SC: * So, you’re about to get on the Sounds of the Underground tour for the, what is this, second or third time? DB: This is the third time. They made us play that god-awful "halftime show" for a couple of runs, and finally, GWAR is headlining in our correct spot of complete domination (belches). So, we’re very much looking forward to what is going down in history as one of the apocalyptic events in metal history. *SC: * What is it about this tour that keeps GWAR coming back for more? DB: Basically, it’s the only tour that will let GWAR play on it. I sht you not! We’ve tried every year to get on Ozzfest, every year to get on the Warped Tour, every year to get on the Monsters of Rock. When they did Monsters of Rock, it’s a no-brainer! Of course, GWAR is gonna be on the Monsters of Rock! Forget it! These people are completely stupid. They don’t believe that GWAR can be professional enough to deal with the festival atmosphere, and Sounds of the Underground was the first tour that had the guts to let GWAR have this opportunity. Of course, the fact that we are holding the president of the company at sword point might have had an influence on negotiations. After all is said and done, GWAR has kicked ass on the Sounds of the Underground tour for the past two years.

SC: * With the tour and everything, you have a busy schedule, and your date in Mobile is two days into the tour. How do you guys manage to pull both? DB: We just do it! I wake up in my sturdy, syringe-filled coffin, smoke a big hit of crack, and I look out the door, and I’m in another city, and I play show. Then, I get back on the helicopter or tour bus or whatever they’re carting me around in and party all night. At some point, the vehicle starts moving, and I don’t even know it’s moving. When I get off the damn thing to take a piss, I’m in another city. Usually, they just put the urinal on stage. So, I walk out there to take a piss, and I’m in front of 2,000 people. At that point, I’m like, ‘Fck, let’s do a show.’

SC: * You guys went over to Europe to support your latest album "Beyond Hell." One thing you and I talked about last time was how certain bands were totally ripping off your concept. One in particular was Lordi, and you guys were playing their stomping grounds. What was that like? DB: It was pretty funny because everywhere we went and everywhere we go, people are always asking us about Lordi. If you listen to their music, they’re not a metal band. They’re like a party metal, G-Rated, monster…it’s like going to a crappy haunted house or something. Everywhere we went people were trying to compare us and trash us. You know, that’s fine, I can understand why they do that. It doesn’t really bother us. Then, I finally read an interview with Lordi, where they asked him about GWAR. I haven’t really talked any sht about Lordi at all. I decided that I was gonna wait till I saw the band. I didn’t really like the music, but I wasn’t really gonna run my mouth about them. I was reading this interview with this guy was like, "Oh, GWAR, we don’t take anything from them. We don’t even really know who they are." Basically, he said that he had never heard of GWAR before and didn’t think that GWAR had any impact on the development of their band. If that’s true, I don’t believe him at all. When we were coming up, we had total respect for KISS and Alice Cooper and other pioneers in shock rock. To see this fcking Euro, chocolate-eating fck face…they sell 9 million records over night, then they’re coming over here and headlining Ozzfest. To me, it’s all that is disgusting and wrong about the music industry. You get this watered-down, half-ass, pedestrian level, really toothless version of what GWAR is, and of course, that is what becomes a big hit. That’s what people, for some reason, relate to. It’s GWAR’s fate to be the black clown princes of metal, and it’s a lot more important for us to have our integrity than all the money in the world. So, we’ll see about Lordi, especially now his head ordains a spike on the set of GWAR. SC: * I was recently watching a movie called "American Hardcore" that documents the rise of the punk movement in America, and you popped up on there. How did you get involved with that? DB: I was doing an art show up in New York, and I kinda grew up in the D.C. scene when hardcore was just starting. I’m an old enough geezer to remember the birth of punk rock. I was alive when the Sex Pistols put out their first album. I was 17 years old when slam dancing was invented, and I helped invent it. I was kinda like the black sheep of the D.C. hardcore scene. It was very straight-edged, very strict. I was the dude who was always drunk as hell; I had a comic I put out called "Mr. Donut." I was kind of an infamous figure in the scene, and the fact that I went on to do GWAR kind of solidified that reputation even more. Steve (Blush), the guy who put the movie together, just kinda called me up out of the blue. I was at a gallery show in New York, cause I do illustrations and paintings and stuff in my spare time when I have it, and he said, "Come down here, and we’ll reminisce." I had a big voice about the D.C. punk rock scene, and then I moved down here to Richmond and had a voice about that as well. I haven’t even seen the scene yet, but I understand that I’m fcking funny. SC: * What is it about GWAR that doesn’t seem to get old to the fans? DB: Because it hasn’t gotten old to us. We still really love the sht out of what we do. The fact that we’ve never really been a giant success keeps us hungry. We see GWAR as one day dominating the world having video game franchises and movies and going to Japan. There’s all these things we want to do with GWAR that we haven’t done yet because GWAR is still very much an underground thing.