Wednesday 13 is a man of horror, metal, honesty, and so much more. He graciously sits down with Loud Hailer to discuss touring and the music industry.
How does someone keep grinding for their passions of several different projects while maintaining a family life? Well, Wednesday 13 proves that it can be done. Having been in several bands and have written a lot of songs, Wednesday 13 is a legend in the rock and metal industry. While having to balance all of this on his shoulders, he is humble and cares about his fans and family. He also is passionate about horror, which is touched on in this jam-packed interview with Loud Hailer.
LH: You guys got a tour going on, and you are still killing it. You have been killing it for so many years, but just how are you, man? You’re always busy. It seems like you can never catch a break.
Wednesday 13: I don’t think I ever really look for a break. That’s probably the reason why I don’t ever get one ’cause I’m constantly busy, and I don’t really look at this like a job. It is a job, but it’s the best job in the world, and it’s the most fun job because I’m my own boss, and I get to do my own thing, and it’s fun for me, and if I wasn’t having fun, I wouldn’t be doing this, and I sure as hell wouldn’t be doing it as long as I’ve been doing it, you know? I started playing in bands when I was 15, having the dream of being a rock star when I was 12 or 13 years old, and I’ll be 43 and August, so it’s been a long road, and I’ve done a lot of cool things, and I’m still plowing away at it.
LH: Now, in looking at your background and doing some research, I’m actually currently watching your Bloodstock 2018 performance, and it is heavily, at least the intro, it’s heavily influenced by The Shining. Are you bringing that onto this tour as well, a little influence from your favorite horror movies?
Wednesday 13: I’m always giving a nod or doing something toward a horror movie, and the Bloodstock performance, for example, that’s the only time we’ve ever used The Shining door. That was just one of my ideas that I had, and I told one of my crew guys, like, “Man, it’d be really cool to come out of a doorframe, a REDRUM doorframe. I know it’ll be weird just having a door in the center of this gigantic stage in front of 30,000 people, but it could be cool,” and he built it, and we did it, and it looked awesome. So, that prop is in Europe, so when we go to Europe, I will work that into the stages that it works on, but in the meantime, there’s always little things. Our show is full of little theatrical things like that. The bigger stages, we can do bigger stuff. The smaller stages, we have to rely on the smaller tricks, but it’s a full on theatrical show in the spirit of Alice Cooper and KISS, which are my heroes, my mentors. I blame them for everything that I do. They’re the reason I do it, and then I’m glad to keep carrying the flag for that type of music. KISS, Alice Cooper, W.A.S.P., Twisted Sister – that was my upbringing, and that is still what I hold dearly to my heart and what I do, and I just think we’re doing a more modern version of kind of what I grew up on and my own stamp on it.
LH: Yeah, definitely, and keeping it going about the show in particular, you guys have played bigger stages from festivals and arenas to smaller more intimate venues.
Wednesday 13: Intimate’s a nice way of saying horrible. Just so you know, when anybody goes, “Oh, that’s a really, cool, intimate venue,” when they say, I asked someone, “Hey, have you ever been to this venue before?” They’ll go, “Oh, yeah, it’s small. It’s intimate.” That’s their way of saying you’re going to hate it and your band’s not going to fit on stage. Just so you know, intimate means sucks.
LH: Better known venues?
Wednesday 13: Man, there’s been so many places we played. I don’t know where I play, but usually the worst places are the ones that stand out in my mind, and then I try to forget those instantly.
LH: So, I guess I already got my question about if do you prefer the bigger atmosphere like a festival or an arena or do you like the sweaty, kind of like… I really refer to it as an intimate venue because you really get to be close to the fans that want to be close to you as well.
Wednesday 13: Absolutely, and I wasn’t mean at all small places. Like some places are intimate, and they’re cool. There’s big clubs that are intimate and cool. I mean, we unfortunately over the years have played intimate gigs where we’re like, “Yeah, it’s an intimate gig, thanks for coming out,” and then somebody goes, “Table six your hot wings are ready.” Those are the intimate gigs I can stay away from. The other cool clubs and things like that that we’re playing, and a lot of these places we’re playing on this upcoming tour, those are great. And I love playing festivals too because it’s such a different, different thing. It’s not your entire audience, so you got to kind of go out and win the audience over. So, for me, I like playing different things. I think it’s healthy to play in different atmospheres, being on a huge stage, being on a small stage, and that’s the thing with people that practice. I tell bands all the time, they go, “Man, we practice all the time,” and I go, “Well, just know when you get on that first stage, everything changes.” Just like a boxer, you train and you got this plan until you get punched, and everything changes, and it’s like you can practice all day, but when you get on that first stage and the acoustics aren’t the same, it doesn’t sound the same as your practice stage, it’s a brand new thing. So, I tell my band when we rehearse for a tour or whatever, I’m like, “All right, we’re going to rehearse for three or four days, we’re going to get this shit locked down, and when we go on tour, we’ll figure it out because there’s no point.” At least for me, that’s how I’ve done it and the way we’ve had to do it. We don’t travel with our own sound system and sound men and all this stuff. We don’t have the luxury of that, so we just figure it out as we go.
LH: I know that it hasn’t been too long that you’ve had management, and you had been doing all this stuff yourself I think you said in a previous interview for about the past three or four years. Do you think that, in a way, in itself can contribute to the rawness of the music? Do you think it in some form or fashion can bring out the best and the most ruthless?
Wednesday 13: I think so. I think anybody that gets comfortable and relaxed and anybody that says they got it figured out and, “Oh, I got this. No, it’s easy,” I think they’re lying. I think, for me, I think constantly being pushed or having things change… When I switched up, I had a manager for many years, and then when we parted ways, I started doing things on my own, and that took a whole different thing to get used to, and I was more involved with handling my stuff. It made me a better business person, and I was paying attention to things that I wasn’t paying attention to before, but it did make me work harder because I’d seen the bigger picture and I’d seen things I needed to do, but yeah, there’s a lot of bands that have it easy and don’t have to work hard or think they don’t have to work hard, and I think that shows. That’s why I don’t really like any newer bands or anything that really just stand out in my mind. To me, when I say newer bands, I mean new bands that are not even new, like Mastodon and Ghost. Those bands are great, but then you have these up and coming bands that just don’t even try or seems like they don’t even try and use an auto tune on their vocals and just… I don’t know. People kind of lost the fun of just getting in a garage and making music, and they go, “Oh, we can make music through our computer here, and look, I don’t have to play this. Look how good that sounds.”
LH: Well, I think not only due to the modernization of technology, but I do think that the soul could be there in the more modern music, but I also feel like even when someone’s making a song on their computer or they’re doing things the easy way, they’re not even putting soul into that. They’re not putting their effort into that.
Wednesday 13: Yeah, and that’s the way… And, again, not knocking computers. I mean, this whole new record I did, we used computers and Pro Tools and things like that, and we use it because we use the technology of what it’s used for, but that doesn’t mean that we cheat the way that we play or alter the way that we play, or I go, “Oh, I can’t sing that way. Can you auto tune my voice where it sounds good?” If I can’t do it, I’m not going to do it. So, technology is there, and people can use it to their advantage, or they can use it way beyond their advantage and do things that’s not possible, so when you go see them… I can’t tell you how many bands I go see live and people are just so into them, and all I can do is listen and watch them and go, “They’re not playing that. I hear four different instruments that aren’t even on stage. Who is playing this?” And everyone is just into it and going, “Yeah! Yeah!” because everyone’s grew up on American Idol now, and they think that anyone could just walk in a room and start singing and a band just starts playing. It’s like fairy tale.
LH: Right. I definitely… And I mean, being a concert goer myself, I’ve personally seen backing tracks that didn’t even feel necessary. You could’ve played that part of the song. It wasn’t that difficult, but it was still there on the backing track. So, I can totally understand.
Wednesday 13: I mean, backing tracks are great if you use them for what they’re for. For example, we don’t have a keyboard player, and we don’t have keyboards in all of our songs, but we do have them on a couple of songs, and we use that track as the background, and it’s something that adds to the song, but it’s still not like… We don’t have like an Elton John player back there doing… It’s not the main thing of the song. We do use tracks, but we don’t use any track. There’s no guitars, there’s no vocals. If anything, it’s all just sounds and little bells and whistles that we add to our music. It’s more an atmosphere track than anything that we use, and I’ve never ever once and I never ever will use background vocals, fake tracks, guitar tracks, none of that. That’s not rock and roll to me. I spent the first half of my life standing in front of a mirror lip syncing and playing along to my favorite records. I’m sure as hell not going to go and lip sync and do that on stage. I’m going to go do what I learned. I stood in the mirror forever. I’m not going to go on stage and lip sync and pretend like I was 12 again. No, I want to give you what I learned.
LH: Now, I did notice in the Bloodstock performance that your drummer has an iPad. Does he do most of the operations for when you have to add those little elements live?
Wednesday 13: He controls the whole show. Basically, our iPad has our intro for the show, and basically when we hit play, the intro starts, and every song is synced up. I don’t talk to the audience. I don’t ask the crowd in between songs, “Hey, everybody! How are you doing? How’s it going?” because I figure you’re doing pretty good if you showed up, so I don’t need to ask you that. That’s just kind of a dumb question. So, I don’t really talk to the audience. So, the way our show flows is the intro starts, he starts it, and he’s getting all of his click counts and everything off of that, so he hears how to start the songs. He wears an earpiece, so all of our songs are on a click track just to make sure that we’re not speeding up and playing too fast. He just keeps the groove down. So, that’s basically just… He’s the sound guy. He used to do our keyboards and stuff for us because he was our keyboardist in the band when we had a drummer, and then our drummer quit, and he became our drummer, and then we put all the keyboards and sounds and things he was doing onto the track. So, he is the man that operates all of that, and our show just flows like a movie. We hit play, my intro starts, and we go out.
LH: Well, now the one thing I want to ask about the show itself is… Because I went back and I watched a few shots of you in different venues and stuff, and it seems like no matter where you’re at, who you’re playing to, there is so much energy, and for you to have been at this so long, what do you do to help maintain that energy and that voice because your vocals are so powerful? What do you do to protect, not really protect, but just to help yourself keep that energy going and keep your vocals fresh?
Wednesday 13: For me, it’s been a long road of learning how to be a frontman, learning how to control my voice and not blow it up or blow it out, and when I first started doing this, my first couple of records or even… Yeah, my first three or four records, I would go out on tour, and four or five days into the tour, my voice is already wearing out or blowing out, and I’d have to cancel a show. But strange as it sounds, I’ve been doing this for a long time; I’ve really just in the past few years learned how to control my voice, learned how not to hurt it and damage it where I’ve got to cancel shows, and there’s days where I feel like a lord, and there’s days where it’s not as strong as I want it to be. People probably wouldn’t even notice it, but I do, but as far as just the energy and keeping things going, for me, again, I want to put on a show. I wait around all day, I’m in a foreign country, and I got an hour to play. So, I’ve waited around 23 hours to play a show, so it’s just kind of like an animal in a cage being poked, so that energy kind of is that. But for me lately in the past year, especially, last year I stopped drinking. I used to drink like a fish, and that was slowing me down, and now that I’ve stopped drinking and started exercising and just literally changed my whole diet and a lot of things in my life, and it’s just got me more energetic, so now when I watch videos of me last year in 2018 versus 2017, I can see the hungover drunk guy, and I can see the insane, crazy, I want to eat your children guy that you’re talking to right now.
LH: Right. Well, man, I gotta say, you look and you sound great.
Wednesday 13: Thanks man! Yeah. I’m a grandfather. I have a 21 year old daughter. I have an almost two year old granddaughter, and so a lot of things changed in my life. And I changed up a lot of things in my life and got healthier, started exercising and so now when I go on stage it’s just like Rocky for me. I go out it’s a fight, you know? It’s not me just going up there, going through the motions, calling it in. I don’t care if there’s five people, 500, 5,000. You’re going to get the same intensity that, that’s just how I do it. I don’t see it any other way. There’s no other way to do what I do without doing it the full way.
LH: Definitely. So switching gears here a little bit. Obviously, you’re a big horror fan. And I’m not going to ask you the same questions that you always hear like “What are your most favorite horror movies?” Or things like that. I know that you love The Shining and that is one of your, if not, your all time favorite.
Wednesday 13: Mm-hmm.
LH: And you also said that one is one that still scares you to this day.
Wednesday 13: It creeps me out a little bit, yes.
LH: But, my question to you is kind of a more modern one – are there any remakes of any of the horror movies that have been remade, because I mean in video games and movies, remakes are all the craze now. So, have there been any that you’ve actually been able to sit through or you just can’t get with them because, you know, you’re an old school horror fan?
Wenesday 13: Yes. I can sit through them. I have sat through most of them. Being that I am an old school fan, it’s really hard to take some of these movies that they’ve remade, because they just did them so bad. For example, I loved Texas Chainsaw Massacre. That probably is one of my favorites next to The Shining or is my favorite; I loved it. I love part one. I love part two. I kind of consider them one big long movie. Then I heard they were remaking Texas Chainsaw Massacre. I was just like, what? What are you doing? Are you using any of the original people? Nope. It’s just we’re remaking it. So, I wanted to hate that movie. I wanted to hate it so bad; just didn’t want anything to do with it. Good friend of mine watched it, called me, said “Dude, it’s great. You should give it a shot.” I watched it, I thought it was awesome. I loved it. Totally opposite what I thought, stayed cool to the story, had some cool people in it. I dug it. I thought it was great. Now, I watched Hills Have Eyes, the remake. It was horrible. I loved the original and then so it was kind of hit or miss. There’s remakes and then like, just like the new Halloween they just redid, you know? That’s not really a remake but it’s a reboot of the franchise and it was great. But, everything else in between all those ones from part three on, really have just been a what?
LH: Well, I do think that a lot of people thought that and that’s why they kind of took that timeline away, because basically, all you need to have seen were the first two.
Wednesday 13: Yeah, which is okay. I felt four and five was a cool story. I like the thorn story. I like all the cult and whole thing they did with those, and lots of those movies are so edited you really have to read into all that and know most of that because they don’t really explain it in the movies. I liked that, but when they started getting into Busta Rhymes on Halloween, I was like “I’m outta here…” Nothing against Busta Rhymes, but geez, I don’t need him in my Halloween movies, and my whole thing about remakes is it’s kinda like, okay, you’re going to remake this. You gotta remake Halloween. You gonna give it to Rob Zombie. Great. But, my whole idea is make something new. How hard is it? It’s not like Freddy and Jason and Leatherface, like these guys were the be all, end all. There’s more ideas out there. People need to use their brains. You don’t have to watch the 20th version of Texas Chainsaw Massacre. Make up a new killer. Make up a new guy. You know? That’s my whole thing. Everyone’s kinda concentrating on doing, either remaking or they’re just making horrible, horrible versions of what the Exorcist was. The Possession of Emily. The Orphan. The this. The… whatever. The Uninvited. The, it’s just demon possession movies are so boring to me.
LH: Being in the music industry so long and watching it evolve from the way the instruments were played to the way that consumers get their music, I always love to get someone’s take that has been in it for a long time. What is your opinion on the newer ways to consume music, such as streaming like Spotify and Apple Music? And, Napster recently made a comeback and now they have a streaming service.
Wenesday 13: You know, and people are probably gonna go “I don’t agree with you.” But, I guess until someone’s in my shoes or an artist is in my level of this Spotify age of people downloading music, I don’t like it. I think it sucks. I think it’s also really cool that, in your hands, if you have a Spotify account you can literally look up anything and listen to anything. That’s amazing. You don’t have to travel with books and CDs, you don’t have to travel with movies. You can watch it all on your telephone and listen to it on your telephone. I think that’s amazing. It’s a cool thing. But, at the same time, what I don’t think is cool, is to know that someone listen to my album 3,000 times in 2017 and I made 8 cent off of it. They never bought the record. They never looked at the artwork that I spent a month or two working on. They didn’t read the liner notes that I spent hours writing out. They didn’t look at anything. They don’t even know what the album cover looks like. They may know the record. But they don’t know anything about what’s inside of it. They’ve never held it. To them, it’s just like a ghost floating. And I’m from the old school where you buy a record at a record store, you go home, you put it on, you look through the artwork, you read the lyrics. You get into the mind of what the band was doing and you listen to it and when it’s done, you go that’s good or that’s bad. And now people are just like “I don’t like that song. It was free anyway. Let’s skip this one. I’ll go listen to Jay-Z.” So, it’s the sign of the times. It is what it is. I don’t think it’s cool for artists to have their music taken from them like that. It’s stealing. But, at the same time, you’re going “Well, look at the bright side. People can listen to your music that would never give you a chance.” Yeah, that is the bright side. And they did listen to your music. And you still made a penny off of it. Again, it’s not all about money, at the end of the day. It’s just, it is thieving and it’s something that people have made it… tried to be okay for people. But, I look at it as stealing. If you’re going to download my record; great. But, go buy it afterwards if you like it. You know, go have the physical copy of it. But it’s like, I had all my stuff taken off Spotify because I’m re-releasing all my records and everyday kids are going “Where’s your music? Oh my God, my life is ending. Where’s your music?” And I’m like “I hate to be an old man here, but how about you be a dinosaur and break out that CD?” And then someone writes back “Man, to get your CDs I’ve gotta go through Amazon. It’s like $40 and then I gotta do this, and then I gotta do this.” And I’m just like “Man… If I had a violin, I would start playing it for you right now.” It’s just people have a certain way… Yeah, me, I’m a physical copy guy. I like my bands. I like looking at it. I like holding it. Just like when I buy DVDs. I like to look at the packaging and stuff on it. But that’s just the way it is now. And it sucks, because this new record, I’ve put so much work into the artwork. There’s two different album covers, there’s so much stuff going on and I know that probably 50% of the people that’s going to listen to it won’t even see that. Sad, you know? It’s just like… But, I’m not going to work any less on it. But, there are bands that know this information and know that people aren’t going to look at it and that’s why they don’t do cool album covers or put any work into it. And that’s why it looks as shitty as it does.
LH: Well, you know, kind of still speaking on the modern end of music nowadays. What do you think is one of the biggest challenges that you face being a touring or recording musician now versus, maybe somethings that you’ve might not had to deal with back when you did your first few records and first got going?
Wenesday 13: The main thing that I have, that has become of… standard thing that I have to work into my tours now and this is not just me. This is everybody from my level up to Rob Zombie, Marilyn Manson, Beyonce, whoever. Is the meet and greets that all bands do now. And, for a lot of fans, they look at it as “Oh, I got to pay to meet you? I used to meet you all the time for free. You’re a jerk; you’re charging us.” And they don’t realize that the reason a lot of bands are doing this is because we don’t make any money from our record sales. And, this is the only other way that we can make up for that lost income in order to tour. And that’s just to barely scrape by. It ain’t like we’re making big money. But, it’s like, if we don’t do meet and greets, I wouldn’t be able to do this upcoming tour. There’s just no other way around it. I’m not making enough to do it. And that’s how we have to do it. Now, for an example, like Beyonce, she can tour all day and doesn’t have to do any meet and greets. She does it because she can make $1,000 a person and she’s gonna do it. I do it because we have to do it to make ends meet. But, I also enjoy doing it. I’m not doing it because I don’t like it. I make my meet and greets special. They’re limited every day to a certain amount of people. It’s not just a free for all where I’ll meet as many people. There’s 17 people on my list I can meet per day; that’s the max. And that’s three different levels and I make it worthwhile. People get to spend time, they get presents, they get merchandise, they get to hang on my bus, they get to watch TV with me. It’s not just a “Hey, how you doing? Get the f**k outta here,” which I see a lot. So, I’ve made my meet and greets special for my kids. But to answer your question that’s something that I’ve had to work into my touring now as a main thing. Where I go “Oh, I’m getting a t-shirt” I have to get the meet and greet packages together because that’s how a lot of bands survive.
LH: So, you are a man of many sounds! Tell us a little about Bourbon Crow?
Wenesday 13: Oh! That’s my country project Bourbon Crow; yes. Yeah. I’m a man of many, many hats. That’s my cowboy hat wearing band. Bourbon Crow is a side project I’ve been doing off and on since 2005. We have three records out and the one you’re talking about probably is the Live DUI from Canada, which is from our tour we did a couple years ago, so, that’s something I do on my spare time. That was my drinking project and I stopped drinking last year, so I haven’t really focused on that as much. But, yeah, I had like a drinking country outlaw project that I do and that’s Bourbon Crow. A total separate thing from Wednesday 13. Doesn’t sound anything like it, but if you like songs about getting drunk and drunker; this is your band. This is not the cookie cutter crap that I don’t even consider music today. This is good old Hank Jr., Waylon Jennings inspired, sitting around a campfire, outlaw songs about drinking. That’s where I come from. I’m from North Carolina. I’m from the South and this new country music is… I can’t even explain some of the stuff I hear when I go into Walmart and they’re playing some of these songs and I just start laughing at them. I actually heard a song the other day. Not these exact words, but I heard somebody, some country song it was like “It’s like Twisted Sister and something something and Def Leppard and …” I was like what did you just put in this chorus? Did you just refer to rock lyrics in this pop country song? It was the worst thing ever. And, that’s a whole ‘nother hour conversation we can have on just how horrible country music has turned.
LH: Yeah. Man, I can’t believe I didn’t know about that, because I’ve been following you since Murder Dolls.
Wenesday 13: Yeah, man. I got a couple… I have that project. I have a project called Gunfire 76 which is one album I put out, which is just, more of a straight ahead rock and roll. It’s not a shock rock thing. It was more inspired by Hanoi Rocks and The Damned and stuff like that. So that’s another project I have as well. But, these are just recording things. I don’t really get a chance to tour out on them that much. Minimal touring on it. But, my main focus is Wednesday 13 and Murder Dolls is, you know, that happened. If it happens again, I do not know. We shall see.
LH: I know that you said from a young age you wanted to be a musician. When did you really want to put some theatrics behind it? When does the idea start toying around in your head like “Hey, I want to take my love for horror and bring it into the music”?
Wednesday 13: It was pretty easy, you know, once I got a guitar, I had to beg one for Christmas. I think Santa Claus brought my guitar. I was still pretending to believe in Santa Claus as long as I could; I was gonna hold onto that, even though I knew. I was like “I still believe in him! I know that’s what he wants, mom. But I still believe in him.” And I would like a car, but, Santa Claus brought me a guitar one year. And I didn’t know how to play it. I literally just turned the strings ’till I could make some cool sounds. Never tuned it. Then I went “Aw, man. You know, there’s too many strings on this. Maybe I should play a bass; there’s only four.” So, I asked Santa Claus for a bass. Bass comes next year. I get a bass and a tuner. So, instead of learning the bass I tune my guitar with the tuner and started playing guitar. So, when I started learning how to play, standing in front of my mirror, lip syncing to songs, pretending to play. Then my friend taught me how to read tablature out of guitar magazines. And I learned how to play the first Faster Pussycat record. That’s the only guitar lesson I’ve ever had in my life, was by myself, reading the tablature to the first Faster Pussycat album. That’s how I learned how to play guitar. I can play that entire record. I know every guitar lead lick on it. And that’s all I ever learned and that’s all I ever did.
So when I started writing songs and started trying to go “Okay, well, I wanna write my own song,” first question pops in my head, “What am I going to write about?” So I ask somebody “Well, when you wrote songs, what do you write about?” And the question is; what do you know about? I sing about what I know about. I sing about this. I sing about that. What do you know about? I know about horror movies. I know about Little Rascals. I know about Bugs Bunny. I know about all these cartoons and all these movies, and somebody was like “just write what you know.” So, when I started writing music, I wrote what I know. And then, it just became a horror of songs. And, of course, I love Kiss. I loved Alice Cooper. So that was, “Cool, I want to do something like that” and the whole thing of going horror as much as I did sort of being the 24/7 horror rock band is because there is no 24/7 horror rock bank. Even out there right now. There isn’t anybody. Alice Cooper will touch on it a little bit. He’ll do “I love the Dead,” “Dead Babies,” and he’ll go dancing off into “School’s Out” and “No More Mister Nice Guy” and it’s more rock and roll that he would visit hard graveyard but he didn’t stay in it. And, I was like “man, it would be cool if a band just did that all the time.”
And that’s what I started doing. I had never heard of the Misfits at that time. They weren’t on my radar; I was just doing my own thing. I loved Alice Cooper. I love the Sex Pistols and that’s kinda what my music sounded like. Like the Sex Pistols with Alice Cooper vocals and the lyrics were just what I knew. And still, to this day, I write about what I know about. And I still keep that going. So, yeah, I think that’s just with anybody. I’m staying true to what I do. I love what I do. I write what I love and I write what I know about. It’s a result of that. So, anyone that bitches about bands charging money, stop downloading music and we’ll stop charging you for meet and greets. That’s just kinda… that’s why it’s happening. That’s the reality.
Well Wednesday 13 told the truth and gave Loud Hailer his time. You can currently catch him out on the road with Cradle of Filth, so check out the dates and get yourself along.
Photo by: Jeremy Saffer