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[ appiause ] [ ''joe mccarthy's ghost'' piays ] can you be sureof the goddamn time of day? can you take the dirtfrom the fist of a foreigner? are you gonna fight when they caii outyour number? can you toe the iine? can you repeatwhat you've been toid? can you bite the buiiet?

can you see the enemy? can you point your finger? prove your ioyaity? joe mccarthy, joe mccarthy,joe mccarthy, joe mccarthy joe mccarthy, joe mccarthy joe mccarthy's ghost joe mccarthy, joe mccarthy,joe mccarthy and eskimo.and, uh. you teii them about the music,

about your mom making mepiay bass. [ laughter ] -are we ready?-yeah. okay, can we go infor a two-shot? boon and mike. oh, yeah.i met d. boon when i was 13. he was 1 3, aiso. and where we iived in the park,he was piaying army, and he feii out of a treeon me.

d. boon piayed guitar. this is the tree. and i come out here. i think right here. and he ieaps out on me. i was iike, ''whoa.'' this guy in this t-shirt.he goes, ''you're not eskimo.'' i go, ''no, i'm not eskimo.'' and so we start taiking.

and he couidn't findhis friends. they aii had baiiedor something. so we start waikingback across the fieid. and he's teiiing meaii these iittie bits, you know? like, i'm thinking, ''god damn. this is the smartest dudein the worid.'' he's just rattiing offaii these iittie bits. and the next day he brings meto his pad in park western. and he piays me this record,

and aii the bits he was doingwas from this record. oh, my god, d. boon. you didn't make any of this up. this was aii stuff that youhad heard off the record. but i didn't know itat the time. but i was quite smittenwith him. so that's actuaiiyour beginning. it was right here. weii, after 1o yearsof iooking into the mirror

ronaid reaganseems quite appeaiing it's easierrunning in a pack shouting anthemsand praying to god don't we knowwhat we're doing? we've done it before everybodyswing to the right give me an armband,give me a reason give me a sunshine,give me a rifie jean watt:there was something magicai

about mike watt and d. boon. maybe becausethey grew uptogether and knew each other so weii hejust ioved d.boon. the minutemenwere just so unique. and i guess somethingiike that can't reaiiy -- it's impossibie for somethingiike that to come about uniess you're mike wattand d. boon growing up together from when you're iittie kids.

when you meet some peopiein your iife and piay music with them andthere's some kind of chemistry, it's this magic thingthat happens. anditreaiiy happenedwiththose guys. they were iike three bros. it was iike they probabiy wentto eiementary schooi together. they were probabiy aii bornin the same hospitai at the same time. not from the same mother,though.

when i first started going overto d. boon's house, the first thing d. boongot me into was history. he was readingaii these history books. but then another thinghe used to do was piay guitar. his mother made himpiay guitar. she piayed guitarwhen she was younger. at first i was piaying bass. but my mom didn't want meto piay bass. she wanted him to piay bass.

so i had to. it's not that he had to,but he agreed. i agreed. dennes' mom wanted himto iearn ''instruments'' and stay off the streetand stay out of troubie. so she wouid iet them piay. in fact, i remember oneof the neighbors saying to her, ''how can you standpiaying there? i mean, them in the housemaking aii that racket?''

and she goes,''weii, i know where my son is. '' johnnygotagun,ack,ack,ack,ack yeah, johnny's got a gun,ack, ack, ack, ack like this,ack, ack, ack, ack aiithe paperswrote aboutjohnny all the writersshot him down he got his gunand shot himself ack, ack, ack, ack when d. boon's mahad me piay bass,

we were so far at the gigsi never saw a bass up ciose. you know. now, you couid see on the aibumcovers it oniy had four strings. but i didn't reaiiy knowthey were bigger strings. so we thought they were guitarswith oniy four strings. we didn't reaiiy knowthey were bigger strings. [ chuckies ] it was reaiiy strangewhen i first saw a bass. i rememberwe started high schooi,

and i was bragging to some guyabout piaying bass in 1oth grade. but anyway, i see this guitarwith these bridge cabies, and this guysees me in the store. then he sees metripping out on this. he goes,''what are you iooking at?'' i go, ''god damn.look at this thing.'' and he goes, ''i thoughtyou were a bass piayer.'' and i said, ''i am.''

he goes, ''weii, that's a bass.'' and i said, ''oh, i know that. '' but i fucking didn't know that. i had never seen one.it biew my mind. and we used to sit there andmaybe piay ''smoke on the water'' -over and over again.-one riff. andittookaboutmaybetwoyears before wefiguredthat you havetotunetogether. tuning the strings,they get tighter or iooser.

they said they didn't think itwas a matter of tuning them. they just thoughtsome guys iiked them ioose and some guys iiked them tight. they wouid just say,''oh, i iike mine tight.'' ''i iike mine ioose.i'm just gonna rock.'' it was on the tv yeah, it's hard to believe thefoodcoupons everyone withthe same clothes on

their minds weep like caged sheep standing around preaching. you got to beiieve to be successful they won't feeifucking reiief remember the americanwiii soon be history boon: we used to get togetherin my room.

it was these oid projects. these navy projects that werecondemned back in the '4os. and we'd set up thereand rehearse. -not rehearse.-it was your house, too. we'd sit there and piay iikeone riff over and over again. and my mom was very supportive. she iet us do iteven though she hated it. she iiked it. we did have a band

caiied the bright orange bandin high schooi, not writing our own songs. and then we piayed a party, and we tried outfor a taient show. which we iost terribiy. yeah, here'ssan pedro high schooi this is where we graduatedin 't6, aii three of us. both of them had moms thatsupported what they were doing. never said, ''oh, why don'tyou guys quit this shit?''

theyweregunghoonit. and i think that has a iotto do with it, when your parents are supportiveof your taients or your arts. i was very excited for them. and i went to as many thingsas i couid go to. and i thoughtit was reaiiy wonderfui that they did this themseives. they didn't have a iotof aduit support. ah.

graduate high schooiwe're 18 years oid. d. boon's ma dies that month. she dies when we're 1 8. and it reaiiy toreour iives apart. especiaiiy d. boon's famiiy. it just coiiapsed because shewas a strong, strong piiiar. mom was basicaiiyeverything to him. he taiked a iot about her. and when she passed away,d. boon's iife changed.

this is a coupie spieis thati've written down on the road. it's out to aii you mothersand fathers. ''create forums in which your chiidren can iearnthe beauty of the worid throughthe arts so they can pass it onto their chiidren. that's what my parentsdid for me.'' against a stackfui of comics here comes the line

''l'm loadedwith rocket fuel'' industry, industry,we are toois of the industry their iaundry,bieached of identity you stand here naked l stand here naked both on the pavement why are we different? punk comes in 't6, too,the year we graduate. and what struck usabout punk.

weii, the big thing about itright off the bat was, man, these guysare aii weirdos. but they don't care. in fact, they kind ofceiebrate it. so in a iot of ways,it was the perfect scene for us. you know, it was iikeaii these misfits. punk rock at the time wasn't a term for a setof musicai parameters. it wasn't at aii

it wasn't a termfor what kind of amp you used and how you set it andwhat kind of ciothes you wore. and that was the great thingabout it. punk rock was kind of iikei m med iacy , i n tens i ty , honesty , exp ress ion . expioring thingsthat interested them and expioring them reaiiy hard. undetermined where to go no solutionsto our probiems

oliticianspossess this nation no answers to our questions running in a maze the masses iedbyignorance led to the guiiiotine poiiticians say we're free now, this thing.it's petco now. okay, but one of the. there used to bea iittie deaiio here.

this waschuck's sound of music. this is where i boughtmy first t. rex records, my creedence records, where i saw my first bass,where we met roy mendez-lopez. mostiy the instruments they hadwere schooi things, right? horns and stuff iike this. but they actuaiiy hada coupie fenders. most stores did not havefenders. it's so much different now,the cuiture for music.

and if you're a young person, it's so much easierto be in a band. it's so funny when peopie taikabout the ''good oid days.'' because in a iot of ways,they were iame-ass! the peopie who made musicand were in bands were in a whoie nother woridfar from you. come out. you couidn't have that. eventhe skateboards,you know,ciay wheeis.

you couidn't go in the street. those were scooters, huh? the same idea. we were more kept in our piace. you know, nowadays you're keptin your piace more by your mind. more by the herd mentaiitythan actuaiiy having the materiai and wherewithaito do things. let's say i got a gun in my hand

six siugs,six points of view materiaiism. let's say i got a book 5o,ooo words,5o,ooo transiations ideaiism. tear up your dictionaries,tear up your dictionaries weii, it's no mysteryhow i met these guys. even though we're the same ageand we did go to the same schooi and graduate the same year,

i didn't know themtiii after high schooi was over. and i met mikeat a friend's house. i think it was the time whenhe passed out in the bathroom and iocked the dooron aii of us. [ laughs ] then he said,''hey, join my band.'' so i said, ''aii right, dude.''[ laughs ] and i met d. boon. whatpossessedyou?

i aiways thought that wasreaiiy open-minded of him. especiaiiy in those dayswhere peopie hated, 99 percent ofpeopie hated punk. they thought it wasthe most insane, horribie thing that anybody couid be part of. and georgie kind of sawa iot iike us, too. you know, hey, this isan opportunity to piay music, piay our own thing. i think george wasthe first guy i ever feit

was piaying funk rhythms. piaying iikepariiament-funkadeiic and piaying reaiiy fast. pius his stickstuck in his sock. that was a nice touch. it was no joke.they couid reaiiy piay. george!man, george is a powerhouse. he drives with his upper body. most drummers, maybethey'ii iead, for the most part,

with their kick drumand then everything eise. but not george. he's a reai musician. aii three of them were,but george had crazy chops. you wouid just watch him doingjust over/under high-hat stuff. like buddy rich kind of. you're iike,''where is that coming from?'' obviousiy he hadthe chopstogether. you know, he was justas much a centrai core

of the musicai spherethat they were spinning asthe bass and guitarand vocais. he wasn't drumming aiong.he was drumming with. i hadn't piayed drums that iongbefore i started recording. maybe a year and a haif. and i think that you tryso hard to piay, that you reaiiy. you reaiiy makean overaii effort to reaiiy try and make parts sound right.

you come up with things thatmaybe someone never heard before or something. you find a wayto make them work, you know, without being too infiuencedby other drummers that were progressiveiy betterthan you. who the hellmade the safe man7. peripherai visioncorkscrews into thought lanterns, mufflers flatten

thick and pianer,fit into rolls aced and sad syrup, iackng totaled ack a chunk of the sun giue it to your heart,hold on we make this band in 1 9t9caiied the reactionaries with me, d. boon,george huriey, and a guy namedmartin tamburovich singing.

we saw a iot of rock concerts. you know, big shows.the forum, the caiifornia jam. we used to go aii the time. we were under the impressionyou had to be part of the speciai eiiteto do music. the other wayit was iike modeis. you just iearned that songsomehow in the bedroom, you piayed it,and you got joy out of it. we didn't thinkyou couid actuaiiy do them

in front of peopie. when we sawthese other iame dudes doing it, you know, we thought, ''whoa. that's not the point.'' the point is just trying to getaway with whatever you can. you don't have to be partof any machine. exceptmaybeyourown. the ciash piayedin pedro in 19t9. the ciash piayedup in santa monica,

but we went to the gig. and biack fiagwas handing out fiyers. we hadthousands offiyers, and we were putting themon every car at the parking iot for the civic. passing them out to aiithe peopie who came in and out. and we met mike wattand d. boon. there they were from pedro wherewe were putting the show on. they couidn't beiievethere was a pedro band.

because we said we had a band. we couidn't beiieve it, too, that there was gonna bea gig in our town. wasn't hoiiywood, you know? so they said,''why don't you piay?'' so this ends upthe reactionaries' first gig. actuaiiy, our first show wasin san pedro with biack fiag, piugz, aiiey cats,and the descendents. i think it's in februaryof 19t9.

and it was over hereat a teen post. this was very heavy hoodat the time. stiii is pretty gnariy. they had thesethingsinthe'6os and eariy'tos caiied teen posts. they try to give kidsthings to do. there's four apartments here. but this was a iittie haii, and they had fixed it upreaiiy nice.

and here dukowski rented it. and aii these peopiefrom hoiiywood came down. the cops had to iock aii thesepeopie from the suburbs in because the iocaiswere gonna kiii them because they wreckedtheir toiiet. it's funny how hardcoreis supposed to be kind of revoiutionary,but it's not. i n a iot of waysit works against the peopie they're supposediysupposedtosupport.

maybe that's why a iot of itwent racist and the skinheads and stuff. because it's iike piaygroundto me, a iot of it. we used it for music, forfreedom to do what we wanted. but, as far as --i couidn't beiieve it. they'd come down hereinto this poor neighborhood and wreck these peopie'steen post they just fixed up. this is one of the reasonswhy the reactionaries broke up. i mean, it was aisoan idea of d. boon's.

he didn't think we neededa snger and wanted itjust to be a trio. so he breaks up the band,and we actuaiiy. georgie joins this new wave bandin hoiiywood caiied hey, taxi! anyway, here's the apartment. and there's the window. that window right there.that's the bedroom. that's where we startedthe minutemen. that's where we wroteaii our first batch of songs.

and joe baiza's iivingdownstairs. and i heard someoneworking on a who song upstairs. and that's when i wasinto punk rock, and i thought, ''why wouidsomeone be piaying the who?'' so i open the door,and there's this chubby guy with kind of iong hair. and he has an army jacketand a pil button. ''oh, hi, guys.i just heard you piay. i thought i'd come downand say heiio.''

and we startedto taik some more, and then he was teiiing mehe was in another band before, and he saidit was the reactionaries. i remembered meeting him thatnight when mike broke his bass. so then we started taikingsome more, and he came in. jack met him,and we were hanging out. and we became friendsat that point. you're son of a martyr you're a son of a father

here to iook inside you here to look inside us you can put it together or puii it apart reiapse unconscious you don't remember ain't no fucking way so the minutemen get togetherwith this drummer, frank tonche. get together with himactuaiiy at the end of february.

and we do a gig in apriiwith biack fiag. greg ginn of biack fiag saw us,our first gig as m inutemen. when we got rid of the singer and changed our nameto minutemen. and he said, ''you want to makea record?'' at our first gig. couidn't beiieve it. a month iater we do a gigat harbor coiiege here, where i went to schooi, too. got my degree.

thatineverused. i majored in punk rock. with piugz and the gears. but the drummer freaks outafter the gig. h e thnks punk rocis an insane scene and quits. they were gonna recordtheir first singie. and i guess frank got coid feetand didn't want to do it. ''what the heii?'' i said,''mike, i'ii do it for you.''

it was seven songs. that's where we get georgie,you know, the next month. teach him aiithe songs. and in the third week of juiy, we record the first minutemenrecord, ''paranoid time.'' i toid them i'd never piaywith them again. and that's where minutementook off from there. [ ''fascist'' piays ] don't preach your structureof society

perverted ideas of reaiity your words of freedomand common cause your words of hate and warand others lost l can't follow a manon a white horse his means of control,they aii iook too coarse tyranny is the reai word where voices and opinionsare never heard we all workin a working mass we all workfor the ruiing ciass

the state relieson the working man w ho obeysthe partyand the fatherland they aii kneeito the party eiite all enslavedto the fascists we had in our mind iikebiack fiag was sort of the -- that's sst. at some pointin that time frame, sst number 2 came out, which was the minutemen''paranoid time'' ep.

i thoughtit was kind of interesting that biack fiag wouid usewhat iittie money they had to put out another bandaimost immediateiy on sst. ''oh, who's this band?'' it turned out it wasn't a band that sounded iike biack fiagat aii it wasn't a band that reaiiythat much sounded iike anybody. it was the perfect foiiow-up to''nervous breakdown,'' i thought. the songs were appeaiing becauseaithough they were ''poiiticai,''

they weren't didactic. they deait with poiiticsin a reaiiy impressionistic way. and i just said, ''this isone of the most originai things i've ever heard.'' ''paranoid time'' the songi thought was reaiiy great. that was the one that i think, coming out ofthe hardcore background, that was the onethat was ciosest to my genre. where i couid go, ''okay.

these guys are contributingsomething with this song.'' when you iistento ''paranoid time'' you have to reaiizethese weren't just songs. these peopie are reaiiyparanoid. this one's for ronaid reagan. i try to work, and i keepthinking of worid war i i i i try to taik to giris, and ikeep thinking of worid war i i i the 6:oo news makes sure i keep thinkingofworldwar ill

i got a miie of numbersand a ton of stats of warheads,a billion chinese warheads i don't even worryabout crime anymore so many goddamnscared faces i keep thinking of russia,mother russia aranoid,stuck on overdrive aranoid, scared shitless moore: seeing d. boonjust sort of rocking, jumping up and down andjust biowing out these songs.

watt just iikecompieteiy utter conviction. and then the drummer piaying aii this kind ofwigged-out prog-jazz fury drums. and. so it kind of biew minds. the record biew our minds. it was not iike any musicwe'd ever iistened to. we couidn't understandhow they wouid have piayed it. we couidn't get any ideaof who they were.

we couidn't picture them. the record was just a drawingon the front. the iyrics are so provocative. reaiiy, iike, head-scratching. it was something that you couidreaiiy spend some time with, and it's a short record. what is it,iike 3 1/2 minutes iong? you know, the songsreaiiy went by fast. they reaiiy piayeda iot of songs in a set.

and even if they had riffs, bythetimeanybodyhad something to hoid on to, they were on to the next song. you got to understandwe were never caiied minutemen for, iike, minute songs, iike we aiways got expiainedby peopie. it was this parodyon these right-wingers. and the whoie idea of rock bandsbeing big giants, we wouid be iike minute men.

i can't imaginein the eariy days bands iike hã¼sker dã¼,minutemen piaying arenas. it was too intimate,the i r pe rfo rmances . they don't work withaii the smoke and the iighting and the speciai effectsand the airpianes and whatever you have to doon a big stage. that was not partof the scene. part of the scene was you getup, you piay your heart out. yeah,iet'stakethe essence ofthetune

and just do it, and that's that. nobody had done that before. aii the other bands were hoidingto verses and choruses. so manyofthesongs, the iyrics, when you read them,are just iike haiku. or it's iike a propositionby wittgenstein. it's just iikea reaiiy simpie statement. it doesn't have a iot offiorai ianguage surrounding it. it's just iike a iittie kerneiof an inteiiectuai idea.

that aiways reaiiy appeaiedto me. it didn't biow awaythe hardcore kids. it was a iittie toomaybe grown-up. it was a different kindof inteiiigence. it wasn't iike ''poiice beat me''kind of thing. it didn't have that agony. some peopie just didn't get it. being spit on kind of --that kind of sucks. but you can't seewhere it's coming from,

so you can't reaiiy biameanybody. ''let's spit on them.'' these kids from orange county just took after the engiishreaiiy weii they wouid spit. butanyhow,ijust gotthe overspray. mike and d.,they got most of it. they were aiways getting coids.i never knew why. we're doing itwithout two strings.

is that punk enoughfor you guys spitting? i'ii come and see your band,aii right? huh, fan?huh, punk rock fan? [ crowd shouting ] let's hoid the spit down. spit on me.get beiiigerent. right on. right. right. [ ''sickies and hammers'' piays ]

roeland:dennes was singing, and spit was just goingright in his mouth. they did not care. they finished their set, andthe crowd was kind of iike. and after they finished, i think the crowd kind of, iike,changed their mind. you have to do a iot ofgrowing up aii of a sudden. if you couidn't getthrough that. i mean, where you're singing

and some kid gobs a spit wadright in your mouth. i thought it was funny the waythey moved back off the stage. like, ''we're not going anywhere. you guys aren't getting ridof us that easy.'' your face feii into my eyes i heard your friendcall me a communist smoked buttsoff the fleetwood floor there l was in a vacuum puiied down by guiity weights,you know

weii, i am afraid of you i'd wear out my kneesfor you but this is not a iove song aah! watt:me and d. boon, you know, we reaiiy didn't knowthat many art peopie. boon was artistic,couid paint and stuff iike that. but there was no cuiture art,you know? i guess everybody comes to itin different ways.

but the way we came to itwas through punk. which is kind of hardfor some peopie to expect. to beiieve. because they seesome kind of vioient movement, peopie beating each other upand spitting on each other. shit iike that. there was some stuffiike that, too. but especiaiiy in the 'tosand oider punk, there was a iot of art peopie.

had a big infiuence on us. for d. boon, i know it brought out stuffthat was aiready into him. for me,it got me reaiiy curious. i started readingabout these things iike dada and futurist and surreaiist,stuff iike this. pettibon turns me onto john coitrane and ornette coieman. there are so many ideasin their music.

and mike's bass piaying is so over the topand so fuii of ideas. and the band hassuch an amazing spirit. the m inutemen give off the vibeof the excitement of that more than just about any bandi can think of. they just seem, iike, so happy and inspired to be up therepiaying, you know? so it reaiiy does make mefeei good to think that i piayed some kind of roiein making mike want to do that.

rock 'n' roii, as usuai,was a fairiy toxic concept. rock 'n' roii was oncean antidote to aii this crap. i aiways regard the minutemenas stiii a part of the soiution. but there was a kind ofa respect you had to not be a cione. it was iike if you were gonna bepart of this, you had to contribute. you don't want to bea cookie cutter or a xerox machine.

had to come upwith your own ideas. and this is what the minutemenwere doing. and then some in those days,but a iot iater on, and thenwith the hardcore peopie, too, peopie wouid say,''how can you caii this punk?'' ''why is it punk? you don't sound punk.you don't iook punk.'' you know? that wouid aiways strike usas such narrow-minded shit.

the minutemen. i think those guys, iike,were totai punks in the sense of they werenot fitting in the moid of what a punk shouidtheoreticaiiy iook iike. piaying biues to punks,that's pretty punk. and minutemen going out there, being pedro dudes doingtheir whoie totai thing. some of their musicwas so abrasive-sounding. espec ia i iy com pa redto the kind of more simpie

or kind of raging kindof punk rock. their stuff is moreweirdiy off-kiiter and kind of herky-jerky and just wouidn't give youthe reaiiy. [ tapping ] which you kind of wantedto hear. a ton of white-boy guiit,that's my probiem obstacie to joy,one reason to use some drugs siept on a beach,siept in trash

american trash thinking too muchcan ruin a good time l asked a mexicanwho ran a bar for americans ''who won'' l said,''the election7. '' he iaughed,i feit iike a gringo they piayed a song,they had some fun with us why can't you buya good time? why are there soidiersin the streets? why did i spend the 4thin someone eise's country?

the minutemen, to me, werethis band that sort of stood out on the ''rodney on the roa''record. the first ''rodney on the roa,''voiume one record. i had sort of heard their namein fiipside and stuff. i didn't reaiiy get a handieon them. their name kind of stuck out because it wasn't the usuai kindof west coast punk rock name. they weren't berkiee schooiof music-taught musicians. they were just three dudesfrom pedro

thatjust happened to piay and just had, you know,that mix that they just geiied. they got iumped inwith the hardcore scene. but they were anything but. they wouid covercreedence ciearwater and biue oyster cuit. and to them, that wasjust their way of expressing, ''we're not reaiiyjust punk rock. we're part of this biggercontinuum of rock 'n' roii ''

and d. boon, i think,was an inspiration. he's iarge, you know? watching him piay guitar,his fingers were reai fat, but he couid bust outthe greatest ieads. when it came down to piaying,they were on top of it. they just rattied off the songs. 32-song sets. just bam! they were just great piayers.

they kind of brought this whoieother ievei of musicianship to this undergroundmusic scene. they had a iot of comedyin their music. they couid be funny,if you read their iyrics. and sometimes pissed off. dennes seemed a bit angry in some of his iyricsabout certain things. maybe that's stuffhe feit inside and it was coming acrossin their music.

that's what i sensein that kind of music. and they're nice guys. they're aiways funto be around and stuff kind of iike the three stoogesin a good way. andthey hadthe three stooges piastered in the backof their van in the window. so when they drove by,you'd see the window. and there wouid be the bigposter of the three stooges. maybe more iikeabbott and costeiio

with somebody eisethrown in the mix. mike and d. no, i'm just kidding.it's laurei and hardy. mike and d. boon,it was iike twins. they hadiike a secret ianguage. and you couid just see them. . i mean, when they wouidcommunicate. they didn't have toreaiiy speak. they were justthese iittie evii twins

that wouid just sort of pusheach other into things. mike watt, to me,was the heart of the band. he was the heartbeat.he was the bass piayer, right? ba-boom, boom, boom, boom,ba-boom he was the heartbeat. and d. boon, to me,was the soui they iived what they said. they beiieved in it 1oo percent.1,ooo percent. and the more you spent timewith them,

the more you reaiizedthat this was so reai and it just feit so goodto be a part of something that was absoiute truth. as truthfui as it couid bewith its fauits, you know? and they were the first onesto admit if they were wrong. they made their own woridin a rock band. and so. that's even more rarethan just being a good band. they were aii,george, d. boon, mike,

aii great musiciansand performers and writers. but the minutemen reaiiy -- there wasn't very many punk rockbands that couid piay at aii the minutemen couid actuaiiypiay their instruments. they were so unusuaion stage. especiaiiy this interpiaybetween mike and d. you know, d. beingthis reaiiy heavyset guy bouncing around iike he wasiighter than air on the guitar. and watt being reaiiy.

just being watt on stage,i guess. and this great drummerin george huriey piaying reaiiy different stuffthan you wouid imagine a hardcore-type band'sdrummer piaying. he was such a finessey drummer that had aii thesedifferent things he couid do. i guess in generai aii threeof them were iike that. they were reai piayersin a certain hand. and that sort of put them aside

from the simpie three-chordpunk rock thing. i'd aiways try to push articieson them. i'd try to sneak them into -- peopie wouid say, ''i wanta thing on hardcore bands.'' so i'd put them in. peopie wouid say, ''i wanta thing on psychedeiic bands.'' so iike, ''oh, yeah.i'ii put them in.'' you know, stuff iike that. you know, you couid sort ofsqueeze them in

to aimost anykind of generic overview of contemporary l.a. stuff. because they reaiiy were uniquein terms of what they did. it was just a briiiiant momentin time thatthey hadthatenergy to transcend anyand aii musicai boundaries. without getting bogged downas a rockabiiiy band or as a hardcore thrash band, that they couid not reaiiy fitor beiong anywhere,

which was part of their magic. what can be romanticto mike watt7. his body's oniy a skeieton a series of points with no height, iength,or width in his body he feeis iife his oniy connection between the yeiiingand the sieep his life'sthe toughest riddie

he's chalk he's a dart board sex disease he's a stop sign we were recordingthe ''fat'' ep with spot. and spot, in between takes,basicaiiy, was editing the ''punch line'' epfor the m inutemen. i hadn't heard too muchof the m inutemen, and i was hearing snippetsof ''punch line'' aii the time.

i was just iike, ''wow.these guys are reaiiy wiid. they're reaiiy different.it's bizarre music.'' to me it sounded very bizarre. watt: some of these songs haveiike oniy two iines of iyrics. they're so bizarre. a iot of these songsaren't even a minute. a iotofthemare 4o seconds and stuff. 38 seconds. again, they weren't supposed tostand on their own.

they were supposed to be partof this big river. and the abiiity for themto just kind of shift gears from song to songin the way they did. where in a way the minutemensets created their own momentum. it wasn't aboutso much individuai songs. it was about the entire processthat you were going through. it seemed abstract to me andanguiar kind of music, you know? i was just ''wow, '' you know.i was iistening to that. andthe songs wereso short,too.

i wasn't used to that. just when i didn't thinkthe song was done, it'd stop. or mike was kind of nervous,and he'd thump a few more notes and mumbie something andjust kick into the next song. a measured distancebetween centuries issuesyouyournumber,you poseur watt: so with minutemenwe reaiiy wanted to have more of our own sound. soweusedthese--

stiii, you know, the cuitureof copying records and stuff. we were stiii infiuencedby other bands. sowehadthesebandsfrom engiand caiied pop group and wire. wire are quite aware of the factthat we were infiuentiai on a few of the kindof hardcore bands in america. and i think specificaiiyhow it happened was that wire'skind of minimaiity, the kind of brutai way of, youcan do a song with one chord.

''wire do it.why don't we do it?'' i think that had an effectin america in a way that it didn't haveperhaps in britain. then pop group tookcaptain beefheart and mixed it with funkadeiic. you know, funk musichad a big infiuence on me because i couidn't reaiiy hear,except for guys iike jack bruce and john entwistie,i couidn't reaiiy hear bass. icouidn'thearthe basson a creedence song.

so it had a big infiuence on me. and then captain beefheart. when we first heard punk,you know, we thought beefheart, stooges,these guys were way ahead. they aiready were punk withoutthere being that iabei yet. we the biack sheep found, forgive choose ourself,make or gain neednotourconscience

the strongest survive the blind lead the blind,decree not our method size up our effort,make our way bleed our minds make our way [ cheers and appiause] i got to teii you how excitedwe were to be asked. to do this aibum. i mean, ''punch line'' came outin december.

and they pressed 3oo,and they aii soid right away. so i think maybethat's why greg asked us. but he was a big fanof the band, too. so we started writing songsfor our first reai aibum. we went back to dennes' piacein torrance. he had an apartment there. he piayed us an acetate of his new record,''what makes a man start fires?'' and that's when i thought,

''these guys just ain't yourgarden-variety punk rock thing. |there's something reaiiy good9oin9 on.' they were moving beyondthe initiai aesthetic. and they were showing the restof the punk rock community that you couid makea more expansive statement. when they put that out,then it was iike, ''oh.'' sort of iike when the germsput out their first record. everyone kind oftookthemfor granted. and then they reaiized,''oh, my god.

this is art.'' they were exciting.they were different. they had a iotof eiements to them. and they mixed them upas they went aiong, too, so that was cooi it was aimost iikenot avant-garde, but kind of iike avant-garage. the pieces were so short. and i found that attractiveand fascinating.

the pettibon drawing on thecover was reaiiy fascinating. everything about itfascinated me. that's when you notice that mikestopped piaying with a pick and started piayingwith his fingers. man, they reaiiy got funkyon that record. there's a song on this recordcaiied ''the anchor.'' georgie wrote the words.it was about a dream he had. and it's our first songwhere we go over two minutes. it's two minuteand five seconds or something.

no, it's 2:3o. whew. it's our opus. made a dream iast night wish l hadn't awoken wind biew warm in my face naked in an epsom five beautifui girisraped me l was so damn bad

l took them on one at a time wake up heartyanked out anchor dragging behind ''bob dyian wrotep ropaganda songs. '' a iot of peopie ask meabout that song.

why i wrote it. i was kind of feeiing insecureone day about writing songsthat had intense ramifications. you know,that weren't maybe musicai thenithought, man,you know, i never knew what words wereabout, reaiiy, as a boy. they were aiways iikesome kind of iead guitar. but except for bob dyian.i used to hear him a iot. and his words, i thought,were sort of iike

your pop taiking to youor something. so i thought, ''oh, man, it's okay if i write songsiike that 'cause bob dyian wrotep ropaganda songs. '' that's why i wrote that. [ man iaughs ] some of the peopie thought i was reaiiy angry at bob dyianand everything. i'm teiiing you,us minutemen were insuiar.

a iot of our thingskept way inside us and never reaiiy got out. so to reaiiy know about us, ithinkyou haveto askabout us,thesethings. because it doesn't seem iikeanything got out that was understoodby peopie easiiy. from our name to our recordsto our songs. it aii got twisted up. that's okay.

that's why we do thingsiike this. i'm waiting in third person i'm coiiecting dispersing information labeled rations bob dyian wrotepropagandasongs manifestos are my windows and my proof

locations and more rations outiine my route it was reaiiy easywriting a song for d. boon. i wouid never have to show himguitar parts. sometimes i wouid write chordson guitar. i'd show him the chords. but a iot of times i couidjust write the bass iine. and because we had grown uptogether, he couid immediateiy come up.

something compatibie with it,compiement it. and he was very generousthat way. d. boon aimost had this. like, you know, ''chank.'' that guy jimmy noian that piayswith james brown. he had that kind of funky edgewhen he piayed the teiecaster. he was kind of a punk rock. ...wes montgomery,without being that breezy. like a reaiiy aggressivejazz piayer.

you know, there was a iot ofstuff you couid hear in it. i couid hear someof this country infiuence. like bakersfieid country-westernkind of stuff that was in his sound because i grew up iisteningto some of that stuff as weii i think more than anythinghe just deveioped this sound that was uniqueiy his own. he was kind of a contradictionas far as guitar styies go. he had aii that,and to him it was aii music.

and his tone was reaiiy spiky.it was reaiiy trebiy. which i iearned iater from m ikewas compieteiy poiiticai it was a poiiticai decision forthem to separate bass and trebie in a very, very distinctive wayas sovereign states. poiiticai sovereignty, anyway. he had a guitar soundthat was iike a buzzing insectand a dentist's driii aii at the same time,that reaiiy cut through the mix. and it was just reai anguiarand sharp.

and he started deveiopingthis reaiiy great styie that didn't sound iikeanybody eise. yeah, it was reaiiy brittieand bright. if i were to get his sound, iwouid try something iike that. [ staccato chords piay ] oh, there you go. yeah.isthat ciose enough? i just remember d. booncareening around the stage and into the audienceand bowiing peopie over

and not missing a iick. and i was so biown away by that. and mike watt wouid dothis thing where he'd be standingwith his iegs spread apart. and one iegwouid just be shaking. he'd puff his cheeks outas he's piaying because hejust was sointense. george huriey had that big iockof hair that wouid just. he aiways wore it up,and then he'd take it out.

since my iegs and armswere busy, aii i couid dowas shake my hair. so that's what i did. d. boon's just bouncingaii over the stage. i never saw a fat guymove that much, i guess. there wouid be this interiude where they'd piayjust an instrumentai part. and d. boon wouid just dothis crazy dance. he did it every night.

andhehadtheworstshoesi'veeverseenanybodywear. i was trying to taik himinto getting tennis shoes. and he's, ''no, no, no.this is part of my uniform.'' when he hit the groundor hit that stage, i mean, things were reaiiy''kuh! kuh! kuh!'' i think that reaiiy amazed them. they weren't reaiiy used toseeing a short-haired guy, as pretty rotund and roundas d. boon was, to be jumping and just goingcrazy in the air iike him.

the peopie wiii survive in their environment aii the dirt, scarcity and the emptinessof our south the injustice of our greed there on the beach i couid see it in her eyes but i oniy had a coronafive-cent deposit so ''buzz or howi,''we made it for 5o.

that's the iast recordi reaiiy piayed with a pick. and haif of it is donewith spot, the guy who produced aii mixed aii the minutemen recordsup this point. i think watt and d. boonwere both saying, ''let's do somethingreaiiy simpie.'' so they were taiking aboutgoing back to four-track. so i toid watt, i said, ''hey, iet's forget aboutthis muititrack stuff.

let's just set it upand do it iive to two-track.'' you know, one take. bam.it's done. you mix it whiie you'repiaying it and be done with it. and that's what we did. the other side, we then metthis guy named ethan james who had a studiocaiied radio tokyo. he was putting togethera compiiation. he said, '' if you give me a songfor that compiiation, i'ii record a song freefor you.''

so we went, did three songs,put them together, and toid himit was one big song. so we did the other sidefor free. i put a ietter fromrichard meitzer on the back. i wrote to mike, ''oh, sorry i got to goto this wedding.'' i think it was vinny goiia,the saxophone piayer, was getting married. and so he actuaiiy putmy ietter

on the backof one of the aibums. richard meitzer wasa big hero to us. he had written iyricsfor the biue oyster cuit. he used to write for creem. we used to read his rock-writeas teenagers. then we got to meet him,and he wrote us a ietter. and i put it on the backwith a raymond drawing. actuaiiy the aibum coverwas going to be. i found a picturein nationai geographic

of aii these tropicaitree frogs, aii these bright coiors. we found out how much it costfor the coior separation. it was 1,ooo bucks. so i asked joe baizajust to draw something about me and d. boon. he came up with thisin one night. d. boon aiso hada drawing in it, too. he's getting yeiied atat work again.

''eat your iunch at noon,understand?'' he had some guy eatingat the wrong time. [ ''d.'s car jam/anxious mo-fo''piays ] serious as a heart attack it's the faii of '83. we have this whoie batch ofsongs ready to go for an aibum. then hã¼sker dã¼ comes to town. and they had found outthat hã¼sker dã¼ was putting out a doubie iive record.

so they went back to my studio, and they start writingmore songs. i guess, iike, within two weeksthey had 2o more songs written and were backin the studio again. ''doubie nickeis on the dime.'' remembering 46 songsfor a record. it's kind of crazy. it took us a iong time.i think about a week or two. you do things when you're young

that, man, sometimes you iookback, and it's kind of amazing. i don't think i've gottenany better, though. i iisten to those records, i wonder how i didsome of that stuff. boon: list monitors arrivewith petition. iron-fisted phiiosophy is your iifeworth a painting? is this giri versus boy withdifferent kind of symbois? being born is power

scout ieader taggedas big sin your risk chains me hostage me, i'm fighting with my head,am not ambiguous must iook iike a dork. me,naked with textbook poems spout fountainagainst nazis with weird kindsof sex symbois in speechesthat are big dance-thumps if we heard mortar shellswe'd cuss more in our songs

and cut down on the guitars so dig this big crux. organizing boy scoutsfor murder is wrong 1o years beyondthe big sweat point man, it was still there,ever without you coming aroundforjust a second apeek,aguessatthe wholeness then you iook at itand it's aii together at the wholenessthat's way too big

at the wholenessthat's way too. part of the joke. since we didn't have a conceptiike hã¼sker did, we had to kind of make one up. so we did two themesparaiieiing each other. one was ''ummagumma,''this pink fioyd record. which was a doubie aibum,and each got a soio song. like a quarterofone ofthe records. and then this sammy hagar.

sammy hagar had come out witha song, you couidn't drive 55. and caiied himseifthe red rocker. so we said,''weii, we'ii drive 55 and be crazy with the musicinstead of crazy with the cars. '' 'cause we thoughthis music was pretty safe. ''doubie nickeis on the dime'' means gongexactiy 55 miies an hour, which was the freeway speedin those days. jimmy carter, in the 'tos,had iowered it to conserve fuei

'cause ofthe oiicrunch. but no one got it.no one got the sammy hagar part. no one got the ''ummagumma'' part. and then ieading up to''doubie nickeis on the dime,'' which i think is thegreatest record of aii time. ''doubie nickeis'' is oneof the most incredibie outpourings of creativity ever. i'm sure you're going to geteveryone in this documentary saying that over and over again,but it's true.

it was this whoie new direction. and it just seemed iike musicwas going to expiode into this cacophony of coiorand sound and creative ideas. and it seemed so iimitiess. probabiy the best recordi ever piayed on, and it came abouttotaiiy by accident. just 'cause of this processwe were engaged in, you know? trying to push our iimits,push ourseives. pushthescene.

working on the edge losing my seif-respect for a manwho presides over me aii the principiesof his creed punchin,punchout eight hours, five days aii the sweat and the agony on saturday, i'ii get paid this ain't no picnic

hey, mister,don't look down on me for what l believe i've got my biiisand the rent i shouid pitch a tent but our land isn't free so i'ii work my youth away i n the piace of a machine l refuse to be a slave they did ''project: mersh,''and that record.

that was a confounding record. because on one hand,it was cieariy an attempt to be commerciai but are they trying to hit it? i was trying to get my headaround it. and what was even more puzziingabout it is how much i ioved the record. it has one of the greatestcovers of aii time. so d. boon made this paintingof a boardroom where the guys,

some record putzes are,iike, scheming. ''oh, what wiii we doto make them accessibie? i got it! we'ii have them writehit songs.'' '' p roject: m e rsh ''was no more a career move than our first record,''paranoid time.'' it's just a different way for usto teii our story. we were trying to get ridof the chains peopie had on our description of us.

they wouidn't iet usbe minutemen. we had to be fiied under dewey decimai systemunde r ''punk/funk. '' so we said, ''okay, iet's usechoruses and fade-outs.'' it's oniy mersh 'cause we saidit was mersh. it soid haif as muchas our art record, ''project: mersh'' was, i think, a conscious attemptat actuaiiy writing a song that couid get piayedon the radio.

of course, it didn't. i mean, radio at the timewas more interested in men at workor men without hats. not the minutemen. ''project: mersh,'' we actuaiiypracticed these songs in wiimingtonat saccharine trust's. jack brewer's garage. the minutemen were rehearsingin the garage. i had this neighborwho i'd known for years.

he caiied me one daywhiie i was in my backyard. he said, ''jack,taik to you about that band you got rehearsing back there. '' i said, ''oh, i'm reai sorry.i'ii ask them to turn it down. '' he said, ''no, the music's fine. but in between their songs, these guys are just yeiiingand hoiiering and cursing. it's reaiiy disturbing.'' sometimes michaei wouid justcome back, and he'd be iike,

''dennes is writing these songsthat are iike. i don't know if i want to piaysongs iike that.'' you know, and i'd go, ''weii, you toid him to dowhat he feeis is right.'' right, right. so the song differences werereaiiy extreme sometimes. -you'd seethese.-yes. because michaei wouid writeabout something he saw on, iike, some taik showor something.

and dennes wouid write abouttotai poiiticai unrest in another country. oh, they did.they'd fight over ideas. they'd fight overa iot of different things. but, you know,you don't fight with a stranger the way you fightwith someone you iove. and that coverof ''buzz or howi under heat, '' or whatever the nameof the record is, that. i think that'sa joe baiza drawing.

that was them. either aboutthe communist manifesto or workers' rights in cubaor whatever. they wouid just. the reiationship betweenthese three guys. as far as i can teii,it was many things aii at once. man, they were just going at it. they were bothin the front seat. d. was driving.

we're saying,''keep your eyes on the road!'' he's pointing, and they getreai into it, you know? and finaiiy, i don't knowif it was mike or d. first. he said, ''when we get home,the band's over! that's it!'' and he goes,''weii, george is coming with me! george is gonna piayin my band!'' and then d. goes, ''george.'' and he, iike,hits him on the ieg. georgetakestheheadphonesoff.

''george, when i get backto pedro, i'm gonna start my own band. are you gonna piay with me,or are you gonna piay with him?'' and george said something iike, ''i'm not gonna piaywith either of you. i'm gonna start my own band.'' like, screw both of you. you can't have a revoiution without pounding your fiston the tabie a iittie bit.

and that was the natureof their reiationship, that they used to get into itquite a bit. but it was aiways..i mean, they were best friends. there's no tensionin between writing songs. we aii write different stuff.we have our different ideas. we want a bunch of dimensionsto make it iook reai we're into the freedom,you see? one of the thingsthat makes us a band is that we aii chooseour own destinies

in what we want to put intothe band. and we don't coiiaborateon iyrics hardiy. d gets his. i get mine.george gets his. ''i want some, too.'' the music is whatwe mostiy coiiaborate on. that's what you can share on. the statement thing,that's reai personai words, to us, are constantiychanging, you know? reai personai, too.

it's the music that we spenda whoie iot of time on. usuaiiy the iyrics we write downin one day, and there they are. he writes his in one day.i take time with mine. yes, we have a new aibumcoming out. nove m ber. in the middie of novembersometime. you can't reaiiy predict what exact dayit's gonna come out on. it's caiied''3-way tie (for last) ''

watt:on sst records. yes.there's five copy songs on it. ''3-way tie,''us doing these covers, you know? we're now confidentenoughorsecure enough to iaugh atourown background. so there's creedence. there's biue oyster cuit. there's roky erickson. 3-way tie (for last),'we made a conscious effort

to just make it a rock recordwith us. but i sang one of the songsover the phone with a guitar. so it's artistic. -we're trying to give...-we use acoustic guitars. aii kinds of things.they're just devices. it's aii for us to use. fade-outs are the sameas a horn or the saw. i iike the saw.that's a new angie. just the instrumentai cuts of''3-way tie,'' guy was so excited.

the vocais weren't dubbed yet. but he was just so excitedjust piaying the tape for me whiie i was at his house. that's a memory i have of him. he ioved whathewasdoingso much. i know that ''3-way tie'' isn'tone of mike's favorite records. but i thinkit's a great statement of the way, again,the two of them interacted. it's iike mike's sideand d. boon's side.

and yet there's crossover. there's a song on eachthat's kind of from the other, and there's some of my iyricson both. and there's thiscompieteiy intertwined effect even thoughit's aii so very much iike, ''nobody's the ieader.we're equai we ' re wo rk i n g -c i ass.we're a democracy.'' it's exactiy how they were. a friend of mine toid me oncethat don van viiet,

ca pta i n beefh ea rt ,toid him that he went to go see theionious monk piayat carnegie haii and that he waiked inand there was a grand piano. it was a soio performance. there was a grand pianowith a pot of fiowers on it. and theionious monk waiked in,iooked at the audience, threw the pot of fiowersin the piano, siammed the iid down,and sat down and went, ''bing!'' and hit one note and ieft.

and beefheart said, ''it wasthe greatest note i ever heard!'' that's iike the kind of feeiingi get from a minutemen note on ''3-way tie (for last) '' they piayed reaiiy simpie,beautifui songs that you can teiithat they couid do anything. one of our phiiosophiesin the minutemen aiso has to do withthat aii peopie, you know. . there shouid be more interactionwith music and everyday peopie. because that's what we are.

thisidea d.boonhad that working peopieshouid be abie to go to gigs. so, ''hey, iet's startthe gig at t:3o. let's put it whereyou won't have to drive 3o miies each way.'' this was intense, you know? this wasn't iike,''hey, iet's do a showcase so we can get signedand be in a rock band.'' this wasn't his sensibiiityat aii

ornoneofours,youknow? this was iike. ithinkit was becauseour experience with arena rock and going to the gigs atthe forum and long beach arena and just beingso much a spectator that when we came upon this new scene, it wasn't about spectators. it was more about totaiiy beinga participant. you know, we come fromwo rk i ng -c iass fam i i ies ,

and we piay our musicthe way we want to do it. and t|s peopie are into it. we just want to iet peopie know that there shouid be a bandon every biock. there shouid be a nightciubon every other biock and a record iabeion every other biock after that. ofcourse, you can understandwhythings gotorthodox and kind of uniformand conservative.

attacking forcesfrom the outside, peopie hating the sceneand stuff. so peopie bunch togetherdefensiveiy. young peopie coming in.things getting very sociai so you don't want to betoo experimentai with the music. you can see. i'm aiways getting askedthese days by younger peopie, ''what do you think of thisnew pop-punk and aii this? there's no reai punk.''

i mean,things happen. i don't reaiiy fauit peopie. everybody can't be bornatthe sametime. some peopie wiii be born before,some peopie born during, some peopie born after. a iot of thatis just circumstance. so what's reaiiythe question is, ''what is to be donewhere you're at? and how are you gonna do it?''

and actuaiiywhat we were coming on, it was new to us 'cause we werefinding out about it. but this is probabiythe same kind of traditions peopie iike woody guthriewere from, you know? and maybe some of them beboppersand stuff iike this. just taking thingsin their own hands. [ ''littie manwith a gun in his hand'' piays ] a woman's touch highest iove

strong mind, a strong body aiithethingshe could have been aiithethingshe should have had little manwith a gun in his hand support aii organizations that deai with oppressionand stopping it. [ crowd cheering ] man:soyoupsychedaboutther.e.m.shows? boon:yeah. shouid be fun.

[ dog whimpers ] okay, come on. man: i wouid think that peopiethat are into r.e.m. are gonna beinto you guys. boon: see how it goes.'cause they're into us. that shouid say something. it's reai interestinghow we even got on the biii was that michaei snipe and theirmanager wanted us to piay. -stipe.-but their iabei,

they wanted a bandfrom their iabei to open up. and snipe said, ''no way. we want them to piay,and they're going to.'' and their record iabeiis not doing any of the promotion for it. so the band's doing that. so it's something they want,and i reaiiy appreciate that. man:that's pretty good. i remember the iast gigof the tour.

maybe it was in chariotte. we're piaying with r.e.m. i mean with them. it's their encore,and they have us come on. georgie piays a fioor tom. and me and d. boon piayeda few of pete buck's guitars. and we did ''see no evii '' the teievision song. and that actuaiiy is the iasttime i piayed with d. boon.

i didn't even piay bass.[ chuckies ] i piayed guitar. that turns out to beour iast gig. and i had just gotten these1 o songs from richard meitzer. lyrics. and he wanted to recordwith us. and he'd piay sax and sing.we'd piay behind him. so i bring them overto d. boon's pad. and, ''look.richard's written us 1 o songs.''

we were so excited. ''let me have those words.i'ii think of iicks.'' so that's the iast timei saw him. [ ''piight'' piays ] his face is young his hands are old past is empty blind and cold mike caiied me up.i was at home in bed.

i was asieep. and he woke me up and toid methat d. got in an accident. it's kind of iike having a hoiewhere a heart was. grabs the dirt stains his shirt so december 22, 1 985. [ ciears throat ] heavy day for me. sieeps at night

won't see day he does some hobbies he needs a new hobby man:yeah, d. boon! watt: this whoie thingwith d. boon and his mother. this idea where you make upyour own entertainment and your own activities. i think it was reaiiy intenseon us, you know, this whoie idea of diyand stuff.

i guess there's a debateover this. you want thingsfor young peopie to do so they don't get in gangsand in troubie. but if things are too set upand stuff, you end up creating an armyof robots anyway, you know? there comes a period whenyou'regonnahavetocomeupanddothings,youknow? become your own person.pick your own friends. your own guys you want to buiiddreams with and stuff.

big change in my iife,meeting d. boon. our band can be your iife. reai names be the truth. me and mike watt,we piayed for years. andpunkrockchangedour iives. we iearned punk rockup in hoiiywood. drove aii the way upfrom san pedro. we were fucking corn dogs. we'd go drink and pogo.

mr. narrator. this is bob dyian to me. i couid be in his songs. me as his soidier-chiid. our band is scientist rock. first i was e. bioom. richard heii joe strummer. good oi' john doe.

me and m ike just piayingthese here guitars. man:that's great. mike or george, you guys gotany ciosing statements in reference to the minutemen, in reference to this touror the new aibum? no.we jam econo. -g eorge?-no. that's it. -thankyouvery much, mike.-thanks a iot.

we got these things. [ ''unnamed jam'' piays ] aii right. where were we? [ whistiing, appiause ]