I
FftEE
fonjtT
October
2004
Feature
7
the
Dust
Bowl
i
i
r
t
i
0
y&
.
.
.
.
HniB
MJHIHSmmhHB
BS-mliiM
MB:
Well
shit,
I
like
it.
I
feel
like
it
s
part
of
a
tradition,
you
know?
I
grew
up
being
influenced
by
bands,
and
it
s
an
hon
our
to
be
able
to
be
in
the
same
position
that
some
of
those
other
bands
were
in,
and
see
other
bands
coming
along,
and
liking
what
we
re
doing
and
taking
some
of
that
and
using
it
in
their
music,
it
s
fantastic.
I
know
a
lot
of
people
are
learning
from
us
in
terms
of
how
we
ve
gone
about
doing
things
behind
the
scenes,
on
the
business
side.
KL:
You
do
seem
to
have
that
racket
pretty
well
taken
care
of
don
t
you?
MB:
Yeah,
we
do
it
ourselves,
we
don
t
wait
around.
And
I
think
it
s
gotta
be
that
way.
Every
band
that
s
successful,
no
matter
how
much
you
see,
like
the
Rheostatics
with
Martin
Tielli;
kinda
flaky,
weird
musician
artsy
guy
Well
Dave
Bidini
and
Tim
Vessely
and
the
band
are
like
super
get-shit-done
guys.
And
you
have
to
be
that
way.
And
it
s
always
really
cool
for
me,
seeing
a
bunch
of
16
and
17
year
old
guys
and
girls
from
a
punk
band
that
like
what
we
re
doing,
who
get
something
out
of
it.
To
me,
that
s
really
valuable,
because
you
re
totally
fresh
when
you
re
at
that
age.
You
get
in
a
fight
over
a
band
that
you
like.
It
really
means
something.
You
don
t
just
throw
around
Hey
man,
good
set,
which
starts
to
happen
later
on.
Early
on,
when
you
re
young,
you
re
fucking
listening,
you
re
really
into
it.
Or
you
think
it
s
shit.
I
just
love
that,
I
love
that
extreme.
KL:
What
do
you
have
to
say
to
young,
aspiring
musicians
like
that,
who
look
to
you
and
other
musicians
like
you
for
inspiration?
MB:
That
s
a
tough
question
to
answer.
.One
answer
would
be
don
t
listen
to
anybody,
just
do
what
you
do,
fuck
them
all.
But
then
on
the
other
hand,
sometimes
you
can
learn
from
somebody.
I
would
say,
do
it
yourself,
do
everything
yourself.
And
if
you
do
it
your
way,
and
it
doesn
t
work
out,
you
ve
got
no
one
else
to
blame
for
it.
The
music
side
of
it,
that
s
the
part
that
s
difficult
to
give
advice
for.
Because
that
comes
from
inside.
You
ve
gotta
be
able
to
take
what
you
re
picking
up
and
bring
it
inside
of
you,
filter
it
out,
and
use
it
for
whatever
you
can.
You
don
t
wanna
sound
like
someone
else.
You
can
use
some
other
window
dressing,
but
ultimately
everyone
s
different,
everybody
s
got
their
sound
and
it
s
up
to
you
to
squeeze
that
out
so
that
when
people
come
and
see
you
play
live,
they
re
seeing
something
that
s
unique.
It
s
unique
to
you.
KL:
Do
you
feel
that
five,
ten
or
fifteen
years
from
now,
making
money
will
be
as
or
even
more
important
for
you
as
making
good
music?
MB:
For
me?
It
s
a
vicious
circle.
If
you
can
t
make
good
music,
you
re
not
gonna
make
any
money.
And
if
you
re
not
making
any
money,
you
can
t
make
any
music.
I
like
to
not
care
about
the
money
so
much,
it
s
nice
to
have
a
bit
of
dough
so
you
can
forget
about
the
money,
and
know
that
it
s
cool,
and
you
can
go
and
play.
Usually
for
me
its
the
principle
of
the
thing.
So
long
as
I
don
t
feel
like
I
m
getting
ripped
off,
I
can
do
a
good
show.
Sonny
Rhodes
legendary
drummer
Stix
makes
a
joke
across
the
street
and
a
dozen
people
laugh,
briefly
interrupting
MB
KL:
So
then,
where
do
you
see
yourself
and
Ox
in
five
years?
MB:
Well
shit
I
would
just
like
to
be
doing
what
we
re
doing
right
now,
continue
the
tour,
to
play
and
maybe
have
a
bit
more
security
in
terms
of
our
money.
And
getting
across
to
maybe
a
few
more
people
would
be
nice.
Ultimately
though
I
d
be
absolutely
content
with
doing
shows
that
Jason
Molina
does,
or
Bonnie
Prince
Billy,
a
couple
hundred
people,
great!
I
d
be
happy
with
that,
you
know?
To
me
it
s
a
lot
more
important
to
get
across
in
a
meaningful
way
to
a
smaller
group
of
people;
people,
like
I
said,
like
those
17
or
18
year
old
kids,
kids
who
are
like
I
get
in
a
fight
if
you
say
something
bad
about
the
band
that
I
like.
I
d
rather
be
one
of
those
bands
than
a
band
like
Nickelback
or
someone
who
s
selling
tons
of
records,
but,
who
really
cares?
If
that
s
what
I
was
gonna
do
in
this
crazy
business,
I
wouldn
t
have
done
would
have
done
something
Because
you
don
t
pick
up
a
tar
and
play
for
money.
It
s
worth
it.
The
money
isn
enough,
you
know,
to
spend
your
life
doing
that?
So
if
at
the
end
of
the
day,
if
you
feel
like
you
ve
touched
people
It
sounds
cheesy,
but
it
s
true,
if
you
feel
like
you
ve
gotten
yourself
across,
like
you
ve
expressed
yourself
in
a
meaningful
way,
then
fine,
its
good.
So
as
long
as
you
re
doing
that,
I
think
it
11
be
alright.
-
it
I
Zy
'"
",
T"-.
not
tfmKMmmtaS
t
JEEpi9HRIKEr"'
7KBmK?9wMm
J
wzmrnrnml
-.!?
,.,rf..
--
i
1-
W
isii
n.