyl seven inches, great, I'm all fucking for it. But until that point, there's going to have to be some commerce involved. And that's, that's reality, that's reality, a shitty reality often of living in a Catholic society, which we do. So we have to figure out how to subvert it as much as we can. And how can we be as, as, as less, as least hypocritical as possible? Yeah. And so I think there's a balance and it's not black and white. And that's the thing that people fall into on both sides of the divide. People say, well, we're signing to a major label because we want to take advantage of the majors and stick it to the man.

So you're on a major label saying, fuck you, I won't do, do what you're telling me. What the fuck are you talking about? You know, fuck you, give me my pay and keep on overcharging the people through your cartel of price fixing at all the stores. Like, what, what are you talking about? You know, that kind of stuff is just as delusional as the kid who says, you know, raising prices at Gilman Street is, you know, from $5 to $7 is the end of punk rock as we know it. Yeah. You know, the scene will be destroyed if we charge $7 at Gilman, like, fuck you. You know, $3 a fucking gallon, you can go fucking, you can fuck off, you know, like straight up. But, um, it's, it's a source of never ending millions for me.

As I can tell. But, you know, but, but honestly, but there is, there's certainly a way to, to, because it's, it's, it's, it's not black and white and this might be a good place to start editing. Like, his whole cart. Oh, we're totally, like, this is going to be like five minutes when we're out. Okay, good, good, good. But, um, but no, but in terms of how things in my world should happen, um, if we're stuck with the capitalist system, you want to minimize your negative effects on the planet, on other people, on, you know, and not fuck each other over and not overcharge people. But at the same time, you are going to have to charge people. You are going to have to deal with, um, you know, people who you pay money to.

Um, who don't share your political views when you go to a supermarket. Yeah. Because that's the cheapest place in your town. I don't think the owners of that supermarket really believe that, you know, that Green Day is sold out. I don't think they really care, you know, and. I got to talk to the owner of my local safe way behind that one. Yeah. You know, you know, I mean, it's, it's, it's, it's really, and, you know, like, you don't have to sign to a major, just, that kind of sucks. Have you ever had a problem getting along with, you know, people who are on major labels? You know, just do, are people worried that you're judging them, people that you know? No, like I said, to me, there's, there's a very clear difference between business ethics and personal ethics.

And I make that very clear. Um, for me, my personal ethics definitely extended my business ethics. Yeah. But my personal ethics, you know, they're not your ethics. They're not, your ethics are not Jane's ethics. They're not my dog's ethics. I don't think. Maybe my dog's. We don't know. We, when we, it's a mystery. Yeah. But, you know, but for the rest of us, it's not a mystery. Like, yeah, that's fine. You know, I mean, they're my friends. Yeah. First and foremost. Yeah. And, you know, friends also have to be honest with each other. And I think that's what happened when Green Day blew up. I think too many people weren't honest. And I think a lot of people spout off rhetoric, myself included. I try not to. Uh, well, I'm doing a bad job with that.

I try not to. Right. But, you know, this is rhetoric that I, I can stand behind. But the thing is, people spout off rhetoric that they cannot stand behind. Yeah. And then they wonder why people call them on their shit.

It's like, well, you know, you called my band, uh, pig fucking sellouts. Uh, I don't know why I should get you in for reading my show. And people are surprised that they're, you know, like, I've witnessed situations like that, where it's just, what do you expect to fucking happen? You talk shit, fine, but take the fucking consequences of it. Yeah, don't expect benefits or anything like that. Yeah. It's not all, you know, it's not, yeah, it's not like a one-way street. Like, if you're going to insult somebody, insult their art and their livelihood and the choices they've made, that's fine. Yeah. But don't expect there to be no consequences. I think that's something that, I think maybe it's a society where it's kind of built, it's kind of, like, everything is like a stream society, like a stream existence where everyone's in their little cocoons, like, you know, it's all just, like, Doom 3, you know, it's like, you really can't shoot in the eye, you get hit, and up, while you just type in the cheat, dude, it's cool, man.

You'll be able to go through the different walls, you know, and, you know, just skip to the next level. It's like, no, no, the next level does not exist in real life. The next level is you, you know, getting called on your shit. Yeah. I think that's the first Doom reference we've ever had on the ship. You can take pride in that. But, uh... I guess there's a movie coming out about it, I just saw it. It's coming out Friday. I was... It's got The Rock. That's what I said. I was like, well, it's got The Rock, it must be good. If ever there was a litmus test for quality movies, it's The Rock, I'd have to say. The Rock or Johnny Knoxville. Who were both in one movie together, I might add. If you've ever seen that.

No. No, no, Walking Tall. Oh, I'm gonna have to look that up. Walking Tall. Awesome. It's a movie. I can say that much about it. But, um... So, yeah. Back to, uh... I guess if I make fun of you now, I can't expect to get into the first show for free. Well, it depends. We'll see. We'll wait till you hear this. I have a sense of humor. Well, that's somewhat apparent tonight. So, I like that. You're doing better than I am. So, um... Like you said, a lot of people... I'm just gonna go... I pick up the last sentence and I run that in my next question. Gotcha. If you haven't noticed. Good segue, yeah. Yeah, it works out alright sometimes. You were talking about Green Day and how, like, originally back in, like, 94 and stuff, when they first blew up, everyone...

A lot of people said they sold out and, you know, a lot of whatever. And actually, that's happened pretty recently, especially with, like, Lookout, when they pulled their back catalog out of Lookout. You've heard some of that, I take it? Oh, yeah. How do you feel about that, personally? Or professionally? Whatever you choose. About Green Day pulling their catalog from Lookout? Yeah. Way overdue. Yeah.

That's it. I mean, like, it's... I've been really outspoken about.

That situation. I'll just say a couple things. Okay. We're not trying to push. No, no. Okay. No, I mean, the reason I'm not saying much is because I've said it a lot. They can probably find it. Listeners, they can find it in a lot of other places. There is an East Bay Express. Their online edition. There's a huge article written by Rob Harvilla, not two, four weeks ago, five weeks ago. I think I've read that that's, it's like nine, twelve pages or something. It's a long, freaking article. You talk to a lot of people. It's huge. And the really good thing about it is that it's a really honest look at the whole situation, at all their complexities, and pretty much how bummed, pretty much almost everyone involved is bummed about the whole situation.

Like, there's very few people who are dancing on the grave of Lookout Records. And I'm not one of those people. I'm someone who's like, wow, this sucks. It's like, there's a long time coming. And a lot of people in ex-band members, ex-employees, saw this coming for a long, long, long fucking time. Like, they have a huge history, sorry, very long history of not playing bands. And I've, you know, and it's not malicious, it's incompetence. And it's just sad that what was such a great, just a great idea, and a great, for a while there, I think it was actually a great record company, record label. So, um, just floundered. Like, that's the only word for just floundered. And then, in its flopping about, it took out a lot of people.

And it drained a lot of people's energies and bank accounts. And in terms of, like, not paying bands when they should have been paid. In terms of wasting so many opportunities to improve the situation or to never get in the situation in the first place. Because it's always the better of the two options, if you can take it. Right, but ten years of mismanagement, you know, you should at least pay one of your two major, one of your two only, one of your only two cash cows. You should pay both of them. And, you know, let the lights go off. And pay your two cash cows. Because that's the only place you're getting fucking money in 2,000 fucking a lot. But, oh, well, sorry. Sorry, guys. And, you know, anybody who calls, it's kind of like the kids who are pissed off about charging more than $5 for a show.

It's like, you know what? Move out of your fucking parents' house if you're pissed off at Green Day 4. Destroying Lookout. It's like, well. Green Day is, like, the last of a long, sorry, I would say Green Day is the latest in a long, long list of bands. You look full for cattle. Like, everyone from a veil to the Groovy Goleys and... To the criminals, to Blatts, to filth. Yes, you were bands, I should have mentioned that. No, I mean, you know, and, you know, Pan's Division. Yeah. A lot of bands. Screeching Weasel a while ago. Huge. Yeah.

Anyway, that whole, wow, what a drama. But anyway. It's a powder keg of its own. Yeah. That'll be another interview. That'll be a follow-up. The reason I mention that people are used to Green Day being on the major label and to punk rock, hearing good music on commercial radio, and thinking that commercial radio, it's okay to listen to when it's not. Um, is because they've always lived it, and they don't understand. And so, they start a band, and they think, oh, I'm going to get signed after, you know, playing two shows and chopping my demo around. Yeah. You know, which happens. I mean, it, you know, I mean, it happens all the time. Once, yeah. You know, bands have literally played no shows and gotten a major label contract.

Now, today, you know, most of the time it's not punk rock, but it's really, it's like loud guitar rock. Yeah. You know, like, you know, singer-songwriter, singer-songwriter stuff, looking for the next Elliot Smith, or whatever, you know, whatever little sub-genre of a sub-genre of a sub-genre of a sub-genre of a sub-genre of it is. And so, kids don't, now I really sound like I'm fucking old rocker goddamn kids, but it's fucking true. The goddamn kids think that they can get fucking signed just like that, and that they don't have to spend three, five, ten years in a fucking band, sleeping on people's fucking floors, getting fucking scabies, fucking freezing to death, fucking going into buying a soda at a truck stop, and then taking all of the contents you can from the snack bar, because that's the only way you're going to get anything for the loaf of bread that you bought.

Yeah. You know, two states ago. You know, two states ago. You can catch up. Yeah. I mean, that's fucking rock and roll, and that's fucking music, and surviving as an artist. Yeah. You know, and you, you know, and even if you do get that gold ring to get assigned to some shitty fucking major, like I said, that, you know, like I will say later on in this interview. Like you will hear. Like you will hear. Remind me to ask you that question. Tour buses aren't free. You know, they are loaning, they are charging you for that tour bus. You're just on like the delayed payment plan for that tour bus and for that tour support. Anyway, so that's why I've never made money in music is because I'm not able to buy my records.

But to make it, no, to make it realistic, to not be able to do that, or not to be able to have a day job. But also, I mean, it's really great having a day job that you love. We're going to get, there's a question that was posed to me something years ago, and I asked a lot of people, and so I try to get everyone's opinion of it. If the Smurfs fought the Ninja Turtles, how do you see that one going? I would have to say the Turtles, because they have more weapons. Yeah. Like, the Smurfs could kind of do like a Chinese-North Korean thing, just overwhelm them with numbers. Numbers. Which did work in Korea in 1951. Whenever the, you know, they just poured over the fucking board, just like, fucked up the fucking U.S., Jesus Christ.

Just, I mean, it was just literally, it was hordes. Yeah. You know, the hordes of, you know. Of genera... Of generality fame. Sorry. The stereotypical hordes, that's what I would say. Yeah. Yeah. Um, I think that would be the Smurfs' only hope, especially if they don't really have any weapons. Yeah. I don't think so. And, uh, but aren't the Turtles bigger than those? Oh, yeah. Yeah. They're bigger by a good amount, though. Yeah. They'll just stick on it. It's gotta be, it's gotta be 30 to one, I think, you know. It's like the numbers. Yeah, but if you have, like, 30 chihuahuas attacking you, just keep on kicking them into this top of the bucket. They learn. They'll learn. With enough kicking. With enough kicking, the Smurfs will learn.

Yeah. Excellent. That's the quote we're using. That's gonna be the headline. The one full quote. Jesse Luscious says, with enough kicking, the Smurfs will learn.

Excellent. So, um, yeah, before we wrap this all up, is there anything you want to say? Any, like, just thing that I didn't ask that you'd like to touch on real quick? Yes. It's more along the lines of, like, kind of final thoughts. Um, number one, I'm easy to find online. Um, oh yeah, the plug section report for that. The plug section. Plug yourself. Sorry. No, no, no, that's fine. Um, whether it's through city politics, um, or we have a website for the band called thefrisk.com. Um, I do have a MySpace page, which, you know what, I'm only, I'm looking for old friends. I'm not looking for new friends. No, you're not looking to meet those either. No. Sorry. It's, and it's been really successful, actually, doing that.

But, at the same time, my email's on there, I think. But I'm easy to get a hold of, basically, is what I'm saying. Like, there's a bunch of places. Um, oh yeah, go for one. That's fine. I mean, like, you know, like, not my home email. Home address and phone number. Yeah, not my home address or phone number. Like, my email. It's all gone. I mean, email, I don't give a fuck. Because, you know what, somebody can email me, but I don't have to. Yeah, you can, email's real easy to let you find out. Yeah, I'm really, I'm as bad with answering emails as I am with letters. And I'm horrible with letters, so. You know, so it's really, uh. I'm glad I never sent you a letter then. That would be totally disappointing. Well, now it'd be, oh, a letter.

Whoa. Don't give me anything. It's not a bill. It's not a bill. And it's, yeah, wow. I didn't win something. I know, right? I want to thank you a lot. And the Frisk will be playing, ideally, it's a couple of shows. Yes, we'll be playing two shows. The Friday of Thanksgiving, we're playing at Gilman Street with Propagandhi. And we're playing the following Friday, the first Friday of December, at Burnt Ramen with The Briefs. Clip 45, and Thought Riot. And that will be our final show ever. Oh, uh. And that'll be the lineup that we recorded with, with Mike Six from Criminals on Bass, Hunter from AFI on drums, and Zach Hunter on guitar. Wow. So it'll be kind of like the old school Frisk. Back in 2001, dude, yeah! Well, that'll be, uh, that'll be really cool.

So hopefully some people who are listening will go and check that out. And again, yeah, I want to thank you a lot. And, uh, thanks for just sharing some time with us. Hey, thanks for coming over. I'm glad you guys were able to come over and, uh, let me talk at you. That's what we did. Hopefully we'll get some out of it.

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