When interviewed in 2023, Vivienne Lumière had a different name and gender identity. With her consent this oral history interview has been edited accordingly.

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Hayes Waring: Want to start recording? Hello, this is Hayes Waring on February 9, at 1:35 in the Pacific. I'm talking to [Vivienne Lumière] and Jonathan Quittner.

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Jonathan Quittner: Hello, I am Jonathan. 

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Hayes Waring: Hey, [Vivienne] and Quitty, 

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Quitty: Hi.

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Hayes Waring:  I'm going to start this off. Maybe at the beginning? And you know, you guys can answer any of these questions as you see fit. I might direct his first one to Quitty, because you moved here first. But...[laughter] Why did you come to Olympia? Tell me about Brent's TV.

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Quitty:  Oh, that's nice. Wow, you really.. did research and went there!  You knew that I moved here first, for one.

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Hayes Waring: You told me on the telephone when we talked.

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Quitty:  All right, Brent's TV. That was a band I was in when I went to school at Humboldt State University in California, which is like, way up in the nortHayes Waringest corner. And it was there I had my first band. And like, the experience, it just opened my eyes to the possibilities of music. And those guys personally, and that band really made me do a 180 in my life. And we had a band, Brent's TV made a record and a half, kind of, we're on Lookout, which was like a well regarded punk label at the time, I'd forget if they still exist. And our first tour was with Green Day, and that had to do with their drummer, who was sort of on the way out at that time, coming to Humboldt and we knew him and we set up this tour. It was going to be you know, it was Green Day and Brent's TV’s little NortHayes Waringest tour, just from the north of California to Vancouver and Victoria back, and Green Day flaked on the first half of it. Aaron Cometbus, who did the zine Cometbus, and like I honestly think still does.

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Hayes Waring: And your bandmate [In Pinhead Gunpowder]?

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Quitty: Later. Yeah. Yeah. That actually came from that same tour, too. He like hitchhiked, or something up to Humboldt to come with us on the tour because he was really impressed that even though Green Day flaked, and half our shows were canceled, we're like, Fuck it, we're still going. And I have no idea what the shows are gonna be or how we're gonna get them. So thank God Aaron was there because it was him that rustled up almost all the shows, and then about halfway through Green Day, just surprised us. And then they were there. And then those shows get canceled. But during that tour, which I think was first drummer Al's last experience with them. We came to Olympia for the first time. And we played a show with the North Shore Surf Club with the Libido boys from Minnesota and Whipped from Seattle. And people really, really responded to our band. And it was really cool. Because it was a very different band. Maybe we all think that about like the bands we're in when we're really young. But it was a very different band, right?

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Vivienne Lumière: Yeah. Yeah, it was really different.

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Quitty: It's like, I still don't really know how to describe it. Except that like,

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Vivienne Lumière:  one of the best descriptions is an excerpt from the Maximum Rock'n'Roll…

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Quitty:  Oh, you're right.

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Vivienne Lumière:  “I can't tell if this is a 45..?” Like If this is supposed to be played at 45 or 33?

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Quitty:  It was 45. But like at 45, the band was very chipmunky. It was very… Like, have you heard of it?

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Hayes Waring:  You know, I have, I've heard that song.

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Vivienne Lumière:  I really loved it before I even met Quitty. I was a big fan. And I remain a big fan to this day.

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Quitty:  Oh, I remember seeing the band through your eyes, which is like what you describe like, looking on the 7 inch, you are like, “what is the deal with these guys?” Because you can't really see them. 

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Vivienne Lumière:  Yeah.

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Quitty:  And then we had Virgil do the lyric sheet.

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Vivienne Lumière:  Yeah the spelling is all fucked up!

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Quitty:  He is clearly dyslexic and that was not for effect or anything. That's just how he wrote shit. And it just seemed like, ‘Are these guys really fae lumberjacks or something?’ I was like, 'That was like, that's so cool. could not ask for a better impression'. And so like, really fast. The vocals come off chipmunky, because we're young and the two main singers have high voices. 

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Hayes Waring: Are they siblings?

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Quitty: No, but the singer's older brother was the singer of Sweet Baby, who was a well known band in the Bay Area at the time. So he had a sibling and he was later in a band with a sibling. But no, that was John Denery -he was the kind of lead singer- and Virgil Shaw, he makes solo records now. He was on harmony, and they were just very, very high pitched and the whole thing was really fast, but largely acoustic. So but that was really kind of different than if you know,

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Vivienne Lumière:  Drums was just a floor tom and snare. 

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Quitty:  Thank you. That's right floor tom and snare. Yeah

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Vivienne Lumière:  Yeah. with a spaghetti pot, Yeah, 

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Quitty:  but when we went on the tour like Brian wouldn't come on the tour, he hated Al. And so we had a like a normal drummer, like a really good punk drummer and it gave the music a totally different dimension. It was like, it now sounded like a punk band. But it still had that like very fast like chipmunk-y thing. And people mostly didn't know what to make of it outside of Arcata, but in Olympia, people went, “Oh, fuck, yes, that is awesome!” Like people were just… Like I met who there? I met Corin Tucker, Allison Wolfe... And that that was like a plus, girls really liked that band. And so we're like, oh, man, that shit was great! So when we were setting up shows on the fly on the way back, we said ‘we gotta get one in Olympia.’ And so the next one we got in Olympia on the way back was at.... 

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Hayes Waring:  Was that the MODS?

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Quitty:  Yeah, the MODS. It was, well, Green Day, us, Fitz of Depression, Witchiepoo, and Giant Henry. And like seeing like all that and seeing like, what the how, like, driven and unique like the kids were here was like, I just thought it was the coolest place. I'd met these like 18 year olds that had a really good sense of where they were, what was different about it, and they just thought it was the shit. They're like ‘Olympia rules, and we're gonna make it rule so much harder!’ And I was a believer. And when I went back to Arcada, I was telling my roommate about that. And we were about to graduate from Humboldt State. We should move there this summer was like, Yeah, we should. Because being in Arcata not being like, you know, not having like a thing that drives you other than being in a band or something, not a great idea. And so we did and he moved up ahead of me, we got a room in the Angelus apartments, which I think are still there. Yeah.

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Hayes Waring:  Tell us a little bit about the Angelus apartments, that was kind of like the shadier version of the Martin?

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Quitty:  It's like probably the shady-est, like, apartment in Olympia. It's on fourth and what Columbia? like and goes for almost a whole city block. It's upstairs from a row of shops. And it was well known as the heroin hotel. I don't know if it still is. And we literally had one light bulb hanging from the ceiling. And it was a studio apartment. We just both like slept in the living room. And we had a bathroom and we had like, insane neighbors on every side of us. And below us was this woman that people our age....,  [To Vivienne] Did you know the Jim Morrison?

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Vivienne Lumière: Yeah

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Quitty:  ...like she was referred to as Jim Morrison because she went through a period where she believed that she was Jim Morrison and she was like, she had like a buzzed head and just clearly mentally ill and you'd see her like kind of walking around and she was she was homeless but 

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Vivienne Lumière:  Right, She was later known as Vishnu.

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Quitty:  Right. Yeah, later Vishnu but when I got here everybody referred to her as Jim Morrison, because she'd been in the Rainy Day and, you know, like, objected to the Jim Morrison posters, like, "that's got my likeness on it. And I'm not being compensated", you know. And it wasn't just like a cute like, like little like, Olympia, twee personality she's putting on, it was real. And at night, at least a couple times a week, she would throw an absolute shit. And she lived directly below us in the back of what was then Positively Fourth Street, the record store.

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Hayes Waring:  Did your sister work there?

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Quitty:  Yeah, she did. How do you know that? Did I tell you?

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Hayes Waring:  No, I asked a couple people around town.

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Quitty:  Oh, yeah. Okay. Yeah, my sister did.

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Hayes Waring:  I want to ask you about that, because we don't have a lot of people talking about that record store. And I think that's pretty important.

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Quitty:  I totally agree. That record store was so central, especially to me, because when I got here, like one thing that like, I got out of like the local, like the kids, you know, the younger kids that were in the punk scene, I was still like, a little bit older than them. I was like, 22. And they're like graduating from high school. And one thing was that they were all popular and well, not all of them. But like the ones from Olympia proper were like popular in their high school. Tumwater No, like that does the punks in Tumwater were not popular in their high school, but like, you know, like, the people that I knew that went to Olympia and Capitol High Schools were like, you know, popular kids and like, that doesn't matter to me now. But at the time, it was like I never known a single punker who was like..., not something of an outcast,

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Vivienne Lumière:  Definitely. 

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Quitty:  And the other was that like, they were really into punk which was cool, but they had not yet kind of branched out. And I was into older music. And so when I went to Positively Fourth Street it was a fucking goldmine of old records. And newer ones somewhat,  because like it just wasn't picked over, you know and so like, I would be getting like Bo Diddley and the Left Bank and T Rex records. And... and if I was with anyone they'd be like, "What the fuck is that?" You know because it was all Rites of Spring to them you know? It was fine, they were just young. And the record store also, like attended... like... it didn't feel very welcoming to most people. Because the people running it, the person running it, was like an old school junkie, R&B collector dude, he's dead now so I'll say his name, Winston Vidor. And, and Win..

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Vivienne Lumière: Famously he ran with the drugstore cowboy gang.  

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Quitty: Yo, he'd tell anyone! Yeah, he did. And Jim was the guy that wrote the book. Jim Fogle lived upstairs on the Angeles.

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Hayes Waring:  And he was your neighbor?

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Quitty:  Yeah, but I didn't know him. It's like it was only later that I figured out that that guy was the Jim Fogle guy that wrote Drugstore Cowboy. And Win, he was big on like, kind of, like bragging to like, Evergreen freshman girls and stuff that like, “oh, yeah, I started everything here. And you know, like, oh, yeah, that was me. Matt Dillon played me in the movie” and like, I didn't quite… [to Vivienne] Didn't you always kind of take him for the weaselly guy that gets them busted? 

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Vivienne Lumière:  Oh, for sure. Like some kind of composite character Win was probably in there somewhere. 

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Quitty: Well, how about this, like, when I went to law school that I just happened upon while doing my restorage? ...restorage?

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Vivienne Lumière: restorage

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Quitty:  ... my research, Vidor versus United States or you know State versus Vidor. It was like a well known case about like when the cops do or don't need a warrant because his mom had sold him out. Like "I think my boys on drugs" like I think he was an adult and like they came in they went through his stuff and were like, "Well, did he consent to the search?" "Did he need to?" You know, like, Vidor, or State versus Vidor is a well known case. 

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Vivienne Lumière:  Wow.

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Quitty:  Isn't that crazy?

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Vivienne Lumière:  Yeah.

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Quitty:   Anyway, so

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Vivienne Lumière:  So like Win was like pretty obnoxious. Yeah. Like, I didn't go into that store all that frequently because you had to like work yourself up to like.., Okay, I gotta get fucking assaulted by Win if I go in... But I went in sometimes, but like, it really was you had to really prepare yourself You did, you had to gird up, because he'd chase you around. You'd like...Well they're desperate to make money because of... that their personalities were really off putting and so no one wanted to go in there even though it was a great record store.  Yeah. 

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Quitty:  And if he went in there kind of looking like any sort of person that he could size up. You know, if you'd look sort of punk, he'd chase you around with exploited records or you know, if you looked like a hippie, He'd tell you about how he knows Skye Saxon, which by the way, I met Skye Saxon there. I met Exene there, I met...  there's a picture of GG Allin there, I didn't meet him there. Courtney Love, I ran into there a couple of times, like it was a well known place, a really good record store.

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Vivienne Lumière:  One of the Courtney Love stories is that she was there with 

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Quitty:  Edward Norton. 

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Vivienne Lumière:  Edward Norton. Yeah, trying to buy Nazi records.

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Quitty: Because he was clearly researching his part for American History X, you must know Becca Bolo. 

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Hayes Waring: Yes. 

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Quitty:  Well.

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Vivienne Lumière:  Is she being interviewed for this?

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Hayes Waring:  I haven't seen her on the list. But another one I should recommend  

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Vivienne Lumière:  She should be.

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Quitty: She should be. What about Michelle? Noel. You get her?  Yes,that's good. Because she was my first roommate when I got here. And I was just thinking about her.

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Hayes Waring:  And you came here in the summer of 1991.

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Quitty:  Oh, me? Yeah, I did. It was summer of ‘91. It was about a month before the International Pop Underground Convention. And speaking of Michelle Noel, I lived with her and I wound up working through most of the Convention because Michelle was very busy with it. And she was, you know, helping promote girl night. She was still in Bratmobile, I think at the time, and we worked at the San Francisco Street Bakery, and we were basically the only two people there. So I had to cover for her for pretty much the whole week. And what I did catch of the convention. I was very tired. So yeah, that was after we, after I moved out of the Angelus because that was just not sustainable.

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Hayes Waring:  But the Pastels wanted to borrow Michelle's Drums?

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Quitty:  It was like... no, not Michelle's drums. I'm sorry. But that was my roommate in the Angelus, I moved up here with, he was a drummer. He did have a really crappy set. But it was like, the Pastels?  like what you guys have standards? I mean, that was one of the really good things about the IPU is like bands from other countries and stuff were like, I don't know if they're sort of like aliens, like they showed up and you're like, I it would never have occurred to me that you were, you know, x, and one of those things was professional. It never occurred to me that the pastels would be like professionals, but they sort of were. And let me think, Candace sent Fugazi over to my house to get weed for their sound man. And that was kind of funny. I was like, what made you think I have weed? It was like they were the only person...

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Vivienne Lumière:  Because you moved here from Humboldt. 

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Quitty:  Exactly. I was the only person anyone knew who still smoked weed. It was like drugs and like, you know, even like booze and weed. Were really frowned on and like I was taken to be some crazy madman or something, which I most definitely was not. So yeah, that was like more of my IPU experience was like, Fugazi looking to me for weed. And I think that's when Pete Chramiec moved here on the same time, and they had Rain like the Sound of Trains that they like started in our basement of the Puget House. And yeah, that was so it was sort of like I got dropped in at the deep end. I knew about K and I already liked to Beat Happening. But I didn't realize it was this like kind of phenomenon that like other people knew about it was just a college radio DJ in Northern California. And I always remember it so well that like, in the middle of the night when my partner and I had our show out are like you know, mostly punk show. and..

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Hayes Waring: this is Erin Yanke?

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Quitty:  Yeah! And I I throw on it, was like Dreamy, the new Beat Happening record. Let's see what this sounds like.? And I just throw on the first song that we're playing over the air and it's me untamed. And I'm like, “Oh, wow, I like this.” And she's like “I fucking hate it.” “I love it.” She goes “I hate it.” We're both getting more emphatic. And that's that's the Beat Happening story right there. It was like, I just thought it was so like, brazen, and it was so like, I don't know, it's it's, it's aggressive at the same time. It's like romantic and like, it's just a very different so like I do about that. And I met Calvin and Candice after, you know, like from the IPU and stuff because I was friends with musicians here. And yeah, the next year I started working at K.

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Hayes Waring:  And that was..,  You started working in 1992? And that when did Huney Bucket start?

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Quitty:  Oh, that would have been around the same time, probably around the same time I was working at K they had that band before I was in it. Curtis Pitts was the other guitar player. And I don't know where he went. I guess Seattle. And I those were the people I hung out with all the time. I wasn't, I wasn't really a fan of their band, actually. I mean, I liked it, because I liked them. And we were just together all the time. And because we were the drinking people, like we were the people who drank. And we had so much fun in that band. The band itself. ehhh. You know, like, I think we all sort of feel that way you don't like sometimes, like you're in a band that like there are some people in the band that like years later, they're still like GOD, Remember that band? Like? Yeah. You know, and like the rest of us are like, Eh..Yeah, I don't know. And I think like at this point, like, you know, like, sometimes I feel like when we talk about the Tight Bros.. like to Shaun that's like, oh, man, remember that band? You know, and I always think, like, if that bands remembered at all, it will be as Jared's least successful band. I loved the band. Don't get me wrong, but it's like, that's just subjective. And so Huney Bucket, I was in for like, a year. And then we had the Mukilteo Fairies right after that.

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Hayes Waring:  But with one other member from Huney Bucket?

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Quitty:  Yes. Somehow I think of Joshua as being in Huney Bucket. But he was. Yeah, that was Jason, who's in Trail of Dead now and has been for like 25 years.

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Hayes Waring:  And then that's 1993. That's when you get here, [Vivienne]. Right. And then are you working at the North Shore Surf Club yet?

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Quitty:  Me? Yeah. That was my first job here. I guess. With San Francisco Street Bakery. I had like San Francisco Street Bakery. And then at night, it was a sound guy at the North Shore surf club where I allowed them to not pay me most of the time.  Yeah. Because it was just like, it was the metal shows and stuff. It was like this just was not a town that was going to sustain having shows all week, you know? And like, so a lot of the time like the door or they just didn't make anything. It was like, Keep it, let's give it to the band.

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Hayes Waring:  Oh, wow. 

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Quitty:  I like to think that, that paid itself back later. And it was just being in bands and having to like, probably take money from the sound guys mouth, although it would make me furious when it was like, well, we got to pay this young guy $300 So here's 20. I was like, I've been the sound guy and I...! You know, whatever

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Hayes Waring:  Oh, wow.

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Vivienne Lumière:  I mean $300? Yeah, that would make me furious. But also like, you know, the sound person should get paid something because they're just doing a fucking job. And like, if that means the band doesn't get anything well, it sucks but actually kind of makes sense. Like..

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Quitty:  It absolutely does. It's like..,  you're right. It's like, you know, so many times, like, that's why I felt like I had the the moral high ground because it would be like a band and a scene I didn't give a shit about at that time, I was like, I was like, I had grown up in metal and like, this was exactly the period where like, fucking, no one can deal with metal anymore. Like, I can't deal with metal anymore. This is that's so not my tribe, I was never gonna fit in, you know what I mean? And like, so like to have these like very macho shows, or fights breakout and stuff. And you know, the bands are like, kind of, I don't know, like overtly homophobic or whatever. And, and I'm just sitting here twiddling knobs, and then I let myself be not paid. That's why I felt like I had moral high ground later to like, Fuck the sound guy, he lives here. You know what I mean? But you're right. I mean, the sound guys doing a job and they should be paid. 

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Hayes Waring: You guys are both sound engineers. 

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Quitty:  Oh, [Vivienne's] done much longer than me. I was a sound engineer for several months. And it was it was totally fly by night. I was like, well, here's your microphone. Here's your board. Very, very basic board, you know, and there were people that swore that I gave them the best sound that they'd ever had. I could not tell you how I was like, I don't know, man,

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Vivienne Lumière:  Sometimes that can be confused with just being the easiest sound person to work with. 

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Quitty:  Very true.

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Vivienne Lumière:  And they're like, they just have a great show. Because this person didn't give them any shit.

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Quitty:  Yeah, they could hear themselves in the monitors.

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Hayes Waring:   Yeah.

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Quitty:  Yeah. It's like, well turn your amp down... they're like, 'oh, I never thought of that'..... David. [to Vivienne Lumière:]

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Hayes Waring:  Do you have any favorite shows from that time? I know, you've talked about the rocket from the crypt show.

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Quitty:  Wow. Yeah, that was the one that came to mind actually, immediately came to mind. Like, let me think. No. Yeah, it's Rocket from the Crypt because it was like, I knew who they were, they had like one album out. And they showed up at during..., at the beginning of a benefit for I think KAOS. And that would have definitely been 91. And they said, Oh, could could we play first? Like at eight? Okay. Yeah. Okay. And, yeah, there's bands from out of town as they're gonna play first. And then they're gone. And then they're on the stage are all wearing like red leather, and they just hammer into this really, like, you know, the difference between like, this band that's all scrappy, and they're like, oh, practice, I'm sorry, we couldn't get it. And then like a band, that's so got it going on effortlessly. And it's like, night and day, kind of you're like, Oh, that's a band. That's a whole band. And it's really like, impactful. It was that there was no one in the room and I was and they were giving it up anyway, which is always what you want. And yeah, that was incredible. And I've never been like I've never owned one of their records that I probably still wouldn't was nothing against them. It's just like, doesn't quite exactly do it. But the live experience is totally different. Like I never liked him…

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Vivienne Lumière: …because they're from San Diego.

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Quitty:  Yeah, I was like you got here my holmes do Oh, back in Diego did fuckin three foot swells. Nectar batty is did know was I don't think we talked about San Diego. But like there were a lot of bands like that that played here. Like you know like the Jesus Lizard or you know, tar like those like kind of like real dissonant Chicago like touch and go bands and stuff. I was never like a fan but like as live bands, like they would bring it needs. You'd see them in this like space. It was very small and stuff looks cool.

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Hayes Waring:  Very cool. And then so '93 You're.., you're starting Mukilteo Fairies with Joshua Plague. Plu-ag?

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Quitty:  Yeah. Ploeg. 

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Hayes Waring:  Ploeg? 

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Quitty:  Yeah, it's Dutch. Yeah. Okay, Dan Hanson, now Counter Commons. Okay, this is how I remember this. Because Bikini Kill, like when I when I moved here, in 91, like Bikini Kill was already like, they were just a local band, but they started like, kind of getting a name nationally. And like, they started to sort of be the 'straw that stirs the drink', like around here like them and K like, sort of equal parts. And so feminism was the thing and you like, you were gonna respect feminism if you were gonna be here and or either that or you were going to resent it and talk a lot of shit and I was really most people. So like, after the feminism thing, like identity politics started being a big thing generally. And when like, you know, it was like feminism, it was, you know, class and, and then like, when it was like, queer identity. Dan Hanson, now Counter Commons was putting together like a queer comp. And he told Joshua, who wasn't a musician was like, you should have a band to be on the comp. And actually, he had like, had really briefly had a band with the like, surviving members of Honey Bucket. There was like John Dahlin, who was the first singer in the Accused and he used to like, manage The Golden Oldies record store here. Jerry, Jaime, and John Dahlin and Joshua, where they had a band called Blow. Did you know this?

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Vivienne Lumière:  No, I never knew that Jerry played music either.

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Quitty:  Really? He was in Huney Bucket. 

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Vivienne Lumière:  Huh.

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Quitty:  They had this band called Blow and I remember like, hearing their practice I was like, "That's you?" because that was when Joshua was first started singing in that voice we know him like him to have now. And like, and it was like, "Oh my God, he's an absolute natural!" Like, I don't know if he even knew that. But then like, Dan said, you should have like some gay music or whatever. To put on this comp, and so him and Jason Reese was in Huney Bucket. And who was then Jason's girlfriend and John Dahlin's ex wife, Rebecca Basye had just started to play guitar. And they're like, we're gonna have a band it's called the Mukilteo Fairies. Haha. They thought this pun was really funny. And they just came and got me and they're like, you have to be in our band The Mukilteo Fairies. I was like, "What is it?" they're like, "It's like hardcore" and I was like, "I don't want to be in any more punk bands" Like PUNK PUNK bands that make people slam dance and shit I'm so like, OVER IT. Like going to shows and have to say "oh! stop fighting!" And you know like, some doofus there making it all suck.

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Hayes Waring:  San Diego is pretty hard scene.

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Quitty:  Yeah, and I didn't know that everywhere wasn't like that. When I was living there. I thought that that's what punk was I really loved the music for being wild and uncontrolled by stayed the hell away from the shows because they were really, really violent. And I was like, people that I knew people that were my friends would like, go to the shows, like, with knives was like, "Oh, when I get in the pit. I'm gonna like make it even with that guy who punched me last time." Like this was what happened at the shows, it wasn't a good time. But then I heard like their practice on tape. And I was like, Oh my God, that's insane. That's insane. They had like four songs. And I was like, yeah, I gotta, I gotta join. I gotta do that. And then we had the Mukilteo Fairies. And it was basically Joshua was coming out explosion because before then, like, he had not really been out. In fact, when I met him, and we were, we got to be really tight right away. We bonded over Judas Priest. And it was only after a while that I think I asked Rebecca. I'm like, "he's gay. Right?" And she's like, "he says he's bisexual. He doesn't like to talk about it." And when we had that band and everbody... He was like, very gay.... And everybody fucking loved that that it was like an explosion of fucking both punk and gayness and. And that, like, that caused a weird dynamic eventually. But that's, that's basically what that band was. And I really liked it. But we couldn't, in that bad we couldn't get along. I mean, there was a there, I guess it was factions. It was like me and Joshua, Jason and Rebecca. And we didn't all always fall into 

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Hayes Waring: They were a couple?

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Quitty:  They were a couple. But they were a couple that was always about to break up and was like, cheating on each other and had dramas and like, they had amazing stories. I remember to remember like the girl who smashed cantos windshield with a pumpkin. That was all just part of that. She's still here, I'm not gonna say her name. But it was like, Oh my God, it was just like, never ending drama. And then we had a tour. And the tour for me was miserable. And that was like, where I learned my one of my first like, enduring tour like, lessons, which is like, God, don't be the one who's available to take all the shit. Because Jason and Rebecca were in a state of high tension all the time. Joshua is like at the back of the van, I'm sorry, back of the Volvo car, going, [Joshua immiation] "I don't care about you guys. Shut up, leave me alone." And that left me who was like, [cooing voice] "Oh, What's a problem??Ohohoh " You know like , [immiatting response] "Fuck you Quitty!" "Like, what did I do?" then like, "You know what the fuck you did!" [laughting]

‍

Vivienne Lumière:  It was also a three week national tour. And that's gonna take a toll on people. And that's just so much time. 

‍

Quitty: You were there [to Vivienne] 

‍

Vivienne Lumière: I crossed paths with them in Nebraska or something. 

‍

Quitty: I thought DC?

‍

Vivienne Lumière: Was it DC?

‍

Quitty: Yeah, because you tried to go to the Black Cat, like saying, "Is the Mukilteo Fairies playing?" [and the venue repeating] "Do we have a Michael Fairy?"  Oh, it was miserable. It was miserable. We just tried to do it ourselves. Oh, that was part of it. Because like I had been the only one to try to book shows and stuff. And sure it was sloppier than it would be later. But, you know, like you get you're flaky people that like they never did put you on the calendar when they said they did and stuff and like, so, so many, like shows falling through in places where we are really counting on them, you know? And that was one of them, the Black Cat in DC where I still sort of have a little grudge Chris Thomson from Circus Lupus.  Because homie sold me out.

‍

Vivienne Lumière: That's Right!

‍

Quitty:  I thought it was Dante. Dante was also a dick.

‍

Vivienne Lumière:  Okay. 

‍

Quitty:  Yeah. But he was like the manager of the place. He wasn't the booking agent. 

‍

Vivienne Lumière:  Okay. Yeah.

‍

Hayes Waring:  And [Vivienne] what were you doing there?

‍

Quitty:  [Interupting quickly] But he was in Iron Cross, so I'm not gonna...

‍

Vivienne Lumière:  [Laughter] 

‍

Hayes Waring:  Yeah don't mess with that guy [All Laughing]

‍

Vivienne Lumière: I was on a road trip summer of 94 with some friends. Friends, and yeah, we I don't... I remember trying to see the Mukilteo Fairies in DC but yeah, like we went to the Black Cat and I kept saying the name to the door guy. He was like, finally he yelled inside "Do we have a Michael Fairy playing tonight?"  "Alright, nevermind." But anyway, yeah, we had dinner, lunch, something like that somewhere at some diner, but I feel like that was not DC it was somewhere else.

‍

Quitty: I think you're right. It was the Midwest or like Plains or whatever?

‍

Vivienne Lumière: Yeah, but yeah, they were definitely... [LAUGHS] They were not having a good time. And we crossed paths so that you can just like read it in all their faces and like so fucking... 

‍

Quitty: ...miserable. Miserable fucking tour. And it was like, it was like the daily misery rather than like 'we had this one fight'. And so like, I remember when I got home and like I came in. And Becca was like, how was it? Because it was before like text messaging and so like, you know, it wasn't like I was telling her what was going on in the whole way. It was like, that was like the worst experience of my entire life. I fucking hate those people. I never want to see them again. And she's like, "what do you mean what happened? And I couldn't think of anything that happened?" It was just like, I felt like I was fucking treated like shit for a month. It wasn't quite [a month], it was longer than three weeks but not much. It was not four weeks it was like three weeks and five days or something. Yeah, we did the whole country. I mean, live and learn.

‍

Hayes Waring: So you have a song that comp? And what comp is that?

‍

Quitty: Well a couple? there's uh, Rock Stars Kill... Oh wait we're on a lot of comps, I think like, let me think there's Outpunk Dance Party. We had, you know, a couple records of our own. You know, there was Out... the first seven inch was on Outpunk on the second one was on Kill Rock Stars. And there was a split with some DC band. I think it was Chris Thomson band. Really? Yeah. Not Circus Lupus. I can't remember. Oh, Las Mordidas

‍

Vivienne Lumière: Oh, yeah. I remember that. I don't have it though 

‍

Quitty: Yeah, there weren't very many of them. And, and a lot of songs on comps, there's  Outpunk Dance Party, Rock Stars Kill, Periscope the Yo Yo Comp, I'm sure that.., Oh, We Are All Guilty. That one always makes me laugh because it's like a punk, like a NortHayes Waringest like Mohawk like PUNK comp. That was like, you know, like, sort of like 12 pack, you know, beers punk.. and the cover... There's like a very muscular, like Mohawk dude, blowing a cop's guts out with a shotgun. Have you've seen it?

‍

Hayes Waring: yes

‍

Quitty:  No offense, just you're a cop, is what he's saying to the guy. And it was always like, so we used to like we got that was one good thing about the Mukilteo Fairies, like, well, there were a lot of good things about the Mukilteo Fairies, but like we had like some grindcore influences like me and Joshua were really into what was then like, black metal, we're really into Darkthrone and I didn't know a single other person in America. who that was. And so that like crept into the music and we would like play, like crusty shows and stuff with like, you know, Dystopia.. or was that Behead the Prophet? [to Vivienne] Was Thanks for Nothing [Vivienne] Behead the Prophet.? But yeah, you know, we kept doing that sort of thing in Behead the Prophet.

‍

Vivienne Lumière:  Yeah, yeah. 

‍

Hayes Waring:  And you have stuff on Outpunk? Is that considered queercore at that time?

‍

Quitty:  Yeah, it was, it was the Mukilteo Fairies was like, I really liked it. But it was also really hard on my young ego to have like a band that was all about Joshua, he made sure that it was all about Joshua. He like, he was young too. And he was like, just getting his oats and just getting like, oh my god, that guy is cool. And he really was because like that voice, his lyrics are fucking amazing, his perform its..

‍

Vivienne Lumière:  His stage presence. Striking. It was like no one else.

‍

Quitty:  Yeah, but he'd also like, you know, like, at that time, you'd like just denigrate the rest of the band. Like, "they're not queer, they're straight. They suck don't they?" You know, like the whole the crowd like, yeah, they suck. Like,eh, I don't know if I want to keep doing this. So like, the next band wasn't so much like that. But yeah, so the Mukilteo Fairies was formed for the reason of being like, queer punk. And it was really good to have because I remember like, a lot of like young punk kids that loved our band, and like learned how not to be reflexively homophobic because of that. And because they got to know us and stuff. And I thought that was really cool. And like, that was all Joshua that was you know, it's like it's

‍

Vivienne Lumière: that sort of stuff is one of the reasons Behead the prophet is like one of my absolute favorite bands I've been in like, it's one of the ones that means the most to me, because you could see how much it affected people, through Joshua, and through people, like you're saying losing their homophobia, but also Like, you toured in that band and you see kids meeting Joshua and like them just being able to be who they are.

‍

Quitty: Nick Rogerson

‍

Vivienne Lumière: Totally, yeah, yeah, he just like changed people's lives through both of those bands.

‍

Quitty: I remember we played in that would have been Bismarck. Like we weren't, that was one of the first shows, so we weren't in misery yet. And when you'd go to places like Bismarck, and be this queer punk band in 1993, it was really, really... striking. In fact, like I heard later, you weren't there. But like, there was this kid that lived in the house that we play that named Neil, this big Native American kid. And I remember, like, I got to be really good friends with Neil. He gave me his extra copy of south of heaven, and we drank together.

‍

Hayes Waring: Oh, wow.

‍

Quitty:  But I found out later than, like, what it had been, like, when we were coming. There was, um, you know, like, he was very, you know, the Meat Shits, or you remember the Meat Shits? 

‍

Quitty: That's like, [laughter] "Jolie likes the Meat Shits". Oh, there was like this whole, like, there's always been on the like fringes of very hostile music, including, like industrial music and stuff like this. There's these haters, and like, people that like, all their records are about fucking wasting faggots and stuff, you know, and, and he was into that stuff. And he sort of like, you know, just picked up on all that stuff. And the people that he lived with, who were more like anarchists, or whatever, they're like, you know, this band that we're listening to is like, they're all gay, because people did sort of think that, you know, and like, and they're, they're coming here, they're gonna be here next week. It's like," in our house?" like, yeah," they're gonna be in our house". It was like, "the fuck do you mean, they're coming in?" "what if? you know, like?", "what if what Neil?"  You know? "Like, no one's gonna try and fuck you. It's cool." You know? I got to think about this. I got to think about this. Like, you had to go on a long walk. He came back wasted and decided like, he'll just see what happens. And then like, as it turned out, we made like, great friends. I'm not gay. He didn't know that though. Like, that was a really eye opening thing about the Mukilteo Fairies is like, it was the first time I got consistently treated gay, which was like, really weird, but it's also a really valuable experience. You know? Like when, like, Okay, this has never happened. This is what it is when everybody assumes that you're gay. They're so weird. They're so weird. They say these like weird uncomfortable things. You're like, "We're gonna go watch a movie..." "We're watch your fucking pornos?!" "Like, we're going to watch Real Genius?" Like, like, settle down, oh, yeah, we could go on after the show. I mean, like, "I'll take you guys to drag bars and stuff if you want those things you're into.."  like you don't know what I'm into it was just you know, are they get weird when they're hugging? You were drunk and they're hugging? 'Oh no homo oh', like, it's really weird. But But yeah, like those people in North Dakota we're still friends with a lot of people that we met at Bismarck and Minot that are like, the guy that we're talking about Nick was just this hashing kid that was at the show and we to like bonded over metal and stuff. And he came out like not like immediately and then like a little bit later, and to this day, he's like, oh, yeah, you guys like came to town and opened my mind. And I got the fuck out of there. And it was like, you could like actually see like, results of you just like playing in a town and I'm sure Bikini Kill had that same. Actually, no, they did. Bikini Kill had that same experience. Like it was just weird. Like when Olympia hit the road, you know?

‍

Hayes Waring: Well, that's 1993. And that's when you come here, [Vivienne]. And I know that our next thing is Behead the Prophet and that's, you know, your guys's first band together. Is that correct? Yeah,

‍

Quitty:  it was the first band you had mostly.

‍

Hayes Waring: But I want to say you know for you, [Vivienne], why did you come to Olympia?

‍

Vivienne Lumière: Ah, I was living in San Luis Obispo and there's just nothing going on there. Culturally. It's like surprising for a college town. There's just so limited culture there and hardly any music and just a small scene that my friends and I had. So I was just ready to get the fuck out. And I liked the greenery of the Pacific NortHayes Waringest. And I knew I didn't want to live in a city as big as Portland or Seattle. And I knew Olympia had happening music scene. I was a fan of KARP and Bikini Kill and I heard the you know some other stuff like first Kill Rock Stars comp and such. But I wasn't like an Olympia fanboy, but it was like okay, I know there was a solid music scene there it's not a big city. So the beautiful Pacific NortHayes Waringest I'll try it out you'll be there like six months or a year something like that. Little did I know. Yeah. That's how I moved

‍

Hayes Waring:  And you know how when did you start your first band?

‍

Vivienne Lumière:  Just before the Behead the Prophet and after Mukilteo Faires um I was at a show with X ray cafe in Portland. Dead Moon was playing.

‍

Hayes Waring:  Oh, very cool. 

‍

Vivienne Lumière:  And Joshua was down there with Steve Dore. 

‍

Quitty:  And oh, yeah, I forgot about that band.

‍

Vivienne Lumière: And yeah. So I vaguely knew them, wasn't like good friends with them, but I knew them a little bit and, and then they didn't have a ride back to Olympia. I was like, oh, I’ll drive you back. We were chatting. And they were talking about starting a new band. Because Mukilteo Fairies had just broken up and they had Jessica Espelta lined up for guitar. And of course of conversation, they found out I played bass. So we did two practices with Joshua and vocals. Jespo on guitars, Steve on drums, me on bass. And I remember at the second practice, Joshua had some lyrics. But he was like hiding behind the PA speakers because he was afraid that Steve was gonna make fun of him.  He was saying kinda were mean, Steve was like, seems a hilarious guy. But it's like, not mean.

‍

Quitty:  I think it was more about Olympia culture generally than Steve personally.

‍

Vivienne Lumière:  But it was also weird, because you'd already sang in Mukilteo Fairies, and it was so like, just like, out there doing it. You know? 

‍

Quitty:  Definitely.

‍

Vivienne Lumière:  But um, so anyway, yeah. So that happened. Two practices and it just never really fused that well. And I showed Jessica, a guitar thing that I had written. and I was like, Hey, maybe we can try this song, here's how the guitar part goes. And Joshua noted. 'Oh, [Vivienne] can play guitar.' So that band didn't really happen. 

‍

Hayes Waring:  41:40

What was the name of that band? 

‍

Vivienne Lumière:  41:41

Didn't have a name, just two practices,

‍

Hayes Waring:  41:43

 'Two practice band.'

‍

Vivienne Lumière:  41:44

 Yeah, and then And then yeah, so that didn't happen when Joshua was like, Hey..., Quitty plays bass, [Vivienne] plays guitar...

‍

Quitty:  41:54

And I was furious that Joshua bothered to start another band that I wasn't in. But that's another story.

‍

Vivienne Lumière:  41:59

Oh, that in between band? Yeah I was Furious!

‍

Hayes Waring:  42:02

 Were you really?

‍

Quitty:  42:03

 Oh, yeah. Like he was same. I mean, like we had that like, jealousy thing when I mean, we'll get there, I'm sure but like, bands that I had outside bands that he and I were doing and stuff. He was so mad. He tried to sabotage them.

‍

Hayes Waring:  42:15

Like, what would he do?

‍

Vivienne Lumière:  42:21

[Laughting] Just talking about this, because I ran into a former bandmate of Quitty's at the Nudity show in Seattle. Yeah,

‍

Quitty:  42:27

that was a band Joshua made suck on purpose. [laughing] I feel bad like the singer, the singer that like, Okay. What did he do? He suggested... like the other guitar player.

‍

Vivienne Lumière:  42:39

Wait ! First off, he gave them what he thought was a terrible band name. Joke is on Joshua,

‍

Quitty:  42:46

You know what the band name was?  Murder City Devils. [laughing]

‍

Vivienne Lumière:  42:49

So Joshua came up with that name.

‍

Quitty:  42:51

 Yeah. Joshua. Joshua,

‍

Vivienne Lumière:  42:53

this band was Larry Ricketts and Quitty, and some other folks Kelly Hogan. And so Joshua had this insane jealousy thing. And he gave them that shitty band name. And Larry was really into it. And Joshua was like, "Ha [evil laugh] take that name.."" [evil voice] "meh, see happens when you start a band away from me!" And then Larry wanted a female singer for the band. They did a couple shows. One guy Sterling singing

‍

Quitty:  43:22

Leah Gold, the late Leah Gold  Sterling was great. 

‍

Vivienne Lumière:  43:22

she was totally great and had a super strong voice that like a deep like alto kind of voice Sterling was great. And then Joshua knew this really awesome woman, Leah Gold.

‍

Quitty:  43:38

 4 Non Blondes kind of voice. 

‍

Vivienne Lumière:  43:39

Yeah. and Quitty or sorry, Larry definitely wanted like, like a 'rararaw' female punk singer. Or you know, and that was not Leah. And so Joshua put Leah in the band.

‍

Quitty:  43:49

Pretty much. No, they called me. 

‍

Vivienne Lumière:  43:50

 Another way of sabotaging the band completely breaking up because it was just like, Larry was like yeah this isn' the band I want, like, you know, year or two years later then like, these Seattle kids are like, 'hey, Larry, can we use your old band name?  oh ok.

‍

Quitty:  44:06

And it was because they didn't want to ask Larry, like, because he had beef with [] or whatever. And, you know, like, could we use that name? We don't want to ask Larry. I was like, I don't care. You should ask Joshua though he thought of it.

‍

Vivienne Lumière:  44:20

Anyway, let's see. That was a side trip into band jealousies.

‍

Quitty:  44:25

You were talking about your for your band with Steve and Jessica. Yeah.

‍

Vivienne Lumière:  44:27

So that's, you know, that's just a couple of practices. And then Joshua asked me to play guitar in a new band.

‍

Hayes Waring:  44:35

Did supposedly, you have to go pick everybody up?

‍

Quitty:  44:40

So well, sort of like Joshua went on a long road trip. And he was like, I know everyone is gonna be at the band. This is who they are.

‍

Hayes Waring:  44:47

Here's your list. Go get them

‍

Quitty:  44:48

Yeah! I do. I..I you know, I mean, [Vivienne] and I had met, we didn't like hang out. And Jordan Rain. Who was from Bellingham and Michael Griffen. From no again and I did Bill Michael

‍

Vivienne Lumière:  44:52

Wait, Jordan lived in Seattle then

‍

Quitty:  45:03

 Did he?

‍

Vivienne Lumière:  45:04

 Yeah. 

‍

Quitty:  45:04

Okay.

‍

Vivienne Lumière:  45:05

Michael lived in Bellingham 

‍

Quitty:  45:06

Right. Um, and Oh, right. Jordan moved to Bellingham later. 

‍

Vivienne Lumière:  45:09

Yeah. But also Jordan was.... Jordan joined by mistake. 

‍

Quitty:  45:10

 Yeah. He did?

‍

Vivienne Lumière:  45:16

Yeah. 

‍

Quitty:  45:17

I don't remember this part

‍

Vivienne Lumière:  45:18

Okay. So Joshua lived at the Central House. And Jordan was passing through town and staying there. And Joshua heard some amazing drumming coming from downstairs and was like, 'oh, Jordan is a fantastic drummer. I want him to be in my new band.' It was actually only I think years later that he learned he was actually listening to Scott Jernigan playing drums.

‍

Quitty:  45:41

Jordan is a really badass drummer 

‍

Vivienne Lumière:  45:43

Turns out Jordan's a fucking great drummer, but it was not the drummer that Joshua thought he was hearing.

‍

Quitty:  45:47

Oh, or was it because really... they thought Jordan was cute.

‍

Vivienne Lumière:  45:51

Yeah, that's true.

‍

Quitty:  45:52

Yeah he asked me to, like round up all the people and start practicing. And we did. That's what we did

‍

Hayes Waring:  46:00

You practiced in Bellingham?

‍

Vivienne Lumière:  46:01

 Seattle. 

‍

Hayes Waring:  46:02

Seattle.

‍

Quitty:  46:02

At first yeah in Seattle. I think did we never practiced in Olympia?

‍

Vivienne Lumière:  46:09

I remember a Central House practice. I think you. But that would have been a rare thing. Just because like Seattle made sense. Because it was

‍

Quitty:  46:12

 Yeah, it was in the middle.

‍

Vivienne Lumière:  46:21

Yeah

‍

Quitty:  46:21

Yeah, That's right. Jordan look by the radio tower, like, like between, like buy the CD, right? Like the top of Ergo was it the U-district? It doesn't matter. Anyway,

‍

Vivienne Lumière:  46:30

here's the U-district because we went to theU-district Safeway where we got our name. 

‍

Quitty:  46:34

Thank you. That's right. We went to the U-district Safewaywhere we got our name. 

‍

Hayes Waring:  46:38

And what is the story behind the name?

‍

Quitty:  46:40

Listen up Jordan. Me and Jordan fight about.., It was definitely me! I don't know why he thinks it was him. But we were looking at metal magazines at the Safeway. And we're like,

‍

Vivienne Lumière:  46:51

I was looking at metal magazines 

‍

Quitty:  46:53

I'll buy that

‍

Vivienne Lumière:  46:54

You were in the checkout aisle. 

‍

Quitty:  46:56

I'll buy this. I'll buy all that. 

‍

Vivienne Lumière:  46:57

And then you came over to me and looked over my shoulder at the metal magazine.

‍

Quitty:  47:01

Okay, good. So, alright, so good. So since you remember that so well, I want to find out what your take is here. But while we're looking, [Vivienne] primarily, the other two over the shoulder, at metal mags this guy this sort of redneck seeming guy like comes over "You boys into metal?" "Yeah, yeah." "Like you heard Deicide?" like and Deicide was still fairly underground right this was '94 and. And like, Yeah, I'm talking to him about Deicide and I'm just like "guy's hardcore, he like burned an upside down cross into his forehead?"  "Yep. That's my brother." "Like Glen Benton's your brother?" He was like "yep look they got me" and he had a upside.. well a 'cross' [laughing]

‍

Vivienne Lumière:  47:42

hand depending on which way you 

‍

Quitty:  47:43

If you hold it that like that it's upside,  like that it's right side up. He showed it to me upside down. And he's like "You heard that you heard that track? Behead the Prophet No Lord Shall Live? First track, second side of Legion?" Like "ah..., I don't know..." Like are like looking at each other and when we left. Do you concur with us? Or do you not remember that? It's like I said, well, at least we got to do it for our band. Behead the Prophet No Lord Shall Live.

‍

Vivienne Lumière:  48:11

I don't think that we.., No we didn't decide on that right then and there.

‍

Quitty:  48:15

No, we didn't decide that it was but we joked about it. Like that was in the parking lot. Like what the part I'm like, Jordans, like it was being said that like the hell it was like, oh, it's like my legacy, right? Write it on my fucking tombstone, "I thought of Behead the Prophet No Lord Shall Live." Because like, I thought that was a joke anyway, and like when I told Joshua, he's like, Oh, that's awesome. Totally use it. I was like, "...it was kind of a joke." And we like started we tried to think of other names and they all sucked. So we kept that one.

‍

Vivienne Lumière:  48:43

And we had that night of lunacy at Michaels. Well, we were gonna call the band Tear off You face. 

‍

Quitty:  48:49

Oh, yeah. Yeah, that's right from from the Exodus song Parana,

‍

Vivienne Lumière:  48:56

oh god we were laughing so fucking hard of that. And then just one of those things where you wake up the next day. It's like, we are not going to call our band Tear off You Face.

‍

Quitty:  49:03

Jordan would have done it in a heartbeat. Like I mean, he sort of was sold. Tear off You Face.

‍

Hayes Waring:  49:09

I heard that they heard about, the Deicide, I heard about your guys' band name and they weren't happy about it.

‍

Quitty:  49:14

So Joshua says

‍

Vivienne Lumière:  49:16

there was an interview with Glenn where he made reference to faggot hardcore band stealing our name.

‍

Quitty:  49:22

 I had no idea 

‍

Vivienne Lumière:  49:23

Yeah, he was right it was a faggot hardcore band, but it was not.., he was not allowed to say that.

‍

Hayes Waring:  49:27

I heard you spit in one of their burgers because...

‍

Vivienne Lumière:  49:30

I took a bite out of each of their burgers. 

‍

Hayes Waring:  49:33

Very cool. 

‍

Vivienne Lumière:  49:34

Yeah, that was my way of getting back at them for that

‍

Quitty:  49:36

No, it wasn't that hostile.  Man I there was bands I've done shitty things to that I'll never tell. 

‍

Vivienne Lumière:  49:44

Yes, I know if some of these 

‍

Hayes Waring:  49:46

Well, I have some pictures of you guys that the James sent over of you guys playing. Do you have any favorite shows from that time? And he sent me this a tour itinerary for you guys as well. 

‍

Quitty:  49:59

What never seen the tour itinerary sorry those are like pictures from the Velvet Elvis All White show. I like those pictures. Yeah... favorite shows? Behead the Prophet.. Wait. Oh yeah

‍

Hayes Waring:  50:21

there's some Tight Bros ones in there too but we haven't got there yet. Yeah

‍

Quitty:  50:28

Behead the Prophet. I remember having a lot of like interesting tour shows.

‍

Vivienne Lumière:  50:31

Here's a good one; KARP, Behead the Prophet, The Need, C Average, Volume Dealers? Where it was this? 

‍

Quitty:  50:39

Had to be Olympia? 

‍

Vivienne Lumière:  50:40

Yeah. Oh, that was ..yeah, it was YoYo 97. It

‍

Quitty:  50:45

that was like.. it was? I guess where Behead the Prophet played with the Makeup. No, that was with the Tight Bros. Yeah.

‍

Hayes Waring:  50:52

Yeah. Do you guys weren't talking about YoYo at all?

‍

Vivienne Lumière:  50:56

Oh, there's one of the most memorable shows which we did not play.

‍

Hayes Waring:  51:01

Burning Witch?

‍

Quitty:  51:02

Oh, he's right. Definitely the most memorable. So did anyone told you about that show? Studio 321. 

‍

Hayes Waring:  51:10

Oh, please tell us 

‍

Quitty:  51:12

Well. So there's this guy, Tyler Davis, who had a label than and still has it called the Ajna Offensive. Great photo.

‍

Hayes Waring:  51:23

There is a great all the photos in there. Really good. You look good, [Vivienne].

‍

Quitty:  51:26

"You need work!" [laughing]

‍

Hayes Waring:  51:31

Y'all look good,

‍

Quitty:  51:32

Y'all look good. So Tyler Davis was an old friend of Becca's from Philadelphia and he moved out here to go to Evergreen. And he he'd become this sort of like, very like, thoughtful, quiet occultist guy. 

‍

Hayes Waring:  51:49

Every town needs one, right? 

‍

Quitty:  51:51

Oh, yeah. And he was really into the occult that he didn't talk about it a lot. But he did live it. And he was friends with all the Norwegian bands. And

‍

Hayes Waring:  52:03

Was there a big Norwegian band connection to Olympia?

‍

Quitty:  52:06

No, this was the absolute first of it that I knew.

‍

Hayes Waring:  52:09

You knew about Darkthrone, that's a pretty big deal. 

‍

Quitty:  52:12

That was pretty random. That was I remember, we were like, I swear we bought what was the like, music store that used to be in the mall? You know, like, fucking not the warehouse. Yeah, like the one of those stores, like Joshua just found it in, like budget tapes, and it was still new. And it was like, that looks pretty cool. Because it's like Nocturno Culto. Looking like he's flying over a tombstone. Like where I call him like, corps makeup. And we're like, yeah. But uh, that was sort of random. Like the fact that the like, Norwegian scene became a thing after the like, murders and stuff like that was.., after that, then people started to know about it. But in Olympia, it really was not a thing. And till Tyler got here, and Tyler knew all the Norwegian bands and me and him would trade records and talk about metal and that was really cool. And he wanted to put on a black metal show in Olympia. And I was surely okay, if he wanted Behead the Prophet to play we were not black metal, but lots of metal influence; loud, chaotic, occulty 

‍

Hayes Waring:  53:19

you'd heard of it.

‍

Quitty:  53:21

 Oh, absolutely. yeah. I had no idea what the like kind of cultural clash was gonna be and their culture clash did occur, because we put on that show was Behead of the Prophet, Burning Witch, Darkened Wood from like Tacoma and Swarming Hordes. And there was us were like, you know, like a hardcore band with hardcore fans. And our, basically, our fans and the metal fans did not mix. Because like the what was like new 

‍

Vivienne Lumière:  53:22

There was some specific beef too. 

‍

Hayes Waring:  53:22

 Yeah.

‍

Quitty:  53:53

Right, right. That's right. What was that?  Well, Larry, Did you talk to Larry?

‍

Hayes Waring:  53:59

 Not Yet.

‍

Quitty:  53:59

Okay, but he's on the list?

‍

Hayes Waring:  54:01

He's not on our list yet. But the list is annoyingly small. Unfortunately, 

‍

Quitty:  54:05

That's okay. 

‍

Hayes Waring:  54:05

Like 20 people that I would like it to be bigger.

‍

Quitty:  54:09

 I understand this. Well, Larry, like I remember like when Larry showed up in town with his big Mohawk, and like his band, the Rickets, that was like, very basic, like, like Mohawk hardcore. It seemed to really like out of time, and like, pretty soon it wasn't at all it was it was like a full on Renaissance. So that sort of thing. 

‍

Vivienne Lumière:  54:30

Thank you Rancid for spreading the word up and down the West Coast.

‍

Quitty:  54:31

Thank you very much. And we helped them on their way. We did put on Rancid shows in Olympia with the Rickets like Absolutely. Anyway, so the beef Okay. Larry had at one point moved to Oakland like any self respecting Mohawk wearer would do. And while he lived in in Oakland, they it was a punk house. So people would like pass through town and they'd like crash there. And they were in bands and stuff and this band crashed out there, and that was when they were called Corvus Corax and it just like they seem to be crusties but like they were into this new black metal thing. And they were into the wing of it that was starting to be like dabbling like with racist symbols and language and ideas, you know. So like, they get drunk, and like yell about, like racist things in the street. And so they got kicked out. And Larry took it upon himself to like, kind of like, "don't give these guys a show."   Yeah, get get them the fuck out of here. You know, they were from up here. They're from the NortHayes Waringest. And so like, pretty soon they were able to have no shows and like they got in their van and came back here. So here we are, a couple of years later, we have this show. And those guys come because they're gonna they're gonna see Burning Witch or whatever. Larry's there. He's friends with us. Like we go to all his shows and he comes all of ours. And they jumped him. That's the short version and I was inside watching Burning Witch. And Joshua like ran up and like screamed in my ear about a big fight and Larry needing help and I go running out there. There is a melee, there's like 10 people probably fighting.

‍

Hayes Waring:

Where was the venue for the show?

‍

Quitty:

 Studio 321?  it's a cross Jefferson Street across State.

‍

Vivienne Lumière:  56:24

Yeah, it doesn't exist anymore. It's like around where you know, that giant warehouse that's mostly empty and had a rock climbing climbing gym on one end of it.

‍

Hayes Waring:  56:33

 Alpine exchange, yeah.

‍

Vivienne Lumière:  56:35

It was like, around the east end of that building. And that whole area had different street setups and stuff too like, it's all very different now. But yeah, it was there.

‍

Quitty:  56:46

Yeah, it was a cool building to what's that? What do they do? They're usually,

‍

Vivienne Lumière:  56:50

I don't know, it's sort of like a hippie.. run by somebody like jazz hippie folks, you know?

‍

Quitty:  56:56

Yeah. Michael Olsen, like a like, Oh, yeah. Oh, Joe Pas, and  I forgot what his main band was like. Maybe it was Yeah...

‍

Vivienne Lumière:  57:05

They're like, hippie jazz percussion thing.

‍

Quitty:  57:07

Yeah. Like that. Like it was those people? I don't know if they own it, but they ran it.

‍

Vivienne Lumière:  57:11

So anyway, it was like, that was like, kind of like a dead zone and Olympia at the time. You know, there was like, nothing else back there. Train tracks, industrial shit. Dark. No streetlights, no other.

‍

Quitty:  57:26

Like, yeah, it was seriously off the beaten path. Yeah, no open businesses around it. No, very isolated. I mean, you know, it was three blocks to civilization, but it was still. And so yeah, there's this melee, and it just turned out like that those Corvus Corax guys and fans and friends and supporters. Like had figured out that this is the Larry guy, they don't really know. Like, they're like some guy named Larry. Some like punker. You know, like, it was like "thats him that's him", it was really all started, like kind of,  Joshua and him are sitting on the stairs of the venue. There's like, a hessian and there's two hessians, there's five hessians. Then BOOM, they like all jump on Larry. And he doesn't find anything amusing about this story. And I could understand why because they for real tried to kill him. They like they dragged him behind the venue. There's one guy gnawing on his wrist, like trying to break a vein I guess, and someone gnawing on his jugular

‍

Vivienne Lumière:  58:21

Try to choke him out with a chain? Like that? 

‍

Quitty:  58:23

Yeah.

‍

Vivienne Lumière:  58:24

okay.

‍

Quitty:  58:24

Yeah, yeah, but yeah he had his best Sid Vicious dog chain with a little lock and they tried to choke him with that. And his his now wife, Beth came to the rescue. What is it? she stabbed one of them or something? It was just crazy. Crazy. It's like, I missed all that. But Joshua saw it and I came out there. And there is Beth and Larry and to a far lesser extent, Owen, who's mostly talking shit. Like, I'm holding off like eight of these guys. And I'm, and I'm, like, all I see is a fight. So like, I've just tried to break up the fight. And I'm trying to separate people because I'm not the one's... I've never been the one who throws the punches I'm always like trying... hmm. And and I'm catching blows and stuff. And I tried to get Larry back and he just wasn't having any he was gonna kill me. He was like, he was in serious fight or flight. Like he's just trying to kill those people and they're trying to kill him and it just kind of devolved into a standoff and like we couldn't get the whole thing to simmer down. So the show just..., our part of the show didn't happen. So Behead the Prophet didn't play but that was probably the most noteworthy show. it was. I mean, I have to say, though, I'm gonna like I'm proud of my friends who did brawl because they got the best of those hessians. Like, despite like being outnumbered, and you know, I mean, it was stupid. They're like, on the stairs of the venue, yelling at each other about who's really the racist or what. It was stupid. And the main Corvus Corax the guy who said the thing he wants

‍

Vivienne Lumière:  1:00:05

"I with my own two hands shall reach down thine throat and tear out your tongue!"

‍

Quitty:  1:00:14

I remember it "With my own two hands could reach , down your throat and end your life!"

‍

Vivienne Lumière:  1:00:19

[Laughing] To which our friend Owen goes "Go ahead roll your 20 sided die!"

‍

Quitty:  1:00:27

Dungeon Master,  make a saving throw. Owen's now a stand up comedian. And we've had like other friends who witnessed that who like started a band called 'I with mine two hands'. It was legendary and you know, Larry goes back to the old punk house and like everybody's drunk, they're like, Who are these motherfuckers and be like, hey, go back downtown they find these guys at King Solomon's more brawls, breakout noses are broken. It was insane. And Larry dealt with that for years like they just run into each other on the ferry back to Banbridge or something and have another

‍

Vivienne Lumière:  1:00:59

sound so fucking scary you're like on a ferry there's no where to fucking go? right.

‍

Quitty:  1:01:03

That's why like Larry and Beth don't think any of this is very funny. Yeah. So yeah, that's Behead the Prophet's most noteworthy show.

‍

Hayes Waring:  1:01:13

And you played but you played YoYo? No, actually a lot of people that I've talked to, didn't talk about YoYo.

‍

Quitty:  1:01:20

Well, that was actually a really good Behead the Prophet show. 

‍

Vivienne Lumière:  1:01:23

It was kickass, Yeah

‍

Quitty:  1:01:24

 And I remember Ian MacKaye was there and he  wait that was '99 Tight Bros.  No, no, cuz I definitely remember him like, he was like, That is the first time I've ever been somewhere and  the singer goes, "this one for the fags!" And the whole place it erupts, you know, like "YEAAAAH"

‍

Hayes Waring:  1:01:42

You said '97?

‍

Quitty:  1:01:43

I think so. And yeah, that was it. I remember being like, cuz

‍

Vivienne Lumière:  1:01:49

 And KARP kicked fucking ass.

‍

Quitty:  1:01:50

 Oh, yeah, KARP was incredible.

‍

Vivienne Lumière:  1:01:53

Might be the best time I saw them. 

‍

Quitty:  1:01:54

Yeah, totally. I remember like, they came out and the crowd was really ready for him. And Chris, goes, I think it was Chris, "Have you been good boys and girls, or have you been bad boys and girls?" [laughter] Kicking into Bacon Industry?

‍

Vivienne Lumière:  1:02:09

 Yeah. 

‍

Quitty:  1:02:10

So good. But what I remember though, is like because by then, like a lot of press was it was like, coming to the festival and stuff because there had been the IPU, which was the thing it was totally like, like the normal press didn't pick up on it till way later. And it was like it really turned out to be a pretty big deal at IPU in my mind was like the genuine article and all the ones that came after it were like a slightly paler imitation. And so but like with increasing press presence, and like in 97 I remember the like the press is there. They want to see, I don't know, Sleater Kinney. I don't know. It's like, and they wrote about the bands they were always gonna write about I was sort of excited because like, I remember our show was really fucking good. And it was like "They write about us in Rolling Stone?" and no, nobody fucking wrote about us. They didn't even see us. They didn't come to those shows.

‍

Hayes Waring:  1:03:04

Well, Capitol theater, you know, they also have this show. It's called Night of the Living Tribute Bands. And I know both of you have played many of those shows. And I have.., Do you guys have a favorite? I was told to ask you about one where you Quitty played in the Ramones. And they had a certain theme of the Ramones.

‍

Quitty:  1:03:26

Yeah, it was. I said I would do it if they only played the songs about Germany. 

‍

Hayes Waring:  1:03:29

Oh.

‍

Quitty:  1:03:30

 Because just to have a theme not so because [I was] so, so attached to the German songs, but like, they have enough, like he could it was really a five band kind of ,or five song kind of thing you would do. Like, I have at least five songs about Germany, and I just thought it was fun to have a theme. Yeah, like me and [Vivienne] like, it's funny. What do you say are the favorite ones because like I was thinking about them all the way up that like my favorite ones are like more the ones where I was the guy, and [her] favorite ones are more like the ones where he was the guy. So like when [she] was Rob Hallford, when [she’s] Ted Nugent. Like those are great. Those were awesome. And like, but my favorite ones are like, Well, I was Gary Glitter. I was Mick Jagger, whatever. I'm Joey Ramone. Like those are my favorite was probably Gary Glitter.

‍

Hayes Waring:  1:04:12

Well could, for those at home listening in, Do you mind tell us a little bit about the night of the tribute bands?

‍

Quitty:  1:04:17

Yeah. I think our first one was 2000/2001. But it was the first Night of the Living tribute bands?

‍

Vivienne Lumière:  1:04:24

It was either the first or the second? I can't remember. Yeah, that was the ZZ Top one, right?

‍

Quitty:  1:04:28

 Yeah. 

‍

Vivienne Lumière:  1:04:29

That was it was 2000 

‍

Quitty:  1:04:32

Yeah, you're right. That was 2000. And at least that one was on video. There's not a whole lot of those that are captured, which is too bad because some of those were so good. Our Blue Oyster Cult was so good. 

‍

Vivienne Lumière:  1:04:41

Yeah. And our Doobie Brothers.

‍

Quitty:  1:04:43

 Our Doobie Brothers was like, inevitably it happens every time that it's like even you... we'd end up doing a band. We don't even particularly have to have all that fondness for, like the Doobie Brothers. And you just wind up sort of respecting it after you learn how to play the songs. Yeah,

‍

Hayes Waring:  1:04:59

But it's a bit big deal in Olympia. I don't think people know that people start practicing for the show like, pretty early in the year...

‍

Quitty:  1:05:05

 August? right? July/August?

‍

Vivienne Lumière:  1:05:07

Yeah we never prepared that much like I hear about bands who would be starting like right now.[In february]

‍

Quitty:  1:05:12

 I'm sorry all the other..

‍

Vivienne Lumière:  1:05:13

 That Ramones one, when I joined the Ramones thing that day before the show. We practiced once.

‍

Quitty:  1:05:18

 Really? 

‍

Vivienne Lumière:  1:05:18

Yeah,

‍

Quitty:  1:05:19

We did only practice once.. Well, yeah, that's right.

‍

Vivienne Lumière:  1:05:21

 Yeah. 

‍

Quitty:  1:05:22

But I felt really strongly about us doing it because I felt like, every year we were, if not the only one, one of the only ones who approached it the right way, which was like the spirit of fun, you know, like, make the music fucking rock. And like, be fun. And it was like, I felt like mostly most of the time, like all the other bands would be like, I've always wanted to be in a like Blondie cover band, not speaking specifically of any Blondie cover bands. But although I saw a Blondie cover band twice. Night of the Living Tribute Bands, but I felt like those came off a little more karaoke. And we always tried to make it a thing like, you know, make it fun.

‍

Vivienne Lumière:  1:06:01

 Well, karaoke or it could be that it's like, okay, I see that it means a lot to you to be able to sing this Smiths song or whatever, you know, but that's not what I want to see at Halloween. 

‍

Quitty:  1:06:10

It's Halloween. It's a holiday.

‍

Vivienne Lumière:  1:06:12

Have a fucking good time.

‍

Quitty:  1:06:13

Yeah, we're partying here.

‍

Hayes Waring:  1:06:14

Do you remember who started? 

‍

Quitty:  1:06:16

Audrey Henley?

‍

Vivienne Lumière:  1:06:18

Ah. Audrey might have not been there yet. 

‍

Jon Quittner  1:06:22

Yeah might be right. 

‍

Vivienne Lumière:  1:06:25

So yeah, I don't know. Maybe. Sean was a programmer,  I don't remember his last name.

‍

Jon Quittner  1:06:32

Which Sean? Oh, I remember the guy or actually,

‍

Vivienne Lumière:  1:06:37

You know what, I'll bet you Jeff Bartone probably started probably, you know

‍

Jon Quittner  1:06:40

We had cover band shows before they called it that. We did, I think. But yeah, like, we were religiously in it. Like every year for probably 10 years. We might have missed one year and like, we almost always did it together. And I always felt like well, we didn't do it together. At least for me. It was a mistake. Like when I do the thing with other people and it would just not be as fun. Now his Judas Priest they did without me. That was really fun. That was really awesome. But um like, No, I thought it was important for us to like do it together. And I felt like the last one we did together went out on a really high note. We were Hall and Oates. Yeah, that was a really good. See, we were both sort of the guy, it was teamwork. It was a ,you know, we got we did Hall and Oates sort of like Abbott and Costello. Kind of straight guy and funny guy.

‍

Hayes Waring:  1:06:46

But I skipped ahead a little bit. You guys were another band together. It was called Tight Bros from Way Back When, is that correct? Do you guys want to talk about that? Or the end of the Behead the Prophet?

‍

Vivienne Lumière: 

Behead the prophet didn't really have an end. Yeah, well, we knew we were playing a last show, at least for a while.

‍

Jon Quittner  1:07:45

Did We?

‍

Vivienne Lumière:  1:07:45

 Yeah. I don't think it was stated as like, this is definitely the end. But we knew that like we weren't gonna do anything, at least for a while. That seemed like was probably then was that shows somewhere in downtown Seattle.

‍

Quitty:  1:08:01

The two bands like coincided.

‍

Vivienne Lumière:  1:08:03

 Yeah, they didn't...

‍

Jon Quittner  1:08:04

 Joshua, he tried to sabotage it. Yeah, but it didn't work. And it was like it's sort of like it. Just like, for part of like, I had this idea like, I really think I was the impetus of that one because it was like, I really just want to have a rock and roll band. All I ever like wanted from coming.., when I came to Olympia was to have a band that wasn't like so like... earnest or whatever. It just was like, a good time and I could not find people to do that with and I was kicking it around and I mentioned it to [Vivienne, she's] like can I be in it , and I'm like "Yeah" You know, and so we have this idea with the two guitars and like I remember [Vivienne] was gone for a long time and so I like tried it with other people. 

‍

Hayes Waring:  1:08:44

Where did you go [Vivienne]?

‍

Vivienne Lumière:  1:08:44

Russia.

‍

Hayes Waring:  1:08:46

 For how long? 

‍

Vivienne Lumière:  1:08:46

A month. Oh, well like two weeks Russia and two weeks Eastern Germany, I mean Eastern Europe

‍

Hayes Waring:  1:08:50

 And what year was that?

‍

Vivienne Lumière:  1:08:52

summer '95

‍

Quitty:  1:08:53

I meant to send you the Wikipedia entry about the Exciter, the audio programming device the Exciter, which I just found the other day randomly, because it wasn't that in East Germany the like

‍

Vivienne Lumière:  1:09:05

Oh yeah yeah, the Aural exciter. Yeah,

‍

Quitty:  1:09:07

the Aural Exciter

‍

Vivienne Lumière:  1:09:08

 Yeah.  I told Hayes that story yeah. 

‍

Quitty:  1:09:12

And so when [Vivienne] got back, it was really like him and Ian Vanek for a while.

‍

Vivienne Lumière:  1:09:19

ummm, First Sterling

‍

Quitty:  1:09:20

oh fuck I was forget that. Right first Sterling on drums. 

‍

Vivienne Lumière:  1:09:24

Yeah, for just a couple practices and he moved to Seattle or something. 

‍

Quitty:  1:09:27

Yeah. 

‍

Vivienne Lumière:  1:09:27

And then Ian Vanek on drums, still just a three piece, no bass.

‍

Hayes Waring:  1:09:31

How old? Was he then?

‍

Quitty:  1:09:32

 15...

‍

Vivienne Lumière:  1:09:32

15. Yeah,

‍

Quitty:  1:09:34

 14 or 15. really young. Little fucking snot too

‍

Vivienne Lumière:  1:09:37

Jay Inslee saw us practice.

‍

Quitty:  1:09:39

It's true! He did! We like practice. Ian's house, and his dad was a city attorney. And he was friends with some political bigwigs and Jay Inslee. I know he had run for governor like he made it as far as the primary or something at that point. I remember him poking his head in.

‍

Vivienne Lumière:  1:09:55

 He's a Congressperson wasn't he? 

‍

Quitty:  1:09:57

Was he?

‍

Vivienne Lumière:  1:09:58

Think so

‍

Quitty:  1:09:58

 You might be right, yeah. And He poked his head in, "Oh sounding good  you guys!" 

‍

Vivienne Lumière:  1:10:02

"You guys keep up the good work!" [laughing]

‍

Hayes Waring:  1:10:05

Keep playing..

‍

Quitty:  1:10:07

'Solid planning, sensible future.'

‍

Vivienne Lumière:  1:10:08

I got really excited when he was running for president

‍

Quitty:  1:10:09

I did too.

‍

Vivienne Lumière:  1:10:10

 I was like, 'Oh my God, what if the President had seen my band play?'

‍

Quitty:  1:10:14

Maybe you could play [the white house]? Like, oh yeah, I saw the Tight Bros. before they were like..

‍

Hayes Waring:  1:10:19

.. that tight?

‍

Quitty:  1:10:20

 I'm not sure if we had the name yet. I can't remember when we... I remember why we got the name but I don't remember when.

‍

Vivienne Lumière:  1:10:25

Yeah. I don't remember either

‍

Hayes Waring:  1:10:26

Well tell us the why. 

‍

Quitty:  1:10:28

The why is because there was this, I guess what you'd call a prank call... sort of tape. Where um Sean, he wasn't our bass player yet, but I knew him. Sean was in possession, Sean Kelly was in possession of this, this tape. 

‍

Hayes Waring:  1:10:42

Is that the Derick tape?

‍

Quitty:  1:10:43

 Yeah, the Derick tape. Thank you. Do I need to describe the Derick tape?

‍

Hayes Waring:  1:10:46

Yes please, For those at home.

‍

Quitty:  1:10:48

Yeah, the Derick tape was Sean's friend, Ah, Kurt had..

‍

Hayes Waring:  1:10:54

Was this tape real? 

‍

Quitty:  1:10:55

Yeah, it's absolutely real.

‍

Vivienne Lumière:  1:10:56

And it's wrong to call it a prank call. It's well, it's a taped call.

‍

Quitty:  1:11:00

 Right, right.

‍

Hayes Waring:  1:11:01

 It's a genuine call?

‍

Vivienne Lumière:  1:11:03

Yeah, like 

‍

Quitty:  1:11:03

More or less, he recorded it on purpose. And like,

‍

Vivienne Lumière:  1:11:06

Yeah, but it's like a friend calling another friend.

‍

Quitty:  1:11:09

But recording him. 

‍

Vivienne Lumière:  1:11:10

Yeah, 

‍

Quitty:  1:11:10

Clandestinely, because he knows the friend is hilarious. Or dramatic. Anyway. So like that guy Kurt, worked at a record store. And the guy Derek, who he was calling; was just this very obsessive, like kind of buff dude with a bald head, that was super, super into metal. And "Oh, man, you gotta get Celtic Frost... you gotta... fucking dude..." whatever. And he'd like, break it down. And Derek, just, you know, like, "I'm gonna call Derek and get his two cents on metal and I'm gonna record it all."  So he starts to do that. And he's like, "Yeah, you gotta tell me man, what do I need to get by Merciful Fate?""Oh, dude. First song on Melissa tells you straight up what's up with the band!" He's got this analysis of Merciful Fate, Deicide, Morbid Angel. He's like thought about all this stuff way too much. He sounds like he's like done a lot of crank while thinking about it. But while they're having this discussion, a drama break out on the other line, which is that Derek's roommate is a junkie who has a 

‍

Vivienne Lumière:  1:12:14

Terry fucking Terry,

‍

Quitty:  1:12:15

[quoting the tape] "What's he gonna think what he's wearing a TV for hat? What's he gonna think about that..." [His roommate Terry] Parked at Derek's spot, Derek had like so many tickets that a boot got put on his car, so he couldn't move it. And now he's gonna kill Terry.[laughing] So the tape is that.

‍

Vivienne Lumière:  1:12:36

Interspersed with talk about metal,

‍

Quitty:  1:12:38

Right? And they go back and forth. Because like Terry keeps calling on the other line. "I'm really, really seriously thinking what I should do. I'm just gonna beat this fool down man!" And he gets very, very animated, very angry, very, like, interesting, colorful language and very like California. But eventually..

‍

Vivienne Lumière:  1:12:56

He's also talking about the occult connections between metal and Anton LaVey. And brings up the fact that King Diamond and Anton LaVey were fucking TIGHT bros from WAY back when...

‍

Quitty:  1:13:09

And I was, me and  Brandt Sandeno, were like going to lunch and we're talking about my new band. And he's like, "You should call your band The Tight Bros..." and I go, "The tight bros from way back when?" Yes, yes, we're there and like, [Vivienne] loved it. And eventually, we had Jared join on bass, which was sort of like, I don't know, like, me and [Vivienne] were quote singing. Like, it was a lot better when like, "What would you think about just singing Jared?" "Yeah, totally." And that made all the difference

‍

Vivienne Lumière:  1:13:41

 And then Sean joined on bass.

‍

Quitty:  1:13:42

 Yeah. Sean joined on bass. In the long run, Jared Warren. He actually really needs to have an instrument in his hand when he's in a band. He really like feels better and that makes sense to me. Like thinking about, like... The Tight Bros was like.. it was funny that people always compared us to AC/DC because like, I know what they mean. Because it's like, basic, sort of, formulaic in a way- like good time, like loud, Riff based rock and roll. And Jared for all the people that said he sounded like Bon Scott sounded like Brian Johnson. I thought.

‍

Vivienne Lumière:  1:14:22

Yeah, closer.

‍

Jon Quittner  1:14:23

Way closer. Yeah, I'm

‍

Hayes Waring:  1:14:26

The limo driver?

‍

Quitty:  1:14:27

What?

‍

Hayes Waring:  1:14:27

Brain Johnson was the limo driver, and that's the way he got the job. He was like their limo driver

‍

Quitty:  1:14:32

 Oh, no, that was Bon Scott. He was their driver but not they were not in limos  [laughter] No... AC/DC is all about like, good blank, good space, you know, like they make so much of space and in the Tight Bros there's no space. So busy. Like when I've listened to those records now and we're just like, Oh my God. Like that's...  Spiritually. Like I mean, I don't know what we were specifically trying to do. In my mind. It was supposed to have like, swing. And it was supposed to, like, I was coming from like DMZ or the Devil Dogs, you know? I don't know [to Vivienne]You weren't into AC/DC then? 

‍

Vivienne Lumière:  1:14:33

Yeah.

‍

Quitty:  1:14:59

I mean, we're all into AC/DC , it would be a lie to say we weren't.

‍

Vivienne Lumière:  1:15:17

 Yeah. But you know, that's what happens when you get people who come up through hardcore, trying to, like, mess around with rock and roll for the first time. Something's just gonna be busy.

‍

Quitty:  1:15:29

So busy.

‍

Vivienne Lumière:  1:15:30

And also like, you know, nah nevermind, like, yeah, very busy.

‍

Quitty:  1:15:35

 Very busy. And, you know, Jared, his stage presence was really busy. He like he gave it, he brought so much, but like, the second there was any like, kind of downtime or anything.. "AHHH! let's meet some sexy  people!" He's like out the audience like, yeah, like, "YAKYAKYAK" Like some like, rap. Go ahead. And like, everything about that band was very 'up', you know? Like, very cranked out. Although I don't think anyone with ONE notable exception was doing crank. We had one guy in the band who shall remain unnamed, who had like, I think all of us...I mean, the drummer didn't have that luxury. But let me think we played... We had shows without Jared singing before. [To Vivienne] You missed one show where you tore off a nail when we were loading in.

‍

Vivienne Lumière:  1:16:24

That's just a nail! I gouged out half my finger!

‍

Quitty:  1:16:27

 Oh yeah. Brutal. We missed. There was one show. I had like food poisoning that I'm... right?  No, that was Behead the Prophet. I know I missed a Tight Bros show?

‍

Vivienne Lumière:  1:16:37

You did miss a show. Yeah. Oh, we played at um..? Yeah, you were sick.

‍

Quitty:  1:16:41

 I was sick. 

‍

Vivienne Lumière:  1:16:43

What's that fucking?

‍

Quitty:  1:16:43

 What was the Off Ramp, that was El Corazon.

‍

Vivienne Lumière:  1:16:46

Graceland? Yeah, of course, Graceland at the time, probably.

‍

Quitty:  1:16:48

 But the one that someone else missed was like, just from the fucking throwing a coke frenzy in New York. And we had to go play it. And that was like, we like held that against him forEVER. Probably still. Just cuz that was discretionary. Like you know? That's like, you can't help being sick or gouging your finger out, but you can help whether you want to party doing rat poison coke that you got at a bar in Brooklyn called Cokies. You know? So like we played a show in Boston without one member? Not me or [Vivienne], not the singer and drummer. I love you Sean.

‍

Hayes Waring:  1:17:27

Very cool. Any other shows of the of note that you guys want to talk about? There's a couple of fliers that James sent over,. That Dead Moon show kind of stuck out?

‍

Quitty:  1:17:36

Yeah, it was like we played with Dead Moon once right?

‍

Vivienne Lumière:  1:17:40

I don't know, I remember playing with them in Portland? Is that the one you're thinking of? 

‍

Quitty:  1:17:42

Yeah

‍

Vivienne Lumière:  1:17:43

Okay, and The Need and Serum Greys.

‍

Quitty:  1:17:45

Serum Greys? Right? Yeah, that was like, I don't know, like, the things that I remember most about the Tight Bros is that we'd like shot ourselves in the foot constantly, constantly... the potential that band had was like, a potential for a certain kind of success that in retrospect, I'm glad we didn't get because it would have been good for me at all. But we have all kinds of opportunities to do things to like, go on the big tours to be in movies and like crazy shit, you know, like, and? Yeah, like, we just, we fucked it at every turn.

‍

Vivienne Lumière:  1:18:29

Well, also, I was bucking against doing a lot.

‍

Quitty:  1:18:32

 Yes, you were.

‍

Vivienne Lumière:  1:18:33

‍

Quitty:  1:18:34

But like, we all had our we all had our, our thumb and like everyone in the band minus Jared probably did something to like, fuck up the band's momentum. I did mine I'd have nervous breakdown and, like, completely, like stopped the band in its tracks when we had our most momentum. 

‍

Hayes Waring:  1:18:53

Where was that? 

‍

Quitty:  1:18:54

Where was that? It was just life. 

‍

Vivienne Lumière:  1:18:59

it was all over.

‍

Quitty:  1:19:00

I don't know, I had a nervous breakdown. It was 2000 and 

‍

Hayes Waring:  1:19:03

On tour?

‍

Vivienne Lumière:  1:19:03

well, like residual panic attacks for quite some time.

‍

Quitty:  1:19:08

 Yeah. And I had like, completely had a breakdown in Olympia and I wasn't able to work or live or do anything and we had a tour booked that was coming up in the summer and it was "like you're gonna be able to go on tour though right?" "Like totally haganah" Like not knowing at the time that it's like, You can't like... This is how you get panic attacks in the first place is like you sublimating what you need to do to what you feel your obligations are.  The band was a great.. The band was ....everybody.., like I've never heard of a band that was as good to their like nervous breakdown member as mine was to me. They're all really fucking good. Even the drummer Justin and we never we never like gave any say so to or anything like, but But yeah, that was you know, my way of holding back the band and Justin's was being a classic drummer. A classics  teenage drummer.  Like making the band suck by playing too fast or too slow or drunk.

‍

Vivienne Lumière:  1:20:04

Yeah. And also getting in a horrible car wreck. 

‍

Quitty:  1:20:06

Yeah. But he was on the verge of getting booted before that. Sorry, Justin, I love you too. 

‍

Vivienne Lumière:  1:20:11

Yeah.

‍

Hayes Waring:  1:20:13

Well, I've always, you know, especially with your times with anxiety and being on the road, you know, I feel like a lot of musicians have that now. That's almost like more of a 'now discussion' about

‍

Quitty:  1:20:24

I've always been on the cutting edge, Hayes.

‍

Hayes Waring:  1:20:27

I know, You've you're joking. But, you know, I feel like that that is the talk now of like, how people deal with that and go on tour. And at least in my younger memories, a lot of the allegories for how to deal with that were stories about you. 

‍

Quitty:  1:20:43

You're kidding. I had no idea?

‍

Hayes Waring:  1:20:44

Yeah. Yeah. So what do you you know, like, what did you do to get over a lot of those anxieties on tour? Like..

‍

Quitty:  1:20:53

 Putting it all the hard way? 

‍

Hayes Waring:  1:20:54

Right, well, what are some of the things that you did that you think were helpful?

‍

Quitty:  1:20:59

First of all, I can't stress this enough, the band was really understanding. I know, they were fucking frustrated. Because we're, our momentum was really something right then, things were working. And.. but.. so that. Because if you have people who are going to be like, not understanding about it, that's what not to do. And I got sufficiently medicated eventually. And I don't know. I mean, like, it was, it was a combination of things. Just like, you know, "Well, have you tried yoga?" you know, "Have you tried meditation?" and you like, try all of those things, you know, you try getting more exercise, you try going outside more, and you like, eventually, like, oh, therapy, you know, and like, you get to a place where it's like, you understand what's going on, and you don't necessarily like me have to be medicated through it all. In fact, there's like, a period of like, I think almost anyone when they first go on psych meds is sort of like,"It's only for a little while. It's only till I get like, back on my feet. And then I'm going off." I'm, it's like a certain kind of pride, you know? Me I need to be medicated, I could never, like live the life that I have now, if I wasn't. And that helped a lot. And eventually, I just got to where I felt, if not normal and I wasn't normal, Because like, honestly, the breakdown stuff kept expressing itself. Right on through the end of the band, I was still figuring it out. There was like, a period where towards the end of the band, or they didn't let me drive anymore. And that was really hard, because I didn't even.. I knew but didn't know the extent of how driving on tour... keeps.. me... sane. Like, I could not just passenger, gotta drive. And like, of course, I understand why they needed to stop me from driving. But it was like, I wasn't in my right mind. I was acting insane. It's like when I think about like the last couple tours, the Tight Bros did and how it was acting. I'm like, Oh, my God. Like, I feel much better now is all I can say. So like, they were very patient through all of that, except, I think probably by the time we got home from Europe, Jared was pretty done with me. He was pretty sick of me. But they were very patient. And I don't know, by the time like years later, like [Vivienne] still has this band Nudity and I was in it for a couple years. 

‍

Hayes Waring:  1:23:29

When Nudity start? 

‍

Vivienne Lumière:  1:23:30

2005? 

‍

Quitty:  1:23:34

Well, by the time that I was... I did, I think two US tours with Nudity. And by that time, I'm like, 40 and like, then I'm like, now I feel like good at being on tour. It took till I was 40. And part of that was just like, you know, having the mental things in a good place. I'll say when I was having the first like part of the breakdown, I had to be watched all the time because I was in really like bad shape. And a Becca was afraid I was gonna jump off a bridge and I'm sure that was probably true. And Donna Dresch took care of me for one day, we were close then, and there was a time when I was at her house and she's making me soup and she had a hot tub and we're in the hot tub and it was just all great, but I was still like having a freakout and I was like calling the nurseline,  with "Drugs don't work! The drugs don't work!" You know, having a freakout. And I remember Donna telling me she was like," I can't believe how well you're dealing with this." And I was, "What like Woody Allen would?" Like Julie running around like,  "I don't know what's happening the drugs don't work?!" She's like everybody else that has this problem has like drunk themselves into a stupor or stayed inside for two months. You know?

‍

Hayes Waring:  1:24:56

I think that's like a kind of, unspoken tale for a lot of musicians. There's a lot of history of self medicating, in the nortHayes Waringest for musicians and in the history of music,

‍

Quitty:  1:25:09

Yeah, definitely. I mean definitely. I mean we're, I hate to like to be like this, but we're, you know, by in large sensitive people. Anyway, so like, you know, by the time like Nudity toured, I finally felt good at being on tour. [Vivienne]'s always been good at being on tour.

‍

Vivienne Lumière:  1:25:27

 Oh, yeah,I don't know..

‍

Quitty:  1:25:28

 But Behead the Prophet you were not at your best.

‍

Vivienne Lumière:  1:25:29

 I was having some freakouts on that tour. Yeah.

‍

Hayes Waring:  1:25:31

Do you want to talk about that at all [Vivienne]?

‍

Vivienne Lumière:  1:25:34

Not really worth talking about.

‍

Hayes Waring:  1:25:36

Well, is there any other moments on Tight Bros or any other sabotaged Joshua Plague bands that you guys want to talk about? Pre 2002?

‍

Quitty:  1:25:47

 No.

‍

Vivienne Lumière:  1:25:49

One of maybe the finest Tight Bros show moment would have been YoYo '99.  [To Quitty] You don't necessarily think so Quitty? 

‍

Quitty:  1:25:57

... It just wouldn't have occurred to me. 

‍

Vivienne Lumière:  1:26:01

That was a fucking kickass set. And I think we knew it like the second we hit stage. Ian MacKaye was running sound. And the Make-up followed us. And they were, I believe somewhat intimidated by our set.

‍

Quitty:  1:26:16

Oh, yeah. That was a really good.

‍

Hayes Waring:  1:26:17

 I've actually heard Ian [Svenonius of the Make-up] talk about it.

‍

Vivienne Lumière:  1:26:20

oh really?

‍

Hayes Waring:  1:26:20

 Yeah I have. 

‍

Vivienne Lumière:  1:26:23

What's he said? 

‍

Hayes Waring:  1:26:23

Well, he has it...he.. Well, I don't want to paraphrase, but he kind of felt like, intimidated by you guys. 

‍

Quitty:  1:26:32

Ian did?

‍

Hayes Waring:  1:26:32

 Yeah, And then kind of felt like since Michelle [Mae] had moved from Olympia, that she was on the outs and then they had something to prove. It was like the Sharks and the Jets.

‍

Quitty:  1:26:43

That's Hilarious.

‍

Vivienne Lumière:  1:26:44

Kind of felt that way. Yeah. And they DID prove it because they.. 

‍

Quitty:  1:26:47

They are a great live band.

‍

Vivienne Lumière:  1:26:49

 but yeah, I mean yeah, and that was the best I ever saw them! At that show. And they you know.. we were all like "AHHHHH!" That was just our musical style. And they couldn't compete with that. That wasn't their style. And so they did this really like, simmering slowburn kind of set. It was really intense but not at all in the way that the Tight Bros were intense. Ian walked on some people's hands. He had a roll of duct tape thrown at him .

‍

Quitty:  1:27:18

That was my favorite. 

‍

Vivienne Lumière:  1:27:19

We got some good stage banter from that,  

‍

Quitty:  1:27:21

Truly great

‍

Vivienne Lumière:  1:27:22

 Go ahead,

‍

Quitty:  1:27:23

Oh, it was...I don't know I forget what these cords are called...

‍

Vivienne Lumière:  1:27:29

XLR 

‍

Quitty:  1:27:29

Thank you an XLR cord that wouldn't stay in the mic and Ian said "I need some tape baby! There somebody give me some tape?!" with this like Ian rap and then there's like duct tape comes flying to it from offstage. Ian holds the duct tape and like a distance he goes, "Yeeeeah tape! [In James Brown voice] I'm a bit of a handyman" [all laughing] you know, sometimes Ian has got it go on. It's funny when he said the Sharks and the Jets, it brought me back to 91 because that was something that was really different about the punk scene in Olympia, I hadn't picked up on it first, because it was still kind of growing was that like, after like nation of Ulysses and Bikini Kill and the union thereof. There started to be of this like fashion part. I was really uncomfortable with it at first. And it was sort of like, "oh, this is like you're bringing the cool kids into the punk scene." And I remember talking to Kathleen Hanna about it. And she was like," I like that though. Like that, like, you look like a gang. You look like all people that have joined the same gang."  I got that I just didn't feel like I could join the same gang. It was something like those of us from the West Coast, that like grew up with like the maximum rocknroll model or whatever. It was like, Well, you know, Cringer and MDC weren't doing it for me it needed something different. So like, you know, it was, I think by and large, a good influence. Even if I didn't go for the fashion of the time.

‍

Hayes Waring:  1:29:08

Also, you haven't talked that you worked at K for a number of years.

‍

Quitty:  1:29:11

Yeah, I worked at K for almost 10 years. Yeah, that's pretty interesting. Actually. Candice recruited me.

‍

Hayes Waring:  1:29:19

I've asked Calvin about you at that time, and he said you are the most important and most handsome employee that ever worked for K. As a quote.

‍

Vivienne Lumière:  1:29:30

it's funny that second part makes you doubt the first part.

‍

Quitty:  1:29:34

I know what he meant. Like he used to say that then like, I was somewhat important in that like, I was going on tour every summer and like, or you know, like West Coast tours whenever and that like what I did at K was like I sold direct to retail. And I saw like, I knew a lot of people from record stores and like people that were like buyers at record stores I still have friends where that's like, that's that's how I know them. They were my buyer at a record store. And so like, I had a like, cuz just because of my personality, which was very not like Calvin's or Candice's, I was just very outgoing. And I would like, have a personal relationship with people at record stores and stuff.

‍

Hayes Waring:  1:30:17

Calvin tells me that you would yell at people if they didn't buy a record.

‍

Quitty:  1:30:21

 I did. I did do that. yeah. It was like, but you know what, sometimes, like, they were like, just record store people are horrible. Like, they are the worst. I mean, like, some of them are great, of course, but like, you know, like, 

‍

Hayes Waring:  1:30:33

'Rainy Day is great, of course, but  comma..'

‍

Quitty:  1:30:35

 I don't know what it's like to call with, like, new records and trying to sell them. I mean, like, I was, I'm still likem this as a lawyer a little bit like, Look, I'm not trying to trick you. I'm not trying to like sell you shit you don't need, you know,

‍

Hayes Waring:  1:30:50

You need this.

‍

Quitty:  1:30:51

Yeah, I do. I do this, please, I'm gonna get fired. But it would be like people would just be like, I remember when One Foot in the Grave came out,  the Beck record, I would get a certain amount of resistance, because like, all he had out was Loser. And I would like call people it happened, like more than once. Like, you'd call up people. And they'd be like, "Yeah, I'm not taking any of that guy's record." And you'd go like, I know what you mean. But like, this isn't like, I mean, I don't know who your favorite one hit wonder story is, this isn't Aqua or whatever, this is, like, this guy's really got weird, like other dimensions. And I think, you know, it's like, the world is finding out about that. And they would like, "No, I've seen a one hit wonder or two. I am 78 years old." You know, like, I know what's going on. So I'm taking zero, like that would make me mad. But like, it would always.., Yeah, I'd yell at people because like, Dude, it's returnable. Just take a shot. They're coming on tour, they're gonna be there. People will hear of them. Don't be an asshole, you know. So that was my method. Yeah. He's exaggerating a little bit, not that much. And I don't know, like, I felt good at it. But I have to say that when I didn't work at K anymore, which happened because their main distributor went under. 

‍

Hayes Waring:  1:32:12

Was that Mordam?

‍

Quitty:  1:32:14

No, we never,  that was Kill Rock Stars. It was distributed by Mordam. It was ADA, I think.

‍

Hayes Waring:  1:32:21

That would have a bunch of money...[lost]

‍

Quitty:  1:32:22

Yeah, yeah. I mean, a lot of labels went down right then cut smaller labels. Because it was post Nirvana burnout, kind of, because it was like after Nirvana, like kind of goosed the record industry and so did like CDs, you know. So like, when CDs became the new format, everybody's buying records because they're replacing what they had on vinyl. And then like Nirvana, and everyone talking about rock music. And then like, when that like kind of simmered down, and nobody had to replace their whole record collection anymore. There was like a correction in the market. And so yeah, like distributors went down, small labels went down. It's kind of amazing that K didn't  go down. And that's only just because of Calvin's tenacity that like, I don't care if it's back to me in my bedroom dubbing cassette tapes, I'll have the label, you know. And so yeah, it's the new the new arrangement they had was with Secretly Canadian and they weren't going to be able to sell direct to retail. And I came back from tour and Calvin. I'll never forget. Calvin laying me off. He felt so bad. He felt so bad. It wasn't like I had put two and two together. I remember I was in Croatia when we were in Croatia when I found out when when, you know, like this would happen. I'm like, Oh, shit, that's gonna. I don't know what I'm gonna do now. 

‍

Vivienne Lumière:  1:33:40

But I think it was like four of the five of us lost our jobs when we were in Europe. 

‍

Quitty:  1:33:44

really?

‍

Vivienne Lumière:  1:33:45

 Like came back to no job. Yeah.

‍

Quitty:  1:33:49

Do you remember what else was going on?

‍

Vivienne Lumière:  1:33:51

Well, Sean lost his K job, right?

‍

Quitty:  1:33:54

Sean had quit. 

‍

Vivienne Lumière:  1:33:55

He quit. Okay, whatever he was doing he Oh, yeah, he lost. Jared. Did I think and then I was delivering the Stranger and they...

‍

Quitty:  1:34:05

You lost that?

‍

Vivienne Lumière:  1:34:06

Yeah.

‍

Quitty:  1:34:08

Yeah, I mean, like, that's, I mean, that's like, I don't know how anyone like goes on tour all the time. And like, eats, and like pays the rent and doesn't lose their job. I don't know how they do that?

‍

Vivienne Lumière:  1:34:18

 Like, depends on the job. Depends on the job you have. 

‍

Quitty:  1:34:22

Right. But like I worked at a record label where my boss went on tour, and it was still hard for me. Yeah. And then of course, like I got downsized as it were, like, Calvin felt horrible, like  "Can I talk to you?" but I knew what was gonna happen, you know. I remember he goes.. and then the whole speech ended, "So I have to," You can't see this on audio. I'm just going to do it to Hayes [holding hands]. "So I have to let you go...." And he's like blushing and I made it really easy on him which I think like makes Calvin love me. I did, I made it easy on him like this was like it was sort of like, like the label has gotta like, if the labels got like shrink to live, that's okay. You don't need to like, don't need me along for the ride or something like that. And, and most importantly, even though like that coincided with the Tight Bros breaking up, it was like, I felt like when I stopped having a Music Business Job, suddenly songs sprang out of me.  It was like, I'd spent so much energy like thinking things about music that were like other than the music. It was like selling ads and discussing record covers and what distributors are returning and all that stuff. I don't know how musicians are on a record label. Because when I didn't have a music job anymore, and I did just did something else. Songs. Poof, like never ever before.

‍

Vivienne Lumière:  1:35:48

Was it at a K party that you met Kurt and Courtney?

‍

Quitty:  1:35:52

No, that was the MODS. Oh, no, no, let me think I met Courtney on several occasions, okay.

‍

Vivienne Lumière:  1:35:57

Ok there's one Calvin related story that I really enjoy. Yeah, that was at the Jawbreaker show. Okay, tell that story.

‍

Hayes Waring:  1:36:05

Which show was that?

‍

Quitty:  1:36:06

that was in like Kirkland or somewhere. It might have been  the firehouse in Redmond, it was it was like on the eastside of Seattle. And Jawbreaker had been on tour with Nirvana for like, a couple of weeks. And they came, Kurt and Courtney came to say hello, but it was after the show was over. And we were there with Jawbreaker so we're like loading out. And and Courtney was doing all the talking and Kurt looked just really miserable. And, and Becca, got a sip from his iced tea. And Courtney was bitching about this and that and, and I remember like just telling her I worked at K just to see what she'd do, because I'd actually talked to her like, from K before and I just like knew like you must have heard your share of Courtney stories?

‍

Hayes Waring:  1:36:55

 A couple.

‍

Quitty:  1:36:56

 Have you met her?

‍

Hayes Waring:  1:36:57

 No, I've never met her. 

‍

Quitty:  1:37:00

She's pretty much like you'd think I mean, she's really like a fame obsessed, like bummer of a person I'm sure when you know her she's like, deep and something more than that. But But I think our effect on Kurt was really plain. Like he was just like at the time that we saw him like he was really cowed. And so anyway, like I was like, "Oh, yeah, cuz I actually work at K." "You what? Hey Kurt, he works for asshole... Johnson"

‍

Vivienne Lumière:  1:37:31

In my mind, this is sort of like how Brandt hears the Accept song.

‍

Quitty:  1:37:42

 Is it Son of a Bitch? 

‍

Vivienne Lumière:  1:37:43

Yes. Like Brandt's version of Son of a Bitch is very like...

‍

Quitty:  1:37:47

...better than it really is? Yeah. And so in

‍

Vivienne Lumière:  1:37:49

my head. This is always like, "Hey, Kurt," like shouted out across the room. "Hey, Kurt, he works for ASS...hole."  The asshole part was very much like. [Laughter] She didn't have to yell very far. He was right there. He didn't react, I felt so bad like for Kurt because I didn't really think he had any [beef]... Like Courtney had beef with anyone that Kurt knew in his old life. That's all. Like and I don't know what his take was on that privately but he doesn't seem to..  ...To this day, like she like wouldn't Bikini Kill reformed. She was talking shit about them publicly. It's so fucking petty.

‍

Quitty:  1:38:25

Like you're 60.

‍

Vivienne Lumière:  1:38:27

25 years later or whatever she still was like, 'fuck! they can't play they don't know how to play the fucking instruments, they're a shitty band.' Yeah. Also, there's that soundboard tape of her. 

‍

Quitty:  1:38:33

Courtney, you used to be punk and it's like, you know, like how well you can play your instrument... Like, did you forget like, I mean, it's like, the inspiration is everything and like how you play is incidental.  What? 

‍

Vivienne Lumière:  1:38:49

Someone made a tape of like, is it just her vocals and guitar off of it? Yeah, it's like, it's like guitar playing is the biggest fucking mess.

‍

Quitty:  1:38:58

Is it live? Yeah. So it's not like studio.

‍

Vivienne Lumière:  1:39:00

No, But he's definitely very punk guitar playing.

‍

Hayes Waring:  1:39:04

Yeah. That's ...She has good... That first single was pretty good.

‍

Quitty:  1:39:09

Yeah, I mean, I've never been able to like hear your Hole for like, you know, just the music, because like, all of that shit. Like she didn't used to ..I mean, she'd sound like, I don't know. When Kurt was alive still. Like she she'd like call and like, be all shitty. Like, it was like this is what you do. You just call people Kurt used to know and yell at them? Like, but not everyone. She liked Mikey. She liked Nikki McClure like,

‍

Hayes Waring:  1:39:36

oh, I have.., that reminds me. I have a question, also. Did you once there was like some sort of Nikki McClure zine or presentation. And you did something where you listed every failed business and Olympia? 

‍

Quitty:  1:39:51

Yeah.Wow. Who told you that? Like, do you remember that? 

‍

Vivienne Lumière:  1:39:54

No, 

‍

Quitty:  1:39:54

It was a Otto's. I remember that. 

‍

Hayes Waring:  1:39:57

Can you tell us the name of the presentation and what the zine was?

‍

Quitty:  1:40:00

no,  do you know it?

‍

Hayes Waring:  1:40:03

Well, I just know that you... it was very, very good. And it wasn't filmed. And you named every business in Olympia

‍

Quitty:  1:40:12

 It's a shame that [Vivienne] missed out.

‍

Vivienne Lumière:  1:40:13

Because also, that's the concept of me and Sarah's band, Chair of the Month.

‍

Quitty:  1:40:17

Yeah. Yeah. I know. Like, he should probably talk about that.

‍

Vivienne Lumière:  1:40:20

Well, that's past the scope of this project.

‍

Quitty:  1:40:23

The Oh, yeah. It's after 2002. Um, yeah, no, I remember doing it. I don't remember who the businesses were or the name of the zine or who's idea was it? I remember like, somebody recruited me to like, "you need to talk.." "Like about what?" "Like anything..." and I said okay, 'Every business here that's failed'. And that was like, what what was the French Cafe? Bonjour. Bonjour. Cafe like, because their word, you know, hot hats.

‍

Vivienne Lumière:  1:40:50

We had a song about Bonjour cafe?

‍

Quitty:  1:40:53

 What? 

‍

Vivienne Lumière:  1:40:53

Sarah and I have a song about Bonjour Cafe

‍

Quitty:  1:40:55

oh, yeah, exactly. Exactly. So sorry to disappoint. I just don't remember very much about that.

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Hayes Waring:  1:41:02

Well, I just thought , It's, you know this, as this is the Olympia Music History Project. I mean, that's, it's cool that you were starting and talking about all these things that came and went before, you know, 

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Quitty:  1:41:12

yeah, that's true. Cutting Edge Quitty. Thank you. Well, you know, I always felt like, I always felt like Olympia. And while I was at K, I felt like K got boned. But like, I really felt that way. Because it was like, Calvin in particular, like, invented a sort of way of approaching music, like creatively and to a lesser extent, like business-ly. And, and I would,  have seen so many times, I saw people like, pick up the ball that like K gave them and K failed a profit on it, like, socially, financially. And like, you know, I mean, I just like, I felt like, K's thunder got constantly stolen. And it was like, I mean, primarily, first by Kill Rock Stars, right? Because it was like, all that. And I have that was like, partly, I mean, I really honestly think that like, Calvin and Candice, like, at the time I met them, they were arrogant. Like, I love them both. But like, they were really arrogant. They like they kind of thought that it was like, as a matter of, you know, destiny or whatever, like K was gonna be like Washington's , Discord [DC]. Like that, like all the good bands were going to come to them. And, you know, they could name their price and they could be like.., Yes, we agree to this. No, we don't agree to that. And that's how they treated people. And they just weren't the best at talking about money or dealing with money. And like, you know, and then after like, Kathleen developed a beef with Calvin, it was like, Kathleen was the new, like, loudest megaphone on the block. And like people, like once Kill Rock Stars started being a thing, like Slim and Calvin had been good friends, and then like, he and Slim had a big public falling out with Calvin. And then there was this label in town that signed all the cool bands and was very upfront about the royalties. And like, my band was on Kill Rock Stars and like, that hurt Calvin and Candice's feelings, you know, like, I felt bad about it, but it's like, people often at that time would like, if I could go with K or Kill Rock Stars, what should I do? And it was like, I boiled it down into a little thing. It was like, Kill Rock Stars will pay you your money, and you'll always see the statements. At K, It's not going to be like that, but it's.. but your family. And nobody ever chose the family one and I saw real upside to [the family] I mean, my band too went with Kill Rock Stars. I voted for K but I don't know if I would have if I had not known I wouldn't be outvoted. There's no fucking way Jared would have. 

‍

Vivienne Lumière:  1:41:22

Yeah,

‍

Quitty:  1:41:41

 no, no, I mean,

‍

Vivienne Lumière:  1:42:03

 like, chips off the table. no way. 

‍

Quitty:  1:43:49

It's not a chance in hell. And it's like I saw like, the way that like they had treated KARP like there was one tour and it was like when they're when Self-titled album came out.  Which like, great album. They wouldn't let them take, when I say they this was Candice, I don't know, like how far these discussions went. Would not let them take their new record on tour because they loved them so much money. And it was like, What's the point of touring?

‍

Hayes Waring:  1:44:14

 Yeah. 

‍

Quitty:  1:44:15

So yeah, they didn't like their experience with K. And anyway, so I tell people that. You know, like, nobody ever chose family. But like, I learned it too, because it's like, still, like it's decreasing, but I still get a little money from Kill Rock Stars, to this day. Like, years after anybody gives a shit about any band that I was in. It was on Kill Rock Stars and

‍

Vivienne Lumière:  1:44:38

I think it's more that we get statements and we owe them money. [laughing]

‍

Quitty:  1:44:40

Shut up! It's really popular. Yeah, the one record never made its money back. But at K, Look, man, when I had a nervous breakdown, Calvin called me every day. I will never forget that. When Rose Melburg  was having brain surgery, somebody from K called her every day. Because you are family. And that's like the shit that actually matters. and like, you know, the money's good, but when when I had a nervous breakdown and I had to get like sent home from a tour, like right when the band had the most momentum, like Kill Rock Stars, like they barely noticed. They're like, oh, they canceled the tour, whatever ,that band's flaky. That's what they got out of it, you know? And so, you know, and but K couldn't like... was really bad at dealing with money. And that's a fact. It's not a secret now. Anyway.

‍

Hayes Waring:  1:45:39

Well, we say a lot of great things. [Vivienne], any last thoughts on anything? Oh, I did want to ask one thing more quickly. didn't Limp Bizkit actually send you a demo tape?

‍

Quitty:  1:45:52

Oh, there was a video

‍

Hayes Waring:  1:45:54

 A video. ?

‍

Quitty:  1:45:56

Yeah, they did.

‍

Vivienne Lumière:  1:45:58

So bad. I was so offended by it. 

‍

Quitty:  1:46:00

[She] was! [She] was because I brought it home. It was like, "Limp Bizkit. Like," [Vivienne] was like, "that's not really a name of a band." Or like, apparently it is

‍

Vivienne Lumière:  1:46:10

a video it was like them, like cruising down the salt flats in like a couple of trailer like trailer trucks or something like that, you know, like, playing a fucking shitty music. I could not believe how bad that name was.

‍

Hayes Waring:  1:46:25

Yeah, who knew? 

‍

Quitty:  1:46:26

Yeah, who knew? I mean? It's true. It was like they were underground.. No, I don't think they were ever underground. Because in my

‍

Hayes Waring:  1:46:31

It's a video not a demo, right?

‍

Vivienne Lumière:  1:46:33

 Yeah. VHS video, yeah.

‍

Quitty:  1:46:36

Yeah. Oh, we got like, Wow. I mean, if I'd been like, had enough foresight, I guess and kept like, I mean, so many, like, demos from people that like, I never saw the promise. And that later became like, huge. And that was true at K too. I remember giving Calvin a hard time about Modest Mouse. Like, like this guy, like is just dicking around making answering machine songs. Like come on, dude, where's the quality control? And that was when I figured out sometime after that, Well, I'm very good at defining what I like, you know? Like, I do not have a mind for like, what's actually got staying power. Like Calvin was right on the Gossip after their like second show. You know, it's like, and on Modest Mouse too, I don't know.

‍

Vivienne Lumière:  1:47:28

You were talking about Beck and I was remembering, it's just a tiny tidbit but, my across the hall neighbor during Yo Yo 94, was Kim? maybe? -In my apartment building-  she told me, "Yeah, I saw this cute guy wandering around town all week. I didn't know who he was, just like we'd see him around like, 'God he's fucking cute!' When I found out it was fucking BECK! I got so mad that I went up to him and said, "You know what, when you got to town, I thought you were cute! But then it found out you are on MTV! I don't like you!"

‍

Quitty:  1:47:59

You see how much fame sucks?

‍

Vivienne Lumière: 

Totally

‍

Quitty:

 Like, that's what I mean. When was like, the like, who knows what would have happened to the Tight Bros if we'd been so willing to just like go with like flow of like everybody offer I guess things. But I do like, in retrospect, like I was like, it wouldn't have been good for me.

‍

Vivienne Lumière:  1:48:22

No, at all. It definitely was not what I wanted. Yeah. But also, you know, the band was just a live experience.

‍

Quitty:  1:48:30

It felt like wow, anything that's gonna like tie all my bands together. I felt like they were all bands. You had to be there for Yeah. Like, I'm not sure any of those. Like, I like the Tight Bros records. But then I was there for the life part. Yeah. So like, yeah, like, I never, that was what upset me the most amount of that. And it's like, I felt like we were a third album Band, like the Beastie Boys, you know, like, not like the Beastie Boys. But you know, like, abandoned like, not like Van Halen, where the first album was the best one. But like a band, that's like, the third album is where they hit their stride. And like, I felt like that good third album was coming, but it wasn't. And like, you know, whatever.

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Hayes Waring:  1:49:13

[Vivienne], I know, this is kind of pushing the scope of our vision, you became a very notable engineer. When did that at all… Do you have any inklings of that? Prior to? You know, 2002?

‍

Vivienne Lumière:  1:49:31

No, I was just doing cassette for track stuff for years and years and years before that. But yeah, it wasn't till 2005 that I started recording other bands. So outside the scope of this, but you know, you can also say, Well, I am a thread that connects Olympia of the 90s to Olympia have now. Yeah,

‍

Hayes Waring:  1:49:51

very much. So.

‍

Quitty:  1:49:53

He was showing signs like I remember like, because when we'd record records, so you don't really get to hear for this. You have the patience like I felt like a pretty good ear for it, but not the patients and like me like that would be a good like, direction for you to go right. Like, and I remember you said that and just like, not the volume. Really? That's what you said.

‍

Vivienne Lumière:  1:50:14

It's like the loudness. Yeah.

‍

Quitty:  1:50:18

Because like, it's just gonna like fuck up my ears. 

‍

Vivienne Lumière:  1:50:20

You have sensitive ears. In a good way. I have sensitive ears. Yeah, I mean, in a bad way too, though. Yeah. Tinnitus and seeing sleep in 1994. But, okay, studios, Has anyone talked about Moon? Not yet. Yeah, Moon was, you know, studio. First, a music store with a small first just the music store and then a little bit of recording action on the back and then move to a new spot. Music Store in front more recording and back and then just a studio. And Steve Wynn, the guy who ran it. Speaking of temperament for recording, he didn't really have it.

‍

Quitty:  1:51:01

For everyone else he did. We were a very frustrating band if you weren't used to that sort of shit we had behind. But

‍

Vivienne Lumière:  1:51:08

We did the Behead the Prophet LP with him. Which was probably a mistake.

‍

Quitty:  1:51:11

Mistake. And it was my idea. Hopefully. Like I you know, like, at that time, I thought one professional engineer was as good as another. This guy knows what he's doing.

‍

Vivienne Lumière:  1:51:21

Yeah. But yeah, he did not jive with our music. And he did have Ike and Tina’s mixing board. That was cool. But also we get like, you know, we had we made the mistake of having all five band members that it will be mixed the first time we had to remix the whole record then. But it'd be like, someone would say like a little comment like the rack. toms a little higher, like that mix was all set 16 tracks. And then Steve would like put his head down on a continuous board. And then, big sigh, lifts his head up… and slide all the faders back down to zero. They're nice faders to really good waiting had like the ball at the top. No, yeah. Like, ricochet off and the next was gone. Except the whole

‍

Quitty:  1:52:02

thing trying to understand like that ban tested the whole, like, every single, like, part of the sound Spectrum was like, supposed to be pushed. Yeah, like the treble that screech of like Michael's violin, and the like, low of the kick drum and the bass, like, and there's so much like, it's just really dense enough to really know what you were doing to record that. Dan, did I know that? No. Yeah.

‍

Vivienne Lumière:  1:52:32

But yeah, it was cool. Cool studio for sure.

‍

Hayes Waring:  1:52:34

He lives in Mexico. No, no, Europe.

‍

Vivienne Lumière:  1:52:37

England, I guess

‍

Quitty:  1:52:40

it's what his biggest thing is, was his wife, Norwegian. Well, his wife was

‍

Vivienne Lumière:  1:52:43

Norwegian. And he, at some point was like, sick of us is like 2001 2002 He's like, I'm just moving to Europe. So my wife's from Creative Studio moved there. Because they had citizenship and then he discovered Wow, they're like, Okay, I am not actually a Recordist or just he figured out he didn't have the temperament for it. So yeah, split up with his wife sold off the studio for me made himself into seasick Steve. giant giant recording artists in Europe. She has a crazy yeah, it's so crazy. Supposedly. You played in King Harvest to dancing.

‍

Quitty:  1:53:21

Yeah, right. Yeah, I

‍

Hayes Waring:  1:53:23

got a musical enemy wrote once asked me about him. I was like, can you tell me who Seasick Steve is?

‍

Vivienne Lumière:  1:53:29

So yeah, like Europeans are like wild.

‍

Hayes Waring:  1:53:31

I was like, I asked Calvin about him. And then he said, Oh, yeah, yeah, he

‍

Quitty:  1:53:35

He recorded with Modest Mouse. He worked a lot with Modest Mouse we toured with her. It was really weird too, because he was like, far older than them. You know, he'd been in bands in the 70s like the Beach Boys live.

‍

Vivienne Lumière:  1:53:46

Yeah, I just love how like, in Europe, they're like he's so American. It's like the ultimate expression of American music.

‍

Hayes Waring:  1:53:56

That's what they said. Yeah.

‍

Quitty:  1:53:57

It's like a like, I guess that's what they're getting America like we're like,

‍

Vivienne Lumière:  1:54:00

that's not he's like grandpa caricatures, you know, he's like, it's like white Sanford. Or something like that. Yeah. Like it just doesn't resonate with Americans that resonates with people from afar who are looking for an exotic experience. But people that could be happier for him like sure what an amazing second act to your life.

‍

Quitty:  1:54:23

Crazy. Totally. It's like you know, like I think

‍

Vivienne Lumière:  1:54:25

like John Paul Jones is in his fucking band often. Yeah.

‍

Quitty:  1:54:29

Oh my god. Yeah, you know, like I think when when I was like younger and still like playing music and like take those things a little more personally. It's like, this is what they fucking run up the flagpole and have people fucking salute you know, like, what it's like, no, you're right. It's like, could be happier for him. It's like that's it's showbiz man. Yeah, he's in showbiz.

‍

Hayes Waring:  1:54:56

Well, I think that's a nice place for us to start

‍

Quitty:  1:54:59

around the time Ha

‍

Hayes Waring:  1:55:02

I might end the recording unless you guys have anything else you'd like to say. Any final thoughts?

‍

Quitty:  1:55:09

The Corvus Corax guy fell off his bike and died in Cambodia.

‍

Vivienne Lumière:  1:55:14

Yeah no love lost.

‍

Quitty:  1:55:19

No love lost, miss him. Miss him. Say, it sounds like.. Think the sprocket reached down his throat and ended his life?

‍

Hayes Waring:  1:55:29

Well, this has been [Vivienne Lumière], Jonathan Quittner and Hayes Waring on February 9. Thank you everybody for the Olympia music history project. Thank you

‍

Post Script:

‍

Vivienne Lumière:

Here's my addendum:

‍

It feels like Olympia punk music has a wave every 7 to 8-ish years. There’s always lots going on in any given year, but there’s these cycles of bigger pushes. 1984 had the Tropicana. The turn of the 90’s had Karp, Bikini Kill, Unwound, the initial explosion of Kill Rock Stars. The late 90’s, while I was living in Seattle and missed some of it, felt like a big party with The Gossip at its center. 2005-2008, Sex Vid, while mostly a Seattle band who liked to think of themselves as being from Oly, felt like the detonation point of a creative wave that included Gun Outfit, Milk Music, and Sisters, the latter who shortly splintered into HPP and Broken Water. At this point, the plot gets a little diluted, I think because the internet began reducing the power of individual regional scenes, and everyone started getting inspired by everyone else the world over. But I saw a bump in the mid-teens with G.L.O.S.S. inspiring a new gender-queer tilt to the hardcore scene, more people of color starting hardcore bands, and Jeff Caffey putting on his epic Olympia Hardcore Fests. And now, in 2023, there is a wildly active underage scene in Olympia, with bands like No. 13, Torment In Tyranny, Spitpuddle and others playing out every week, and large turnouts for almost any all ages show, making playing 21 and up shows a dicey bet. And I say huzzah to that!

I’m already excited for what the end of this decade will bring.

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