Roger Miret
Why am I going insane - why am I the one to blame?
I love Agnostic Front and I’ll tell you what, I’ve never been more intimidated to speak to someone as I was speaking to Roger, at least initially. Thankfully, actually speaking to him made me realize he is just a punk rock obsessed weirdo like so many of us - he says something really crucial in this interview that rings so true for so many of us “I didn’t get into punk or hardcore, it got into me. It got into me, it got into my soul. And here I am.” and with that here’s my conversation with Roger Miret of Agnostic Front.
There is a quote that’s been attributed to you for years, “Don’t trust a hardcore kid whose never been into punk.” I’d like to talk about that - why do you think that schism or transition away from punk and hardcore being the same thing happened?
Well, I think the transition started happening more maybe in the early ‘90s. Well, the metal stuff crossed over, and cross-over heavily. And some of those metal kids, not to knock on them, they started liking hardcore. It’s all cool. But they never really understood the full roots. And I think punk hardcore music and all always had a better message, something more important to say than your metal bands. So I really never got into metal, ‘cause they... I’m not into Satan, I don’t care about Satan. But there’s other bands. For example, Barney and Napalm Death are great bands. He’s got good stuff to say, you know what I mean? So not all. I’m not bagging on all these bands.
But it’s like, how do you get into something and not know what you’re getting into? And I always felt like if you’re gonna get into hardcore and punk, you should at least research what you’re getting into. You don’t get into it, and then make fun of all these punk rockers, and all these, whatever music. This is the roots. If you don’t like the roots, then you just go on to whatever you wanna go on to, but... That’s just me. And I always say, I never got into... I always tell people, I didn’t get into punk or hardcore, it got into me. It got into me, it got into my soul. And here I am.
What was the first bit of music that was really a thing for you, and then how did you transition into punk?
Okay. I grew up on Motown music, actually Latin, salsa Motown music. I’m from Cuba. So when I migrated to the United States, I was five years old. And then my household, I always lived in Spanish neighborhoods ‘cause my mom didn’t know how to speak English or nothing. And everything around me the whole time has always been Motown, salsa music, some disco, ‘cause Motown went into disco shit like that.
And then I accidentally discovered punk rock parking cars with my dad in the backyard. We used to live behind a club in Jersey called the Palladium. And then that’s when I actually first had my first thing with punk rock. The Clash were playing and the whole backstage thing was open, it was a bunch of... I thought they were all funny looking people.
But I didn’t get to see the show enough. It was my first time, I saw... I remember they had a bunch of rastas with them and stuff, and then I just slowly started... My cousin, Chuchi, to be exact was diagnosed with a rare disease, and apparently it was a rare kidney disease and he was supposed to be dying. He never died, by the way, and his mom let him do anything he wanted. So he started getting... We started playing in this punk band. We started listening to all this music and I was just, this is... He started taking me to shows, I was like, “This is awesome,” and that’s how everything led one into another
And this was probably, what, ‘79, ‘80? Something like that?
Yeah. Exactly.
And so I assume at that time you’re just buying records as they come out.
Right.
A lot of people do that - just buying records ‘cause these are my friends’ records, or these are the bands I like but how did you transition from just being, “Oh, I’m just buying records to I’m actually collecting records?”
I never knew I was collecting records. It’s funny to say that. I have always had multiple copies, ‘cause when I would buy a record and I liked it, I would go buy another one. So I always have one I played, one that was back up because if it got a scratch or something. So I always had multiple copies of so many records, you would blow your mind if you’d know the multiples I had. And then I just kept always, unless something terrible happened to one of my play records, I always had my unplayed records. So about 10 years ago, I started selling off my play records and just keeping my unplayed records.
And just, you know what I mean? Stuff like that. But what happened with me was these records were two bucks, $2, $3, $1.50. Even my own record, United Blood, we were selling them for $3 to any random person on the street. So it was just... I just fell in love with punk, and going to my cousin’s house and playing the records. I remember jumping on the bus, and into the train to go to Venus Records. That’s where I bought a lot of records at Venus in the very beginning, and then at Two-Tone in Jersey too. And just discovering stuff, I would discover stuff basically from what bands banked or what bands mentioned who. And then the radio shows. There was Noise, the show. I don’t know. You’re not from the New York City area?
No.
I don’t think so. But Noise, the show, was an early pirate radio, pirate punk radio, and they would always... I would tune in 7:30, 8:00 at night, whatever, maybe it was 10:00, I can’t remember, and just record the whole thing on my cassette player. So I have everything recorded and they would be telling me where all the shows are happening, at Irving Plaza, Misfits, Beastie Boys, and whatever is going on in Max’s Kansas City, whatever was going on at Two Plus Two, whatever was going on at the Mudd Club. And then I started going to these events, going to these shows and meeting other people, and then wandering to different record stores and just... It was nothing. It’s like listen, today to be a collector today, you gotta be out of your mind. The prices of some of these records are insane, unless you’re getting re-issues, but back then, these records were cheaper than what we would pay for your re-issue today.
I got lucky ‘cause I just kept buying doubles of stuff. I remember at one point I had four copies of Pay to Cum from the Bad Brains. I’ve had so many. That Fallout record, Rock Hard, I don’t know if you’re familiar with it.
Yeah.
I’ve got a photo of me till about four or five years ago still holding five copies in my hand.
Jesus
I was friends with all these bands and they would just gimme records. That was another merit of being in a band. Every time I went on tour back then there was no CDs or nothing like that when we went to play in the shows. All these opening bands or bands that came to our show, they would give me their records. And I just kept them and played them. And every time a lot of my records I got from just playing too. All these opening bands and bands I played with, they’d give me records and some really rare records and stuff like that. And they would be like, “Oh yeah, there’s only a 100 of these. I want you to have one of these.” And today that 100 is worth seven, 600 bucks, whatever.
But going back to that was just, I never knew I was a record collector. I was just a music enthusiast. This has been my life. This is my only peace, my only sanity I have. And just listening to this music is what keeps me grounded and keeps me going.
When I interviewed Jerry A from Poison Idea, he was just like, we just bought things and we bought things because... And we ordered things and it was just ‘cause... And they were also really... Him and Pig were really into trading. Were you doing a lot of that kind of stuff?
I wasn’t trading with anybody. Of course, when I went to Portland, for example, you just mentioned, I played with Poison Idea for the first time and we played with Lockjaw and we had records and stuff with us and we had Victim in Pain with us and I had a few copies of United Blood. I remember giving Dell (Murray from Lockjaw), the United Blood and Victim in Pain. Just giving it to them ‘cause we played with them.
That’s how it was. And trading, no, I don’t remember really mailing anything ‘cause I wouldn’t have known how to do it. It probably would’ve been destroyed back then. Didn’t have that really, that world. The trading world got more popular with cassettes.
The cassette trading was huge. And at that point, I just loved the vinyl stuff.
But, it’s funny you mentioned Jerry. ‘Cause Jerry’s funny. They just released that new record, that new LP with the black covered one, what’s it called?
Blank Vacant Blackout?
Yes. So Jerry hits me up and said, “Hey Roger,” he was funny because he goes, “Hey, I got a record. There was only one of these ever made. I’m gonna send it to you.” The company mis-pressed the sleeves and it doesn’t have the title. So Jerry sent me the original and he sent me that one. He goes, “I want you to have it in your collection.” See a lot of people, these old bands know that I’ve always loved music, collected music and they’ve... Even I mentioned Dell from LockJaw that’s how I got my Ted Bundy variant. That’s a really rare record. And it’s just like that. He goes, “I want you to have it. I’d rather... I want you to have it.” And that’s how I got a lot of my records.
Were you a big crate digger at all, too?
It’s funny you mentioned that. ‘Cause at record stores, I don’t remember seeing crates unless you were digging for ‘70s records and shit like that. Rock and roll records. But when punk was new and fresh, there wasn’t a crate. There wasn’t like a bin of used records. People would be like... I remember Maximum Rocknroll mentioned something, Koro, for example. I remember reading it in Maximum Rocknroll and liking what I read and then going to Venus, no, Free Bean Records at the time. And they had only four copies there and I bought all four of them. And then I gave one to somebody, I forgot who and probably I traded it for something. ‘Cause we would let each other hear stuff too.
I used to live at 188 Norfolk Street, which was a house where all the punks, everybody from out of town would stay. And we would be constantly playing records there. So I always had doubles and triples of stuff. And I got robbed a bunch of times too, by these bands of course later on.
That fucking Koro record… When I was living in Oakland, I worked for my friend’s screen printing shop and I came into work one day and he was like, “Oh, have you ever heard this? I just found it for a dollar and it’s really good.” It was a Koro single. It blew my mind, I was just like, “What the fuck? Where did you find that for a dollar?” and it turns out he was just digging through the dollar bin at Amoeba…
I had friends at Amoeba and all these record stores too. And they would always hit me up. A lot of my misfit stuff. I remember just... Yeah, I got friends that worked in Amoeba throughout the ‘80s and they’d be like, “Hey Roger, I just got a purple Earth AD. Do you want it?” I’m like, “Yeah. I’m coming to take it. I’ll be at your show.” And he’ll bring it to me. “Oh, it’s 25 bucks. Here you go.” And I got them in the show. But yeah, back then it was just $25. Today it’s... It goes for $7000 or whatever the hell it was going for.
Let’s talk about your Misfits collection – the stuff you have, it’s crazy. What is it about the Misfits in particular that you feel like really drew you to them and wanting to collect all their stuff?
I lived in Jersey. (Laughter)
They did all of their shows in New York, who wouldn’t? They were doing... It’s like Misfits records were a dime a dozen, man. Back then. They’re local. They would be as rare as your Koro record in the city they lived in, or United Blood was everywhere, on the East Coast, New York and everything. So they were everywhere and I loved them. I always loved them. I always thought... Theatrically, I loved what they were doing. To me, they reminded me of a punk rock Kiss.
But, I loved the music and I was totally hooked, a fiend from day one, when I heard it. And then, you know these variant things? That was all accidents too. I never knew I had this variant, or that variant till the internet. You know what I mean? I didn’t know what the hell I had. Then I started looking, then I started searching, “Oh, well, I got this. That’s cool. Oh, this is rare. That’s cool.” And I didn’t know. And then later on, I’ll tell you, about 10 years ago when I started selling my doubles, I used to have... You didn’t even wanna know what I had in Misfits stuff, but doubles, I don’t even wanna... You’d be like, “Holy shit.”
But I just started trading them and selling them for stuff that I wanted to upgrade and I started upgrading stuff. And I would buy something just for the sleeve, I had to make sure it was the correct sleeve to go with the correct record and stuff like that. And especially with the Misfits world, a lot of people would deal with trade. They would switch things. And then all of a sudden, you would get a green Earth AD, which is extremely rare, but had the wrong sleeve, or somebody put it in the wrong sleeve at some point in their life.
And you have to track the regular fuchsia sleeve or whatever. The green within the dark purple. But it has to be the right dark purple with the right texture.
(laughter)
So I started getting into all that corny stuff because I was bored.
But it’s fun, because of the challenge of the hunt and everything like that. All of the variants - like the Misfits Bullet sleeve, the slight variance where the blood splatter is and stuff, or the type of paper and all that kind of stuff, it’s just nutso.
Yeah. There’s a lot more. These are people that collect, for example, they collect different... What do you call those numbers on the edge of the freaking records?
The matrix numbers?
Yeah. I never did that. I just went for whatever color I like, the odd color, the odd pressing, the odd something, but I’m not gonna sit here... The only one that was an exception, and you could see it for example, Walk Among Us. And the only reason why I have so many Walk Among Us, is ‘cause they were all different colors and I love color. I gotta get it. I gotta get it. I gotta get it. (laughter)
If they would’ve done... I have all the colors of Earth AD. But I’m grateful they didn’t continue that with all million different colors. And with Walk Among Us is like, “Shit I don’t really need it. Yeah, fuck it, it’s cheap enough. I’ll get it.” And then it became what it became. But a lot of that stuff on Instagram, it was just me at the time, especially I started throwing them all up around 2020 or something. It’s because I wasn’t doing anything. I was home. I was pretty bored, and, as I’m listening, I’m taking a photo and putting it up. “Oh my God, this is... “ And tell a little story about it. Or let me just gather some bunch of my Misfits stuff with this t-shirt, with this poster just for fun. Of course not everything up there is my complete collection, there’s a lot more, but I just put up what I was feeling and what... I think people would like to see this and that was it.
I totally get that. I’ve done the same thing. I’ve gone through my old boxes of flyers and I’ll be like, “Oh, here’s some old flyers.”
I just sold my boxes of all the old flyers. I sold everything except for AF or Misfits, of course.
Was this to Brian Gorsegner (Night Birds, @ancientartifax on Instagram)?
Yeah. Those flyers he’s posting, those are mine.
Yeah. He makes me crazy ‘cause I’m just like...
He is a good guy.
He’s the best. He’s super nice. It’s just, I see that stuff and I’m just like, “Should I just start auto depositing part of my paycheck to you?” (laughter)
Yeah. Well, it depends what you’re looking for. A lot of stuff is... He gets it, he’s showing up. He’s fair, he doesn’t try to rip anybody off. That’s why he is getting these good collections. They cost money, but he’s paying decent, top dollar.
I think that’s the difference between someone like him and then, maybe 20 something years ago where you would have these people who would just try to buy the collections and then they would pretend like it wasn’t worth anything, and try to rip you off. So I wanted to talk about some of the stuff in particular. We talked about Misfits. You posted a lot of Texas stuff, like the Next and...
Oh, yeah. I love that.
And Big Boys. And what was your first exposure to that? Was this just on tour?
We had a network of friends... We didn’t have the internet, but we always... Bands, and we wrote to each other. I was writing to... Jesus, we played with the Big Boys early in ‘83 up in New York, and we always had a connection with those Texas bands... MDC would always come around, and then they eventually moved to San Francisco. And Nikki’s band. I’m sorry, my brain is a mess.
Sick Pleasure?
No, no, no, no, no.
Verbal Abuse?
Verbal Abuse. Those bands are all early... And then I always like the even earlier stuff. And I had a friend who was from Texas, and he just turned me on to all this Texas stuff. And for some reason, it’s really odd, it’s stuff like I really, really dug the Texas hard core punk scene, it was fantastic, like AK 47, all those bands, was like, “This is great.” It really just spoke to me, and I love the Portland stuff or the Oregon stuff, and I love the San Francisco stuff. There were areas that I really preferred, that I liked, and maybe because I have friends in those parts that were really turning me on to the song, to the bands, ‘cause don’t forget we didn’t have the internet or nothing. So the only way I knew about these bands is either somebody wrote to me, and told me about them, or somebody came by and they’re like “Oh, you got to listen to this band and this band and this band,” but that’s how it all started. There’s a couple of Texas bands that I had and I regret not having, and then there’s some that I’m still to this day trying to find a Vomit Pigs, I love Vomit Pigs. That’s probably my biggest one, and it was just... I don’t know something about Texas, man. (laughter)
I love it so much. It’s this attitude, a lot of those guys had... It’s not San Francisco, it’s not New York, it’s... Maybe it’s just they got shit on more, and they’re more isolated maybe, and their bands reflect that in some ways.
When I started touring I started seeing this whole... Got turned into this whole new suburban punk thing, and it was interesting to me. I was like: “Oh, you guys have shows in your houses, in your basement.” And I was like, “This is pretty cool.” And like “Oh, shows canceled, let’s go play at my house.” And it was great. I wasn’t used to anything like that, so I started liking a lot of these suburban bands and they talked about a lot of good stuff too.
So you squatted for a lengthy time.
A long time, yeah.
So how did you keep your records together, ‘cause I know a few people I know lost their record collection ‘cause they were squatting?
Yeah. I lost a ton of stuff in one of my squat fires, one whole wall, and it had awesome posters and stuff and all kinds of great stuff. And I remember my SS Decontrol record was on the turntable and it was warped but the sleeve was good so I kept the sleeve and eventually found another vinyl. Moving from squat to squat, there’s stuff I’ve left on walls, pinned on walls, but I always... I also had my family there too, so I stored a lot of stuff with my mom, my brother, or Vinny who was my guitar player, a lot of stuff in his house… And over the years, they are just like “Hey, you left this box here.” I’m like: “Holy shit, I forgot about this box.” Recently, there was a box I left with my ex, and I’d totally forgotten, there was one of the stampers for United Blood in there, there was the test pressings for Victim in Pain in there. I totally forgot. And then she’s, “I found a box in storage I’ve had, I keep taking this along, and it’s yours so you should just come get it.” And I was like: “Holy Shit!” (laughter)
And so that’s the way it was, leaving stuff moving, moving and leaving stuff. And only when I was settled in a good spot, I would have a lot of my stuff. But then I would have that fire and then, that taught me a big lesson. But what saved a lot of my record collection was the fact that I didn’t have... When you go to people’s houses, they have walls of their records, I would put one wall, one bunch and then up against the other wall. ‘Cause I always spaced it out with posters and stuff, and thank god I did that ‘cause I only lost some of these on this wall. And until this day, I spread my stuff all over my house, I don’t keep it all in one spot. I have stuff. I have it actually in three different places, ‘cause I always keep thinking, God forbid another fire, I know what I’m running out with, I know if something survives over here, I’m happy. So that’s been the way I’ve had things. But I did lose a lot of inserts and a lot of stuff and later on, I was telling you, 10, 15 years ago, I started hunting some of these things back and just buy something just for the insert. I’d literally buy, and it wasn’t that crazy expensive 10, 15 years ago. I would literally just buy another whatever, just for the insert, and turn it back around, just sell it without the insert.
So I do wanna ask about Maximum Rocknroll but, I wanna ask about it in this context - Tim was a huge record collector, and everything I ever knew about Tim was that he might hate you, but if you had a record he wanted, he would totally make nice to try to get it from you, to try to trade with you. Was there any resolution of the shit with Tim and MRR from the ‘80s with you guys, before he died?
No, unfortunately. You know what, when we first went to San Francisco, he actually came to our show.
He came to our show in ‘85, or was it ‘86? He didn’t come to the first show because we were playing with the Fuck-Ups and Verbal Abuse, and it was kind of a really crazy show. I think it was a riot and everything there. But he came to the second show, and it was on Broadway. And he came, he said, “Hey, I’m Timmy Yo.” We met. We actually sat down, we talked. We had this thing among the band. If anybody, if we ever see him, we were just gonna knock him out, some stupid shit. We were young kids.
And then when we met him, he was an old guy. He was old back then. We were like, “Holy shit!” Nobody wants to hit this old guy.
But he was actually a nice guy. And we talked. All of us, we thought everything was cool. We sat down, we talked, we had a good show. He was there the whole time, and then we turned around and he’s still talking shit. We’re like “This guy, he won’t stop.” But yeah, you’re right, he had a very huge record collection. I’m sure he had all kinds of stuff in that record collection. And the truth of the matter is, Maximum Rocknroll was key to music. And no matter... Even though I fell out with them, I didn’t like them, I still picked it up just to find out what the hell was new and going on and happening in different cities and contacts or playing shows and what’s new. Like I told you, the Koro record, I didn’t know about it until Maximum Rocknroll, and stuff like that. You know what I mean?
But you know what? Let me just tell you something. Do you know Bruce?
Bruce Roehrs?
Yeah, Bruce was also a Rumbler brother of mine, and right before he died, we did a big interview with Bruce and he wanted to... I’m sorry to correct your question, he wanted to do something where everything was peaceful for good with Maximum Rocknroll. He did an interview, and they published it and it was good.
And it was right before Bruce died. And everything was like, yeah, bygones be bygones. ‘Cause Bruce is like, “Man, I love these guys.” And blah, blah, blah. So yeah, that did happen.
Shifting gears, I think that it surprised a lot people that you were into the Wretched and you were into shit like Bastards…
I love Bastards.
Did you get into that through your relationship with Rat Cage Records or was that just because you just heard and it just blew your brain? I would imagine at the time, that stuff wasn’t easy to find out about so how does that come about?
Well, it depends what we’re talking about, but mostly it’s because I heard it and it just blew my brain. (laughter) We were on the East Coast, so we always got those records sooner or quicker than anyone else. You have to understand that when a record came out in Europe, it had to be shipped here, whatever, and it took a month or two to get here. Then it took another month to go to the West Coast, wherever, ‘cause that’s all the distribution. That’s how things were. And I also became friends with some of these bands pen pal, but you know what’s really interesting to me, is we were mentioning all these bands and they’re speaking in their native tongue, and I loved it. I loved it. The aggression, I felt the aggression, I felt the honesty behind it even though I didn’t know what they were saying. Back then, people were like, “You’re into this band. What are they saying?” I’m like, “I don’t know, but I like it. It just is speaking to me somehow.”
And then they would say, “I don’t know, I can’t get into them, I don’t know what they’re saying.” Then I started thinking, when I started traveling later on, with Agnostic Front going all over the world. I’m like, “We’re speaking English and we’re playing some of these places, and they don’t speak a word of English, but they’re going crazy.” So they feel what I felt in Indonesia, and these Indonesian kids are going nuts. And all they know is maybe some backups, but they just... There’s something about it you feel and you make a connection. That’s really the truth.
But it’s like, to me, everything that was going on in Europe and the UK, and all the stuff in Norway, and all those countries, it was awesome shit, man, really awesome shit. And I got that connection from people that would be overseas, and they would... And Rat Cage also had something to do with a few of them, but not all of them.
Like Rattus?
Yeah, exactly. And they were supposed to get that other one that went to... Oh, that label in Jersey. I love that label.
Mutha?
Mutha, yeah. That one Rattus record that I actually got from Mutha himself. That record was gonna be... Rat Cage released it at the last minute, became a Mutha release, but then it never came out. So one of those things.
Did you ever get to play with any of those bands? Or was it by the time you got to Sweden, for example, Anti Cimex was..
Most bands were broken up. Yeah. Most of those bands were broken up. I think we played with a few. I can’t remember, we played with so many damn bands. Maybe Raw Power, yeah.
Yeah, of course, your GBHs and your Exploited, and your Discharges, and your Vice Squads, and played plenty of shows at those and a lot of the UK Oi stuff, Business and Cockney Rejects, and it was good times. But some of those other bands, not really, ‘cause we didn’t even get to go to Europe till 1992.
Oh, I thought you guys went before then for some reason.
Yeah, we didn’t go. We were the last to go to Europe. And by that time, a lot of these bands were done with, but I was excited. And then on my first two tours in Europe, I was deported. So the band played without me. They played with the singer being the roadie or whatever. (laughter)
Can we talk about Crucifix?
Oh, I love Crucifix.
Didn’t they stay in New York for a month or something with you all?
They stayed with me. They stayed with me, and it was awesome, and they loved New York. They played that show with us, there’s that classic show in New York City. You know it. And we were really great friends, and it’s funny, because you read about stuff like Maximum Rocknroll and here was Agnostic Front, Crucifix’s best friends hanging out, having meals. They had the time of their life. I remember they went to, after New York, they were going to the UK to hang out with Crass, to go to The Crass Farm (aka The Dial House). I have letters. But I’ve lost some, but I remember finding one page still from Drew from Crucifix that he sent me... “Well, man, we’re so miserable.” They had so much expectation of this whole Crass Farm, they hated it. ‘Cause it was too peaceful... I don’t know, it was too farm for them. When they get back to New York, “Oh, my God, you have no idea what we went through.” I think that’s what made the band break up, it was just too hippie-ish.
(laughter)
I’m telling you. When they came back to New York, we had the greatest time. We always stayed in contact, especially with Drew, and he was in America’s Hardcore too, and then he passed away eventually. But that’s a true story. (laughter)
Do you think that musically, both of y’all rubbed off on each other? People have joked that the Crucifix LP, is the missing Agnostic Front record. (laughter)
I wish it was that. (laughter) It’s a great record. I’ve heard that before, of course. We were really good friends, and any band’s gonna sit here and tell you that they just did it all and they were like whatever, that’s bullshit. We all subconsciously influenced each other.
We only played that one show with them, keep in mind. You know what I mean? But there was a musical connection there, and then a friendship that lasted. They stayed with me for a whole month. And not with everywhere else, but with me in my squat, and it was great.
But at the same time, we were all into the same thing. We loved Discharge, we loved all the Chaos UK stuff. We would sit there and talk, I’d play all these records. That’s the stuff we loved. That would influence them, would influence us. Victim in Pain, when I joined the band, I joined during the United Blood time, and it wasn’t anything I wrote or nothing. Victim in Pain is what I wrote, their whole album pretty much. And that’s sort of stuff I was into. A lot of the UK stuff, a lot of the... At the time. So I can see that. I’m not going to sit here and be like, “No,” or something ridiculous. But yeah.
I want to thank you for taking the time to talk with me - anything you would like to add?
Well, thank you. Yeah, the one thing that I’ll be honest with you. Out of all the stuff I’ve been going through and all the crazy medical bills I have, I sold a lot of stuff including my classic cars. But one thing I can’t bring myself to sell, is my record collection. It’s the last human connection I have to... And then once that goes, it’s like I’m really losing something. It’s been with me for so long, so I’ve been doing everything I can to hold on to it. I’ve sold other pieces, but I can’t part with certain things.
A great interview!