Part I: Karim of I’mBetterThanEveryoneRecords
Nick: So how did you hear about the Slow Southern Steel project?
Karim: It was brought to my attention by CT from Rwake. I got in touch with him while working on the Deadbird record [The Head and the Heart]. I met those guys at Emissions from the Monolith. They hooked me up with CT. He pitched the idea, that he wanted to film these bands, and talked to me about getting some kind of backing. He got me really excited about it.
Nick: What was the pitch?
Karim: “I have this idea to get all of these underground bands from the South, south of the Mason Dixon, all of them together.” He gave me a list bands he had and wanted, I said they were all good, through some in, and we went back and forth talking about different people. He had set ideas of people and bands from the start. We talked about Weedeater and having Dixie [Dave Collins] narrate the movie - what more perfect person could we have? We don’t have him down yet, don’t have Weedeater filmed either, but we’ve got a lot down. Last weekend we had a New Orleans show. We just got Phil Anselmo and EyeHateGod, minus the drummer, and still have three more filming dates, four maybe - Austin bands, a show in Dallas, bands like Speed Dealer and Dixie Witch.
Nick: So who’s paying for this?
Karim: CT’s friends with some guys that have access to really nice cameras. Someone has the skill and equipment for editing, which is a big part of the movie. I’m taking care of getting them to the shows.
Nick: So what are your titles then?
Karim: I’m the executive producer. CT is the producer and director. We’ve got a couple of camera guys, David Lipke and George [Handcock]. Those are the main ones. A few other people are involved with merch, t-shirts, and such.. There are a bunch of other people that have helped out. Alix from A Hanging was a big help on the New Orleans trip. There are the sound people at the shows as well.
Nick: And the only stipulation to all of this is that the bands are from the South?
Karim: That’s the gist of it. Some of these shows we’re filming have Northern bands as well, so not all of them are Slow Southern Steel shows, but we’re only recording the ones from the South. Like, for instance, Torche was playing Memphis and were playing with Clouds who are from Massachusetts. There were situations like that. All of the official Slow Southern Steel shows are Southern bands though.
Nick: So you knew this was going to involve shows you’d organize from the start?
Karim: CT had been working on things when he pitched it to me. We’re still in the process of booking some things - it’s been building up as we go. There were some things, like getting Phil Anselmo and the EyeHateGod guys, those were surprises. CT is friends with a lot of people from touring with Rwake, and has hookups all over the underground music scene and they get him people sometimes. Jimmy Bower was pretty instrumental in getting Phil.
Nick: So what’s the end product of all these shows and interviews?
Karim: I can’t say for sure, but once we’re done wrapping up filming in April, we’re going to take the documentary to film festivals. What we have looks good - it’s done on professional equipment - so we’re not going to do this half-assed. Various film festivals are the first step. We may debut it in Little Rock in October, maybe. We have a ton of film in need of editing. David Lipke, who works with ESPN, he’s going to be the main editor.
Nick: So there’ll be something like a DVD eventually.
Karim: That’s the plan right now, maybe with a bonus DVD of individual live shows and a blooper reel.
Nick: Is there a narrative to this?
Karim: It’s going to be footage of bands and interviews. Everyone’s being asked the same types of questions, real general, open-ended stuff about what it’s like growing up in the South and their experiences. It’s really open-ended so people are giving us a lot of stuff. I’ve only been there for about 25 percent of the filming. All in all, it’ll be about an hour and a half movie. I don’t know yet, but I can’t wait to see it.
Nick: I imagine there’s a lot of reminiscing about growing up in religion country.
Karim: Dead on. One of the questions is about life in the Bible Belt in the South, as well as stories about childhoods, first shows, and early influences.
Nick: Any difficulties with the documentary so far?
Karim: It’s coming along. I’ve never made a movie, never produced one, so this is brand new to me. Everything seems to be going great. Honestly… well, there are a couple of things. Some of the bands aren’t used to getting interviewed and once the cameras were off, that’s when the crazy stories started. You wish they would have said that with the tape rolling.
Nick: You were in Pennsylvania, if I remember correctly, and now you’re in Chicago.
Karim: I was in Pittsburgh and just moved to Chicago. It’s more of a music town, better for me and the label and for jobs - although the market for jobs is bad everywhere. I’m not working now and haven’t really got a chance to look for a job because of the movie. I’m busy flying to shows.
Nick: What kind of attention is Slow Southern Steel drawing?
Karim: CT had an interview with Decibel. There are tons of people at the shows, but that’s because of the bands.
Nick: You’re in Chicago - how did you get in contact with CT and the rest of the crew?
Karim: Well I went through a period of not going to many shows, I hadn’t been in a while, and I went Emissions from the Monolith and saw Deadbird. Almost all of my ties, everyone I know is through those guys. They hooked me up with CT. From there I also met Vince Burke, the guy who masters all of the label’s stuff for vinyl from the Hail!Hornet record on forwards. When I did the Deadbird record, we couldn’t get a hold of the original, so that’s not remastered. I really consider Vince a part of the label. As for CT, I talk to him multiple times a day. At least once a day we talk and just go back and forth.
Nick: Not to beat this to death, but you’re from the North. These bands are from the South. What’s your connection?
Karim: Well I’ve always been a fan, even before I met the guys in Deadbird. EyeHateGod is probably my favorite band on the planet. It was completely awesome meeting and interviewing those guys. I’m a general fan of metal. The thing that got me into southern metal was probably the first Down record. Before that I was a thrash guy, you know, Metallica, Slayer, Nuclear Assault. Then Pantera came around, I was into them, so I checked out the first Down record. The other guys in the band, I wanted to hear their bands. From that I found out about EyeHateGod. And later that lead to stuff like Neurosis and The Melvins - and I found out they in particular were big into EyeHateGod. I branched out from there. I’m still into the slower, heavier stuff.
Nick: I’ve noticed CT signs most of the correspondence related to Slow Southern Steel as “Gonzo Metal Productions.” Is that a Hunter S. Thompson reference?
Karim: I’m not sure - to be honest, I’ve never noticed. He’s a huge movie buff…
Nick: Have the bands been cooperative?
Karim: Well, it’s publicity for them. A lot of these bands are up and coming and this helps get their name out there. For bigger bands, they’re excited to represent the scene. There’s a good vibe.
Nick: So what’s up next for I’mBetterThanEveyone Records?
Karim: There are a couple of things I have lined up. It’s odd, the way it’s working out: all my bands are from the South. That’s not always going to be the case. There was the Deadbird release and Hail!Hornet [self-titled], and they’ll have a split together by the end of the year. The Black Skies record is coming up really soon - they’re from North Carolina and are in the film as well. Power Pellet from Baton Rouge, they’ve got one coming up. While they’re not in the movie, they have members in another band Ketea, who is. We filmed them in Baton Rouge with Kylesa. So those two records are coming out very soon. I’m working on a New Orleans split. Right now it’s a four-way split. We’ll see what happens.
Nick: So when you’re at Slow Southern Steel events are you there are a member of the crew or as “the guy from I’mBetterThanEveryone”?
Karim: I think I’m keeping everything separate.
Nick: Has it been difficult to get labels to relinquish rights to vinyl?
Karim: Well with the Codebreaker album, I just put it out. Most labels are cool with it. I asked about the Dwell record, and they said sure, as long as I put a little logo saying it appears courtesy of their label. Some of them are funny. I talked to Small Stone about putting out the first Dixie Witch album, and they wanted $1000. I said no, they said $500, I still said no. That still needs to get put on vinyl.
Nick: So, why vinyl?
Karim: That’s what I grew up on. It’s that simple. Even when tapes came out I was still into records. I have this iPod thing that goes in my car stereo and that’s how I listen to music when I’m out and about, but at home I only listen to vinyl. The only time I buy a CD is at a show to help a band who needs money to get the next town.
Nick: Will I’mBetterThanEveryone ever use digital download cards?
Karim: I thought about it. My two new ones are going to be shorter, so I can’t justify charging that much money for “full-lengths.” Some of the older ones are available on CD so I don’t want to compete with that. If it’s something that’s unavailable otherwise, I may.
Nick: So what’s the best part of being involved with Slow Southern Steel?
Karim: Going out to shows, talking to bands, and just hanging out.
Part II: CT from Rwake
Nick: How did you get the idea for Slow Southern Steel?
CT: It’s actually from a buddy of mine, Christian from Wilmington N.C. There was a tour we did with Rwake in 2005, along with Weedeater, and we were coming through there playing a show. He asked to interview me for a book he was writing called Slow Southern Steel. Actually, he asked a lot of the same questions we ended up asking people. He was interviewing me in this huge, lower level of a club and all I could think about was what a cool documentary it would be. We kept in touch over the last few years and I kept telling him, “I’m going to do this - you need to get your book out. I’ll even help, but let’s do this.” I started setting it up, but realized I didn’t have the means, so I met the right people and presented my ideas. I had the whole game plan already mapped out before it was ever done, showed it to them, and they said, “Wow, you’ve already done it all - let’s shoot it.” Christian’s band Beerwolf played a show for the film, last August, an instrumental, really awesome. He’s an incredible dude. He had a brain aneurism, wasn’t supposed to make it. We share a strange connection with that. My brother-in-law had one - well, actually we were forcibly roommate for a long time. He got me into music. It’s a weird story. Christian survived, mine died. He’s undergoing a new treatment every time I see him. He inspires me so much. Even though he’s half way across the country we talk and hangout whenever we can.
Nick: Is Christian involved in the film project?
CT: We filmed his band and I did a really long interview with him. We even asked him a few more in-depth questions we didn’t’ ask other people - “What does this mean?” “Where did you come up with the title?” - stuff like that. The scene embraced him even though he was foreigner. He moved here as a little kid. I have that whole story along with 1,000 interviews I’m combing through daily. He was up North, then came to North Carolina as a teenager. He just instantly saw the difference in music and it blew his mind. He discovered Weedeater and a whole other world opened up. Everyone involved has that kind of story. That’s how the idea for the movie came about.
Nick: It sounds like a lot of this is about community.
CT: That comes up a lot. It’s a good community. I don’t know how else to describe it other than telling stories from the movie. Laura Pleasants [guitarist/vocalist, Kylesa], there are a thousand quotes that are awesome from her about being a kid, open minded, a very young teenager listening to ‘Sabbath and dabbling in guitar, just discovering local shows. Honestly I listened to Black Sabbath in junior high, but then again, by tenth grade I was smoking pot, so they became a whole other band to me. So anyways, she’s discovering this music and goes to some Buzzov*en shows. This one night she waits all night to see them at four in morning. Another time she’s there, up front and Kirk starts playing some Black Sabbath riff she just learned and it just blows her mind, you know “I listen to ‘Sabbath, these dues listen to ‘Sabbath,” not thinking, duh, the whole world does too. It was an immediate connection. She was just at home doing that. To a kid that kind of shit is everything. It really helps inspire you to where you get to do the same level.
Nick: So how did you start work on Slow Southern Steel?
CT: In the early stages I decided I had to do this and this and planned it all out. There was a dude I was scoping out locally, so I drew up a plan and presented it to him. David Lipke, he’s fucking awesome, esteemed in his art. He works for ESPN 2 and is a fast editor. He comes to shows. He’s not alike a diehard dude, three nights a week, but he comes. I knew of him from way back in the day, doing a college video thing, playing C.O.C., Quicksand, and whatever, and he’d play local band videos he made. That was 1993/1995-ish. He came to our shows, saw they were different and said he wanted to make a Rwake video. Now, we hate videos. We didn’t want to get together just to do that, so the band wasn’t talked into it. I kept talking to Dave, throwing ideas together, showed him my plan of attack. We’d have to go Atlanta, to Richmond, a ten hour drive, comb back down to Wilmington, then we’d tackle the Bay. That’s the only way we could do it, going down to Florida, that drive home would be horrible. We knew we could drive up to Athens and crash with our friends in Music Hates. It ended up being very awesome. This was before Karim [of I’mBetterThanEveryone Records] was involved. So I showed David this plan, he said, “You did all the work - let’s do it.” We had a couple of shows including a Rwake show in May and only had one good camera and one shitty one. We’d never do that now. We’re using all the same fucking mini-DV 100 millimeter shit - they’re nice cameras, okay? Now we’ve got like three of the same, sometimes four, so we can experiment a bit. So early on, there was a Rwake show in Memphis and our buddy George [Handcock] was there and had just bought the identical cameras, so they both shot it. He said, look, I just lost my job and got divorced; I have to be a part of this. George has filmed many a Rwake show. He’s always showing up, not just filming us, but everyone.
Nick: How did the early filming and interviews turn out?
CT: George and Dave aren’t really road dudes, aren’t in a band, and don’t know what it means to not have any sleep and stand around waiting for shit; it was crazy. Plus, we had never really tackled this stuff as a team before. The first interview we did, with Doomsayer, we asked them a million non-important questions. Looking back, it’s like, “Oh my God.” When we interviewed Phil [Anselmo], it was all small, basic questions. I wasn’t trying to drill him, but he said some shit I’ve never seen in interviews before. Dave is a retarded Pantera fan, and even he’d never seen this stuff. Everyone has been like that. Mike Williams was ridiculously awesome. T-Roy from Sourvein, man he dropped some nuggets of Southern logic, important shit. You hear this and you’re like, “Right on.” It’s important shit, not just “I’m a fucking Southern bass and fuck off.” I mean this was inspirational shit. There was one quote about the underground scene, that to make it there you’ve accomplished what you set out to do…well, I can’t remember it exactly it was awesome. It’s in the trailer.
Nick: So you didn’t have to prod to get people to open up.
CT: It really just happened. Two good stories just came to mind. We interviewed Kylesa after a cruddy show that was moved at the last minute - there were 15 people there. I knew Philip wasn’t in a good mood, so we talked to Laura first, and she was awesome. And then Philip goes into this story about Buzzov*en - I know we talk about them a lot. So Buzzov*en and Harvey Milk play in this dregs place full of biker scum and rednecks on the outskirts of Georgia. It’s from further out, and it’s one of those places you just don’t go. But they had a show there somehow, and this was early on, obviously like ’93 or ’94. So somehow Canadian pop punk band is there and being really rude to the crowd. When they went into the next song, beer bottles start flying and hitting them. They ran behind their amps and stopped played. The place just kind of lit up and was on fire. Everything just went crazy. Harvey Milk goes on and it’s just drunken madness. Damn it - somebody is lighting fireworks during the set, and the singer gets hit in the face with a roman candle. He stops playing and punches the guy in the face, they go down, the bass player runs in and people are jumping on top, a dude walks up behind the bass and is about to hit him in the head when and another dude pulls out a pistol and holds it to that dude’s head. So after all of this, the first band and Harvey Milk have left - they’re scared and just getting the fuck out. Buzzov*en gets on the stage. Kirk’s at the mike and he’s like, “This is the best show we’ve ever played at - y’all are the best crowd ever.” So he says to throw your beer bottles on the ground and everyone roll around in it. As they’re doing it Buzzov*en kicks into the song. He got this on film. We’re going to try and use clips of it for the movie, at least the guy getting hit in the face with a fire cracker.
Fucking Pepper Keenan told this awesome story. I’m drilling people about their childhood to answer what it is about the South. He says, “I don’t know, I’m just this dude form Arkansas.” So I ask him about his childhood, maybe get some insight. When he was 16, his mother sold everything and moved him to France for a year. He moved back and joined Graveyard Rodeo. He’s got this one bedroom apartment, took a kitchen table, put a blanket over it, had up black metal posters on the wall in there with a pillow and flashlight - you know, a makeshift bedroom. His friends always ask to go back to his place and wondered why they’d never seen it. It took him a few questions to open up. He was sleeping on couches and shit like that at points. A lot of underground people give that dude shit, but my damn hats off to that dude.
And Phil, he was living in a car when he was 17. He said he couldn’t stay at home and dropped out of school and lived in his car, that that was the hardest time of his life. It was freezing or baking hot. He’d just sleep there, then sneak into his girlfriend’s house, take a shower, a can of food and meet his friends after school. They played shows every night and didn’t get anything. It was all cock rock and stuff like that back then. I’ve never heard it, but shit, I’ve seen pictures, but I wasn’t living in no car. I was getting grounded saying, “Yes mommy” - shit like that. It makes you think about these dudes a lot more. To them the scene is really fucking real and there’s a lot of shit people had to go through to get their shit going. Pepper said someone in C.O.C. put all of their money into recording [The Melvin’s] Gluey Porch Treatments. Man they were all good friends way back then. If you’re in a local band now and there’s this band that’s semi big, but huge to you, and they come in and treat you like gods, feed and drug you up, I mean that’s amazing. You hear these same stories again and again.
Nick: So there’s a lot of “scene” talk.
CT: It depends on the place; not everyone has a scene like that. Some places are really interesting, like Athens, Georgia, not just because it’s a huge place and popular because of REM and other huge bands. I remember Rwake played a show there on a week’s notice on a Monday night with three local bands that were awesome, none of which sounded the same. We came back last August for the film and it was fucking intense, so packed. Bands threw down so hard and put on legendary performances for these bands no one knew about. There’re other bands around that deserve credit, like Music Hates You, who are one of my favorite live bands today, period. Most of the dudes, if not all of ‘em in the band feel the same way. There’re bands like Dark Castle, they’re awesome. And some bands like that are from weird small towns that don’t have much to do with scenes, places where people come to see you play because there’s nothing else to do in town.
Nick: How were things for Rwake?
CT: It was really hard. We didn’t have any knowledge - all we knew was what kind of music we wanted to play - we didn’t know how to get out there. There wasn’t really a scene [in Little Rock] at the time. We played with Sickshine all of the time. This was in the ‘90’s to ‘00’s. If you were to come to a Rwake show today and said Sickshine, you’d know who was there from the beginning. It was weird, Rwake started playing shows in ’97 and no one wanted to do have us until like ’99 or so when things picked up. No one was booking around here so we were renting out places. When we did play in clubs we ended up playing with shitty bands we didn’t know that clubs thought would draw people. It become obvious what was going on when everyone left. Kind of an ugly scene. We own our own club now, have for seven years, and it’s awesome. I work there and get paid better than my other job. So back anyways, back in the late ‘90s none liked us, that’s for sure. Now we get publicity in the newspaper and shit like that, ‘cause were one of the only bands from here that play South by Southwest every year. Ever since [signing to] Relapse [in 2006] we’ve gotten more recognition. Before that we were really like the enemies of the town, these skuzzy metal dudes. We were really skuzzy and punk back in the day - well, not punk, but metal. When we played the Milwaukee metal fest after our first recording, but didn’t know how to tour. Our drummer Jeff, before B. was in the band, went up to watch in ’98 and explained, “CT, you have to go next year and then figure out how we’ll play there the year after that.” I figured that kind of shit out. It usually just takes a call, but those dudes write the music, so it’s all good! Like I said, it blew our mind and was just so retarded, what was going on.
I contacted them immediately after the festival about playing. It took a grand of our money, Rwake’s money from merch built up little bit by little bit, and taking money out of paychecks for the band fund. When we started it we knew we were going to use it for something important, but didn’t know what yet. So we did that. $1,000 accounted for 50 tickets and if we sold them we made our money back. We sold almost all of them, but counted six for us, ‘cause we would have went anyway. We convinced people from our town to go. It wasn’t hard - the year before we took a van load of people. It was The Gathering, Neurosis, Bonzilla, Soilent Green, Opeth, and more, so people were like, “okay, let’s go!” In Terrorizer, there was this review of the festival and the dude was slaying everyone: “They suck, they’re boring, Bongzilla, c’mon, but there was this band Rwake from Arkansas.” Even though we didn’t get signed and didn’t go on tour, it really helped. It was Kevin Stewart Pinko I think. We did it again next year and had a really nice crowd. In his piece that time he subtitled our section “coming to a label near you.” By this time we’d hooked up through Berzerker Records, got on a comp and had more of this and that. We started doing local shows of our own out in Conway, 35 minutes out of town, Eyehategod shows, Ages of Oblivion, lots of good bands. We thought, “Fuck Little Rock - we’ll do ‘em out here.” There was a house we could get away with that at. Troy from Tone Deaf Touring was in a band, Midget Whores, and played at a house show by way of us booking Weedeater in Conway. It was 2002 when Chuck from Deadbird had just joined our band. It was our second show or something when we played just kicking ass, playing as many shows as we could for some reason. There might have been 20 people there, it didn’t matter; everyone threw down and we showed those guys the time of their lives in Arkansas that night. Troy said, “Alright, we’ll book you on a tour this summer, 47 days and it’s going to suck.” We said, “Okay let’s do it.” From there we actually got moving and started being a band.
Nick: Tell me about your bar - it’s called Downtown Music, right?
CT: Yeah. I cook there. Jeff, our drummer, runs sound. Allen Wells, our new bass player, owns the place. He open it up in 2002. It’ll be seven years old in April. We were having all of these awesome house shows so we were wasting all of our time smoking dope and getting fucked up. We started driving around and looking at buildings. We knew we wouldn’t be able to get a liquor license, even though we’re all ages now and have a full bar, so we started it off as a record store. We figured we’d have shows and pay rent - we didn’t set out to make money. We really wanted to play but kept getting turned down, so we came up with this scheme. We got into the place and within a year stopped the records. We got a beer license and the fucking money was like night and day. The club started making money. We set our minds to it and focused on it as a club/venue combo, as well as the restaurant.
Nick: As far as money goes, I understand Karim of I’mBetterThanEveryone Records is funding a lot of Slow Southern Steel, correct?
CT: He’s just a good dude. We’d been talking for a while and he kept asking to let him know if I needed anything for it. I came to him last August, when the economy and gas were just shit and I asked him for money for the trip. Karim will likely put out the bonus disc of the DVD of it - all the concert footage. We covered all of the gear and 70 percent of the tapes. Karim has helped us out a lot with gas money and shirts a couple of times. He wanted to be involved, not just dropping money. He’s just as much a part of the crew as me and George and David now. I talk to him almost every day. I can hear his enthusiasm for this project in his voice. I knew it would work out because of him before we even had Pepper Kennan, Jimmy Bower, and even Hank Williams III. Now it’s even better. Karim’s good with shirt designs too - we’ve got three so far. He’s constantly thinking, wheels turning.
Nick: How’d you get in contact with him?
CT: Honestly I think it was just Rwake; he likes Rwake. There were a couple of times when he’d be at a show. There were a few times we’d crash on his hotel floor. The next thing we knew he’d put out the Deadbird record, which we thought was cool. What really sealed the deal between us was one time on tour we were broke as fuck and need money for t-shirts - our fans have always been cool about buying those; we don’t have a million, but they’re all loyal - he leant use the money, which we paid him back right away. I had this short lived band, Helen Keller, he was going to put out, but that [band] kind of fell apart.
Nick: So what stage is the documentary in?
CT: It’s almost done. We’ve been holding back on the Arkansas stuff for last. We have a show in Austin in April that’s got R.E.O. Speed Dealer and Dixie Witch. We thought about South by Southwest, but the locals are all, “Fuck that.” To them it’s this thing that takes over their town every year. We won’t finish in time for the hot spring film festivals, but hopefully we’ll be submitting it by October.
Nick: You’ve got miles of tape. How’s the editing going?
CT: It’s a monster, but David does this for a living. At ESPN 2, sometimes he’ll fly to a fishing tournament sleep all day, edit the day’s events all night, and have it ready to air in the morning. He’s an editor and that’s what he does. He’s a professional, you know, and we’re trying to get him this ridiculous program for his house so he can work there. They’ve got top of the line stuff at ESPN, and they’re cool about him using it off the clock, after hours, so there’s that too. I’ve tried to do some caveman editing shit and give it to him for ideas - two VCR shit, just pointing a video camera at the television. I can’t run computer shit whatsoever. I gave it to him as a joke, but he said it’s a perfect reference. Most of the editing will go down over the summer.
Nick: Last I heard, Dixie Dave is narrating the documentary.
CT: That’s the plan; Dixie is doing the voiceovers. It should be easy. I got a buddy who’s writing the stuff and will get it to him. He does radio commercials for the headshop he works at with the guitar player of Sourvein’s wife. He’s got the experience. Frank from Golem works there too and they do that stuff at his house on the computer. I’ll just send it out to him and he’ll send it back.
Nick: When’s all of this going to be done?
CT: The goal is this fall, but realistically, by the end of the year. I hate to say it that way, but yeah. The submission for the festival I want is in August, but there’s no way we’ll make it. There’s a festival every fucking month anyway - a million of them.
Nick: I assume there’ll be a Little Rock screening. Will there be a show or other tie-ins?
CT: Everyone being interviewed assumes that. The guys in Outlaw Order, Hawgjaw, EyehateGod, Clear Light, and Spickle, they all said, “Just tell us when it is, and we’ll be there.” I know we’ll have guitar picks made for the screenings and festivals, maybe a signed/airbrushed guitar, posters and whatnot. A lot of bars have tie-ins with film festivals already, so I’ve thought about that. There will definitely be a show or something. I’m going to go out of my way to get a good band that’s in there. Maybe Suplecs; not even threes bands, just Suplecs. That’d be a fun after party type thing. I do know I don’t want a screening at a bar. We made a film and want people to go watch it like one.
