Nick Viagas, the tall homie, is a comedian in Brooklyn who does a show with Ivy Wolk called Struggle Bus, which is painful and good, and he also loves fish narc in a special way. So I let him cook. I've interviewed fish more than a few times and he's the homie since he was in high school -- an immensely unique and talented musician, the only person who could possibly produce for both Lil Peep and quinn -- and so also in the interest of creating critical distance I wanted to cover his new album frog song with a different writer with a different perspective. This is that. Enjoy.

-Andrew

--

I was nervous to interview Ben Friars aka fish narc because Gothboiclique have been my heroes since I was just exiting my adolescence. Straight up. GBC represented a certain type of cool I found too scary to inhabit when I was younger. I was angry like them, numb like them, but I was too clumsy. My anger didn’t come out in the absolutely swagged out way theirs did. Before he went solo, fish narc was this mysterious presence hanging over GBC. The mad guitar scientist who gave them a canvas. Fish was the technician. He was the guy who added the longing guitar to the 808s, and he was the one who played the guitar longingly.

An especially verbose fish narc spoke to me one Saturday afternoon over zoom under the mirror from the "My Ceiling" video. He’s a deep guy who talks high-minded in simple language like my high school best friends stoner older brother who got addicted to neutropics. We were there to promote his new album frog song. It’s fish narc’s Spirit of Eden, if Talk Talk started making more accessible music in their second half. He said he thinks about his previous solo work as an olive branch to the disaffected peep fans who made up his fanbase. “Post modern collages” of genre. I guess frog song is an artist with enough cache that he can finally make a record he would listen to.

Opener "My Ceiling" sounds like an adoring fancam of an alt-girlfriend wearing a coat that’s too big for her in various forest scenes. "Boxy Volvo" he’s on his Rivers Cuomo shit (he says he hates produced pop-punk, unclear if this includes Weezer) (ed. note: I disagree with this). The woozy and downtrodden “Interstate” might be the highlight for me. frog song starts indie-pop and gets quieter throughout the half hour run time. Its a whole big mood swing that drops you in "Disregulated," named for a clinical term in the treatment of mood disorders. He talks about dialectics- it's calm and it's chaotic. I thought it sounded like the sadderall 6 hours after talking amphetamines, but I guess it's not about that.

It took sobriety and the better part of a decade for me to start doing the GBC-style shit I wanted to when I was younger. I was 27 the first time I did limp-wristed right-angle devil horns in a photo. I think this album is Ben’s way of doing the same. He wanted to be an indie rocker when he was 18 and it took him a decade of fame, loss, and self-work to do it on a solo full length. Lotta good shit in this interview about life after Peep and sobriety, but check out the album. It's a deeply felt record that sticks in your head. He also made clear you can totally talk to him about it if you want, irl.

Edited for content and clarity.

I wouldn't call this a happy record, but as a fan it felt good to hear you kind of in love and happy on "My Ceiling."

It's kind of my happiest record, honestly, right?

Do you feel happier these days?

Well, I have a chemically disregulated mood. So I don't have the most agency with it, but I've been doing a kind of therapy that helps lower my vulnerability to extreme mood swings. It was crazy not knowing that about myself until recently. I still feel all that sad sounding shit but then at the same time, I feel an extreme attachment and absolutely compelled to engage with people. I wrote a lot of these songs in the middle of getting more agency to control my mood disorder. Controlling the things I do have control over, not by brain chemistry or body or whatever, but the way that I live in it. That definitely has made me happier. I experienced joy a lot more. I'm able to be grateful for the things that I know are good. I always knew that I'm blessed and I still have the misery of being like, why the am I so ungrateful? Unable to appreciate these very obvious blessings? I can write them down in the list and look at them and see I don't have anything I have to complain about. But yeah, I am happier, and having my relationship with Emma is very stabilizing. It's not even just that she literally picks me up, but she creates context wherein I can see the stakes and I want to also then improve my own situation ands consider how I react before doing so,

Did being in that more grounded, connected place change your process writing these songs from when you were doing more of the sad shit?

In the past I would think I want to make X, Y or Z record for what I expect SoundCloud rap Gothboiclique fans would want to hear out of a fish narc solo record, without a whole lot of ideas of what that should sound like. My Ceiling, I wrote that with REM ghost and KeyBlade 808 in New York in summer 2023. I accidentally ate too much shroom chocolate. I've haven't really geeked shrooms since I was maybe 20 or so. I just hadn't been that geeked on drugs in a long time. Not that it was really out of control or bad but I was kind of geeked writing that shit. Like (he sings) she picks me when im down. I thought it was corny the way it was coming out, but it actually hit. A lot of the record I wrote butt sober, or just smoking a spliff.

So that's different, or the same as before?

My first three solo records I didn't quite understand that I was a SoundCloud rapper. Like, I was thinking I was making alternative rock records. And dialectically speaking, like it's both true. I made alternative rock records that are SoundCloud rap records. And when I think about what SoundCloud and Lil B's original "based" ideology taught me was that putting intention behind an instrumental and recording vocals on it makes you an artist. Anything's a beat, and any recording makes you an artist. Wildfire and Camouflage are very left field SoundCloud rap albums. The beats are rock style, but I'm rapping and punching in. Fruiting Body was the most of that, where it's just all punches, it's fucking Kasher Quon flow. One of my favorite flows that I use, and I use it on "My Ceiling," is uh, have you heard life without buildings?

Yeah! (Trying to impress him) The Yes, yeah. It's like a an 80s record?

90s-20000s art rock band, yeah. It's freestyle, it's really goofy. I love it, she has this totally off kilter flow. I was like "this is like Duwap Kaine." I like that shit but I was just rapping and punching, punch, punch, punch. Then I could not play the songs live and that made me disassociate with it, and made me question my identity. Like, is this real to me? Like, am I making stuff that is real to me when I used to make music only to perform it, and I didn't think about recording or make records really. Many years of me being an artist, I wrote dozens of songs and I never thought about recording them. Recording was expensive and required technology. I didn't understand resources. So I've always thought about it from the live perspective, and not being able to do those songs I was like, Who the fuck am I really? and it really made me pick up the acoustic guitar. That was how I wrote most of the rest of those songs. Started with me strumming and trying to have words that came out naturally. Instead of going to record all the instruments and then record vocals on top, and then it's hard to play and sing. It actually comes back to being happier. Part of getting happier and feeling some goddamn agency was joy and reward for the decades of music work I've been doing. It hit all at once in the fall after the Tracy tour. That's when I wrote "Boxy Volvo." Writing "Boxy Volvo" was a huge pivotal moment where I was like, this is a fucking song. I challenged myself to write more standard shit. That song is based off of regular chords and not be extremely pick me about it. Like my old band, that Andrew really the only person who ever wrote about. My big homie, forever.

Hansu!

Uh, yeah, yeah, Hausu. The instrumentals were so complicated and pick me haha. Like, the best songs were the ones I wrote when I was unselfish or un-self-aware. That band had a toxic social dynamic that made me clam up and think I'm not good enough with my regular shit. So the contented feeling of just trying to bring it back down and be humble and say, my feelings don't merit anything more than a regular set of chords. And that's not like "fuck me." It's a good thing to say I don't need to do the most to express myself. It should be cheap and humble. That's the ideology that's always underpinned my music. You get a career and recognition and it befuddles you. But doing less, I feel more attached to it.

In the press release you said your first solo record were more like mix tapes. Whats the difference between those and frog song?

I don't wanna make it seem like those records aren't real, valid fish narc self expression. Like, yes, I hadn't found a comfortable way of being musically but those records are really good. It's painful to listen to the style of some of the music. But like I was coming right off of being Peep's producer and thinking about "how do I make the most avant garde thing that I can make that will still hit for the Peep audience."

The mixtape thing wasn't "I didn't know what I was doing." I hella knew what I was doing. With those records I just wanted to be aware of the fact that I was this white rocker who people wanted to make beats based on being a rocker. I didn't want to immediately pivot into making straight rock music because I was aware of the trope of rappers doing that to start making the "real shit" the "white shit." I wanted to pay homage and reflect the way that being a rap producer had impacted my "rock music." And the mistake I was making was thinking that I was making rock music again when I was just making rock themed rap music.

frog song was me trying to be more me. I will always be defined by my rap production, and I still keep up with contemporary rap and listen to it. It's really, really important to me, but I'm not really making rap beats anymore. I'm thinking more about what means to be like a folky rock songwriter. I wanted to just have that skill set back because I wasn't able to write the songs that I like. I could write any of the songs on my first record and they were good and they were valid, but did I identify with that shit? Like, maybe not as much. I love the lyrics and I love the emotion of songs like "Wildfire," and "You Saw Me on The Bus." But style wise it's not the type of thing I would listen to. Style wise this record is way more up my alley, and based on my intentional listening patterns and desire to project a certain idea of myself forward. Rather than "what can I pull from and make these post modern like collages of genres" you know I can just be a guy with a guitar. Yeah, in many ways, my old records are smarter but they don't hit for me.

Smarter, like they're more genre-ly complex?

Wildfire and Camouflage are actually really high concept. They are Pop Rock Records, but they're hybrid forms that take a little bit of thinking or explanation. fruiting body or uh, frog song- sorry for all my "fr" stuff. My last name's Friars, I trend towards F and fr sounds. Yeah, frog song wasn't trying to be smart. I wasn't trying to demonstrate how varied my abilities were. I wasn't just reacting to a need to write a song. Thinking what is this going to turn into? frog song is not meant to be be bigger than I was. That makes it seem like those previous ones are pretentious and stupid. But I think there's value in the intention of trying to make something bigger than yourself.

Happiness aside, do you think that has anything to do with aging? Like I'm a comedian, and I'm turning 30 this year, and a lot of my jokes are about my penis.

That's like Horsehead.

Do you feel any pressure to change your output as you age?

I don't feel it.

Thats sick.

I feel young. I feel very young. The difference is I'm not partying like I used to. So my body feels like I could do anything. Honestly, I never wanted to talk about the GBC-style shit that people talked about, being childish back then. I literally never wanted to tell people that I did drugs or had sex. Like I didn't want that to be shared. I didn't have to self censor, because I was never gonna say switch blades/cocaine on the song, because I was fucking 25 when they were saying that. For better or for worse. I mean my mom was on my ass and she made it seem like she could read my mind when I was a kid to keep me from lying. I think that might have been a little bit weird, but it did keep me from doing anything. I have to be spotless, you know, I'm not going to have any songs that I wouldn't want my mom to hear. I think when people grow up or they want to write more mature stuff they're thinking, How do real adults view me saying this stuff? They're gonna look at me and see a bald 30 plus year old fool singing the shit. I can't really care. I can't, I just can't. I've been through too much, and I've done too many things for people's judgment to hold any weight for me. Like I've been listening to the most idiotic song on repeat. Like, I don't know how deep you go with the SoundCloud rap, but Propr Boyz-doodoo poopoo kaka. I can't stop listening to it, and it's literally the stupidest thing I've ever heard. I was with GBC the other day, and I was like we need an idiot song this dumb. If we made it we'd have to freestyle it.

I saw this interview where you talked about liking that song "playing with the auto tune" by Duwap Kaine." "Playing around" is so important for creativity.

I keep bringing up Duwap Kaine, he's so important. Such a fundamentally great artist to me, interesting person, and a good story about a kid who was exposed to the world and turned out reasonable and okay. "Playing With the Auto Tune," though, come on. He was just like an astronaut in that shit. The SoundCloud rap movement fucking the availability of inexpensive home recording technology.

It sounds like even if its a different genre the Soundcloud style of production influenced the record.

That's kind of the carried through since the DIY rock era for me when we didn't have home recording equipment at the time. But if I had been a different age, it would have been like that. We would have had it and probably been recording more. Nothing really changed. Cycling between tour shows, sessions, travel home, writing songs. There was like two songs from before "My Ceiling," and then "My Ceiling," and then I wrote like six songs in the fall, one more in the winter, and then Ava (from Cage World who produced the record) came in April, and we wrote five more. It was all pretty condensed. We mostly recorded in two weeks at my house, in my studio, in the yard, tapping in every day, and then she mixed for a month at home. The only difference, I would say, and this was different from like "Wildfire," is we sent it off to be mastered professionally That was something that Calvin and K handled. So on my end it was the same,

Did that have anything to do with re releasing "Crystal Ball"?

Well, I was doing an acoustic rendition of it on tour with Horsehead in winter. I was trying to fill out a little acoustic set- back to the acoustic thing- can I play a guitar by myself? Could it just be me and a guitar and no electronics? It just made sense to do for no reason. I cannot tell you why, but I was playing it, and it was going over well with the shows. Ideologically, it was another reference to the old stuff like we could make like an indie version of it. I mean that song, sample snitching a little bit, is a sample of a Felt track, and Felt is one of my favorite indie bands. The indie version of that song has traces of the sample and traces of the original funneled back 360 I think it's kind of a cool one. Honestly, the new "Crystal Ball" is so good but I could not nail the exact vocal takes for the second dubs of the chorus. And I've got- Hey! puff! no, sorry, my dog,

No, please.

He was picking at his face. Emma, yeah, we gotta cone him. I couldn't quite get the vocals down, in a way that annoyed me, but it is like a like the crispiness of the instrumental is so good to my ears.

What's up with your dog?

He has three autoimmune diseases. That culminate and then his like skin barrier, they're like all kind of like everything. It's not good. He needs daily care multiple times a day. We're very lucky to get to do it, have our guy, but yeah, my folks watch him when we're on tour.

That sucks. (Didn't think of a transition) so I got really into music when I was getting sober, and especially shit like "Nu Gaze" and "Instant Sobriety." You talk about sobriety in this really cool way that I don't hear a lot, where sobriety is like haunted and humiliating.

And its not always over, yeah?

Yes it’s endless. Was it different making music before that haunting feeling and after?

You know why it's tied in with humiliation, is because I think I would have continued doing hard drugs if Peep hadn't died. I mean, I did keep doing them for a little bit, but I wouldn't have thought that it needed to end. I think I would have just kept escalating. I almost died with Peep. Pretty good odds for me to have overdosed in the following years if we had kept going. The thing about the before and after is that it's so tied with that extreme life bending trauma of, not just losing my friend, but not being allowed to grieve, being treated as a heel and a villain. And that so many parasocial weirdos believe that their relationship with his music trumps my relationship with my friend. Also the fact that it fucked my whole career arc up too. Like, it sounds selfish to say that, because obviously the devastating thing is the interpersonal loss. It's been said a million times. I really don't need to rehash it, but like, yo, I was his main producer. We were going a certain direction. I organized my entire life around that. My style, my swag. Like, you listen to Goth Angel Sinner, the guitar playing on that shit is unbelievable. I still think those beats are some of the coolest rap beats ever, that it's my main contribution to hip hop. Like those records and the Horsehead record from that year are my main contribution to hip hop. Like juice wrld rapped on some of the leftover Horsehead beats.

A huge part of my identity died too, and I kept going because we have to. But I had to quit coke. I quit just because I couldn't make music on it anymore. It was like a one month period when I went from get a bag, like, make 10 beats, sell five of them, make $1,200 in one night. You know that's cool. It's not fucking my life up. Then to like, buy two bags, make zero beats, sell zero beats, lose $200. I almost died too and I just had to stop. But also like, the real part of me that was doing that shit really ended with Peep, like the whole idea of it. It was tied in with how it feels to go from having everybody tell you you're the shit and being put on this pedestal, my whole life all I wanted was to be acknowledged for my music, music was the way I made friends and new people and saw myself as having value. So then for all that to be realized in this crazy way and have these huge plans. And not just plans, knowing I could do it. God Angel Sinner had to come out. We were gonna get back to writing a few weeks or less after he died. We were about to go home.

After Peep died I just went back to being some schmuck. I had to get sober to get off my egotistical ass a little bit. Also you literally have to spend money and resources to be a druggie. That always comes at someone else's expense around you. There's not a single person I know whose addiction doesn't impact everyone around them. You have to humble yourself, like, can I get away with this? Like, nah. Like, I really can't. You do that shit with this idea, like, it's gonna go somewhere, and then it doesn't go anywhere. Also I got older, you can't walk around thinking everyone has to get out of your way. I have to get out of the way for other people, like I can't be throwing up in public. I have to account for the fact that I used to smoke weed in front of children in public, like, scowl at parents. Be high on coke and pick fights with fools just because I knew I could. That asshole shit is fucking embarrassing, and I don't identify with that behavior, and I don't approve of it. You're literally probably the first interview to ever mention this to me. People who talk to me about it are coming from worse addiction issues than I had. Usually fans are like, I was on 10 bars a day, and listened to this and it helped me. And I love that. I love knowing that it can be a part of people's like, journey. I'm glad that I could soundtrack it and be something that fools were able to fixate on. But that's you, you know. It's nice to hear you say that because, yeah, I still wish I could just grab a bag and crush beers all night. Just take the piss. I can't do that and have a healthy relationship. I can't just act like everything is all about me all the time.

Did you ever think you couldn't make music without hard drugs?

I did think that but it's so fundamentally easier. During the early part of making this album I was still drinking 4-6 drinks a day. I only stopped that in May, and I still drink at shows and shit. I was so used to drinking and recording pissed, but part of me stopping that was being like "oh, I'm just drinking, I'm not writing, I'm not recording." Same thing with coke. My vocation, im a voc-er and a vocateur. Part of me stopping was realizing that it made music less fun. Id just be drinking or doing coke all the time and I'd hate making music. I didn't really get healthy and sober until like May. And I'm still not there, I was punishing adderalls until like a month ago. It took me until a month ago to admit that I was a fucking amphetamine addict. And that shit is... fucking embarrassing! I haven't even talked about that in any music. If you keep listening to my shit you will probably hear reference to just how fucking dumb that shit makes you feel.

Yeah I was doing a lot of stuff when I was using but I was an adderall guy. The most I ever did was 160mgs in a day.

Ya I've done over 100 in a day.

I got a tick from it.

For real?

Yes!

Did you ever have seizure?

No. I'd just not sleep for days at a time.

**I never did that much in a day but I was doing over 100 a day for several weeks in a row. And I used to use Xanax as well, and I just had a seizure at work one day."

Jeez.

Ya but that crazy. I get addicted to everything I touch. I got addicted to going out and looking at mushrooms. I got addicted to McGriddles,

That rules.

But its legitimately true though. I would see the golden arches and get the same feeling as when I was walking up to the plug's house. Like "boom." Like you know what I'm talking about though, you do.

I do...

Every place I ever bought drugs when I go near it I feel something.

I get those back of the neck adderall chills when I see my old dealers number in my phone.

I blocked all of mine. But yeah I could excuse it because I was like "I'm working, I'm doing work. I'm doing meaningful work all day. Woopdie do woopdie do."

Yeah adderall gets you addicted to doing your job.

It's the only capitalist drug. And it was founded by the nazis.

Ya know the nazis would put speed in chocolate.

That not good. We can't go there. They can't make chocolate that makes you addicted to your job.

God forbid.

That chill. Its reminiscent of when you're trying to lower your dose of meds, and you take a lower dose, and you feel the tingle, like it's about to start going, and then that's it. That's the feeling of like when you scroll past the plug's number. Just drive past the street that took you to the street that took you to the street where they lived,

Passing that one bar during the day and you get that feeling in your chest.

It just goes to show sobriety, it is a process, a daily process. One of my friends who's a severe alcoholic, he chemically can't stop. He's so desperate to be clean. He'll get himself into it, and then he's like, I have to stop. And then he's withdrawing, and he can't not have it. You can't just stop he has these steps. It's the dialectic that you can hold with that. Yeah, I've been clean from hard drugs for so long. But it's like, No, I haven't. Like, I've been clean from cocaine and Xanax and meth and, like, whatever other shit I was doing. But I was doing Adderall addictively but like, it's steps. It helped me write this record, and then also it's the reason why there are weak spots on it too. I couldn't get out of the zone enough to think about stuff.

Were any of them about the come down from Adderall? That song "Disregulated" is pretty similar to how it feels. Like lifeless but also chaotic.

Honestly, god bless it's the only thing that I never really had a crazy come down off. It just didn't cook me like that. For some reason, coke, Molly, everything else, the absolute worst, alcohol, insane for me, like, I just cannot barely handle it. I just didn't really get the sadderall. That song turned out to be a lot better than I thought it was going to be. Ava had made all these beats and she really wanted me to hit them but we were behind and I just recorded that one. I think it was the week that I was like, I have to quit drinking every day. Emma was out of town, I think I was being a baby on the phone with her, it was embarrassing. I always try to couch everything in poetry but it kind of hits harder when I just say, like, I'm so disregulated, dude. Part of the reason I decided to clean up my alcohol usage was that Ava was going through some interpersonal shit and I for sure would have stopped working but she was able to do it, and go through it because she wasn't drinking. I have to see what it's like.

She's was able to regulate.

Not perfectly... but without chemical inputs. Like that woman is absolutely insane. She's so regimented and disciplined, like she's quitting vape right now.

(I hold up my zyns)

Zyn yes, many of the bros are on the Zyns.

Is it ever weird performing the old songs not off coke and Xanax?

I like it. It's cool. I'm just so stoked to not be at death's door. I was trying to follow Peep somewhere. I say that without any real detachment from Peep. I was drawn to death, I think because I almost died with him, and he died in front of me. And so many people expressed that they also wish I had died with him. It was a quite popular sentiment. "Fuck GBC. You guys should have died" The personal acrimony that was directed at me and Mackned, especially, just because I spoke up for Mackned and against the XXXtentacion collaboration that was in diametric opposition to Peep's wishes, that the general fans who wanted their Coke meets Pepsi collab. And I do not mean to diss Peep but, but I'm just saying middle of the road consumers who like popular stuff and want to see those two things go together, because they personally think that they should, like, those people hated the fuck out of me, man. Because I look fucking fruity and I talk a certain way, it did make people weird about me. I got called fag and X fans are talking about raping and killing me. So I was just like fuck it. Maybe I should die. Maybe I'll just keep doing bars and hopefully one will be fake, and I'll go. So I'm just stoked to not be in that place anymore. Playing those songs isn't even sad to me anymore. I'm like, These are great, and this is what ties me to now. Thats how I got out of it in a way. It's the way that I can connect then and now and know that that person could become this person, and that that person could live. It's selfish, but then it's like, I also get to talk to other people who don't even make music that listen to the music and like it and identify with it, and they say it helps you see a life for yourself outside of partying or drugs. Like Mackned, who was absolutely, like the most targeted by people, he works for a drug counseling center now and helps people get clean. He doesn't use drugs like he used to, he regulates himself. I've seen him have a glass of wine at dinner. He's there, he's good, He's grown.

It's a lot of fans, people with GBC tats, Peep tats. He helps them get clean. And one of the main things that helped him move up was that he built out an extra room in his studio. He had studio classes to teach people about making music in the same context that they were focusing on their sobriety. Code those things in the brain together. He threw New Year's parties that were clean and it's Mackned, he's cool. You can't deny that he's fucking cool. You're not going to be like, I could beat that guy up. You can't really step to him like, you're not going to be like, going to Mackneds New Year's party and say, "lame." People who are getting clean they think, Oh, who am I going to be? I can't live after partying. Or, like, what's it mean to party? Like Cuddy could show them there's a life afterwards. Mackned was like a zombie bro. And he went from that to whip smart again. For myself that's what my druggie music represents to me. We all cringe at our druggie lyrics. Like in LA "White Tee" is playing and the track is like, "fucking on a drunk bitch." We're all like, me? No, not me, not me, not you. None of you guys.

Imagine a guy who said stuff like that, thats still alive and isn't like that, but is still cool.

I mean, is better.

What do you want people to hear when they listen to this record?

I just want people to hear a fun record. If they want to get into it I put work into my poetics and poesis and songwriting, and I think if people want to get into it and break it down I would be really honored for people to listen like that. And for them to come to a show and I'd like to talk to them about it. I can't just act like I deserve everyone's attention but I want them to know that I want to talk to them. I want people that feel like if they take anything away from it, to just be like, I don't know not alienated by it. I want people to like feel not "where's my hug" not "free hugs" but the like actual embrace of it how songs and albums used to mean to me. I want them to enjoy like, major key pop rock music that isn't cornball. Fuck man like I want to act like Mr. Smarty Pants, like Mr. Emo trap, like, Mr. Genesis fool, and I did do all that, but like, deep down, like, I like, want people to just like my little pop rock music and to come to a show and commune with me. I hate when artists are like, I'm here to inspire. I don't see myself as so important. I just want to feel accepted, and I want people to hear the record and and to understand I'm seeking their approval and their love and that it can go both ways.

It's hard to set out to inspire people."

Its corny.

I hate that with stand up. When people want to inspire other people, its like no you should make people laugh.

And that that can inspire people.

That's how you inspire people.

By making them laugh. Horsehead Is a low key stand up comedian.

Does he do it on the GBC tour?

He's done a little bit, I mean privately, it's non stop.

This is a very self interested question. But uh, What do you think about stand up comedy?

Dope. I've always listened to it like pre streaming. You know, Yahoo music videos. I would watch alt music videos, 2001, 2000, on my parents computer. I would play RuneScape and listen to Pandora or Yahoo. And as much as I would listen to Rancid radio, I would also listen to Earth, Wind and Fire Radio, and I would also listen to George Carlin radio, and I would listen to Jeff Foxworthy radio.

Wow.

Richard Pryor. Listen to Richard, what the fuck man. So funny. My parents wouldn't let me listen to music with cursing, but they did not regulate the George Carlin, Richard Pryor, Yahoo stations. I play RuneScape and I listen to that shit non stop.