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KALX Interview with Kristin Hersh
17-September-1999
KALX (90.7) Interview with Kristin Hersh
University of California, Berkeley radio
Friday, September 17, 1999 (1:30 pm)
Host: Mo Herms
Co-writer of Questions: Tyler
Glenn
INTRODUCTION:
Note from Tyler Glenn:
KALX deejay Mo and I have been friends for many years. She has been cool enough to invite me to co-deejay some of her shows on KALX over the last year and we began talking about the possibility of having Kristin Hersh on the show many months ago. Kristin and Billy have always been fans and supporters of college radio and have been in the KALX studios before. So, we were excited about the very real prospect of interviewing Kristin for the Sky Motel tour.
We both pulled together a lot of our own questions and tried to avoid the questions we knew Kristin had been asked 12 million times. Originally, we had planned to do the interview with both Mo and I being interviewers, but the 3rd microphone broke and we were left with just two. So, I was a spectator to the interview who inaudibly added where I could.
Kristin and Billy arrived a little late - thanks to Berkeley traffic. They were near the end of the West Coast leg of the Sky Motel tour and were extremely busy and a little tired. They rushed in with the kids and Billy walked with Wyatt in his arms the entire time Mo did the interview. Ryder hung around, walked through the record stacks, and talked with Dad during that time.
Mo and I have been fans of Kristin’s (and Throwing Muses) for many years and I was surprised that Billy recognized me - I had never actually introduced myself before. They were both really nice and very relaxed for being so busy.
If you’ve ever seen Kristin on stage - how relaxed and almost familiar she is with the audience - then you know how she was in the studio. It was like a friend dropped in to talk and play a song.
I should add that I’ve tried to add some intonation and (action) where it occurred so that you know some things were said in jest. At the end, I’ve put posts from Billy O’Connell and Mo about the interview (from TMO's Feedback Board).
THE BROADCAST:
(INTRO: "Costa Rica" from Sky Motel)
MO: K-A-L-X Berkeley - Hi! This is me (Mo) and I’m here with you at about 1:35 on this Friday afternoon. I’m very very happy and honored to have Kristin Hersh sitting right across the way from me! Hi, how you doing?
KRISTIN: Fine.
M: And I’m sorry about the traffic. We have icky icky traffic here in Berkeley.
K: I blame you.
M: Yeah, well, I’m gonna go feel bad about it later, I swear! (K laughs) Anyway, I have a pile of questions that I will probably forget because I’m really excited that you’re here and, um, Kristin Hersh is touring right now - in case you don’t know. She’s playing at Slim’s tonight and the show is at 9:00 and who’s opening for you?
K: Mia Doi Todd.
M: Mia Doi Todd. Did you pick her? I was just wondering.
K: Nope. Booking agent choice, but she’s a sweetheart. She’s awful cute.
M: And you’re touring for Sky Motel and what I noticed - I actually got to go to the show last night - and what I noticed was actually there were very few songs done off Sky Motel!
K: (laughs) Shhhhhhhh!
M: But, well, this might drive the other folks out - there were a lot of ooooold songs done last night.
K: Yeah, what I did was - take a band out with me all Summer, playing festivals in Europe and they decided, they opted off of the American tour (laughing) because we’re all in our thirties and touring is a very hard life. So, I don’t blame them, we’re all pals and everything. They kinda said, (laughing) "Hmm, no, but we’re still friends. Come up with your own set now!" And Sky Motel is a band record, so there are very few songs that I can really do justice to acoustic so I went up on our website and started looking at people’s "dream"
set lists that they had posted and culled my own favorites from those and some that are not my favorites (laughs) but
theirs. And decided to just play fan shows instead of promotional ones, you know, to make people (in a funny
voice)" Buy the new record!" and just playing the songs that they want to hear.
M: Well, since you’ve brought up the Internet, the Internet has been a very huge and, I believe, useful tool for you since you’ve been - in the later years of Throwing Muses, you know, once the Internet kinda came about and became a tool - and definitely with your solo stuff and I just wondered, how did you get into that? You guys have really utilized it.
K: We have, yeah. My dream job is to be someone who can mail out songs and not have to put my name and my face on them and not have to tour - talking about them. Because I do months and months and months of promotional touring all over the world.
M: You just get tired of it?
K: Well, plus, I’m nobody! (Mo laughs astonishingly) I mean I’m not famous!
M: Oh, that is SO NOT TRUE! (Mo and K laugh)
K: But it is! It doesn’t, it just isn’t justified by the amount of records that I sell and it would be better if I could really stick by my theory that music is for ... blacks, whites, gays, straights, males, females, young and old alike and my fans tend to reflect that, but the fact that I’m a straight, white female, I think, probably gets in the way. My face is on the record cover, its in the press, and its hard for people to get passed saying, "Well, men write music about people and women write music about women. So, go girl! You know, do women now!" And I don’t feel like that’s what I’m doing. Its better for me to just ship out the songs and have people accept it.
M: Well you have done some of that, right?
K: Yeah, we do a lot.
M: How many, like do you know how much you’ve done on there?
K: We - (Kristin laughs as Billy O’Connell walks up and motions for her to speak closer into the microphone).
M: We’re all getting signals here - a little closer, a little closer! Um, cause I noticed, see, I don’t have a super-fancy computer. This makes me sad because I go to the web page and I see that there are neat things there but I can’t download them so I look at friends like Tyler, who’s behind me - who does have a super-fancy computer and say, "You’re downloading and taping that for me, right?"
K: I only like people with super-fancy computers.
M: Okay, I’ll just leave and let someone else take over...
(Mo and K laugh)
K: Yeah, we did a web-only release.
M: Yeah, well, of just single songs or Murder, Misery, and then Goodnight?
K: Murder, Misery, and then Goodnight.
M: Exactly.
K: And there’s also the MP3 downloads. See, my husband, Billy, who’s one of my managers, was one of the first Internet-savvy managers in the world. They were quoting him in the Wall Street Journal, the New York Times, and they still go to him for info because he has a very well-rounded education as far as the music business and the Internet goes and most people are a little bit clueless about one or the other.
M: And you’ve built quite a community through the Internet too.
K: Yeah, we have. It has nothing to do with me! They just like each other and they keep it going and they buy tickets for each other and give each other rides and they meet up at shows.
M: How do you feel about that?
K: Well, I’m starting to just kinda disappear from the website (Mo and K laugh). Which is cool. They’re gonna forget what I ever looked like and then I really don’t have to be "straight, white woman".
M: Well, you haven’t completely disappeared because as I understand, you’ve been nominated for an Internet award as the "Pioneer Artist on the Internet". Something like this - have you heard about this?
K: Yeah, me and ... Aerosmith!! Beastie Boys!!
(Mo and K laugh)
M: Oh dear! But, I mean, that’s just kind of a nod in your direction of how dedicated you’ve been with the Internet and the people …
K: Its great, yeah. I mean, I’m not offended by the idea of record companies like many artists are. I understand the "Sugar Daddy" aspect of giving bands money to make records. You’re lucky to get the money to make a record. So what if you can’t live off it? Uh, on the other hand it would be nice if "working musician" wasn’t a contradiction in terms. If you could actually be like someone’s plumber and say, "Alright, fixed your pipes, gimme 20 bucks" and that’s what we do. You play music and they say "Alright, good music - here’s 20 bucks. Go home." And then you would actually have a home to go to.
(Mo and K laugh)
M: Well another community that, I think, has always been big around you and supported you has just been what’s considered, "The College Radio" community. Though its kind of, I think in later years, sorta been split in half into like
"alternative music" and then "college radio". I read that Strange Angels, your album before this one - well, before Murder, Misery, and then Goodnight, I guess two albums ago - was actually listed in Entertainment Weekly as being a top 10 college album. What do you think about that? Is that totally strange to you? Like, "Who are these people at Entertainment Weekly?" (K laughs) What do you think about like just college radio as a whole and your place in it? Because you do have an important role, I believe.
K: I’m an underground musician and this is underground radio and we should celebrate that. I actually find that the worse top 40 gets, the better the underground gets. When Nirvana was selling millions of records - it was tough - people thought, "I could be good - AND a millionaire! So, I’m gonna sell out just this little bit - oh, that didn’t work! I’m gonna sell out a little bit more! And, I’m just gonna suck now!" And they all sucked trying to be millionaires. What they don’t realize is that there are thousands and thousands of bands who suck and are not getting famous. Its not a guarantee that you’re gonna do well. You might as well be good in the closet.
M: What would you do if suddenly a song of yours - my friend and I were talking about this at lunch yesterday - what if all of a sudden a song of yours became a huge top-10 smash? How would you feel if suddenly that happened and you were being played right next to like, Ricky Martin? (K and Mo laugh). We joked that your song was being "tap-danced" to at the start of the Grammy Awards! (K cackles!) What would you do?
K: I don’t think there’s much danger of that! (Mo and K laugh). People don’t realize the amount of ambition involved in that kind of success. There are people who will say, "I hate this! I didn’t ask for it!" But, a lot of it has to do with your image and your outfit and the kind of song that you’re willing to write and the kind of production that you’re willing to have and what you’re willing to do to sell that and just, the seed of ambition that I was not born with. A lot of people are extremely ambitious people - whether or not they have a reason to be and usually its the one’s that don’t - its not the ones that are driven by music, but they’re still driven and they don’t really know what to do about that so they sell themselves and that’s exactly what you have to do. Even if I decided I was gonna do that - like for my kids or something - I would be so bad at it, that it wouldn’t work.
(Mo and K laugh).
M: You’re someone who’s been driven by music - for years - I mean you’ve been doing this for a very long time. Do you remember how old you were when you first picked up a guitar?
K: Nine.
M: Nine.
K: But I started the band when I was about fourteen.
M: And this is Throwing Muses …
K: Right, I’m sorry.
M: No, that’s alright. I would hope people would know we were talking about Throwing Muses!
K: That’s not necessarily true!
M: But they might not and again, this is Kristin Hersh we’re in the studio with here at KALX and I guess, I know that your father is a songwriter as well and how did this … was he always singing around the house when you were growing up?
K: He’s a hippy. I was born on a Commune -
M: Oh! We have some of those here too!
K: Yeah, I bet! So he knew enough chords to play any Bob Dylan or Neil Young song and he was also - my family is from the Tennessee mountains, so he knew all those Appalachian folk songs like, Carter Family, spirituals, and stuff like that. So, I grew up listening to kind of a weird combination of those wacky, twisted -
M: Which, of course, took their toll!
K: Yes, they did! Exactly! (K and Mo laugh). And he played the Clash and Talking Heads and Patti Smith and the Doors. So those two things together actually sound a lot like Throwing Muses, if you can imagine them together.
M: I can. Its a pretty, clashing, schizo, mixed-up kind of combination.
K: And yet, its very song-based.
M: Exactly and you can get the melody going. Even if the melodies change, there’s still hooks …
K: Thanks for saying that!
M: I like that a lot.
K: People think its just, like -
M: Too much?
K: lacking melody.
M: Oh, no!
K: I just thought it was a lot of melody. (laughs)
M: Its a bunch of melodies! Just hang in there!!
K: Exactly! Yeah! Somebody said once that it sounded like we were all playing different songs at the same time. (laughs).
M: I could see where that would come from.
K: Yeah, but we wanted to be fascinated every measure. And it made us a little, you know, not groovy - literally "not groovy" like -
M: Kind of nerdy?
K: Well, yeah, that! And also, you can sit in a groove and let it become hypnotic and we didn’t really do that. We just kinda went "baaah!" all the time.
(Mo and K laugh).
M: Well, you’re sitting here with a guitar and I’m hoping, praying, hoping that you will do a song or two maybe for us today -
K: No, I just hold it. Bring it to restaurants and stuff.
M: Well, sometimes its comforting!
K: I do. I actually have to hold it once in a while.
M: Well, its an appendage, isn’t it?
K: Yes, it is! (laughing) Well, that’s why I can’t play piano because its not part of you. I mean not only do all the keys - its just a sea of white and black - but you just poke at it. You just kinda stand next to it and hit it and I can’t relate to that -
M: But you have done some. I’ve heard that on some of your solo recordings, well … I say "solo", but I guess everything’s "solo" now -
K: (Motions a mallet hitting her head) Bonk!
M: (Laughing) Oh! You did play some synthesizers or is this just a wild rumor?
K: No, it sounds like -
M: For the strings …
K: Synthesizers, but its all real. The only keyboards on this are very obviously keyboards, like the Wurlitzer - 60’s keyboard sound. There’s something I played called a "Guit-organ" (laughs) which is, I suppose you could call it a keyboard, but its a guitar with the guts ripped out and organ guts stuck in. So, no one - there are only about 10 in the world and nobody knows what its gonna do, so you play it like a Hawaiian guitar in your lap and you effect it by -
M: You still have that body connection then!
K: Yeah, exactly! Its still on my lap! But you have to mute the strings that might not resonate in a complementary fashion. So it kind of just hums along like an
e-bow or something while you control how its gonna respond to the speakers in the room and that adds this atmospheric quality to probably most of the songs on the record. Its always kinda just sitting down underneath. But I think you could mistake that for synthesizer hum which is unfortunate.
M: Well, it still sounds neat. On Sky Motel, did you play most of the instruments?
K: I think all except the drum kit on three songs.
M: Was that challenging or do you already know how to play a million instruments?
K: Well, I wasn’t playing like harp and bagpipes (laughs). Its all the instruments I’ve always worked with.
M: Well, would you do a song?
K: I guess, yeah. Do you need a Sky Motel song? (laughs)
M: Oh, no! You can do any song you want.
K: I didn’t really plan what I was going to play.
M: What I need is to hear your voice singing through these headphones - that would make me very happy.
K: (laughs). I could just shout into your earballs.
M: I guess that’s true. Something that would leave me, uh, not permanently damaged afterwards.
(K and Mo laugh)
K: I’ll work on that!
(KRISTIN PERFORMS "SOAP AND WATER")
M: (clapping) Yay! Thank you! In case you just tuned in, you’re listening to KALX Berkeley. My name is Mo. I’m here with Kristin Hersh! Whoo! Yes, this is very exciting! So, like you’ve said many times that when you used to write songs, you were driven. I’m sure any kind of songwriting experience is a driven experience - things are within you, you need to write, you need to do this. I heard for Sky Motel that it was different though, that you took kind of a different approach to writing this stuff for that.
K: Yeah, well actually, I had never felt driven to write. I had never felt driven to express myself in any way. I’m not a particularly creative person (laughs).
M: Ah! (Mo laughs)
K: I just would hear songs as if someone was playing a Throwing Muses record in the next room. And that was way too kooky for me. I didn’t want to be a crazy person and it disturbed me so I blocked as many songs as I could. I just thought: "No, no, no - please, no more songs." And it would make me sick. I could have seizures from it and I’ve since found out that there’s such a thing as musical epilepsy - that, where a seizure is associated with a piece of music. Some people have the same piece of music every time. For some people, its something they heard on the radio and for some people its music they’ve never heard before.
M: I’ve heard of this with the woman who hosts Entertainment
Tonight's voice. What’s her name? Mary something …. Mary Hart. Someone was having seizures every time they would hear her voice.
(Kristin laughs loud). I guess its an extreme, you know, measure of this.
K: I can understand that! So, I just hated it. It was awful and for two years after the band ended I wasn’t hearing songs and it was just wonderful. Other people would call that "writer’s block", I just called it "real life" and it was so lovely, I just thought, "Yay!" Before this happened, I wanted to be a vet, you know, I was like a little 13 year old kid and, (in a play voice) "I’m gonna go be an animal doctor now! This is great!" But I realized that I was still under contract and I couldn’t take playing Appalachian folk songs forever! So, I thought, "Well, I’m just gonna invite them (songs) while I’ve got this guitar in my lap and I enjoy playing it like the way a runner enjoys running. I like the feel of it." So, I played chord progressions I enjoyed and hummed along and thought, "Well, Hell, that counts!" and it actually did. They didn’t suck. They were the same songs I’d always written. I just wasn’t fighting them so they didn’t have to scream at me.
M: More of a control over it?
K: Well, I thought so. But I think I censored them even less than I usually do because I wasn’t afraid of them. So that - I still don’t know what the Hell any of them are about. (Mo laughs)
M: Are you writing for your next album or are you just kinda relax and just let everything flow all over you?
K: Writing is usually an ongoing thing. Its just that a lot of it gets done in my head because touring is very, you know, takes up all your time and so do the kids.
M: Yeah. But you don’t mind the kids taking up your time, right?
K: I don’t mind any of it taking up my time, its just that I don’t sleep because of this.
M: I noticed on Sky Motel, too, that there are - there’s kind of more ambient noise than I’ve noticed in the past. There’s little cricket noises and kinda outside stuff. I just wondered where that came from?
K: Probably living in the Mojave Desert where there’s always sound. Because, I guess it isn’t sound that you block out like traffic. Cause we lived in L.A. for the year before that and then two years out in the desert taught me that there is …
M: Quiet?
K: Yeah, but quiet makes you listen more than noise does.
M: Are you comfortable as a "solo" performer?
K: That’s a good question.
M: That’s his question (Mo points at Tyler).
K: Really? I’m a really shy person.
M: Well, you’ve had the band for so long and you miss the band.
K: I adored my band. I spent more than 10 years living on a bus with those people and every morning I would wake up excited to see them. I was just excited to see them in the motel room - cause we had to share a motel room. This is a really hard life! (laughs)
M: Well, its another family. I mean for a while I dated someone in a band and I remember when their drummer - they were having problems and when someone left it was like dissolving a marriage.
K: Its horrible.
M: I mean you are so intense with these people for so long that, yeah, it just rips your heart out when something happens.
K: Well, after the first - my sister used to be in the band and we had a bass player named Leslie Langston who later came back to play on the record Red Heaven, but when she left it was like losing a member of our family. Then my sister was the next to leave and that - it seemed to make a little more sense because it was clear that this was my band and she needed her own band - she was ready to do that and I was happy for her, but it was still like - and it meant no more girls on the bus. (laughs) And that is really hard! I mean, as much as I don’t point at people and say, "You’re a boy and you’re a girl" it is different. Women are very, um, they’re like physical and kind and it was different to live on a bus with 10 men for so many years. But my bass player, Bernard couldn’t tour anymore and that still, my heart is just shattered and now Dave Narcizo is gone - the drummer I’ve played with since I was 14 years old.
M: But you still work - sorta, kinda worked with him on his Lakuna project?
K: Yeah, I played on that and he toured with me this Summer, but he has a child now and its just, its different and we no longer have a tour bus. We don’t have roadies. Its a different life. Alternative is not the "queen" that it used to be.
M: Well, the songs that you write - since you’ve had this long experience with the band and writing for the band and then you had a couple of solo albums, but you still had the band. And, like you said, this album was a band album. When you write things, do you necessarily split them into kinda like a Throwing Muses song vs. a Kristin Hersh song?
K: I don’t plan it, but once I’ve heard it the producer brain starts to go, "And this should do this and this should do this." When you try to play something on an acoustic guitar that should obviously be a bass line, it just sounds stupid.
M: Rolling Stone once listed Throwing Muses as one of the most influential bands ever.
K: (funny voice) That’s nice. But they called us the Velvet Underground of the 90’s.
M: The 90’s??
K: (laughing) Yeah, I know. I guess it took a while before Americans heard us because we released our first record in ’86 but only overseas.
M: Well, people knew about it. I remember when I was, I guess I was just starting college then - when I was in high school before that and this -
K: Well, but see, you’re really hip!
M: Oh yeah, thanks! I forgot about that! Well, I knew people who used to go into the record bins and look for things and 4AD, which is the label Throwing Muses was on for a long time, had kind of a - people would buy anything on 4AD.
K: Yeah, but they were like - kinda "gauzy" music! Gauzy, ethereal, (spooky voice) "whooooooo" music. We had never heard of 4AD. I had never heard of any of the bands on 4AD. I just signed because they said, "One album deal", which is the best you can get and I thought, well then we’ll go get a Major in America and -
M: And see how that goes?
K: Yeah. I had no idea that we would be in the Cocteau Twins family or anything. So, we like, ran and got the Pixies and got them signed to our Manager and got them signed to our label so that we could all be American pals together!
M: Oh fabulous! Well, that just made me think of something. So, you had kinda fun in the 4AD family then at that time?
K: Well, its still incredible. I’m the oldest person there - well, not the oldest, but I’ve been there longer than anybody but one guy. (Mo and K laugh). And yet their ethic is incredible, I mean, stupid! To care about music as a record company is not very bright, but what they do is wonderful.
M: Cause you started with them and then you went to, was it Warner? Warner/Sire?
K: I was only on - yeah I guess it was Warner’s in America.
M: Warner Brothers family and then on Ryko for a little bit and then back to 4AD. So are you happy back on 4AD?
K: Well, I’ve always been on 4AD overseas. It was just America - there was no 4AD America forever and now there is.
M: Is there still? I thought they only had it for a little while and then it went away again.
K: That’s where I am now.
M: (looking at CD) I guess there is. That’s what you are. Yeah. Okay, well, I think I’ve asked you all the questions I had to ask you! (K laughs). And I’m very happy that we did it in the timeframe that was allowed to us this afternoon.
K: That works!
M: Yeah, sometimes it does. Was there anything you wanted to say to anybody out there?
K: Oh, no. I’m okay.
(Billy O’Connell puts a little stuffed bunny on Kristin’s shoulder)
M: There’s a little bunny approaching your shoulder.
K: Hi bunny!
M: I think the bunny’s saying it might be time to go soon. I didn’t know if um, we have the whole family in here. I didn’t know if anybody wanted to sing with mom this afternoon or not. We had Ryder and Wyatt around this afternoon, watching. Cause they did appear on Murder, Misery, and then Goodnight, right?
K: Yeah, played piano and sang backups.
M: Which is pretty fabulous, I thought. It added a lot of charm.
K: Its pretty much like taking out your wallet and showing a bunch of baby pictures. But, Hell, I’m old now! I can do it!
M: You could do it! I thought it sounded great. I thought it was very charming on CD.
K: It was cute.
M: Yeah, its a lot of fun. So, there’s one last thing, actually, I wanted to ask you and its totally indulgent on my part. There’s an electronica sorta artist called Mu-Ziq who used a sample from "Your Ghost".
(note: The Mu-Ziq album is titled In Pine Effect and the song is "Phiesope". It was released on CD in 1995. They are listed at CDNow.com).
K: Yeah.
M: I figured you’d probably know about it. and I wondered if you’ve ever heard that and what you thought of it?
K: Yeah, actually a lot of people have done that, but … I mean, more power to them.
M: Well that one is one I think is very beautiful in particular.
K: Yeah yeah and there’s some cover versions, like, people cover the songs that I’m afraid to play of mine. And I think well, good for you! Those songs hurt!
M: Well, I don’t know if we have time - I think we have a minute or two. Billy is lurking. Do we have time to squeeze in one little song before you run out?
K: I can do a little one.
M: Little one? Let’s do a little one.
K: (Billy is nodding "yes") He’s nodding.
M: He’s nodding? Okay great! Let’s go then.
(KRISTIN PERFORMS "FAITH")
M: Thank you very much! And since its the top of the hour, I’m going to ask you another favor - if you could do a legal I.D. for us. You could do the "Hi, I’m Kristin Hersh" and we’re KALX Berkeley.
K: Hi, I’m Kristin Hersh. You’re listening to KALX Berkeley.
M: Yay! Alright! You’ve made me very happy this afternoon. Thank you very much for coming down. Its 2 o’clock. You’re listening to KALX Berkeley and that was Kristin Hersh. She’ll be performing tonight at Slim’s. I believe there’s still tickets available, so head on down if you’re interested and we’ll play one last track from her new album, Sky Motel. You may or may not hear this tonight. And we’re gonna hear "Echo". Thanks for tuning in and, again, its KALX Berkeley.
(Exit: "Echo" from Sky Motel.)
FEEDBACK
These posts were made at the Throwing Music website in the days after the
interview:
From Billy O’Connell:
Folks seem to have taken some negative things from K's KALX interview...Not sure why, maybe it was just the type of conversation she and Mo had, but you have no reason to fear K stopping touring any time in the next few years...It's really too important to us in many different ways...
It's always great meeting you folks from here at TMO...Keep on introducing yourselves!
September 19, 1999
From Deejay Mo:
Hiya-
Mo here. I just wanted to clarify a little something that Headcase brought up.
Over the weekend, I've had the lucky chance to listen to the interview I was able to do with Kristin Hersh last Friday afternoon. She was an absolute sweetheart with a slightly wicked sense of humor and we had a lot of fun. She is a trooper because she and the family were completely BUSHED when they came in and had a full schedule after they left the KALX studios.
Anyway, I think Headcase (and I'm pretty darned curious to know who you are if I've met you in the past!) may have misunderstood Kristin.
She made a couple comments which Headcase sort of turned into one statement. She talked about how the internet has been a really useful tool to get music out to all kinds of people, instead of the regular marketing methods which can be a little more selective. Later on in the interview, she talked about how touring is just really tough on her and her family (sleepwise and all... I'm sure you can imagine!) but that she wouldn't give it up. Her comment about not selling enough music to justify a tour was more in the realm of the music industry as a whole, most certainly not the fans! She is glad for her fans, and a bit in awe of the community that has developed on this website I think. In fact, she said that she came up with the set list based largely on the wish lists of fans.
Mo @ KALX
September 20, 1999 [NOTE:
"Headcase" posted a message on the Throwing Muses Message
Board about the KALX interview. "Headcase" is an unknown
person. -Mark]
Final Note From Tyler Glenn:
I transcribed this interview from a tape recording of the interview. If you find any odd errors (like maybe a missing word or line), please let me know by using my
e-mail address.
Thanks to Kristin, Billy, Ryder, and Wyatt for taking time out of their hectic schedule to do this interview with us. We went "apeshit" and we're still star-struck. |