On his artist book

Published on: Tuesday, July 06, 2010

Jules Buck Jones, Everglades, 2010

Sleeping with the gators

After one summer surrounded by the boggy morass of the Florida Everglades, writer/artist/musician Jules Buck Jones is more than qualified to rush the fraternal order of the eco freak, joining the cadre of such noted naturalists as Jon Krakauer, John Muir, Marjorie Kinnan Rawlings, Henry David Thoreau, John James Audubon, and, most importantly, fellow Evergladian Marjory Stoneman Douglas. Jones spent an off-season – a humid, sticky, buggy, sweaty off-season, in a bunker, all alone (save for the frogs, herons, owls … and oh yeah, sharks, alligators, crocodiles, and panthers, not to mention pythons) – documenting all manner of slithering, hopping, flapping, flopping beast found in the nation’s beloved river of grass. Suffice to say: The dude is kinda fonda fauna.

Jones’ documentation took on numerous forms and expressions, from factoid-laced text musings to simple scratched-out etchings to elaborate watercolor portraits summoning the spirit of Audubon and Florida’s Highwaymen all at once. He also recorded an entire disc of original music inspired by the sounds he discovered in the ‘Glades and even got the crickets, the frogs, and the night chorus to sit in on this bountiful, boggy jam session. And for all his trouble, Jones emerged from his Florida “vacation” not with the requisite “and all I got was this lousy T-shirt” but with a fertile volume that local bookmakers Monofonus Press have honored with a coffeetable-worthy purple hardback titled Everglades.

The book is guided by the points on the compass: north, south, east, west. And it’s easy for readers to get a sense that Jones well-covered all four on his quest. “It does not take a feat of imagination, a handful of hallucinogens, or even mild sleep deprivation,” says Jones of his temporary home, “to understand this is the first place on earth. In the ripest pockets of the Everglades you can smell the Cretaceous scraps. You can see Pterodactyls.” Jones places himself in the narrative of this creation. Like so many naturalists before him, he goes in for a deep soak. “You can feel your mammalian descendants, scavenging, burrowing, adapting, and breeding.”

Prose like this (frequent throughout the passages) is so rapt in its simple wonder that I quell my impulse to question if he means “ancestors” rather than “descendants,” because I can imagine that in being so saturated in that primordial setting, one’s instincts, feelings, and sense of place could cut both ways. Submersing in “the first place on earth” positions one atop any timeline of survival – that which has come before and that which is yet to arrive.

Despite its adherence to compass conventions, what the book does best is get the reader lost: lost in Jones’ prose, lost in the humidity, lost in time, lost in the simply stunning plates of animal studies (oh, the panther alone!), and lost in one’s own total-immersion experience. Once it hit me how well the book accomplishes this, I soon got over my annoyance at the decision to use difficult-to-read hand-scrawled lettering instead of typesetting. The hand lends a feeling of immediacy and intimacy that a computer could not.

Jules Buck Jones heeded his own call of the wild. We humbly posit that Muir, Audubon, Stoneman Douglas, et al., would welcome him to their ranks.

Austin’s reading series scene is booking good

BY WAYNE ALAN BRENNER

If print is dead, as has been suggested by the usual boys and girls who cry wolf every time a leaf drops, then there’s a fierce plethora of literary zombies shambling through the Austin nightscape these days. Used to be, you couldn’t walk two yards in this town without tripping over some unemployed bass player; now, the situation with reading series seems intent on reaching similar proportions.

Reading series: Where people take a microphone and read a thing, or – stretching the parameters just a skoshie – tell a thing, spin a tale, relate a narrative that’s so well-spoken it might as well be committed to the pages of a literary anthology or an alt-weekly or some superlative pulp-fiction throwback.

Reading series: You have in your mind’s eye, what, some image of a clutch of geezerly writer manqués stinking up a popcorn-ceilinged community-center rec room, taking turns intoning flaccid prose between changes of their colostomy bags?

Eighty-six that notion, good citizen, and put your hands together for Teleportal Readings. For Five Things. For Utter Reading. For Whiskey Rebellion. For the Encyclopedia Show. For the Awesome! and Great! Reading Show. For the Bat Cave’s Story Department. For local instances of national phenomena Mortified and the Moth. Put your hands together for your friends and neighbors who know that print isn’t only not dead but that it gains greater life than ever when shared within a context of camaraderie and, sometimes, music and, perhaps especially, booze.

A few geezers may well be in attendance, yes, for some of them (as ever) know what’s up, but they stick out like palsied thumbs in these crowds of twentysomething scenesters and postgrad reprobates and younger working-class wordsmiths tangling with their first marriages and mortgages and experiments in flash fiction. These crowds, gathered together, in bars and clubs and theatres and wherever there’s room to wet a whistle and prick up an ear, to hear people read.
Teleportal Readings

Photo by John Anderson

Location: Hotel San José courtyard, 1316 S. Congress
Next event: October, at the Texas Book Festival
Website: www.monofonuspress.com

“Teleportal is sort of like a monthly Reading Rainbow for adults,” says Jess Sauer, who runs the series under the aegis of Monofonus Press. (See “When Creative Types Combine Powers,” June 13, 2008, for more on Monofonus.) “We usually have two live readers, and we have a lot of literary content from media outlets around the country. And, where the title comes from, we produce a ‘teleportal’ reading – which is where we have an author reading in front of a green screen, and we have video artists mess with it, adding effects and animated text or whatever. We had one author who wanted to be made into a cartoon, so we did that. Last week we went to New York and taped like nine different writers. And, for the audience, people are used to relaxing while watching movies and TV, and I think that aspect of the series makes it a really good experience even for people who bristle at the mention of poetry or find the literary world pretentious.”

Teleportal is held in the courtyard of the Hotel San José, the show’s lively atmosphere enhanced by the gorgeous minimalist architecture – and the full bar – there. The show’s been well-attended from the beginning (January of this year), drawing Eastside artists and citywide literati and SoCo regulars looking for something new to spike their highballs with. “Having gone to graduate school and been included in that whole academic sphere of readings,” says Sauer, “I wanted something that was really not academic and not exclusive-feeling or in-crowdy or in-jokey. It’s real easy to become all niche-y, and we wanted to be something that was a little more generally user-friendly.

“Monofonus’ Morgan Coy and I came up with the idea for the series,” she says. “We wanted it to be multimedia. I think Morgan came up with the green screen idea; I came up with the name Teleportal. And, of course, we also have local, nonteleported readers. But, even there, we try to have interaction – a PowerPoint thing, or a group discussion. And we make sure not to feature writers who, you know, who just blow at reading. Because there are people who are excellent writers but who, for whatever reason, they’re really bad at reading? That’s not what I’m interested in.”

IF06 is different from previous Monofonus Press releases in its switch from issuing the recordings on compact disc to the digital download. But, lucky for music fans, Looking for a Spark is also available on vinyl. Without listening to the album all the way through, selecting but a few to sample at once, some of these tracks could feel widely dissimilar. One is an atmospheric tune built on a hum and throb behind almost chanting vocals. The vibe of the song makes it ripe for vinyl, with all of the imperfections obvious. Another is a tune of rock and roll desperation with guitars distorted and jangling. And, yet another is flooded with the metallic plinking of a mandolin and the graceful whine of fiddle strings. But, what is revealed is an album full of whispers and pitch-switching vocals, lush and interwoven soundscapes, and dark and artful folk rock. There’s no shortage of sounds and musical equipment on the album either, with everything ranging from a clarinet and a saw heard between tracks one and ten.

The mood of the recording fits well with Hart’s Mile Marker, which is the woeful tale of the doomed love affair between Smitty and Wolf. This winner of the Keane Prize for Literature paints a very vivid picture of the duo’s race to escape bad decisions and a life mixed up with the wrong kind of people so they can stay together and stay alive, and maybe make off with the bad guy’s money in the process. The story is punctuated by the pulpy design and artwork of Noel Waggener, whose work can be seen in films by Quentin Tarantino.

The next release, IF08, is a true story written and illustrated by Thor Harris, which will also include his album Fields of Innards. Stay tuned for a party celebrating the release and Thor’s work.

Label Profile: Monofonus Press

Year Formed:

2007

Present Artists (*Texas Artist):

All Monofonus artists were at one point or still are Texas artists.
Musicians: Psychic Blinders, Ralph White, Diagonals, Over the Hill, the Pillow Queens, John Wesley Coleman III, The Golden Boys, Thor Harris, and the Roller.
Visual artists: Max Juren, Colleen Matzke, Jill Pangallo, Michael Berryhill, Michelle Devereaux, Virginia Yount and Noel Waggoner. Writers: Morgan Coy, Brian Hart, Rebecca Bengal, and Karen Davidson.

Past Artists (*Texas Artist):

No one here gets out alive.

Recent Releases:

IF04: Clear Violet, a story by Karen Davidson accompanied by the Pillow Queen’s debut album Kookoo Legit with art by Michelle Devereaux.

IF05: I Could be so Happy, a comic by Michael Berryhill accompanied by the Diagonals’ debut album, Valley of the Cyclops, with art by Michael Berryhill.

Let me Entertain You, by Jill Pangallo. We published a compilation of writing and art that inspired the performance artist to create her one-woman show for the Texas Biennial.

Upcoming Releases:

OUT THIS MONTH:

IF06: Mile Marker, a novella by Brian Hart accompanied by the second album from Over the Hill, Looking for a Spark, with art by Noel Waggoner. Brian reads from his novella at BookPeople, May 18, 8pm; Noel shows his work at Testsite May 19, 7-9pm, and Over the Hill plays with Precious Blood and The Pillow Queens at the Parish, May 20, 9pm.

Max Juren: Videos, a compilation of the video artist’s hilarious work. Though we already “released” Max’s DVD out into the world, he has an upcoming show at Domy Houston on May 30 at 7pm, for all those jokers who missed the insanity of his one-night-only show here in April.

THE FUTURE:

IF 07: An Ocean of Despair, a true story written and illustrated by Thor Harris accompanied by his album Fields of Innards. There will be an awesome party to celebrate Thor and his work – check our website for details!

IF 08: will be a collaboration between the musician Ralph White, the writer Audra Schroeder and, in a new bold move, a non-Texan artist. Better yet, a Floridian.

Plus new work from Jules Buck Jones, Michelle Devereaux and Andy Rihn.

What was your impetus for starting the label:

Basically, it was Morgan’s idea to give his friends a platform for their creative endeavors, just some way for them to get their work out in to the world. What started out as collaboration between old friends is branching out to include collaborations between new ones, all in an effort to explore and express the ties that bind us together across mediums.

What would you describe as the label’s general aesthetic:

Where fine art meets the DIY aesthetic, we guess. The physical beauty of the packaging is really important to us – we hand print and hand-silkscreen a lot of stuff right here at Monofonus studios, but we also have to keep our budget in mind. Content-wise, there seems to be a certain darkness to the stuff we put out (apocalyptical visions, suicidal depression, alienation), there’s also a lot of humor (the life and times of a waitress in a New Age cafe, the Ren Faire we threw during SXSW, Max).

How do you view the label in relation to Austin’s overall music scene:

Well, it’s Austin’s creative scene that inspired us in the first place and what keeps us going today, so we guess you could say that Monofonus is a tiny beast suckling at its teat. You know, we’d shrivel up and die without it. That said, we definitely think we throw the best parties of any label in town. And, yes, that is a challenge.

And though we don’t work directly with all the bands in town, we do try to include as much of the scene in what we are doing. We just launched NONOFONUS on our wesite, which is where we highlight bands that haven’t actually collaborated with us, but who we think are rad, like Pataphysics, Foot Patrol, Hello Lovers, Human Milk, and so on. You should check it out! You can buy all kinds of records and cool shit on our website.

Could you explain the idea behind the IF series a bit and how that got started.

The whole point of the IF Series is to not only encourage collaboration across mediums, but to give people access to mediums outside of the ones they usually buy. Basically, we want to get books in the hands of people who buy records, and vice-versa. It was the IF Series that started Monofonus. Originally, that’s all we did. We’ve since branched out to video and clothes and you-name-it, but really, the IF Series is the heart of the label.

If you could do an IF release bringing together any writer, musician, and artist from any period past or present, what three would like to see collaborate for a fantasy project?

Morgan: Literature by J.G. Ballard accompanied by an album from Thin Lizzy with art by Charles Burns.

Will: Literature by Screamin’ Jay Hawkins accompanied by album from Bo Diddley with art by Aubrey Beardsley.

Diana: Literature by Hakim Bey accompanied by an album by Amon Duul II with art by Yoko Ono.

What do you feel are the advantages and challenges of running such a multimedia and multi-platformed operation?

It’s great to have so much creative input, so many ideas floating around and so many talented people to make them happen. Communication can be hard sometimes, wrangling all that talent and all those ideas and making them happen. And it’s really hard to get the word out there because Monofonus is not simply a record label, and we don’t want to be seen as such. But, the music is what gets us noticed the most, it seems.

Given infinite resources, what major band or act would y’all most like to have on the label:

It is a tie: Either an IF Series by Terence Malick, Dirty Projectors, and Daniel Clowes or a triple-threat IF Series by Richard Simmons.

What do you feel are the most important elements for success of an indie label:

Having an actual business manager, which we don’t have. What we have here is basically an art collective of idealists and a benefactor who just wants to recoup some of his dough, some day. If you have any experience in making something like that happen, please send us your resume.

What have been your most gratifying and most difficult moments in running the label:

It’s incredibly gratifying to produce such amazing packages created by our talented friends. It’s incredibly difficult to traverse the perverted world of public relations, where places like MySpace are a necessary evil.

What are your thoughts on the current state of the record industry, especially in relation to new technology:

See above. Then add to that the fact that the internet is the only place where unknown people become known with little or no money. So, places like MySpace and Facebook really help us spread the word about our events and releases, and we’re really proud of what we’ve accomplished so far, but we want to go global! We want to see our artist’s names in lights!

Other than the label’s bands, what’s playing at Monofonus headquarters these days:

Pataphysics, White Denim, Sublime Frequencies label, Not Not Fun label, Black Lips, Inside Voices, Baris Manco, 91.7’s Jamaican Gold, Sam Cook, K’Naan, Storm Shelter, and Aaron Blount.

“The plan was always to get up on stage,” said bass guitarist Eric Loftis.

“We started out pretty easy, just jamming in my friend’s backyard in a tiny trailer,” said drummer Carolyn Cunningham, “but after a couple months, we started playing gigs.”

The foursome, including guitarists and vocalists Will Slack and Duncan Malashock, began playing music together almost two years ago and just released their debut album, “Kookoolegit,” with the Austin-based label Monofonus Press.

Monofonus Press is a multimedia organization that combines music, literature and visual art. Kookoolegit is accompanied by the short story “Clear Violet” by Karen Davidson.

“The authors, artists and musicians all support each other with their product,” said Cunningham.

Kookoolegit is a buoyant rock-party album sure to get you head-banging along in your car. The album compels you to dance around your room in your underwear like no one is watching with pulsating tracks like “Real Cool Head” and “Hot Song.” The life-sized beats supplement amusing story-telling for most of the album’s 12 tracks.

On a few tracks, like “Original Bad Boys of Crime,” the band seems to overpower the raspy vocals of Will Slack. But on the second track of the album, “Regional Flutes,” Slack’s vocals stand out alongside gentle guitar strokes in the beginning of the song and hold strong as the song heats up with escalating drum licks.

The band, which discovered its unexpected name while searching the lesbian profiles on Craigslist, likes to describes its genre of music as “garage animal.” The description fits with the rattling tracks “Animal Poseurs” and “Wild Kingdom.” The humorous, nonsensical lyrics describe people posing as different animals and conversations with a dog.

“I never write songs with words in mind; I usually just have an idea of what the music is trying to describe and the words will go along,” Slack said.

It’s hard to imagine the ingenious lyrics “I’m gonna break up this band, sail everyone’s ship so I can afford to snowboard indoors in the desert in Dubai. I’m gonna shave off this beard, sell a pint of my blood so I can look so porcelain pale in the highest hotel” for the clever song “Dubai-bai” were written to float along with an already-existing beat.

Pillow Queens’ CD release party at the Compound on East Fourth Street last Saturday drew a rowdy crowd, although the band says, “most our fans are our loyal friends – for now.”

After two years of music-making, the Pillow Queens have fine-tuned their musical styles and writing techniques to better compliment one another.

The confidence shows onstage as the Pillow Queens interact with each other and the audience in an energetic yet nonchalant manner.

Except for a few minor technical sound issues, the band rocked hard. Cunningham pounded the drums with all her might, and she never lost the rhythm, even as her glasses slid down her nose.

At the end of September, the Pillow Queens will head to the northeast for a 10-day tour for “Kookoolegit.”

The band said they have evolved since they first started jamming together in that tiny trailer.

“We would practice, drink beer and write songs. It was a lot more work than I expected it to be, but it was fun. I loved it – and I love it now,” Cunningham said.

Read the original article here…

Profile: Diagonals

Year Formed:

1964

Members/Instruments played:

Ryan-guitar, Todd-drums, Wiley-keyboards, Nate-bass, Steve-guitar and vocals

Former Bands/Side Projects:

Steve was the nineteenth and fattest bass player for Austin legends Black Lipstick.

Albums:

We have an ep coming out July 4th and a full length LP in the fall on edible vinyl.

Influences:

13th floor elevators, old REM, Sonic Youth, Tom Petty, Velvet Underground, Dick Dale

Strangest comment or comparison ever made about your music:

Dude once told me “it sounds like shit”. Thanks alot dad.

Favorite local bands:

Horse + Donkey, Yellow Fever, Follow That Bird, Octopus Project, Golden Boys

Favorite local venue:

Beerland has always been very supportive and done a nice job with the sound.

Upcoming shows scheduled:

July 4th big time party at this warehouse art space called the Complex, July 5th at the Monarch with Pataphysics, July 6th at Red 7 with Strange Boys.

Ideal band to open for on a national tour:

The Stones

Austin Sound questions:
Top 3 favorite geometrically inspired songs?

Most of the songs are based on some sort of love triangle. Only one song is based on a square – “Clownfucker”

Y’all always have amazing show posters. Who usually does the artwork for y’all?

Ryan has done some and Wiley.

Song Introduction:

”Clones” is about meeting a clone of myself (Steve) and he destroys my relationship with my girlfriend. She leaves and I’m left fucking myself. Then he kills me and starts a new life with my shit.

Sound Off:

Drinking problem weed smoking three a.m. holy mountain donkey kong galaga e chord a chord d chord change married bald chubby cigarette video store. Mexican short stack wizard gamer for hire strands leading packs of wolves. Frontiers white and black stunned and perplexed magnet chicks buried in a paragraph divorced from the 90’s. Four levels of knowledge forged in disco octaves covering hotheads hotheads new guy old amp. Mormon lizard hatched from eggs meant for scrambling beat up kits beat down shits trading days for less.

Original article here…

Profile: The Roller

Year Formed:

2005

Members/Instruments played:

Ed Davis – bass, Mike Morowitz- voice, Jeremy Jenkins – drums, Theron Rhoten – guitar

Former Bands/Side Projects:

Axes To the Sky (Theron)

Albums:

4 song demo 2007, S/T debut on Monofonus Press 2008
coming soon…..
Split 7″ on Raven’s Eye Records
Split 12″ with Samothrace on I’m Better Than Everyone Records

Influences:

Nature, History, Tones and Vibrations.

Strangest comment or comparison ever made about your music:

We’ve had someone come up to us in L.A. and tell us we made their ear bleed. Literally!
The bartender at the Samuri Duck in Eugene, Or. said pieces of the ceiling were falling off
during our set. Get ready to rumble was never a truer statement.

Favorite local bands:

All of our friends band rule except…………………… just kidding we love you too..

Favorite local venue:

Emo’s & Room 710. Shit we like em’ all.

Upcoming shows scheduled:

Sept 5th at Emo’s with Weedeater & Lions of Tsavo
Sept 12th at 710 with Samothrace, Fuck Work, and The Maelstrom
October 6th @ Emos w/ Saviours , D.S.B. (japan) & Sacred Shock

Shows over the next month that you’re excited to see:

OM, Witchcraft, and Graveyard.

Some of your favorite albums from the past year:

Saviours “Into Abadon”, Graveyard “S/T, Skeleton Witch ” Beyond The Permafrost”
OM” Pilgrimage” Funeral Mist “Salvation” Samothrace demo

Ideal band (past or present) to open for on a national tour:

Uriah Heep circa 72′ . Such killer jams -The Gypsy, Bird of Prey, Walking in your Shadow etc.
My mind wouldn’t have enough time to recover before it was blasted again and again.
If your not familiar and dig heavy music it really doesn’t get any heavier than this.

Austin Sound questions:
We’ve been really impressed with Monofonus Press’ output in any number of media. How did y’all get hooked up with them?

Morgan Coy is good friend of ours. As far as the collaboration goes we’re all friends so it made sense to keep it in the family.

Top five greatest “rollers” (in any context) of all time?:

Tommy Chong, Mark Gonzales, Goblin, Man is the Bastard, and us of course.

Song Introduction:

1. Zugunruhe- Tune in and listen. Let the vibrations crash over you like the oceans of time and space.
Suddenly consciousness occurres. Realizing your journey you set flight. With your path before you, you begin you quest to forever occupy the sky. Gone gone gone beyond gone beyond beyond………….

Sound Off:

Blacker than a char broiled burger. Heavier than a gnarwhale. We maintain a Beach Party Attitude
24/7.

Read the original article here…

Thanks for breakfast, man.

Yeah, no problem…here, lemme show you the poster [for the party]. It’s weird, they got these kids in the art dept at ACC to do it. It was originally gonna be a cowboy with wings, like a flying angel cowboy, and then John [Herndon] came up with this idea and the phrase “Spiritual Outlaw” and they pulled this photo of me from five years ago off the internet.

How did you meet John Herndon?

I just happened to have a poetry class with him. I’m 32 and I haven’t been to school in 8 years—first of all I haven’t been to school in 8 years, and second it’s my first time going to school in Austin. So I turned in a manuscript and he read it and found it amusing, I told em about my book and he contacted me and basically said, “You wanna do this party, a reading? We’ll give you some money and free food for you to host this party.” So I’m gonna read and do music and host a party at the college.

What do you have planned?

I was thinking about reading GG Allin lyrics and DH Lawrence poems backwards, while walking backwards.

That’s gonna be tough. You can’t have any distractions.

Actually I want distractions. You have to have distractions in order to have attractions.

Tell me about American Trashcan.

This book is one of four. To begin with, [when we first moved here] we lived in this crackhouse on Chicon and Rosewood, prostitutes hanging out on my porch and everything, and I was stoked because it was just weird territory. First time hanging out in true ghetto Austin. I recorded a record and did these four books and they’re all kinda related, and I was gonna put it all together into a big huge coffee-table sized book, 80-100 pgs, of drawings and paintings, stuff like prostitutes with huge fake eyelashes and painted lips and smoking cigarettes and driving limos and cats as pimps hanging out on the corner. They’re really bad drawings, but taken all together they’re sorta fun to look at. Scenes from the projects, but all exaggerated.

So my friends were like “This is cool, you gotta do some more,” and I did a bunch of little 40-50 pg booklets, like tracts. And eventually I showed it to Morgan [Coy, owner/operator of Monofonus Press) who I met through some mutual friends and he was like “let’s put it out” so we’re putting out a CD of about 20 songs of stuff I recorded over the years with this book, and the whole thing’s called American Trashcan.

How did you hook up with Morgan?

I met him when I was just running around meeting people and stuff when I first moved here. Morgan and I had a band for a while called Power Animal. It was short-lived. Morgan got the fire kicked in me though, and so he’s putting the book and the record out.

The interview basically ends at this point, but if you would like to read JWC’s recollection of a humorous incident from last year’s Golden Boys/Strange Boys tour you may do so below.

Well, thanks a lot for breakfast. It was delicious.

My pleasure! Interviews are hard. All I have to do is sit here and talk. We did an interview for the Chronicle and they spent like $200 on this bar tab for us. They wanted to get us wasted so they made us drink shots, from 7 to 10, until 10pm felt like 3am. Then it became really late and we were just so blind drunk. I didn’t know we were gonna be on the cover either, with The Strange Boys.

But yeah, we just did an East coast tour with the Strange Boys. We were on tour with them in Connecticut, in this really chill fish ‘n chips tavern in Stanford, Connecticut, near the ocean. And all these old guys were there standing around; they didn’t wanna hear any loud psychedelic, blown-out punk rock bands. And so the Strange Boys go on, it’s all this weird throwback psychedelic soul music, and these old guys didn’t get it at all because that’s the kind of music they remember from their childhoods and yet the Strange Boys all look like they’re 19. And so the Strange Boys were all drinking and these old guys are like “Should those kids be drinking up there?” and I’m like “Yeah! They’re my nephews!” And then they come up to me like, “Hey Uncle Wes, can we get another beer?” And I’m like “Yeah!” And these old guys were looking at each other like…

Do the Strange Boys always call you Uncle Wes?

No.


Read the original article here…