Interview with Defiance, Ohio - Podcast 52

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We have a lot to go over. First of all, we have an interview which is primarily done between Jeff of Defiance, Ohio, and Justin of PunkNews.org, and he also works for Habitat for Humanity, making very little money, making very nice houses for very poor people. So, that's rad. But, before we get into the interview, we have a couple of contests that we need to announce the winners to. So, let's begin with that. The first contest we're going to get into is the oldest one, which is the Only Crime Contest, and the winner of that gets a copy of Virulence, and that goes to Charlie S. of New York, New York, who wrote, I forget the question, it was like your supergroup, and his supergroup had Jesus and a piece of shit, and that's why he won that contest.

That's the type of intelligence we reward here on Sound Scene Revolution, only the highest caliber. Next up, we're going to go to Drag the River. We had two winners for that. The question, I think, was what album would you reissue, and what animal would you put on it? We got Nick A. out of Winthrop, Massachusetts, I believe, and he'll be taking home a Drag the River t-shirt and a beer cozy, and some select stickers from the folks at Suburban Home. The winner of that, the main winner, was Chris W., I believe, out of Philadelphia, Pennsylvania. Yeah. And he'll be winning a copy of the Drag the River hobo demos, Drag the River re-release of clothes, a t-shirt, a beer cozy, and a pint glass. So congratulations on winning all that shit.

And I don't remember if it was Chris, but someone had the really good idea, because we do these at random, it's not your entry per se. But some guy had one where they would re-release an album with humping dogs, and one of the dogs would be eating a cheeseburger. And I thought that was a pretty sweet re-release concept. That's going to be our new logo, actually. It's going to be me humping Nerman, and I'm going to have a cheeseburger. So look forward to that in the coming weeks. But anyhow, the main contest we have, I know, excuse me because I'm sniffling, I have a horrible cold, is New Mexican Disaster Squad. And the first winner will be Tim K. out of Durham, New Hampshire, NH. New Hampshire's a state, right?

Fuck. You people have to come from major states. New York, Florida, California, and Texas. That's the only places where, because New Hampshire, I didn't know New Hampshire, that's like North Dakota. Is that really a fucking state? Well, I guess it is. But so Tim K., who entered the, it was make up a big long name and shit, and he did the Boston Light Bright Terrorism Cooperative, which is a cool name, actually. He will be getting a limited edition New Mexican Disaster Squad print. He may get something else, I don't recall. But he'll be getting at least one of those. It's made from, by Richard, the drummer of New Mexican Disaster Squad, and there's only 80 of them ever made. So he'll get one of those. And the main winner is Josh H. out of Cocoa Beach.

Oh, man, you come from the gayest city name in the history of mankind. Cocoa Beach, Florida? That's like man dick Florida. Oh, that's like penis in your ass, Florida. But hey, man, so at least you'll be getting some really cool shit. And we're sorry to make fun of you, but you'll be getting a limited edition silk screen New Mexican Disaster Squad print. You'll be getting a copy of Don't Believe on CD, a copy of Don't Believe on white vinyl, and some stickers and shit. And Josh's answer, which was actually pretty good too, was the relatively handsome Zimbabwean midget dancing organization. Which, if you guys ever get the chance to see if they're ever in your town, check it out. So, that wraps up most of our contests.

We still have the Tim Berry contest, which we'll run for another couple of weeks, get some more entries in. Because we, I mean, that New Mexican Disaster Squad had like fucking a shitload of entries next to Chuck Reagan and probably had more people entering than any contest we've ever done. So, I was really stoked on that. Big ups to you guys on that. So, anyhow, like I said, we had Defiance Ohio come in and talk with Justin from Punk News. I think I throw a word or two in there. And we had to edit this shit down because it was so long, dude. In between like fucking Jeff's long ass answers and Justin going down on Jeff, it took like fucking 50 minutes to do this whole thing. So, Sound Guy Nairman fucking hacked and whittled it down to 27.

So, we'll get you that. But before we do, first of all, there's no contest this week. We'll keep running the Tim Berry one. But since fucking Defiance Ohio puts all their songs up on the internet for free, the fuck are we going to give you guys? And when a band is playing a house show for donations, you really don't feel like fucking asking them for free shit. But we'll get into that in a little bit. Anyhow, we're going to play a track off of their full length, The Great Depression, which is available on No Idea Records on CD and vinyl. The first track we're going to play is Tip and Stumble. And check it out and listen to the interview. And we'll get back at you guys in a little bit.

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I can carry this show. I don't need you. It doesn't take too much work. So, this is Sound Scene Revolution, apparently. And this is your guest host, apparently. Justin, who also writes for PunkNews.org, amongst other things. And we're here with Jeff from Defiance Ohio. Hey. We're sitting in a car in Santa Cruz. You may hear the engine idle. It's pretty great. Richard is working the knobs because Narrowman is bailed out on this show. So, Richard will probably pop in with his annoying comments every once in a while. You just said I work the knobs. Yeah. You're pretty good at that. I'm excited. We're pretty juvenile. That's all I'm doing. I'm done. So, Jeff just played the second show in the Bay Area in two days. Yeah.

And we've been talking a bit about the response from the kids out here and how it's been pretty fun and pretty great. So, I don't know. I mean, it's been pretty overwhelming. Like, the shows are definitely some of the biggest ones that we played, whether it was the show last night and the mission that was a couple hundred people and it was totally packed, or just like for a house show tonight, you know, like it was people spilling out of the house and it's really exciting that bands like us or This Bike is a White Pipe Bomb or Pink Razors or This is My Fist, which are all bands that are, I don't know, I think make really amazing music and who are, you know, really interesting people as well, like that there's just that kind of support for it.

But there also has been sort of the thought about, you know, the limitations of that much interest, you know, like what, how do you make sure that everybody's comfortable and safe at, you know, a show when it's that crowded? Like, if you have any more, you know, if people were getting turned away at the show last night, like how do you, what's, you know, how do you have a bigger DIY show than that? Like, how do you find a venue that you can work with that's not run by sort of horrible business people who are, just have very different interests than your, you know, you and the people you're making music with and the people at the show and who have pretty unreasonable requirements or have security that's, that's just, you know, coming at it from a different perspective.

So it is as exciting as it is, it really prompts a lot of, a lot of challenging questions, I think, too. Right. And it's weird. I don't know, like, I think maybe the one, the one thing that's really hard about, about DIY music is that I think the bands feel, you know, because you're doing everything you're doing, because the, the band and the people setting up the shows and the people at shows that there's, those lines are really blurry, regardless of your position, I think that you feel a certain responsibility to try to, to make something like a show happen in a way that's really positive. And so, even, you know, even if you're the band on tour, I think it's hard not to, not to, yeah, not to feel that sense of responsibility to make sure that everything's going, going in a way that's, that's good.

Right. And at what, what point, like, do you get, do you ever feel like, all right, we just have to, like, we just have to do our thing or, like, do you ever feel like, all right, tonight we just have to let it go? Like, do you ever get that kind of? I mean, I think, I think that there, yeah, there's definitely times when you just can't, you can't see or you get really, you know, what could be going on for other people or just like, it's, it's so, you just realize that it's, it's kind of a situation that's out of control, you know, just the number of people or how things are organized that you just kind of have to make the best possible situation, you know, make sure that you can just play and that no one's bleed, you know, bleeding to death.

But, but, but, you know, that there's a lot of things that you can't see and you just kind of have to trust that people are, are, are reasonable and respectful to each other. Right. Like when kids are crowd surfing at a house show. Yeah. Which is, it's like, it's hard, it's hard because, you know, it looks like people are having a lot of fun, but if someone gets kicked in the head there, you know, they're not, they're not really having a lot of fun. And the thing about crowd surfing, you know, is that it's kind of sort of could involve everybody. So it's, I don't know, someone who might get injured by it isn't necessarily, doesn't have much choice in, you know, like. Right. They don't really choose to have someone laying on their head.

Yeah. So it's, I don't know. It's, I, I think that it's, I hope that people at shows just regardless of what they're doing, sort of just take into account the possible repercussions of, of the fun that they're having. Yeah. Have you found, like, since you guys, you guys released, I don't know exactly when the Great Depression came out, it was last year, I know, but have you guys found, like, shows have gotten bigger since you did that out, since the album's on No Idea and gets better just to be, all that, like, all that stuff? I mean, it seems like there have been the, the West Coast shows that there have been a lot consistent, you know, for a tour, it's, it's been some of the consistently larger shows.

And I don't, I don't know what to attribute it to, it, I mean, it, it could be that it's just, you know, it's, we're, we're touring with This Bike is a Pipe Bomb, who are pretty popular for, what doesn't, I mean, I think that they're one of the more popular bands and DIY punk and, um, I, I think that it's been a long time since we've been out here on tour, so there's probably some interest attributed to that. Um, I don't, I really don't know to what, to what degree, um, the record being out on No Idea has affected the number of people at the show. I, I think that we tried really hard to keep, to have not, you know, having a established label put it out to not have that effect, try to, to minimize the effect that that has on, on, on the way that music gets to people.

So, you know, we, No Idea has been really supportive about not printing 40 million posters or, you know, like, putting out full-page ads for, you know, for our records, because we just thought that that was maybe not, you know, just not really that important. Right. But. So how'd that conversation go, like, so we've got this record and it's really great, but we don't really want you to advertise it and we want to give it away for free, but we still want you to print it. Like, had it, like, what was that back and forth like? I mean, I think, I think it may have been a little bit surprising, but the folks that, I think that Ryan talked to them a little bit more, but when we were, not for the fest, but the time before when we were in Florida, I got to talk with Barr for a while and, and I think, I think he was just sort of excited that, that those things were important to us and just had a lot of, of faith that they'd do fine by putting, you know, wouldn't lose money or resources putting out the record and, um, I think it's worked, you know, like, I think that it's worked out pretty well for everybody.

There wasn't an, especially like putting the songs on the internet, like it wasn't even a question or a discussion, like they were, they were fine with that. So I have a lot of, uh, yeah, for, I was definitely wary in because, yeah, I was, I was definitely wary because they are a pretty established label and, um, you can, I don't know that a lot of the music that they put out or not a lot of it, but some of it has just gone in directions that are maybe more commercially oriented, but, um, I think the reality of dealing with them is that they're, they're just people who are pretty dedicated to punk, to punk music and, and, and do things in a really reasonable way. So yeah, I mean, they definitely have an ear for like the best bands of like X. They also have some bands that aren't great, but like, they definitely have the, the ear for like what the best thing is.

So it's, I mean, I think, I think that they just, I don't, yeah, I don't even know. Uh, I think that there's some, they've been putting out some bands I'm pretty excited about, like this is my fist or, I think they've, are pressing some pipe bomb LPs, which is how I've been doing that for a while, which I think is really cool, but they just repressed for seats all there. Yeah. But, um, what, I guess what I, like on, on tour, I heard a story about that a kid was telling about, just talking about when he put out his first record on his, on his label, you know, that was just something that he was doing for fun. And he was trying, you know, talking to different distros about destroying it for helping him distro it.

And he talked to a lot of them who were pretty dismissive and were like, who are you, you know, and, you know, why should we do this? And then he, you know, talked to no idea and they were like, yeah, just send us some copies. And so it's nice to know that, I guess just to, to hear from other people that, people that you're dealing with in your records are, you know, are, are, are doing good things or treating people well. What, like, do you ever, as far as like the music and obviously the message goes, like, do you ever feel that you have to draw a line between the two or like, do draw a line between the two or may have, like in the future we'll have, like, because obviously like you, you guys sing pretty, pretty politically charged songs, but you know, at what point do you have to like, are you ever, I don't know, it's hard, it's hard to like express it. This is why I hate interviews and this is why I hate having my voice recorded because I can edit this stuff out when I type it up, but like, no, it's fine. Like at what point, like what's more important, like playing in the band or like getting your point and your message out?

Like, well, I think that, I think that there's always been this idea of, of punk music, um, being, having political content, um, maybe some of us in the band, I think definitely a little bit for myself at different points, I've had this idea of sharing a message or sharing ideas or making suggestions to people about how, um, I guess just like what's fucked up in the world and what's maybe a better, a better way of looking at things or a better way of doing things. And I think lately, um, I guess I, I just really, really strongly don't want to be propaganda. Um, and so I think that the songs we've been writing are, I think that the, I mean, to separate, I think there's just so much going on in the world and so much that's really unfortunate that if you, it's pretty hard to make something creative that doesn't have, isn't affected by that. But I think that our music has sort of reflected more like our being less like saying this is fucked up and this is what people should do about it. And this is what people should think. And this is the right way to do things and more just kind of reflecting our personal reactions to seeing things in the world.

Right. Like my slogans. Right. I think, I think it's really easy to, I mean, I think even in the context of it, of something like an interview, it's really easy to sound like a politician or a soundbite or like a commercial. And I don't, I, I guess that's something that's criticized so much, you know, and rightly so. Like it's, I think that we all see marketing that's really ridiculous or just feels really hollow. I mean, of course it's hollow, but it's meant to be manipulative. Yeah. And I think it's, it's a struggle, but I think it's pretty important to us to try not to be that, even as we deal with, with things that we think are really important.

No, I think, damn it. That's a good answer.

As you can tell, we're very professional here. Um, you got anything, Richard? You want to jump in with anything? Um, yeah, it's really off topic, but I got a couple of stupid questions. Um, when you guys, uh, when it was first announced that you were going to be doing the album with, uh, no idea, you guys released not a press statement, but just kind of a statement to your fans about it. Um, just kind of saying why you're doing it and that you guys are still going to be releasing this stuff for free. Um, you know, if you had the chance, if you were doing it all over again, would you still release that statement? And do you think there was any sort of, what has there been any like backlash of people, you know, taking offense to this in any way? I mean, I think there, there were some people, friends from, um, who have, have just been people who have been involved with the band from the beginning. Um, when all of us were living together in Columbus, I think who have themselves been involved in, in DIY punk and putting on shows and putting out records and writing zines, um, and still do that stuff who I think really, really questioned it, questioned the decision to put something out with a, a larger label because of their feelings about some of the bands that were on that label or the, or, or just the idea of, of something that had, was making something for a larger audience of punk music and not for the kind of, you know, a smaller scene or a smaller community. Um, and I think, I think that that continues to be a question that they ask and that we have to sort of ask ourselves, like, is this what we want to be doing? Is, you know, like, are, are there consequences to do, to doing things differently and, or are there, there are things that make it more powerful or more transformative in terms of the, the message that was on the website? I, I, in general, but besides that, those people, there hasn't been a lot of negative response to it, which is, is sort of, it's good in some ways because you feel like your decision is, is, is respected or that it's, it was a good decision or in other ways it's sort of scary because you wonder if people are, are just sort of not being as, thinking as critical as they should be. Um, I think, I think, I think it was, I think it's really hard to, I think we really want to try to explain the way, the reasons that we do things as a band, because I think it's important to us that everything about the band is pretty intentional. And I think in general in our lives that we do things really intentionally, but, um, it's, it's hard, it's, it's hard enough to sort of feel that way for yourself. And it's even harder to explain, to explain that or express that to other people. And I think it can, I don't know, and it never comes out quite as sincere as it feels, you know, or, or all of the thought or ideas or conflicts that go into it don't really seem reflected in anything you could write to people. All right. So we're going to take a quick break in all of the exciting goings on in the interview. I know it's, it's intense, but, uh, we're going to play Bikes and Bridges, which is from the Defiance, Ohio. This is a, I can't remember if it's like three song or four song or eight song CDR that they put together for one of their tours and it's right before they released the great depression, but it's pretty good. Check it out on their website and, uh, yeah, listen to it and, uh, stay tuned for the rest of the interview.

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I think in the van, I think we listen to music or the radio. Um, it's, it's really a combination of things like this tour. It's been really random, like people, the band are pretty literate. Like everybody's been reading different, different novels. And, um, I think that there's, there's a lot of interest in like finding random just radio that's sort of outside of our pop cultural references. So we heard in Texas, we heard this sort of swapping, like, uh, kind of classified ad radio show that we were pretty stoked on where it was just people like calling in and being like, yeah, I've got, you know, two head of cattle and a outboard motor and, you know, saying how much they want it for. And it was really, really interesting. Like it's really weird. And so I think kind of just that kind of exploratory, interesting cultures is pretty consistent across the band. Um, we've gotten pretty stoked on like some, like prank call CDs that our friend gave us.

Sometimes we'll get like, there'll be some pretty intense, just like discussions about things like we've been talking about, like how, how we want to do things as a band or more often than that, though, like just kind of the underlying values or ways of look, looking at responsibilities of the world. So, and that can occupy a lot of, a lot of the time, or maybe it'll be like a couple of people in the band talking about that and everybody else like trying desperately to zone it out. So, um, I don't know if that was a sufficient answer to your question back in Bloomington. I mean, for the most part, everybody has jobs, Ryan and Sherry, uh, in addition to Sherry's job, like her and Ryan run a record store and a art gallery and they have shows there and they also sell kind of like handmade clothing and stuff like that. Um, yeah, everybody in the band just has projects like that, other bands. I think, I think Bloomington is a pretty social place. So I think a lot of us spend a lot of time either going to shows or like a lot of people just have kind of get together at their houses or just, you know, random events. It's pretty hot doing anything right now.

Yeah, actually, um, that band had just with, with Theo moving back to Georgia, um, just hadn't done anything in a really long time. And I, I think it just was at a pretty low priority. And this fall, like Kathy and Ryan and I were just talking and being like, yeah, we should, you know, like we should start playing again. And we asked Ginger to, to play drums for us and with a little bit of armed fisting she did. And so we kind of wrote a bunch of new songs that are really totally different than any of the other older songs. And so it was, went from being this thing that just seemed lifeless, like to being something that I think we're all pretty excited about. That's cool. Where, where is Theo? Like, I know, like I was looking last night, I was like, I think they're a man down, but I can't. Yeah. Yeah. He, he, um, decided not to come on this tour. Just, I think he had other obligations in his life that he, that he wanted to focus on. That's cool. That's cool that you guys are able to do that and be like, I've talked to a lot of bands who are like, well, can't really tour right now. Cause you know, X person can't make it out. Yeah. I guess when you've got eight people in the band, like, well, it's six, six. Yeah. But it's still, it gives a little flexibility. Yeah. It definitely gives a little flexibility or, or two, maybe takes off some of the pressure from people to feel like they have to do something that they don't want to. Right. And so it originally started, it was originally you and Ryan and Will. Yeah, that's right. And then you just kind of started grabbing people off. BZ, BZ showed up at practice one day and I was like, I'm going to, I want to play with y'all. And so that's how that started. And then Sherry was a friend from, just from Columbus. And we found out that she played cello. And so she started practicing with us. And then when Will moved to California, it was really hard to play shows. And we had kind of a string of friends filling in on drums. And then Theo just started doing it more permanently. That's right. Did you guys ever hang out or play at the Legion of Doom in San Francisco? Yeah. Oh, in San Francisco? Or Columbus. Yeah. Will and Ryan both lived there for a little bit. Oh, that's bizarre. So we, like when the band started, we were practicing in the basement and annoying a lot of the roommates for sure.

So when did you, when were you guys practicing and playing there? That's kind of, I think it was like 2003. Okay. So I, all right. I just want to, cause I'm like, hmm, did I ever accidentally see you guys? No, I was, I was on my way out of that area by then. Yeah. That's crazy. Hmm. Which is still, which is, it's crazy. Is it still going? Yeah. I thought it was going to totally get demolished or sold, but they're still, um, still doing shows. That's pretty rad. Um, yeah, it's, it seems like it's the house that won't, just won't won't die. Yeah. Which is, but people who live there now I think are pretty stoked about it. So it's good. That's good. Hmm. Trying to think if there's anything else. It's been a, my mind, pretty good interview. Yeah. I don't know. We've talked about music, about none. Um, all right. So you guys play some new songs tonight. You guys constantly writing songs or like, is there a plan for these guys? I don't, I wouldn't say there's a plan. I think, I think we like the idea of releasing songs that are kind of written within a span of time together, I guess, just cause that's how it's always been. And you get this, even though it's pretty unintentional like this, the songs fit together as having a kind of similar theme because they are all written at a certain point in our lives. Right. So I think we like to accumulate songs and try to release them together. Um, since we'll move to Bloomington, it's been a little bit, a little bit easier to work on, on songs. So we have how many songs? Two new songs that we play today. There's another new one, maybe two more. Wow. That we, that we could play another one that we were working on that wasn't quite done before we left for tours. So it, it's weird because it seems like a lot of stuff and other times it seems really slow or like we don't get to practice because of other people's, just the things they're committed to. Yeah. But there, but it, it, it, it has been for like, or creative. It's been a lot of, we've been playing together and writing songs and I'm personally pretty happy with them. It was interesting cause like you guys have a lot of stylistic changes like from the early, from like your demo to then like share what you got and the split with one reason. And then like the great depression, like this pretty big stylistic change. And like, you're kind of all over the map from like trip and stumble, which is kind of like, kind of like a rock and like pretty straight ahead, like punk song in a lot of ways. And then like Oh Susquehanna, which is like its own kind of being and then condition 11, or yeah. Yeah.

Conditional 11. Right. Okay. For some reason I thought I was making that up with a job worker song. Um, gee, what would give you that? I don't know why. Um, yeah, I don't know how intentional that was, but I mean, you guys are really kind of like all over the place stylistically right now, which is really cool to see. Like, but I mean, do you find that hard? Like if you're writing a song, like, like, Oh God, does this really belong in the band like ever get that feeling? I don't know. No, not really. I think that I think that sometimes there's a sense of just whether a song is good or not, or whether it works or makes sense, like musically, whether it, whether it, or if it's just a mess. But I think in terms of style at all, it all kind of works itself out or it's, you know, there's not really any question of whether or not it's appropriate, not going to lock yourself in to anyone. I mean, I think, I think that you just ultimately write, write the songs that you, or we write the songs that we write. Right. They just end up being sounding like, like however they do. I don't think there's a lot in terms of the style that I don't think there's a whole lot of intention. Yeah. I think it reflects what people have been listening to at a given or excited about, but in kind of complicated ways. Yeah. Did you read any of the reviews, like, any, like, reviews and things about the Great Depression or anything like that?

I think that people, I think we've all read things here or there that people have sent us or pointed out to us, but you're not like going out and searching them out. No. It's probably best. I think what he's saying is, didn't you write a review about it? I didn't, actually. Oh, you didn't? I got yelled at for not writing a review, but I really liked it. Um. Just so you know. So you know. I didn't write a review. Really? No. Who wrote the review? I don't remember. Actually, I do remember, but that's because I'm a big nerd. Um. But, no, it's kind of, I don't know. It's just kind of interesting, like, we were talking earlier about, like, the internet and how it lets people, like, say whatever they want. Yeah. Which is fine, but, I mean, if you, I think that it would drive someone, if you paid attention to everything that someone said about the things you made, it would make you crazy. I think part of, in general, I think in my life, too, part of getting older is getting a sense, more of a sense, not like a cockiness in what you do, but just a sense of deciding for yourself whether you think something is good or whether you think your decisions are good. Hopefully that, that's how we function as a band. I'm glad to hear that. All right. So, I think we're closing in on the 50-minute mark. So, I wonder if anybody would actually listen to the 50 minutes of talking. Oh, we'll find out. Oh, we'll find out. Trust me. We'll see. Um. No, it was all pretty good, though. So, just, uh, kind of to end this, like, is there anything you want to, I hate this phrase, give a shout-out to? That's, I use it. Plug it. I know you do. I couldn't even begin to think of things. I think, I don't know, there's, I guess there's a lot of really exciting things happening everywhere. Hopefully people, I think that in general people know what they are and appreciate it. That's cool. I would, I'd have a really hard time identifying things and I don't want to shout-out to you. Sounds good. I like honest answers. All righty. So, I think we're, I think we're good here, Richard. All right. Sweet. Thanks, Jeff. Yeah, no problem.

All right. So, that wraps up this week's interview. I hope you guys liked it. It was pretty cool. Like I said, we have no contest this week because all of Defiance Ohio's shit is up for free on the internet if you're so inclined. But let me get the chance to say this to you. Defiance Ohio is a fucking poor band. Like, they don't make a lot of money. They were playing a house show in Santa Cruz for donations. They give away all their songs on the internet for free. If you have the fucking money to give them, donate them fucking money if you download their CDs. Buy their shit off of No Idea Records. Buy their shit when you go to their shows. Because they were literally like playing this fucking show in, you know, Santa Cruz for gas money. Like, they weren't going to make a fucking crap load of money at this show. And there were people showing up who didn't want to donate, who said they thought it was a free show. And that's fine. I mean, free shows are cool and all. But these guys came all the way from across the country to play at a house in Santa Cruz stuffed with kids. And I'm sure they love doing it. But they're not going to be able to do it for no money. You know, these guys aren't out here to make a shitload of money. But they're going to need something to get them to the next city, you know, the next night through the rest of their tour. So if you see them, just fucking pony up a couple of dollars. Don't go out and buy that fucking discharge or that anarchy patch or, you know, don't buy that fucking pack of cigarettes that you're using to fucking smash the state with. And that fucking bottle of Colt 45 so you could fucking buy a can of Colt 45, whatever they sell that fucking motor oil shit in. You know, don't buy that and go buy their fucking CD at their show or go buy a t shirt. These guys don't make money for shit playing music. So just pony up and give them money. And second of all, if you're a fucking Defiance Ohio fan, do me a favor and fucking just hit yourself with a hose before you go to their show because there were like 200 people at this fucking house show in Santa Cruz. And it's cool if you smell and you're out by yourself outside. But when there's fucking 100 of you crammed inside a tiny ass fucking living room in some guy's house, it smells like the inside of my asshole after fucking Chinese food that has been tainted with fucking MSG and poison. All right. And that's, you know, I'm not trying to say anything and don't give me this. I'm too poor to afford soap shit because when I was at that show, the fucking guys who looked the poorest were the guys who had the nicest fucking cell phones. And if you can afford a fucking sidekick or a fucking chocolate razor fucking modem scrotum phone, you could fucking afford a bar of soap. So if you're poor, you're poor, dude. But if you're poor, you don't have the nicest fucking cell phone. You probably don't have a cell phone. So fucking pony up, get some fucking per plus, a shampoo and conditioner in one. So you don't got to buy two fucking bottles and you could probably rub it on yourself and it'll double as soap. So that's all. Um, just, I don't know what I'm talking about.

But anyhow, support Defiance Ohio. They're great guys. They're not out for your money. They're just fucking good people that like to play good music. And I don't want to make them a million dollars. I just want to make sure they can afford to go to your town next year when you fucking bitch that they're not on tour. All right. Anyhow, wrapping up the show, we're going to play a track again off of their album, The Great Depression. It's called Enough. I hope you guys like it. Uh, hopefully you'll enjoy it enough. Tune in next week when we will have a contest and we will have shit to give away. I'll see you guys then.

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