Austin Fanzine Project

happen to us. Have you ever seen that movie? It's two couples, and they somehow see part of a Satanic ritual, then the Satanists are following them all across the southwest trying to kill them. They're in a mobile- not a mobile home, what do you call those things? An RV. Brian: Submarine? Loretta Switt's one couple and Peter Fonda's another? Anne: You mean the one that's pulled by gophers underground? Brian: Underground gopher sub. Hugh: That was MASH/ GW: I was gonna say, about combining a submarine and the southwest, there's not to many oceans to hide in. Hugh: Yeah, right, so it would be really easy to find and it wouldn't be able to go anywhere, so it's not a submarine or it wouldn't have been much of a movie. Brian: Yeah, I'm sorry, I was thinking of MASH. GW: How was Live? How was the cash? the crowds? the riders? Mark: They got massages before they would play. Anne: Every night a different masseuse would come in, like a local masseuse was hired in to give them massages. Hugh: We got to watch once. Anne: And one time I didn't get to go to the bathroom because they set up in the women's bathroom in the venue because the entire traveling crew in Live was men- I think there was one woman besides me- so they just took over the women's bathroom to give massages, so I had to wait till they were done. Brian: There was never a single comment on anyone's part about us as a band- our music, I mean. Not one. Nobody ever said anything. Anne: Nobody in Live ever talked about music. They never discussed their music, they never discussed ours, they never discussed any music. Hugh: We got into some of that with the Pete Droge people, though. We got to be pretty friendly with him and the

people in his band. GW: What was it like playing to their crowds? Anne: There was a lot of crowd surfing the whole time that had nothing to do with us. Anything that happened out in the audience usually had nothing to do with us, it had to do with the audience itself entertaining themselves. Brian: In Omaha, some guys were so angry at us because we did a lot of slower, quieter songs during this particular set, these guys were so angry at us that by halfway through our set I couldn't keep time anymore because the "We want Live" chant was so loud. Then we announced that the we were going to do was a cover of an Ennio Morricone soundtrack. These guys almost had aneurysms it upset them so much, and they were standing there screaming "fuck you" at us. We finished our show and they were screaming at us the hole time we were unloading and everything. I went off stage, ate some food and came back, Pete Droge had already finished, an hour had passed since we'd angered them. I looked over- the lights were still up because Live was still fifteen or twenty minutes from getting on stage- and I looked on the other side of the barricade an d saw some of the same people still flipping me off and mouthing "fuck you." Anne: It was character-building too. It was a good test of ego and emotional response to crowds, because we would have to deal with hearing people say, "You suck, we hate you, get off the stage, fuck you!" and all these things, and just remind ourselves that we don't think we suck, and not be affected by that. But after a while, I think we got better at turning around the negative energy and kind of feeding off of it, and it would get really hysterical. Sometimes we'd be up there laughing our heads off while they were screaming at us, kind of going, "I don't care what you think! You have to listen to us! Ha ha ha!"