Here’s a topic that could spin in a few different directions: Many musicians from our circle have made wonderful sounds since our 1980s salad days. … Considerably fewer have made some money in the process. … But I don’t believe any of us hit the commercial jackpot in the music industry.
The wheels of that industry continued to turn, however, and musicians of our approximate age and subcultural pedigree did make it big in the late ’80s and early ’90s. (To start the ball rolling, I’ll throw out three names from our native time zone: Nirvana, Sublime and the Red Hot Chili Peppers.)
I know these big, commercial acts traveled many miles from our DIY roots (and from most of our musical discussions here). But that’s the point: What do you consider musical success, and do you hear echoes of our own aspirations in these huge revenue engines of decades past?
I used to hang out with one of my best friends bands and travel with them a bit. The band was the mid 80’s San Diego ska band “Donkey Show” the friend-Dave Hillyard, althought I had other friends in the band we were and still are very close.
Anyways there was this band from L.A. that used to open for DS all the time, there name “No Doubt”. ND had nothing on DS but ND hung in there and what’s her face is a huge star now….so….
I often wondered why San Diego never became an Athens GA. The Answers could have been bigger than R.E.M…. maybe.
Does anyone here believe that PRINCE ruined The 3’OClock? What would have happened if PRINCE got ahold of hhhhmmm let see…. Manuel Scan? Make up?
Anyways bands from San Diego should of had more of an impact in the world during there time, but maybe were lucky they did not.
I never liked Sublime’s music much or their shirtless macho vibe. But I do appreciate their efficiency, skipping the multiple albums, tours, etc. and going straight to the fatal OD right before the major label album release, rather than slowly morphing into the Jimmy Buffet of the 21st century.
No Doubt makes me gag. No Doubt.
Prince + Manual Scan? What a genius combination that would have been. Especially during the Raspberry Beret era.
Did anyone here gig with Stone Temple Pilots? I dimly recall hearing about this band as a less-than-impressive opening act at the Casbah(?)
Paul: Not loving the Sublime macho, but I do like the band much more than No Doubt. Plus Brad Nowell covered Camper van Beethoven’s “The Day that Lassie Went to the Moon.” 🙂
Musical success is appearing on the Che Underground website.
I laffed out loud when I learned that Falling James Moreland of the Leaving Trains (old friends of 3 Guys Called Jesus) was Courtney Love’s first husband. I read somewhere James’ account of a gig where Nirvana opened for the Leaving Trains and what he would’ve told Kurt about Courtney if he’d seen the future.
As far as indie rock bands from San Diego are concerned, Pinback has blown up pretty big. I think both Rob Crowe and Zach Smith (respectively of Heavy Vegetable and Three Mile Pilot) have finally quit their day jobs.
Switchfoot was pretty big because of Surfer magazine and Rob Machado, Taylor Steele for a while. They were goddawful generic worse than new Bad Religion/Pennywise but I suppose they fall into the category of indie rock who made a marginal splash.
Not San Diego but Tommy Stinson (Guns and Roses of late) was a ground floor Minneapolis punk. Also Soul Asylum were the 1981 MN punk act “Loud,Fast,Rules”. I still think San Diego has always suffered greatly in it’s proximity to Los Angeles/Hollywood (in that if you don’t relocate to Rock’s “ground Zero” you stand a pretty good chance of being overlooked.) Probably somewhat the same living in close proximity to New York. I look at Bands like DEvo hailing from Ohio and just shake my head at the wonder of it.
Ohio was a petri dish … How about Rocket from the Tombs and Pere Ubu?
The shadow of LA was indeed a long one for San Diego bands. But I find that even Orange County seems better at promoting its punk history than SD. It’s like the soil’s too sandy or something.
In the Poway roll call on our most recent Rockin’ Dogs thread, I mentioned a band I don’t know called Unwritten law. Wikipedia says it “quickly established themselves in the prolific San Diego music scene of the early 1990s that also included groups such as blink-182, Buck-O-Nine, Sprung Monkey, Drive Like Jehu, and Rocket from the Crypt.” Lots of these bands got signed … I don’t know any of them, but I think I’ve heard OK stuff about Drive Like Jehu and Rocket from the Crypt. Was there some concerted A&R action around SD at the time?
Surf Movies (Taylor Steele movies in particular) were instrumental in the success of a lot of those bands (along with a whole list of other B-list bands) in the nineties. The movie would be made at a local level but international corporate publications like Surfer and Surfing with a huge readership would review the movies and the bands would be along for the ride.
I really need to change my name on my work computer.
In the early 90s, after Pearl Jam and the Stone Temple Pilots hit it big, San Diego was crawling with LA music types hoping to sign the next big thing. Ironically, that led to a huge number of start up bands and a pretty good little scene here in San Diego for a while, although most of it had nothing to do with what went on in the 1980s.
The way I understood it, STP were actually an LA band who began to play shows in the San Diego because LA didn’t have any “indy” credibility--it was seen as too corporate, too associated with 80s hair metal. Quite a few LA bands pretended to be from elsewhere at the time.
What do I consider musical success? I was a nerdy kid, an outcast who loved to listen to music. So when I first started singing and playing in bands, success was a few bucks in my pocket and the end of the night and a little bit of respect from the people who had seen us play. Nothing more. Throughout the years, whenever I’ve had the opportunity to put out a record, hear myself on the radio or travel someplace else where people want to hear me play, it has always seemed like success beyond my wildest dreams. It would be nice to make a living playing music, or get a few songs on movie soundtracks so that I could put a little money in the bank, but that’s about as far as my ambition has taken me. Of course being hugely successful in the music industry has its benefits, but it’s not a life I’d ever be interested in living. It seems like a pretty miserable existence, actually.
AJ Croce. Steve Poltz. And my fave early 90’s band from Poway: Truman’s Water.
Synthesizing Ray’s and Kristen’s comments: While I’m not privvy to any of their earnings statements, I would imagine that AJ Croce and Steve Poltz have achieved a nice, human-size level of financial success playing music. I’d imagine they can also go out in public without mishegoss … Recognition from a few admirers, but nothing Mark David Chapman-y.
That other order of magnitude — the monsters of rock thing — I haven’t interacted with it much, but yes, I agree with Ray that it can be a big, fat drag (all that money notwithstanding).
PS: I’d totally take the money — I’m not stupid. And just for the record, nobody ever offered it to me, so I’m not sure I’m sufficiently evolved to turn down the fame, either. (Did I mention getting paid regularly in tortellini when gigging in Hamburg? Oh, right — I did!) 🙂
I have heard threw friends in the northwest that The Morlocks “Emerge” record had a big impact on bands like mudhoney and cat butt and other grunge bands.
In my two above post I guess I’m trying to say San Diego bands did have some influence on bands that went on to make $$$.
I really could care less about No Doubt, but I do believe that they took alot from watching Donkey Show from the side of the stage at Fenders Ballroom, also I believe Gwen learned alot of stage presence from DS singer Kim Cliff. Kim was or maybe is a great singer & should have gone on to bigger things, but did not.
Success to me is just being able to make music and get anyone to care, listen or come to gig. We live in socity that does not value art in the least bit so, I feel lucky to have ever got a band of the ground, I got more than I ever thought I would out of music, I feel like a real lucky guy.
From what I understand some of the folks on this blog are kind of Rock Stars in other countrys (spain) and they do enjoy there success there, to me these people are very lucky indeed, my hats of to you!!!
>>From what I understand some of the folks on this blog are kind of Rock Stars in other countrys (spain) and they do enjoy there success there, to me these people are very lucky indeed, my hats of to you!!!
Dylan: Damn straight! Ray and Bart and Jeff and Leighton and … Well, lots of you guys who’ve gotten out to tour, especially overseas, and who’ve had records distributed — I’m with Dylan, you’re gods. I love the stories I’ve heard of Spanish fan frenzy … And I think one of our members even met his wife while on tour in that country, so I count that as a major rock-‘n’-roll win! 🙂
I know there’s a lot of work behind it, and not enough money, but you guys definitely deserve the adulation.
PS: Dylan Rogers’ album kicks major ass. If you don’t have it, get it!
Dylan , Kim did end up going on to pretty good things . . . she is married to Pete from Rocket from the Crypt , and she is mother of three amazing little kids . I think of myself lucky to call them both pretty good friends .
I wouldn’t call it super stardom on a Gwen level , but she is very happy and seems to be a natural in regards to being an awesome mom .
Around ’81 or ’82 a group called The Bangs (from LA) opened for Manual Scan at the International Blend. Among other groovy stuff the Bangs played a killer version of “7 and 7 Is” by Love.
Soon thereafter they changed their name to The Bangles…..ya probably heard of them.
Coincidentally, like the 3 O’Clock they were later touched by The Purple One also, who even penned for them the un-jangly hit Manic Monday…
Kim Lenz (and her Jaguars), one of the best female rockabilly artists throughout the mid-nineties. Kim Buessing is a fellow Escondido-ean [sp?], from San Pasqual High School (1984), who was good friends with the UXB crowd (Mike Lim, Phil Thomas-scheers, Jim Hathaway), and attended several shows at the usual places in San Diego during her youth. With her love of music-especially rockabilly-she started her band in Texas and signed on with Hightone Records. She’s stopped touring a few years ago to raise a family, but I hope she get’s the urge to travel again. Sweet gal!
Mike S, ran into Kim acouple of months ago she seemed very happy about her family and life!
You will have to fill me on VJ in sometime, I will drop by your shop.
Dave F, “Touched by the Purple One” sounds kinda dirty.
Yes, ‘touched by the purple one’ does indeed sound pretty gnasty..
Among other obscene acts committed by a band I was in during the 90’s, we managed to spend what seemed like zillions of label-money making our debut record. I don’t think that qualifies as a ‘commercial jackpot’, more like a pinata, with the band thereafter realizing they’re gonna have to stuff everything they found on the ground back into the swingin’ thing at some future point (recoup de grace).
No complaints however, I received a fantastic studio education from the endeavor and helped create something I’m proud of. But then it was time to board the double-decker multimedia singalong bus.. “the wheels of the industry turn round and round, round and round, round and round…”
Literally… my most widely-scattered musical creations by far are the soundtracks of several infant/toddler toys. I can say I’ve had a hand in the earliest repeated musical experiences of 1000’s of developing minds. And I can say “I made that”, but that doesn’t necessarily mean I “made it”…
I’ve always missed not having a chance to do at least one tour, get grody on a bus for weeks at a time, but at this point…have you seen the film “Wild Man Blues”? I’m approaching that — Mr. Allen has a pretty cush ride on that trip but still finds time to kvetch through the entire flick.
>>In the early 90s, after Pearl Jam and the Stone Temple Pilots hit it big, San Diego was crawling with LA music types hoping to sign the next big thing. Ironically, that led to a huge number of start up bands and a pretty good little scene here in San Diego for a while, although most of it had nothing to do with what went on in the 1980s.
Ray: I would love to get a recap sometime. I feel like the SD-SF split was a little like when Africa and South America drifted apart … A lot of evolution happened on each respective land mass that those of us on the opposite shore never heard about! (Or maybe I just had my head up my butt.) 🙂
I made it big time…got a trophy wife. Why I got a felony record older than her.
Patrick Works
not a lech
I’ve said before that the funk-punk the Wallflowers were innovating in 1983 coulda been huge. Karmically, I always regarded the Red Hot Chili Peppers as a Wallflowers cover band.
Pt.Loma high alumnus Gary Heffern is the Frank Sinatra of Finland.
i saw Kim Lenz at a Sunday show at Safari Sam’s i Hollywood last summer. The extremely talented San Diego band The Smiths Ranch Boys played. They stopped playing a few years ago as some of the band settled down to have a family but they still play an occasional show. Deke Dickerson was also on the lineuo. Kim was there as a spectator, not a performer, and the place is all ages so she brought her kids along.
I would say that there are a lot of San Diego bands that “made it” in the 1990s playing roots music, like the Paladins, the Forbidden Pigs, Candye Kane, Russel Scott, the Smiths Ranch Boys, etc. The rockabilly scene grew very large worldwide so some of those acts probably could almost make a living touring and off their records. It seems to have faded away a bit, probably because a lot of the scenesters have settled down.
>>Ray: I would love to get a recap sometime. I feel like the SD-SF split was a little like when Africa and South America drifted apart … A lot of evolution happened on each respective land mass that those of us on the opposite shore never heard about! (Or maybe I just had my head up my butt.)
I’m probably not the best one to recap San Diego in the 90s--I was doing my solo thing, recording mostly, doing occasional acoustic gigs. I did play a festival or two with Jewel and Blink, though, and saw quite a few good shows. There are others here who could do the recap justice better than I, including Julie D, whose band Driptank (also featuring former Manual Scan drummer Paul Brewin) was one of the better groups playing. Some of the other bands I liked were Inch, fluf, Rocket from the Crypt, Uncle Joe’s Big ‘Ol Driver, Dizzy. aminiature, and of course, the Dragons, whom I probably saw more than anyone else. Lead singer Mario is the youngest of the Escovedo clan, and the band boasted a great guitarist (Kenny) and bass player (Steve) as well as another Zeros’ little brother on drums.
In the North Park/Hillcrest area my mom had a friend named Irene who was this cool little greek lady (I can’t spell her last name but it was something like “ivnokades”- her daughter was Fawnee and son was George- I think there was one more kid I’m forgetting.) Anyhow- George “ivnokades” (pronounced “eev-nah-kah-deez”) went on to be the fairly successful country musician and more successful song writer, George Dukas.
Don’t know why this occurred to me today.
Toby,
I went to high school at Point Loma with Fawnee Evnochides! I looked her up and it seems she’s a radio producer in the Bay Area. In our class was also Aaron Zigman, who has written and produced a lot of hit records over the years; Jason Scheff, who plays bass with Chicago; and David Wells, who pitched a no-hitter with the Yankees a few years ago.
Matt Groenig in 1983 could appreciate “A Blind Man’s Penis” just like the rest of us!
Reaching back into San Diego history for a peer of some of our more-advanced readers: I continue to be frustrated in efforts to work Tom Waits into any social scene we’ve touched upon here.
Born in Pomona in 1949 and raised in National City, Waits by 1965 was playing in an R&B band called The System while he was a student at Hilltop High School and worked at Napoleone’s Pizza House in National City.
He certainly seems like enough of a colorful eccentric to have crossed paths with San Diego’s small fringe element as a kid. (Surely The System and Claude Coma’s early band, the Spectacles, would have crossed paths?)
But we’ve yet to hear from anyone who encountered Mr. Waits until well into his career. And it’s bugging me!
Heff? Harold Gee? Anybody?
Matt,
I have a good friend and former work colleague who grew up with Waits in National City and has remained friends with him over the years, even collaborating with him as musical director on a couple of his albums. I can get some more info for you, but it may take a while.
A great site for Tom Waits information is the online Tom Waits library:
http://www.tomwaitslibrary.com
There is an extensive page on Napoleone’s:
http://www.tomwaitslibrary.com/topography/napoleones.html
Thanks for the resources, Ray! Here’s a bit of Zappa SD color mixed in with the Waits:
the sausage-sandwich is not to die-for but it’s not bad either and faster than the pizza if you need a quick heart-attack.
it’s a funky joint to take-in for a bit…..
you probably won’t find waits in there but there’s no shortage of character….
a quiet slow afternoon there….
reflecting on old paint.
I don’t know if I’m sticking my finger into anybody’s eye with this — forgive me if so … But I missed Jewel’s San Diego tenure, and so I don’t feel any personal loyalty. The woman and “You Were Meant for Me” was so commoditized, I never really gave it a thought.
But I got a major kick out of watching the song’s author, Steve Poltz, perform it here, and I think it’s a damn good song now … I like his version better, at least in the context of this little venue.
I didn’t know whether this should be posted under “Guilty pleasures” or here.
The “guilty” part: I fear it’s a symptom of my own reverse-snobbery that I didn’t give a crap about it when it was top of the charts, but I can appreciate the damn thing and wish I’d written once I see it performed by a non-major-label person with connections to my friends. (I don’t believe Steve and I ever met, but I like his work and we’ve got lots of people in common):
you know, matt, not everything sucks just because more than ten people like it.
and just because you got ten people in common with someone doesn’t mean you gotta like something he created.
try just listening to the music for the music and quit worrying how many records it sold or how many guys in your class went to school with him.
yes, it does appear to a bit of a hang-up.
it’s the old sheep versus i am-not-a-sheep syndrome….when the anti-sheep become every bit the sheep the sheep profess not be and the anti-sheep…oh well..you get the picture.
i never liked hitch-hiker joe myself….don’t care who wrote it.
>>yes, it does appear to a bit of a hang-up
MCC: A hangup? A hangup would imply I’m troubled by it! Which I’m not … I enjoy playing with it as an interesting factor in any creative field — to what extent context and socialization informs aesthetic choices.
I don’t think those choices happen in a vacuum, ever. I think peers and connections and history always comprise a filter between the listener and the performance. The more acutely you recognize it, the more interesting things you can do with that knowledge.
Anyway, as to this Steve Poltz performance: I actually find the song more interesting performed by a male vocalist … I think the domestic setting and sentiments expressed are more predictably “female,” so casting it as a male narrative makes it more intriguing to me. I think. 🙂
Question: If we were just listening to music in our youth, would we have listened so disproportionately to San Diego bands?
PS: Maybe my use of the term “guilty” implied that it was a hangup. I use it facetiously around the blog, since we played around with the term in that earlier thread.
So just for the record: I never actually feel guilty about music. (If I hit an old lady over the head with a stereo speaker, I might feel guilty. Otherwise, no.) 🙂
hang-ups aren’t horrible things…i’m very selfish with mine and surely wouldn’t want to share that which distinguishes and keeps us precious.
i don’t listen to a disproportionate amount of local bands i don’t think.
i’ve done my share and understand something about it’s rewards and pitfalls.
in that spirit i may check the video later….
more interesting than jewel? damn!
>>more interesting than jewel? damn!
LOL!
I dunno … We’ve spent a lot of time together kibbitzing on this blog. If we didn’t share some history (people, places, things), would the musical conversations be as interesting?
oh…we share history around here?
i hadn’t noticed!
: )
my cell awaits me.
Is Jewel good?? I never thought so! Don’t like the smirk visual.
>>Is Jewel good?? I never thought so! Don’t like the smirk visual.
Bruce: Neither of the approximately two Jewel songs I’ve heard wowed me. …
That’s probably about one and a half more songs than I’ve heard. I shouldn’t be so quick to judge, but….Jewel??
>>I shouldn’t be so quick to judge, but….Jewel??
Bruce: Cripes! How’d I know this one was gonna bite me in the butt?? LOL
She ostensibly came out of the San Diego cafe circuit in the ’90s, playing with people I knew when I lived there. So I’m (incrementally) more interested than I would be otherwise. Just a little.
If there wasn’t a San Diego connection, would I pluck Jewel out of the whole gamut of musicians on this big, beautiful planet and hold her up for consideration by this august body? No!!
… Which does prove MCC’s point about where my interests tend to go — but I’d never claim otherwise. I’m a former anthro major, don’t forget! I like tribes, and I like to figure out how groups of people decide who “belongs.”
>>”I’m a former anthro major”
You must dig Franz Boas and Margaret Mead then?? They really rocked. (I just, tonight, included both of them in a paper I’m writing about multiculturalism in art).
>>”I like to figure out how groups of people [on CHE] decide who “belongs.”
>>You must dig Franz Boas and Margaret Mead then??
Bruce: But of course! My mom got her PhD in anthropology, so I’ve been soaking in this stuff since I was yay high.
I never got that far academically, but I’ve mentioned elsewhere how I did a thesis project on the Pacific Beach Krishna Temple …
“Primitive Art” “Coming of Age in Samoa”
Probably mentioned somewhere before, but Lisa “Acid” our, (Injections), beloved bass player was an educated anthropologist as well as a classical musician.
I love anything written by Nathaniel Philbrick!!
i agree with toby that jewel is a fine artist within what she attempts to do.
i think she’s quite pleasant on at least a few levels. interesting though? not so sure….just as one wave resembles another….she resembles numerous other very pleasant
collections of energy which culminate and throw themselves upon the shores of love creativity sweetness and art.
and she’s from sd.
hey…i’m from sd.
cool.
how interesting life is.
So … If your friend told you about a new song he’d written, and you watched him play it in a little cafe in front of a few dozen people … And it were the above performance of “You Were Meant for Me” … And he came up to you and asked you what you thought of it — what would you say, and what would you think?
(And vice versa: If a friend’s work you’ve enjoyed was delivered to you via mass media, with no contextual hints that you have a personal connection to it, what would you make of it?)
Indeed, I do like asking myself those questions, and I ask ’em a lot! It’s a kind of intellectual triangulation that helps me make my own decisions.
well…I’ll take the unpopular stance and say I think she’s the real deal…she has an incredible voice, and there are some real songs there. I think that she also seems to have done a pretty credible job of non-overexposure in the media, and in these days thats a pretty remarkable feat in itself.
again….i’m in agreement gary…as i believe toby is.
and i do appreciate her style and what appears to be honesty…..this
decided or imposed avoidance of the media-spotlight.
i’m not sure if this is a quality characteristic of sd artists in general, or not, but i’d almost like to think it was.
even pearl jam….who obviously hit as hard and bright as anyone…had their struggles trying to keep their label from turning everything into a media cartoon-frenzy at one time….the story of the BLACK video still allows them a warm-spot in my heart.
same with jewel….i’m only too happy to claim her as one of our own….
i was just never convinced she was THAT interesting…the way some of my favorite “interesting” artists are.
again i agree…she has an incredible voice.
your stance is popular with me and especially your willingness to
voice it here.
>>she has an incredible voice, and there are some real songs there
Heff: Again, context … I haven’t taken the time to consider her work, and my audits of the couple songs I’ve heard have been totally incidental. Your endorsement makes me more interested in listening to her. Human nature, right? 🙂
i think gary just likes girls and women which makes him
a true jazz-man
as per certain definitions.
interesting…okay, i would agree with you that she’s not super interesting as a person… but you don’t have to be interesting to be good at your craft. give me some time to see if I can find this one song, that when i heard it just floored me…all this being said, I still don’t own any of her cd’s. Well I tried to find it on youtube, and its the opening song of her dvd live at humphreys but the versions they have on youtube are different as the version at humphreys is acapella..the song is titled Per la Gloria D’adorarvi.
Hey Heff -- stranded on a desert island…Jewel or Iris???
This conversation always puts me in mind of a scene from “Don’t Look Back,” the film covering Dylan’s 1965 tour of England right when he was starting to go electric.
He’s a hopped-up, abusive little twerp for the duration — not entirely without provocation, since he’s obviously feeling hemmed in and fast losing patience with attempts by his fans to make a connection.
There’s one scene where he demolishes a very earnest British college-student type, repeatedly asking this poor sweaty fan why he, Dylan, should care about the guy’s opinions.
Can’t remember the exchange verbatim, but it’s something like:
Student: “B-because you can learn about my point of view.”
Dylan: “Why should I care about your point of view?”
Student: “B-because I’m a person … ”
Dylan (sounding JUST like vintage Sergio): “There are a million, billion … There are SO MANY persons in the world!”
Dylan was being a jerk, but the math of stardom is a funny thing. There ARE a million, billion … SO MANY persons in the world. And many more of them are going to identify with someone even middlingly famous than someone famous can possibly get to know or care about on an individual level.
The disparity is … Weird … And it makes for a strange power differential.
now once again in engrish.
>>now once again in engrish.
MCC: Fame is weird, even minor fame. It means many more people feel invested in you than you can ever reciprocate.
The math doesn’t work: Human beings generally can “know” about 500 people, so if you’ve got more than 500 people who feel they “know” you through your work, it’s impossible to meet them halfway.
It puts even the nicest, most caring person in a strange position of power they’ll never be able to exercise evenly. It’s the isolating quality of celebrity.
Yeah, that is one of the scenes in the film that makes me the most uncomfortable. When I was younger, I used to admire the way Dylan seems to demolish the arguments of the reporter, but in all actuality he’s just bullying a starstruck kid because the cameras are rolling.
Perhaps we might do a thread on people who made it big who say they are from San Diego but are really from somewhere else. Among those in this category are: Jewel, Stone Temple Pilots, Jason Mraz . . .
>>When I was younger, I used to admire the way Dylan seems to demolish the arguments of the reporter, but in all actuality he’s just bullying a starstruck kid because the cameras are rolling.
Ray: For sure! Now that I’m approximately old enough to be that Dylan’s father, I’d like to give him a patsh (slap, Grandma Zimmerman-style). But that “SO MANY persons” line does have a certain ring of truth, even if it’s delivered with cruelty. (I gotta wade through YouTube and find the sequence where it comes up.)
I’m interested in the borrowed-SD cred thread, although it’s not something I know close up … You’ve mentioned before how in the early ’90s, San Diego became a bit of a marketing incubator for talent the labels wanted to imbue with hometown cred — any hometown would do. It was after my time (and one of the reasons I find the Jewel story interesting, because it’s a window on that San Diego).
I didn’t know that there were bands from SD that actually “made it”!
>>I didn’t know that there were bands from SD that actually “made it”!
Bruce: That Injections single sold for $837.
That might not be going platinum, but I’d say you certainly went formica just with that one purchase!
now i know why, when we first started talking, lou threatened me
to never try to rip off his songs.
foirking $837…..!!!!!!
thank god for rich perverts.
>>”but I’d say you certainly went formica”.
I always dreamt of going Corian…at least!!
You guys are hilarious.