Off the Record

Evie Dallmann 0:00
This is Evie with WKNC interviewing Wilson from thirsty curses, featuring some acoustic renditions of songs off their new album. Politics of being in a band, because I'm not going to say it right, but like L'Impératrice say or something like this one band, they just like replace their lead singer, which seems like a very pivotal thing to do.

Wilson Getchell 0:23
Can be, yeah, Van Halen comes to mind. You know, there was Van Halen and there was van Hagar. I mean, that was like the 80s, oh,

Evie Dallmann 0:31
okay, I was thinking of, I don't think it's gonna come up, but there was this van Greta or something like that. When you said that, yeah,

Wilson Getchell 0:39
they're like, the Led Zeppelin rip off

Evie Dallmann 0:44
yeah, I like the idea of like, rip offs

Wilson Getchell 0:45
Greta von fleet, boom. There it is. Yeah, I don't know. I don't, uh, I don't, I don't particularly care for them. I will say,

Evie Dallmann 0:55
yeah. I mean, so you said like Led Zeppelin adjacent. Like, what kind of genre would that be? Like, I was thinking folksy, for some reason, it's like classic

Wilson Getchell 1:02
arena rock. I mean, like 70s. I mean, that's, yeah, that's sort of 70s hard rock. I guess sort of what Led Zeppelin falls into, but they're just very derivative in the sense that they don't really have much originality to them.

Evie Dallmann 1:21
Yeah, like this band was talking about, like, going to a lot of shows, and like being inspired, and like a lot of like creating is just being like, seeing someone what they're doing, and then being like, how do I What could I do to that?

Wilson Getchell 1:33
No doubt,

I mean, it's sort of on a different thread. But I always find that writing lyrics can be sort of the hardest part of songwriting, and I'll find that I have a lot easier time writing lyrics if I'm, like, too careful reading lots of books and things like, you know, good enough for punk rock. You know? I like that. Yeah, no, prim and proper. So we used to always say when we were trying to tune our instruments back in the

Evie Dallmann 1:55
day, I'm curious about tuning, because it's like, I don't even know what sound I want. You know what I mean? Like, well,

Wilson Getchell 2:00
the Western system is very, yeah, based on certain tones and the separation between each tone. Now, like, if you go to, like, Eastern music, they will, they, they won't have the same scales and sort of formulations that we have.

Evie Dallmann 2:17
Oh, totally.

Wilson Getchell 2:18
So I mean that the, you know, bar reading music stuff is, like, a is a fairly new invention within, like, I think, the last 500 years or something.

Evie Dallmann 2:26
I'm curious. Like, have you ever had an interest in performative art? Like, I know, obviously playing live, there's a performance aspect to it. But, you know, thinking about like, music is evoking, but also, like me, you know, weird human behaviors like that can be pretty evoking,

Wilson Getchell 2:42
yeah. I mean, I, I certainly like performing in all manners. I guess I've always been like that. I, you know, a performative type. But I think too. I mean, I always like musicals a lot. In fact, a lot there's been some of our songs have been compared to musical numbers or something that you would sound here in a musical but, yeah, I mean, I like the performing arts a great deal. I feel like too in sort of our digital age, there's not as much of it happening, whereas, you know, sort of before the ubiquity of the internet, you actually had to go places to see people and things. And so there just used to be a lot more, like small theaters and small troops and things creating things.

Evie Dallmann 3:32
I know someone in it,

Wilson Getchell 3:33
yeah, shoot. There used to be more bands than there are now, you know, just because. But, yeah, there just isn't the same sort of demand for it at the current time, but hopefully we can break out of our COVID slumber and get back out into the world. Funny, just from different ages. You know, there are, there are various skills that societies forget over time as they sort of become obsolete with. I mean, shoot, people used to have a an encyclopedic knowledge of the stars, because they the looking up at the sky at night was such a big part of their lives. But now we live in cities where you can't even really see them hardly,

Evie Dallmann 4:09
and I think we forget that we have choice in how we're going to mold our brains. And I think, I mean, what do you think about, like, the current, like, rhetoric with like, you know, like brain rot and like, that kind of sphere?

Wilson Getchell 4:21
Yeah, I think there's something to a lot of that. There was a woman named Christine Rosen has a book out. It's called something along the lines of human embodiment in a disembodied world or something like that. But it's about sort of how, maybe it's called human something about the human experience. But Christine Rosen is her name, but just how we're like, sort of losing our our, our day to day experiences, the more and more we go online and that sort of these. You know, when you're actually immersed in the situation, talking face to face, there's just so many experiences that go, you know, you. Along with that, even just driving here, like, you know, stopping to get gas, the person you talk to, and, like, actually connecting with people is is something that does seem to be losing its prevalence. I'd like to, especially, you know, being a musician and playing lots of shows, I'd like to see us get back out into the world a little more and get out from behind the screens. But I can certainly understand the draw. It's comfortable. You get these like dopamine hits when you've posted something and it's getting all kinds of engagement or something. So we're getting so many things now in snippets, and our sort of attention span is a lot shorter than it used to be. It seems.

Evie Dallmann 5:40
What do you think about techno feudalism, and that idea that, like, we're moving into the digital sphere, and there are these, like, three or four conglomerate men that own them, and we work and tend to their digital sphere, like volunteering online, on social media for hours a day, and they control that sphere. And, like, now they're in our government, and I feel like, because you're punk, you might have an interest in talking politics, but again, if not, don't worry.

Wilson Getchell 6:06
No. I mean, it's fun. I am. I mean, sort of alongside that. I guess the AI stuff worries me more because it takes, it's going to take away so many jobs and just tasks. I mean, shoot, even within the arts, you know, like editing, all sorts of things that AI can do and snap, but just really, any industry is going to be affected by it. And then you also have a few companies that'll be running these things. And we kind of already live in a preview of this. I mean, Google being the main search engine, to some degree, they control what is the truth. And like certain times, like when I've been looking for something that I know exists, like but for whatever reason, Google doesn't want to prioritize as a story, it can be incredibly hard to even find, just because the way a lot of these algorithms are written to sort of direct search results that maybe the the search, the searcher doesn't want but, but what the the powers that be want you to see, and I mean, sort of dovetailing with what you said at the onset. I mean, I think sort of the more and more that these powers are controlled by a few companies or executives or owners, a level of personality cult there, and certainly one with Trump and Elon too, and all of it's bad and, I mean, yeah, yeah. You know, as going back towards Soviet Union, you know, pre the rise of the of the communists. There, it was run by the czars for several 100 years. And it was common to have, in most homes, to have some sort of religious iconic,

Evie Dallmann 7:59
iconography

Wilson Getchell 7:59
, yeah, you know, on the walls or whatever. And just what ended up replacing those over the years were portraits of Lenin and Stalin and yada yada was basically these. These figures became religious symbols in the same right and, yeah. I mean, I think that at the same time, there has been sort of an uptick in religious and spiritual interest, I think, in recent years, because I think people are feeling that sort of some of the issues you just brought up. But yeah, I mean, I think that that's part of why our politics are so nasty, is because we've kind of wrapped our identities so deeply up in them that they are supposed to indicate, you know if we're good people or not. And really, politics is not that in any way. I mean, because, if nothing else, mostly politics looks outward, whereas you know your moral decision and moral reasoning should often look inward. I have a fascination with the Bronze Age collapse in like,

Evie Dallmann 9:00
Please tell I don't know,

Wilson Getchell 9:02
in like, 1100 BC, roughly, is like the first record of any civilizational collapse. We don't know exactly why it happened. There's some writings about the sea peoples, sort of a band of martyrs, you know, basically ransacked towns, going from town to town. But we don't really know exactly what happened, but basically the known world, and that was sort of the first Dark Ages. But, I mean, I, I, I find that era fascinating because it does kind of show to our our temporary state, and like so, much was destroyed from that civilization that you know, hardly anyone that ever lived back then is of no knowledge to us now. Yeah, so, yeah. I mean, I think that we would do a lot better as individuals in society if we were, if we were considering these things more often, instead of sort of being wrapped up in our own day to day, want, personal wants and needs. Yeah. A friend and I sometimes joke the internet was a mistake. But, I mean, I do think community has been another casualty of that. You know, is that, again, we, we don't interact with our neighbors as much as you know, we can find people and on the other side of the planet, or whatever, totally songs called How to stay afloat. It's track three off our new album. Music is a scam. The album has a full band version, but here we'll do A WKNC exclusive. Oh,

Wilson Getchell 10:47
It's hot outside, dogs are dying by the dozens, I don't mean to disappoint you with the news of your appointment to the board

I cannot tell a lie, but I can equivocate and frame it in vague and convoluted language, so it's almost like I've said nothing at all.

Let's not pigeonhole ourselves out of convenience, or believe any of our feelings, could be real or worth whatever they cost to bear.

You know, it wasn't even my decision. I mean, I didn't pick the world we live in; some might say that it's almost like I wasn't ever born at all.

I know, you've got, a lot on your plate
But the Calvary isn't coming; help's not on the way
So give it what you got and keep your head to the floor
the only thing you need to know is how to stay afloat

For a little bit, come and take control
I could use a day or two to rest my heart
No one's got to know. It's pretty hard to tell
And everybody is staring at their phones


So don't go around throwing shade like you just caught a touchdown, spiking the football into the endzone, prancing around like you're Deion Sanders on the TV

I cannot tell a lie, but it just depends on the situation, how bad it is and whether or not it's all my fault.

I know, you've got, a lot on your plate
But the Calvary isn't coming; help's not on the way
So give it what you got and keep your head to the floor
the only thing you need to know is how to stay afloat

For a little bit, come and take control
I could use a day or two to rest my heart
No one's got to know. It's pretty hard to tell
And everybody is staring at their phones

Oh, there's like a triplets thing in the in the course of that, that's what it is.

Evie Dallmann 14:09
Super catchy.

Wilson Getchell 14:10
It is funny, though, because as I was playing it, I was like, Yeah, this is actually has, uh, some relevance with some of the things we were just talking about.

Evie Dallmann 14:17
On purpose.

Wilson Getchell 14:18
I actually did. I mean, I was thinking about playing that one because it works well acoustically. But, yeah, it's funny. It's kind of does dovetail in with a lot of things we were just talking about, as far as technology and not being present in the moment, and things

Evie Dallmann 14:32
like, yeah, yeah. Was that like, your inspiration for it? And also, I wrote down the lyric like pigeon holed out of convenience, like that a lot. So, yeah,

Wilson Getchell 14:41
yeah. I mean that that was the attention of the song, but there's certainly also an element of stream of consciousness in it. And

Evie Dallmann 14:51
so that was that process for the writing song. And I like how you said that, like there's pieces of it, but it's kind of a larger, like idea maybe about society. Yeah. Um, like, do I don't think there's a way to generalize or, like, a creative process or writing process, but, you know, you're saying, like, the hardest part is, like, lyrics. So I guess, like, how does everything fuse together? And then you have a song, and then a follow up to that is like, you know, are you ever playing around? And then you're like, I've gone too far. I need to subtract a little like, I've added too much. So those two ideas of, like, when you make a product, right?

Wilson Getchell 15:24
Yeah? I mean, sometimes there's some songs that do come easily, and I don't know why it is, but they'll just like, it's like magic, yeah? I don't, I don't even feel like I have to do anything, just be the vessel, yeah? But then sometimes, yeah, it's like, painstaking, and there'll be, like, some music piece that I really like, but can't, because there's the vocal line too, there's the melody, and then there's the lyrics. So kind of coming up with both of those can sometimes be a bit of a struggle. But I mean, I also try not to push it in the sense that when I'm sitting down, if I sit down to try to write and just nothing's coming, yeah, not just throw garbage up there. Fine, too. So, you know, you can end up, if you leave something in that maybe you don't like too much. You get so used to it being in there. It feels weird when you cut it later, which kind of you were asking about going back later and cutting things out. I mean, sometimes, but I think also, because I tend to not push things if they're not working, I don't end up in that spot very often, where I've like written too much to something, but I mean a lot of times too, particularly in the band. I mean, I'll do the, like, writing of the basic song, and then bring it to the band, and we'll kind of tinker with things as a group. And, yeah, put meat on the bones, if you will. And I mean, sometimes there's a song on this new record that just came out, called buried by the wave, that, I think the original structure, I brought it to the band, it did change a good bit, and that they wanted to lengthen out this one section that, to me, had initially been a bridge, but then it became the chorus So but I mean, certainly I like that setup, bringing something and having others kind of tinker with it, and I finally that really does end up with the best results. I've done some, like, solo things, and not that I don't like them, but like, when you get a lot of other hands and brains on stuff, it just makes it a lot better. And also, sorry, just this new album. Music is a scam. A lot of our previous ones, we did record just ourselves, like in our home studio setup. But this one, we actually went in and we worked with John eggnell, who's like a famed rock and roll producer. He's worked with a lot of bands we really like, and a friend of ours, Isaac Anderson, came into the studio for a couple days just to kind of help, you know, give ideas. And he's like a musical genius and stuff. So but on this album, just like we had a lot more people involved. What, you know, in the past, it's just been us typically, maybe like a mixer guy too, but I think it really like benefited this album having all these extra heads involved. Yeah, I think,

Evie Dallmann 18:28
like fresh eyes and ears, and I noticed your guitar strapped the duct tape. And I like the kind of like DIY aspect, and like, do it yourself. So this one, you're talking about music as a scam you kind of collaborated with, like, a larger team. So I guess, like, moving forward, like, do you think you'll merge, like, the DIY aspect and the more kind of production intensive aspect? Or, like, which do you prefer?

Wilson Getchell 18:56
Like, well, even this time, there was still a good bit of the DIY thing, just if no other reason that we're poor, like studios, yeah, I mean, we spent three days in the studio, in, like the professional studio, and did the foundation tracks, the drums, the bass guitar, keep or piano, and then basically, mostly Did all the other overdubs back at home, just to basically save money. And yeah, so like all the vocals and two of the songs have brass like horns on them. We did those at home. And our old, we used to be a four piece for many years, and our old lead guitarist, Kelly Otwell. Otwell contributed on two tracks, but he did those overdubs at our home studio too, so there was that DIY element as well. And we, we use the same guy for most, most of the mixing, too, who's been sort of our long time mixer guy, in part because he does it for so i. Such affordable rates for us. But yeah, I mean, even this is definitely the most we've spent on making and putting out a record out of this is our fifth one, But you

Wilson Getchell 20:41
She's a tattoo graveyard, an old neighborhood standard
some people saw she glows in the dark.
And if you're not worried, then you got no courage.
You can't even save your good looks.
You've been knocked down, and pulled out, and caught up in lost time for a while.

There were no accidents or cars on the road
no proverbial landslide or cause for remorse
you're holding the ace card up against your chest
Seemed like a safe place to rest

She's a tattoo graveyard, an old neighborhood standard
some people saw she glows in the dark.
And if you're not worried, then you got no courage.
You can't even save your good looks.
You've been knocked down, and pulled out, and caught up in lost time for a while.

So you're holed up on the other side of town
you've got your ways to keep people around
it's been a long hard morning in your war-torn body
and you just want to watch some tv.

She's a tattoo graveyard, an old neighborhood standard
some people saw she glows in the dark.
And if you're not worried, then you got no courage.
You can't even save your good looks.
You've been knocked down, and pulled out, and caught up in lost time for a while.

Evie Dallmann 22:57
And so would you guys call yourself punk or

Wilson Getchell 23:36
Yeah? I mean, I just kind of, I don't know that we'd call ourselves a punk band, but punk is certainly underscores a lot of what we do. I mean, we grew up listening, listening to punk, and it plays a big part, big influence. But certainly not all of our songs are punk rock. We have, I'd say on this album there's like, maybe about a third of them are Yeah. And then yeah, there's some ballads. And I play piano on four of the songs. So those are more, I don't know, almost Prague rock. And I was talking earlier about sort of a theatrical sound. The Piano ones tend to have a more almost Yeah, show tune mixed with punk rock

Evie Dallmann 24:21
shows you mixed with that's cool? Um, yeah, I was thinking, like, it's, I might be, like, sprinkled in or throughout. And I, I don't think, like, once I said, like, do you call yourself punk? I was like, That's pigeon holing. So,

Wilson Getchell 24:34
I mean, I could, I could do an acoustic rendition of a punk, one of the punk ones

Evie Dallmann 24:40
that would be cool. I was just thinking, for some reason the sound reminded me of death cat for Cutie, like at one point. Yeah, but yeah, if you if you want to do an acoustic of a punk, let's see how they mix.

Unknown Speaker 24:57
This the opening song, buried by the wave. Oh. Get

Unknown Speaker 25:20
Get your man on the phone,
Let him know I'm here.
And that I came to tell him all my great ideas.

We're gonna fix this town
We're gonna clean it up
Paint everything in pink and purple leopard spots

And ride away into the "UH-OH"
Get carried away until it's "OH NO!"
Buried by the wave

Come on come on spit it out
What are trying to say??
Let's make it quick, boy I got plans for you today

You can't do this alone,
and that's why I'm here
jump in the back boy, I'ma get behind the wheel

And drive away into the "UH-OH"
Get carried away until it's "OH NO!"
Buried by the wave

Buried by the wave, buried by the wave

Evie Dallmann 26:13
away it obviously amazing at guitar. You mentioned piano. What was your musical progression like? What you start with? And actually, my first instrument

Wilson Getchell 27:34
was the drums when I was, like, 13 or something. It was funny, because my dad hated rock and roll. Yeah. How'd you get those? Yeah? He bought me a drum set, like, for Christmas.

Evie Dallmann 27:45
Cruel joke,

Wilson Getchell 27:46
I know, which surprised me, but then you had a friend who played guitar, so we, like, started a band then, but then I picked up guitar, like, 15 or 14 and I mean, all the bands I was in in high school, though, I played the drums and sang like and then, yeah, basically started doing more, being out in front after that, and didn't actually pick up piano until later in life. But I think, because I've been playing all these other instruments, I dabbled in banjo too, and, you know, learned how to play the ukulele and played bass guitar and stuff like that. And so I think once I finally got to the piano and actually earnestly tried to learn it actually ended up coming not, not too difficultly, I basically just watched a bunch of Beatles tutorials on YouTube and stuff to learn how to play. But, uh, yeah, and my brother, when I was a kid, when I was, like, in middle school, I was listening to top 40 terrible music, and he gave me, like a music education. He's nine years older than me, but over a series of birthdays and Christmases, he'd give me like five CDs each time it was like, five from the 50s, five from the 60s, 70s. What a gift. It was pretty awesome. But after that, I was like, I want to do this, yeah? And my my dad never forgave him.

Evie Dallmann 29:15
Thank you for the gifts,

Wilson Getchell 29:16
yeah? But yeah, that was, that was basically what happened. And then I was actually thinking about it today. I ended up I was talking to you earlier about studying Soviet history for a while, like I was in grad school, but I was thinking earlier today that I've only really ever been good at two things, and that was going to school and making music. I sometimes joke that if we were to have, like, total societal collapse. I mean, I'm not particularly, you know, a big fella. I probably, you know, I think my best chance at survival would be to find some warlord and be the court jester there. Yeah, you know, I can sing and I can make jokes and stuff. And so I feel like I. I could have some value in that position in a post apocalyptic world. So that's, that's my card for the future. I guess my ace card, if you um, one thing I would be remiss not to mention is we are doing we've not been playing live for a bit. We'll be back at Neptune's yes on April 5, playing an actual live show. And we are playing also a an invite DL house show on Saturday, March 8, that if anybody wants to come to like really badly. You can just message us on the inner Web. That's

Evie Dallmann 30:43
on me. I was thinking house party rager. What do you see in the future for music, in lieu of Day Cafe raves, pop up events, sustainability, the individual algorithm, social media? No,

Wilson Getchell 30:55
I do, because I think that that's the that's maybe our way out of this is not getting trapped in formal like by formality like that. You have to do things at a venue like a historical venue, you know, like you can do things in other you can do throw things at houses. You know, to loop back around from my Soviet studies, you know, as the Soviet Union was collapsing in the 80s, there was sort of, it's when the Soviet rock and roll golden age was, was the 1980s and all that music was banned officially by the state. So it was just all house shows. It was all underground. And I mean, that's I just know from playing music for years and years that like, DIY, house shows are always the most fun ones to play because, like, people are engaged. And a lot of times you play at a bar, people aren't there to necessarily see a band. They're just there to drink and maybe play Jenga or something. Who knows,

Evie Dallmann 31:57
I play jenga, yeah. But,

Wilson Getchell 31:58
I mean, I really do think, like, you know, to kind of latch on to a common thread throughout this discussion that like stuff like that can really facilitate and grow community in ways that, yeah, just like throwing a show at a bar or something.

Evie Dallmann 32:15
Punk rocker in my life, how has music impacted your trajectory, trajectory? Or, how do you fuse genres like in breakfast, mech fist or I can't keep up, honky tonkie or exile or foot in the door, inspiration behind you? Pick and play. Yeah,

Wilson Getchell 32:31
I'm gonna answer both, if that's all right, the punk rock ruined my life is sort of a joke, novelty song. A friend and I years ago, were joking about punk rock having ruined our life. I mean, we were just like, making self deprecating jokes about being losers, and we had this idea that we were going to form like a non profit and go to like, local high schools and, like, give inspirational speech speeches about how punk rock had ruined our life, not listen like, pass out Eagles records and stuff, or like bad company or something. So then just out of that inside joke, I ended up writing a song that kind of has a lot of those thoughts. And I guess it was whenever we put that song out, 2023 2024 I can't remember, but it we were sort of in a lull at the time. It just was like, Hey, let's record this. We can do it. It had been around. The song had been around forever, but it had never been recorded. So we were like, Let's, let's throw this together. And then we shot a video for it downtown, out in front of munjo munja, that was pretty fun and stuff. And stuff. And we got like random passer buyers to participate.

Evie Dallmann 33:44
Oh, wait, I'll put that up. Yeah, please do.

Wilson Getchell 33:47
We have, actually, a lot of music videos up on our YouTube that I would urge people to check out. We have one called Jenny, where we did we used puppets and made like a it's like Pulp Fiction or Natural Born Killers, but starring puppets. And then we we have a substantial library of music videos. A lot of them have been directed by our bass player, Clayton Herron. He's sort of a big film guy, and we did one with fire star wrestling in Greensboro, North Carolina, which is a wrestling school, a professional wrestling school. I didn't know that. I didn't know that such a thing existed until we shot the video with him. And we, we did another one with Gary Spivey, who is a celebrity psychic who lives out in Star North Carolina. He's got like this huge white hair. But we, we've tried, on a few occasions to, like, loop in other people, like, nearby that, like, have you know, it's like, a collaborative, yeah, so, and we did the wrestling one, like, during COVID, because we couldn't play shows and and we also did another video with, like, a bunch of stage actors couldn't do stuff during COVID. COVID, but, and then, as far as, like, our hopping between genres, I mean, for whatever reason, it seems to all fit together and blend together in what I think it's just all under the larger umbrella of rock and roll, and that, you know, just as like you kind of life is complicated and filled with different emotions. I mean, all this, you know, the songs sort of touch on different aspects of the experience, so not all of them are gonna fit into a certain sound. You know, you don't want to, don't want to pigeon hole ourselves, nor be derivative or something like that. Definitely don't want to be derivative. Want to be derivative. That's, that's the main goal angle. I

Evie Dallmann 35:46
think that's cool. If using it, it just kind of comes together, and there's an intuition of, like, what fits and what can be explored.

Wilson Getchell 35:53
Yeah. I mean, like, not saying that we're anything like the Beatles, but I mean, no one ever I'm gonna quote you on that. We're not, I'm just saying that, like, they're also, like, kind of all over the place. I mean, it's just, it seemed to me, yeah, like, uh, the Who's Tommy album? Or, like, I don't know, just lots of old Vance used to do a lot more genre hopping, and then it seemed to become more specialized, or something at some point where you couldn't step out of your genre? Yeah. I mean, I guess if you find success with a certain sound, you want to maybe stay there and not alienate your fans with something different. But, yeah. I mean, I think, like, one band that I think is a good comp to us, in some sense, is the replacements. Like, they're kind I know them, they're kind of all over the place, but like sort of a raw Rock And Roll sound is really What undercuts it all .

Can you believe this is all that's left of us now.
At one point there were eight of us living in that house
Back then the city didn't come this far out,
that was back before the city swallowed up all the stars

Do you remember that ugly floral-patterned couch?
I used to picture little mazes on it and try to trace my way out
I couldn't ever do it, but I'd try every day.
Some fates are impossible to shake

Does it feel like we're dragging something out.
Why hasn't someone already torn this place down.
Yeah it feels like we're dragging something out.

I wonder who put all these padlocks and chains on all the doors
They look like they've been here for a couple decades or more
Mom sold this place for nothing, after we all split.
At this point, nothing's more than she could get.

Does it feel like we're dragging something out.
I wish a storm would blow in and knock it down.
Yeah it feels like we're dragging something out.

Do you remember that summer, when the Blair girl drown?
There's still tributes and remembrances all over town.
That was the same summer, that dad got sick.
Don't think you'll be seeing too many tributes, to him.

Yeah it feels like we're dragging something out.
So let's come back tonight, and burn it down.

tonight. My name is Wilson. Getcha. I'm from the band thirsty curses. So you have that, if you need to insert that,

Evie Dallmann 39:52
yeah, this is Evie with WKNC. I want to thank Wilson from thirsty curses for gabbing, chatting. Please. Lang, thank you so much. Wilson from thirsty courses, hey,

Unknown Speaker 40:03
thanks for having me so much. This was a lot of.

Transcribed by https://otter.ai