By Deborah J. Draisin

Mindless Self Indulgence, fresh off the second most successful Kickstarter campaign to date and mid-world tour with a sparkly new album under their belt, “How I Learned to Stop Giving a Shit and Love Mindless Self Indulgence” (Review here) this band has proven that underdogs can, in fact, having staying power. Founded in 1997 and now ten years into their current lineup, MSI has always done things their way. Amid an almost endless tidal wave of critical pans, special interest group rants and a general lack of respect from their peers, this band has held steady and cultivated a strong following of devotees who would defend them to the four corners of the earth, upon whom they shower appreciation in return.

I recently sat down with lead singer/songwriter James Euringer (aka Little Jimmy Urine) to discuss life, love, respect and, er…squid.

Q: Hey, Jimmy, how is the tour going so far, are you having fun?

Jimmy: We’re about halfway through, getting a little funky, but very good.

Q: What’s been the funniest thing that’s happened on tour so far?

Jimmy: I don’t know, Man – we have a different funny thing happen every day. Somebody just gave me a handheld electronic game from the seventies. You remember Merlin?

Q: Oh God, yes, I do – I used to suck at it.

Jimmy: We’ve just got to get some AA batteries up in this piece and we’re gonna start playing some Tic Tac Toe.

Q: It’s on now; you’re going to have to gamble for some Cheetos from the nearest rest stop.

Jimmy: Yeah, and then the last thing that we got that was interesting was a live squid.

Q: What the hell?! Do you still have it?

Jimmy: No, no – we put him in the garbage, poor little guy. He was like from a fish store; they probably got him out of a tank, stuck him in a fucking plastic bag and handed him to me after the show was over.

Q: Thanks, I guess…?

Jimmy: That was the squid’s last performance after seeing one of my shows.

Q: So far, we’ve lost a squid and gained a 1970s gambling game. You could’ve gambled for the squid – see, you should’ve thought of that. Gambling for squid parts.
You’ve been self-releasing in no small part due to the controversy of your lyrics. How do you respond to critics who accuse you of things like racism, sexism and pedophilia because they lack the ability to detect sarcasm or role-playing?

Jimmy: That’s pretty much it. A lot of people definitely lack knowledge of sarcasm; they take what I say seriously. With this band, because we don’t have MTV or the radio or a manager breathing down our necks “If you change the words from ‘Fuck Machine’ to ‘Love Machine, you’ll have a Top Ten Hit,” we can attack the stuff that nobody else will attack. We can nail together two ideas that nobody else wants to nail together. In music, every single song is “I love somebody,” “love” this, “love” that, or it’s real easy anger, like “Get out of my room, Dad!” There’s no in between – nobody ever looks at anything that’s funny or interesting or risky at all. In this band, we have a lot of freedom, and we take advantage of that, and it’s a nice thing. If you’re in a band with this much freedom, and you don’t take advantage of it, you’re kind of a fool, you know what I mean?

Q: Oh, absolutely. Do you think that, even with the impending death of the industry, music is still too safe? Are people not pushing the envelope enough?

Jimmy: The main thing is that people want money; they want to be famous, and I totally get it. So, if you look at lyrics, they’re really fucking boring – they’re rarely clever, and when they are, it’s usually a smart rap guy crossing over or coming up with an interesting idea. Regular music, if it’s really intelligent, is usually dreamy, like Sigur Rós or some kinda Radiohead thing. Right now, what’s big in regular music is all this Lumineers, Americana crap – we call them “Hey ho” bands.

Q: Pretty much like every other pop punk band who has ever existed since Blink.

Jimmy: People like to be in with scenes, and that was never our schtick; we were never part of a scene. We wanted to invent our own style of music.

Q: You absolutely have, because people do not know how to classify you. If you go on the internet and search you guys, you’ll get about ten different descriptions.

Jimmy: You would think by now that they’d have figured it out – the kids have. The younger kids are much more comfortable with it these days, I think because things caught up which allowed people to understand at least certain parts of what we’re doing, like dubstep. “Oh, we get it, he’s doing Blitz Beats, I know what that is. Or “Oh, he’s saying ‘fuck’ in his songs – Seo had a fuck song, we get it.” Or “There are girls onstage playing instruments that aren’t singer/songwriters on guitars or Fiona Apple on piano, we get it.” You know what I mean?

Q: Let’s talk about the girls for a minute, because half of the band is female; do you think that there is still a glass ceiling?

Jimmy: Oh hell yeah there is, definitely. It’s very strange, there are not a lot of girls in this industry that are not pop singers or singer/songwriters - that seems to be what you always fall into if you’re a lady in this industry, and if you’re not, people really want you to be The Runaways. If you pick up a fucking guitar and start singing aggressively, they’re like “Oh, here comes Joan Jett, holy shit, here we go.”

Q: Yeah, there are like three people that you can be compared to, tops.

Jimmy: Yeah, exactly, it’s a very small thing. Like my wife, Chantal Claret (from Morningwood.)

Q: Great band.

Jimmy: She was out there on the radio, doing festivals, all sorts of tours - she’s doing the exact same job that I’m doing, and she does it similarly too. She’s really smart, really quick - she doesn’t just get up there, sing a song and then go “Hey, thank you very much - rock on, Cleveland.” She had a real fucking bravado up there onstage – still does. Meanwhile, most people who saw that band were like “Oh she’s like Debbie Harry come back. We want Blondie again.” They can’t give up the seventies for chicks and move forward.

Q: It’s true.

Jimmy: You know what I get pissed off at? There are no good female DJs. There are millions of DJs, but there is no female Deadmau5 or Skrillex.

Q: I think that they’re there, in the small clubs; they just can’t break into the mainstream.

Jimmy: It’s really strange. I mean, there are female rappers, there are female Rock N’ Rollers, there are tons of female country stars, but no female DJs.

Q: Maybe they’re just not welcome? They’re not welcome in the other genres either, so maybe they’re having a hard time.

Jimmy: It’s sort of a double-edged sword. I find it very satisfying that girls can come to our show and get inspired that they can do something besides just be a singer/songwriter. They see Lyn-Z or Kitty come out and go “Oh shit, I can play bass, I can play drums.”

Q: Yeah, we need role models.

Jimmy: I’m thinking “Oh, you’re gonna have a battle on your hands, Little Girl, when you try to be a drummer,” you know?

Q: Well, if Lyn-Z and Kitty weren’t there, and before them, if Joan Jett and Patti Smith weren’t there, the girls would have nobody to look to to maybe think “Hey, this is something that I can do.”

Jimmy: I know, it’s important.

Q: Absolutely. So, do you get that a lot? Do you get a lot of people asking you “How?” because when you’re a groundbreaker, you’ve set a precedent that people can now follow. Do people ask “How do I do it, how do I get there? How do I start?”

Jimmy: They kind of do – there’s no real formula though, and also we did things so unorthodoxly. We lucked out that the unorthodox way that we’ve always done things sort of became the way to do things. There was a system to be unorthodox and fight against when it was 1999 and there was no major label, so for us to do all of the wacky things that we did – even behind the scenes – became the way to do things now.
We were releasing viral videos before YouTube, and we were using message boards before there was social networking, but now that’s the way that you do it. Social networking - which is the modern form of the way that we always did things – that’s the norm now. When we were doing it, it wasn’t the norm. The norm was to get signed, the record label does everything, and you hang on and hope that it fucking works. Now, you have to be an entrepreneur and do it yourself – get an iPhone and book your life.

Q: Is it weird to know that you had to pay your dues for so long and then just see kids race right up the ladder that you put there, or is it cool?

Jimmy: No, not at all – I know that I’m doing something really different. I’m not thinking that I’m doing Duran Duran and nobody’s getting it. We were taking a risk by being like “You know what? We don’t want to do the norm.” We wanted to do our own thing. It’s more of an art project – it’s more about entertainment than it is musicians. We’re four frontmen when you get right down to it, we’re four cartoon characters. We each have our own style and character, and that stands out. People are not just coming to see a lead singer and three people who play instruments, they’re coming to see Lyn-Z, Kitty, Steve, Jimmy, you know?

Q: They’re coming to see a performance and an interaction, not to see a bunch of dudes stand there and play their guitars. Few bands make it much past their ten year mark; that’s the curse. This lineup has surpassed that already. Do the long breaks in between albums help keep everyone sane and ready to involve themselves in the next recording when it’s time?

Jimmy: Well, I think it helps also that the main focus of the band when we started was “We want to do something cool and fun and interesting with our friends.” I’m not looking for the greatest drummer in the world, I’m looking for my friend to be on drums when I turn around. That’s what I was looking for, and I wanted somebody creative as well. Everybody that’s in the band, we’ve known each other forever. We all love each other - we really get along, and we’re all involved, whether it’s graphically, the way that we look, or the way that the backdrop is or the way that the songs are.

Q: It’s a group effort.

Jimmy: Yeah, and it makes it like a really cool art project. A lot of bands meet when they’re in their teens or twenties and don’t know who each other are. Then they get out there, and whether they’re successful or not successful, it turns into a Guns N’ Roses situation.

Q: “Oh my God, I fucking hate you,” yeah.

Jimmy: One guys’ a drug addict, the other guy’s insane - you don’t know what you’re getting into, even if you have that hit. I’d much rather be out here for ten, twenty years with my friends, playing Xbox or watching movies in the front of the bus, you know?

Q: It is about the friendship. A band is like a marriage, sometimes you need counseling.

Jimmy: You’ve got to know who you’re getting involved with, Man, you don’t wanna marry the wrong person.

Q: Yeah, sometimes you bring somebody home, they suck in bed or they don’t clean up after themselves. Do you have to relearn each other’s ways each time you go back out on the road together after several years apart, or do you fall right back into step?

Jimmy: Nah, we’re ingrained at this point. Everyone’s a pretty good traveler, nobody’s really like “Oh my God, I wish this bus would fucking stop” or whatever. We all know where to go, it’s just like being onstage.

Q: So nobody’s a road princess or a slob?

Jimmy: No, not at all. It’s really, really chill, we like it like that.

Q: Do you guys ever get bored and prank each other? I would.

Jimmy: Not really, no. The live show is so intense and so crazy that it’s enough; it’s like coming out of a trench from World War I. The last thing you want to do is get on the fucking bus and somebody throws a water balloon at you or something. I mean, we’re all very jokey, and we’ll take the piss out of each other, but it’s not like Ashton Kutcher: “Oh, I got in the bunk and it was filled with mice.” I think people would kill each other, if that was the case.



Q: Then there would be stabbings. Do you think that that’s the perception of bands, that they’re just like 24-hour frats?

Jimmy: Well, because a lot of it is, it’s a real sausage fest out here, and a lot of times it a 24-hour frat, or a brothel or a drug den. You can’t last if you do that though.

Q: Warped Tour is probably the worst example. If you go out on a festival, it could be mayhem, right? It’s like a circus.

Jimmy: Oh yeah. I mean, we kind of do our own thing, but there are a lot of bands out here that I think have turned the corner - it’s very interesting. There was a time when Mötley Crüe had all the huge hits and were crazy, it was “Girls, Girls, Girls,” heroine and everything like that. Now, most regular Rock N’ Roll bands are made up of guys who just want to pay their rent.

Q: Yeah, bands have turned their backs on that image. Bands are into families now.

Jimmy: Rap took it over.

Q: You think so?

Jimmy: Lil’ Wayne, Jesus Christ. That guy is like drugs and doing shit all the time, and that’s the image.

Q: That’s what I was going to say – don’t you think that’s an image too? Some of it has to be false.

Jimmy: Part of it’s image and part of it’s like “Why the fuck not?”

Q: Yeah, I guess.

Jimmy: You know what I mean? Like, when the hell is that going to happen to somebody? It’s not going to happen working at McDonald’s – it happens out here. There are certain things that you should take advantage of while here, running around. We take advantage of it in a different way. If somebody just gives me a microphone, puts me in a place where two thousand people are and we’re on a stage, I’m not just going to sit there and go “Hello Cleveland.” We’re gonna say and do things that people shouldn’t do.

Q: Things your fans paid to come and see you do – obviously, they want a show, they don’t want to be bored. Okay, you guys are all married now, but did you take advantage of it back in the day?

Jimmy: Not that much, that’s not really my thing. I took advantage of certain aspects of it, I like the road – it’s just fun; I even like the fucking truck stops. To me, that’s the best part of it, honestly, the perks. There are a lot of bands who are really simple people: “Oh free beer, free pussy, this is the greatest.” For me, it was free travel. You get to go to places that you would never get to go, and you get to go numerous times, and it’s amazing. I know how to walk around Sydney, I know what it’s like to go shopping in Tokyo – all within a couple of years, it’s amazing.

Q: It is amazing – do you friends in every country now? That’s pretty cool.

Jimmy: Not really, but we definitely have places that we love to go, everybody has their own favorite country that they like to go to.

Q: Do you have a favorite place as a unit, that you all love?

Jimmy: A couple. We all really like Tokyo. I love Australia. Steve’s a big UK freak.

Q: You have everything covered. You guys had a Kickstarter for the album you just put out “How I Learned to Stop Giving a Shit and Love Mindless Self Indulgence.” Did raising funds way above the original goal on Kickstarter feel like a nice enough fuck you to those who would seek to put the band down?

Jimmy: It would’ve been a better fuck you if we had actually not made it and trashed the record.

Q: That would’ve been funny; just set fire to it.

Jimmy: We did the hostage situation on purpose.

Q: I don’t think a lot of people ever look at the flip side of that – if you don’t meet the goal, there is no record.

Jimmy: I don’t get money, you don’t get a record, and that’s the end of it, nobody’s liable.

Q: Bands do catch mad shit for crowdfunding, but isn’t selling a cd through a label crowdfunding too? Isn’t this the same fucking thing?

Jimmy: The problem with crowdfunding - and I’ve been talking about this a lot in the press in general – Kickstarter and all of these other crowdfunding resources say that they’re donations because they’re trying to get some kind of tax break, when really, they’re preorders. You’re getting something out of it, you’re not giving me twenty dollars for nothing, you’re giving me twenty dollars for a cd or a poster. I think that the Veronica Mars thing was such a big deal because it’s still being funded by Warner Brothers, but you’re getting a script, or the actor is going to call your phone or you’re going to get the dvd when the movie’s finished.

Q: It’s actually cooler in a way, because it’s up to you how much you want to contribute and you get much cooler stuff out of it.

Jimmy: You’re getting stuff, that’s the thing. There’s no button that says “Give me free money.”

Q: A friend of mine made this point: “What if I don’t have the ability to contribute or I don’t have iTunes in my country? Then I don’t get anything?”

Jimmy: As far as we’re concerned, she’s going to get it eventually.

Q: That’s what I told her.

Jimmy: Because we were the second highest Kickstarter, the major labels who are spoiled already and who didn’t want us before now smelled blood in the water. They were like “Hey, you did a lot of work, you proved that this record is a success, we’re going to come in after Kickstarter, okay? Let’s make a licensing deal.”
So, that’s why there are three versions of the record. There is a Kickstarter version, which, thank you very much, you gave us the money, it worked out, here is your nice, special, exclusive version that I’m not going to sell anywhere else. Then, if you came to the show, you buy a version right there – you just heard us play the song, now you’re going to buy the record. It has different artwork and different tracks.
Now, if you were so late to the game that you didn’t do the Kickstarter or come to the show, then there’s a version that lives on Metropolis Records and it’s on iTunes somewhere.

Q: I think that’s fair. Many people have been asked why the goals are set so high. A lot of people I don’t think understand what it costs to self-produce and to go out on the road.

Jimmy: We decided “Look, we’re not going to make a record for fifty grand, fuck you.” I have to manufacture It, I have to ship it to your house, if there’s tech support, I have to pay some guy. Whatever I’m doing, I’m paying somebody. We’re everything now, we are the label, so all of that money that we made, it’s not like we took it and just went to fucking Bora Bora with it.

Q: Do you think that a lot of the problem is that your fans are used to you guys being D.I.Y., because bands that start out D.I.Y. get a backlash from their fans when they try to charge more.

Jimmy: Even though we are D.I.Y. we’ve always done large deals, you just never saw it. Did you think that the Elektra deal was for fifty thousand dollars? You’re out of your mind! That was back when there was a twenty label bidding war. We were sellouts in the beginning.

Q: I think this is the part that needs clarification. This is the information that a lot of people don’t have; they don’t know what anything costs because they’ve never seen it before. Now they see it and they’re like “Oh, why is it so much?”

Jimmy: Honestly, I think it has to do with the internet and everyone having an opinion. Some fucking guy sitting in his room goes “I know what it takes to make a record, how dare you?” If he’s writing more than a sentence or a paragraph which says “I blah blah blah” it’s fuck you, unfollowed, eat a dick. You’re not helping my situation and I don’t give a fuck. Just because the internet is there for you to say what you want doesn’t mean that I have to listen to it.

Q: It’s true; unfortunately, people are prone to saying a lot more things than they would have without the internet, that’s kind of the drawback.

Jimmy: It is. It has an Anonymous feel to it, so sometimes they say really fucked-up shit and really dumb shit and get away with it.

Q: They get away with it and it’s self-promotion. Regarding the new album title, was that actually a long-standing issue for you – learning to stop giving a shit and just love your band?

Jimmy: No, it came about for this particular record. We’ve met a lot of bands on the road and we’ve noticed that we are in a really lucky situation, because we all really dig each other and we’re really close - there isn’t a problem within this band.
We’re also a very atypical band, we can get away and do stuff. I know a lot of people in bands that feel like they can’t say what they want, that if they say it, the world is going to come down on them. So, we’re in this unique position and that’s kind of what the title was about. We learned not to give a shit at all, and you shouldn’t, either. It’s not just to us, it’s to you as well. How you learned not to give a shit, we learned as well. A lot of people give us grief “Oh, this band isn’t a real band.” I’m like “Dude, just fucking get over it. We’ve been here for fifteen years, we’ll probably for twenty.”

Q: What do you think the need is to do that, to take shots at somebody? Obviously, the go-to answer would be jealousy, but is there a little more to it? Is there something malignant within the industry?

Jimmy: I just think it’s a musician-y thing. People don’t look at us as a real band because we don’t wave a flag. There are a lot of bands I like that have a very aggressive, everything-but-the-kitchen-sink sound, and they’re bands that I think are really amazing. If you look at them, their subject matters are very specific, like System of a Down or Public Enemy. The music is crazy, but the subject matter is very serious. So, they give them Grammys, and we come in and are goofy and sarcastic and weird, so they look at us and go “Oh, you’re just a joke, and you won’t be around very long.”
Cut to fifteen years later…

Q: You’re like “What now?” because half of those bands have already bitten the dust. That’s interesting though, because didn’t you just do a project with Serj Tankian?

Jimmy: Yeah, we’re still working on it; it’s a gangster film thing. We did it backwards: we wrote a soundtrack for an English gangster film, and then we wrote an English gangster film around the record. It’s a weird side project thing that works – it’s called “Fucktronic.”

Q: Hell yeah, Man. Serj is awesome. Is he a weird guy though?

Jimmy: No, he’s a sweetheart; very down-to-earth. I’m always friends with people in bands who are like that, totally cool.

Q: You have to have the cool friends, because I’m sure it gets weird. When you hop onto a festival with a bunch of different people, I’m sure there are all kinds of attitudes out there – it’s like working in an office; you have little cliques. Have you ever dealt with a band who was extremely unwelcoming or judgmental?

Jimmy: The funny thing is that the bands who are really big are actually pretty professional, so they’re all very welcoming. It’s usually the local support who think that this is their shot; they’re gonna open for one day on some stage somewhere. They’re the ones who don’t give a fuck and smash everything and you’re like “Ah, Man, you just wrecked my backdrop with your fucking paint splatter? I’m gonna kill you!”

Q: That’s something that I think a lot of people don’t consider. When you see opening bands, you just think that everyone’s just chilling out backstage together having a bottle of tequila, but it’s not like that, is it?

Jimmy: No, see that’s the thing: in general, it’s not like that, it’s a business. With bands that kids have always wanted us to tour with and what looks like a great lineup on paper, you’ve got to think about who knows who and who’s busy doing what and who would get top billing and how much would somebody pay somebody else or take a cut of, and that’s why that shit never happened.

Q: There are politics in the industry, like everywhere else, I think people just don’t realize it. People think that music is a party, they don’t understand.

Jimmy: They think it’s something a little bit more mystical. They’re like “It’s gonna save us and it’s gonna cure everything” and I’m like “I’m glad that you enjoy it, but it’s a fucking job.”

Q: It is a job, it’s just a cool job. Have you had anybody tell you that your music saved them? That seems to be a thing these days.

Jimmy: Oh, yeah – well, if not saved them, we have people who tell us “Your music got me through some hard times” and that’s fine, I like that. I don’t think I’ve had anybody get really serious on me and say “Your music saved me.”

Q: You’ve never had one freaky person come up to you and just scare you?

Jimmy: Not really. The funny thing is, as strange as we are, and the fans are, they’re not freaky people. They’re just fringe-y people who are kinda cool – there’s nobody who’s just an insane, fucked-up asshole.

Q: Have you ever learned anything from a fan?

Jimmy: I never learned any facts, like somebody coming up to me saying “Let me tell you about the War of 1812.”

Q: Well, no not like that. That’d be funny though – they just hand you like an Encyclopedia. Speaking about the new album for a second, what changed? What was the goal here for you guys that you hadn’t hit before?

Jimmy: The funny thing is that the goal was to not change. We’re Mindless Self Indulgence, we sound a certain way. We’re always reinventing the wheel, let’s not reinvent the wheel this time. People have caught up – they’re starting to understand what we do and how we do it, let’s just give them a pure, straight Mindless record and let them enjoy it and we’ll enjoy it, too, it’ll be really fun. So that’s what the goal was, not to go off to a totally different planet where nobody understands what the fuck we’re doing again. Let’s just hang out here and do what we do.

Q: A return to basics seems to be the law of the land these days. It’s funny that you should say that, because when I listened to it, I thought of “Frankenstein Girls.” I was like “Oh, this is a throwback.” So what’s been the feedback for you, have you heard anything cool?

Jimmy: It’s weird, doing a record; you’ll never be able to listen to it as a surprise from beginning to end. I’ll know that I like certain songs, but I’m not able to judge the album as a whole piece other than “Hey, I completed this part and I really like what I did.” Engineers who were working on it, though, lawyers who got it ahead of time said “This is fucking great!” and I was like “Really?”

Q: It’s always better when you have that feedback from somebody else. As artists, we can be sure that we’ve hit something, but not as sure as we would be if somebody else said it.

Jimmy: Yeah, you set out to achieve a goal and whether you do or not, you’re not sure how the world is going to perceive it. If you paint something orange, does that mean that everybody’s going to go “That’s cool!” They could go “Oh hey, you painted that orange, great.”

Q: Yeah, that still matters – much as you don’t want it to. Do you prefer it when people think that what you did is great, or do you prefer it when people just stare at you in a confused manner?

Jimmy: You get six of one and a half dozen of the other.

Q: Anything that you’d like to clear up for anybody out there – one thing that’s been driving you nuts?

Jimmy: Not really. We have such an “I don’t give a shit” attitude that if someone is out there yelling about Kickstarter or doesn’t turn up to a show or throws a watermelon at me, I couldn’t give a crap. I’m enjoying myself, and what we set out to do worked, you know? And it’s still working.

Q: A watermelon?! That would hurt.

Jimmy: They might throw a brick. Hey, if they’re gonna bring a live squid, they’re gonna bring shrapnel. I guess what I would clear up is that there are a lot of people who know who we are and they never mention us. We’re almost like a dark, dirty little secret. Musicians who either know who we are, like us or were influenced by us, will never, ever mention us publicly. They’ll mention Led Zeppelin or Linkin Park or some blues guy.

Q: Because it sounds better.

Jimmy: “The Rodney Dangerfield of Bands” is what we’re called.

Q: “I ain’t got no respect.” You had actually said that at the show; do you think that you guys are like the modern day Rush or Poison – nobody will admit that they like you?

Jimmy: It’s something about us - I don’t know what the fuck it is - that nobody wants to talk about.

Q: Do you think that it’s just because you ride the fringe, and people don’t want the stigma that comes with that?

Jimmy: It’s possible that they like danger from far away, but they don’t want to be associated with it probably.

Q: What would you say is the closest you’ve seen to something that seemed influenced by you but wouldn’t admit that it was you?

Jimmy: The most recent thing that came up is that the new Jack White vocal style is basically a rip on mine. I heard the one song and I was like “Okay, I kind of see it, but it still sounds like Jack White, it doesn’t sound like Mindless Self Indulgence.” Every time I run into anybody, whether they’re famous people, press, fans, they’re like “Oh, it’s so Mindless.” And the guy has to know who we are; he’s worked with Insane Clown Posse. He’s got his nose above the ground so he definitely knows who we are. (Editor’s Note: interested parties can view Jack White’s “Freedom At 21” video here and decide for themselves.)

Q: I don’t know whether I’d be complimented or vaguely insulted, because it’s Jack White.

Jimmy: I don’t care either way – I’ve liked his stuff, but come on, Man. He’ll get a Grammy for that now, and I’m going to sit here.

Q: Totally, that’s so gonna happen. Does that piss you off, or is that not what you’re looking for?

Jimmy: I mean, I can’t escape it. Rodney Dangerfield.

Q: Alright Rodney, thank you so much for your time.

Jimmy: Thank you! Be good.

To learn more about this band, go here http://www.mindlessselfindulgence.com/tour.html

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