[INTERVIEW] BAND OF HORSES: REACHING OUT WITH INFINITE ARMS

By Mia Palau

It’s 5:30 in the afternoon and an unusual bustle is rattling up the otherwise sleepy, stylized crimson foundations of Barcelona’s cult favorite club, the Apolo ― one of the hippest, yet oldest venues in town. About a dozen technicians and roadies are tenaciously carrying guitars and heavy-looking armored boxes, untangling multicolored cables, setting up safety barriers in front of the stage. It’s been several weeks since tonight’s concert was sold out, and even with the show still hours away, one can already start sensing the latent urgency and excitement floating up in the air.

I make my way through the bustle up to a large terrace adjoining the stage, where Creighton Barrett, Band of Horses’ drummer and second oldest member, rolls up to me on a skateboard and waves, “Hi, Mia!” His calm, bashful demeanor, almost bordering with self-deprecation, couldn’t be any more different than his stage persona.

Rising as one of today’s most relevant and substantial indie rock bands, it’s weird to hear frontman Ben Bridwell refer to his lyrics as “dumb inside jokes” and “crappy as always”, and tell interviewers his musical skill is very limited. Something similar happens with Barrett. I had the chance to sit down and chat with him about their latest album, and talk shop about the current state of the music industry, Twilight, and Justin Bieber. But even when discussing the exponential success the Horses are experiencing, he still plays it down with his trademark down-to-earth shyness and charming sense of humor.

Mia: That’s a nice board!

Creighton: This is actually not mine, though. There’s a mini ramp back there, on the other side.

Mia: No way! Did you guys set it up?

Creighton: I’d like to!

Mia: Alright! So welcome to Barcelona!

Creighton: Thank you! It’s our second time here. We played Primavera [Sound] I believe three years ago. It was super fun, we had some technical difficulties on the stage but it was great. It was really fun, it’s a great festival.

Mia: So you just did a bunch of shows in the UK. How was that?

Creighton: It was great, man. The UK… well, it was cold, y’know – wintertime. But, it’s great! It was also nice to get out of there and get back into Europe, you know. UK it’s just kind of… they were great! But it’s just kind of – it all leads up to a London show, and London is such a big deal, and you’re just like “Alright! We gotta go slay London” every time.

Mia: You’re going back to London now, right?

Creighton: Yeah, to open for the Foo Fighters, which will be so insane. But London was the last show and once it was out of the way –we played a really great show there—and then we were: “Okay, let’s go! Let’s go to Europe now”, you know. So, in the UK they get so much good music there all the time, coming through there, that it’s just like people can be jaded and you’re like: “Oookay… get into it!” But, you know, every time we go back the response is better and better, so that’s all we can ask for.

Mia: I guess it must be really different playing here, in Europe, than in the States.

Creighton: Yeah, of course. Well, over here you usually stay on the bus a lot more! [laughter]!Because you don’t know what’s going on, you don’t really have a guide to the city and stuff like that. In the States, kinda like… well, these are our people, it doesn’t matter. Not to say there are not horrible towns! [laughter]

I mean, besides all the obvious language barrier, in finding things to eat or people speaking English, you know, which can be kind of difficult… other than that it’s just it’s the same thing. You just try to go out there and play a good show, make sure everyone has a good time. Over here it feels like you come here with more of a purpose, because you’re set to… win these people over or get these people into your music. So there’s more of a mission, I guess, over here as opposed to in the States, where people are shitfaced and having a good time.

Mia: Well, actually we do love you here in Europe. And especially Scandinavia seems to have a special connection to your band.

Creighton: Yeah, it’s crazy.

Mia: Yeah, didn’t you just recently played at a wedding in Norway?

Creighton: Yeah, in Tromsø, in the Arctic Circle pretty much. It was pretty crazy.

Mia: How did that happen? Play at my wedding! [laughter]

Creighton: Yeah, yeah! [laughter] We were heading there anyway for a festival, and this couple that had gotten engaged at our show at Oslo, they were getting married on the same day we’d be there and asked us if we come do it… I didn’t play drums, but Ben, Ryan and Tyler all sang.

Mia: You were just crying on the side.

Creighton: Yeah yeah, exactly – crying. Woo woo woo! [laughter] But yeah, that was super sweet! Scandinavia latched on to us from the get go. Like, our first trip to Europe was to Oslo, so…

Mia: So, congratulations on your new album [“Infinite Arms”, 2010], it just got nominated for the Grammys as Best Alternative Music Album. How does that feel?

Creighton: It’s… amazing. Yeah, you can’t ask for anything more. And none of us are really expecting to win, but just being nominated is awesome. It’s one of the coolest things that could ever happen to a musician or a band for sure.

Mia: It seems like with bands with yours or even like Deerhunter and Animal Collective, the mainstream’s taste is slowly changing. What do you think about that?

Creighton: I totally agree with you and I think it’s weird how there’s people who say that nothing’s happening in music, I guess people always say that kind of stuff, but every day I think about how it is changing… like, thinking that whoever however long ago wouldn’t be into Deerhunter now loves them is probably my favorite thing about music. It’s the coolest thing ever, y’know. Their music is mind-blowing to me and to have that be part of the mainstream I think it just makes people cooler, you know, just open to that kind of stuff. Them, and Animal Collective too is a great example, just being so different people are “Ah! I love this harmony!” and stuff like that, and I would have never heard of them if they weren’t coming up. It’s fantastic!

Mia: Yeah, it’s great. I guess the darker flip side to this is things like the top 3 artists picked on Twitter are Justin Bieber and Britney Spears and I forget who else… I guess someone equally…

Creighton:  Equally bad? [laugher]

Mia: Yeah. [laugher]

Creighton: You always have pop music like that, you know? It serves its purpose, I suppose. It seems to be a younger generation thing, I don’t know any older people       —I’m thirty-two— that listen to Justin Bieber [laughter]. Like: “Oh, Sunday night I like to sit down and have dinner and listen to Justin Bieber!”, so…Maybe it’s a good thing, I don’t know. Maybe it’s really awesome, I never actually heard it.

Mia: Yeah, I’m not sure I have either. [laughter] So, you guys are being very successful, how does it feel? Is it awkward or do you embrace the fame?

Creighton: We totally embrace it. I mean, the only thing that’s really changed is you play bigger venues, and that’s great to a certain extent, till sometimes you feel like, you know, after playing this bigger due and having more gear and stuff like that come out with you and more work and more people on tour with you, you sometimes wish you could go back to just a rock club, you know, and stuff like… last night in Madrid, we’d play there when we started out. It’s awesome to not be that big, so it’d be great to just go back and be able to play awesome little rock shows. I think that’s the only thing that really changes with it, and Ben started family and he has two kids now, and stuff like that, so we’re growing older with it, you know, so it’s not like we’re young chickens.

Mia: So Hüsker Dü and The Replacements were part of the influences for the new album.

Creighton: Oh, yeah. Always.

Mia: It seems like you were drawn to the Midwest and its sounds.

Creighton: Yeah, Ben was out there. Ben lived in Minneapolis and he was expecting the birth of his first child, and his wife who’s from there grew up there, so they moved there so she could be around family. So a lot of the songs that Ben wrote were written in Minnesota in the wintertime, which is a really, really cold winter, it’s like -14ºF (-25ºC), so there’s a lot of staying indoors and that’s pretty conducing to locking yourself up and writing, so it’s got it’s good side too.

Mia: While you were writing this album you were all in different cities, in different parts of the country. How did that work out, especially it being the band’s most collaborative effort?

Creighton: Well, you know, a lot of it is due to technology, really. Having Garage Band and being able to email stuff to each other is a big deal. But also we learned that these ideas and these demos that we were sending to each other, they’re not set in stone, so when you finally do get together you have to really make them come alive. So the record took a long time to make due to some reasons, because we just didn’t feel the songs were there because we hadn’t really practiced or even written a lot of them. A lot of it was written in the studio, there was a few songs that we were already doing live that came pretty quickly, but a bulk of the record we never done before, so a lot of my drum parts are written in the studio and a lot of it is just hands on and at the moment, you know?

Mia: You might not want to answer to this question, but there has been some turmoil in the Band of Horses lineup. You’re the second oldest member of the band after Ben. How come you went through all these personnel changes?

Creighton: Well, you go through people that are in the band until you get what works best, and it’s just trial and error, and a lot of people just didn’t fit eventually. It’s not an easy life, and a lot of people didn’t really enjoy being on the road. And usually when you’re on the road as much as we are certain sides of you show, you know. You kind of show your ass a lot. And so we just wanted the right chemistry and the right people, and luckily for the last four years we’ve had it so it’s now a proper band.

Mia: Maybe that’s why Ben said that this is the first Band of Horses album. He got lots of flack for saying that.

Creighton: Well yeah, but it truly is a band and it is a band’s effort, you know. Once we had not only the right members, but the members that we have –Bill and Tyler and Ryan– they’re fantastic songwriters that existed before our band, so they’re already masters of their craft anyway. So it’s like, once we all learnt the songs together, now the door to writing whatever you want it’s open. Bill is a fantastic songwriter and a producer, so we ended up producing most of the record ourselves, and we were just like: “Fuck, we don’t need a producer if Bill is this badass!” So, you know, we were like “Yeah!!! Let’s go for it!” and we just ended up just having a lot of fun in the studio, which was no label bearing down on us because we were without a label, so we did take maybe too much time with it, but we’re our harshest critics which is a good and bad thing as well.

Mia: Didn’t you even get close to being bankrupt by taking so long?

Creighton: Yeah, it was never that bad. I think that that’s the kind of thing the press is like “Oh my god, listen to this! They were eating…”

Mia: “Homeless!”

Creighton: Yeah! “They had to get jobs…”, you know. But it was never that bad. We would go out and we’re lucky enough to be… popular enough or whatever, to go out and make some money still, so we’d go out and make more money and get back in the studio. So it was never that harsh, we’ve definitely been paid for it.

Mia: We’re talking about this “new” album, but actually some of the songs have been written for two, three years. Does it feel more solidified now that you’ve been playing it live?

Creighton: Oh, absolutely. As a group and being in separate cities and we don’t get together and just jam hardly ever, once you get onstage we had to really concentrate on making the live show better. So that was a huge part of our concentration, like: “we gotta make this live gig fucking banging”. And we did that, and everything after that just kind of stared coming easier because obviously we got so adjusted to playing with each other, know where each other was going, so it got a lot easier.

Mia: Are there any songs that you don’t play live?

Creighton: Yeah! There’s a lot, always. It’s just because some stuff just doesn’t work live well, you know, just doesn’t come across well. We were joking about it actually last night, like three years from now all the songs that we don’t play in this record we’ll be like: “Whoa, why did we never play this one?”. So it’s kind of like a child, in that way, until it’s ready so it can be offered properly. You can spend all day trying to make a rendition of a song that just doesn’t hit it, and you’re not gonna go and play it, so it’s  like: “Don’t try that and ruin that song”. So you keep that one for the vault.

Mia: That would be a weird show: “All the Songs We Don’t Ever Play”.

Creighton: Oh, exactly! We’ve done it! [laughter] We’ve definitely tried it, so…

Mia: And how did that turn out?

Creighton: It’s never as bad as we think, but it’s never as good as we want, you know? So, it’s just how it is.

Mia: Is it true that Ben carries ten de-tuned guitars with him to be able to play certain songs?

Creighton: It’s not like it used to be, that’s for sure. When we first started out it was hilarious because we had all played in different bands and toured with different bands, and that was the first time that we ever got a guitar tech, it was our first trip to Europe. And it was a necessity because he did really not know how to play guitar, so there was a bunch of songs —off the first record, especially— that had this really wacked tunings, I mean, it was super cool but totally crazy. So we actually have to had Trevor, our guitar tech, come out with, seriously, there would be ten guitars with separate tunings all the time. So that was hilarious.

Mia: So it is true!

Creighton: It is true! It’s gotten better these days. Especially with…

Mia: Now it’s just five?

Creighton: Yeah, exactly [laughter]. No, there’s more than that still, but it helps a lot with Bill, Tyler and Ryan, because me and Ben didn’t come from a school of music and they’re all trained musicians, you know, and me and Ben are kind of punk kids who got into indie rock, and blah blah blah. But it helps with stuff like: “You know, that’s a B flat” – “Ah, that’s what that is!”, or stuff like that. So it’s not as bad as it used to, yeah, there was definitely a hilarious time with a guitar per song, you know, so it’s like we don’t have enough guitars to do a twenty-song set, you know?

Mia: It sounds like an interesting approach to songwriting.

Creighton: Yeah! Well, it’s one of my favorite things about the way Ben writes and plays guitar, you know? There’s something really prophetic about not knowing what you’re doing and producing something that’s, I think, amazing, you know? It’s that whole nature of the painter who was never properly schooled in art and makes insane paintings. That’s the coolest thing, in my opinion. That’s so inspiring.

Mia: It’s really genius. Guitar is one of the hardest instruments to learn anyway.

Creighton: Absolutely! But the coolest thing is actually not only playing guitar that way, but actually write awesome songs with it, which is still mind-blowing to me because sometimes he’ll play something and I’m like: “What is that!?” and I’m like “You don’t have to do it one way”. So we’re constantly learning how to be better at it, which is awesome.

Mia: What’s weird to me is you guys are so humble and keep referring to your musical skills as really limited, when you’re one of the best bands at the moment.

Creighton: Well, thanks! Yeah… I don’t know. We try hard [laughter]. We work hard at it, we don’t just sit around.

Mia: So, about “Infinite Arms”, it seems like melancholy works as a conducing thread along the whole album.

Creighton: Yeah, it can be sad, too. I mean, this record, more than others, was such an insane learning experience in so many different ways. And we get that question a lot, and it’s mainly… we had ideas of what we want the record to be, but we didn’t have one certain idea, like: “We don’t want it to be sad”. And we’ve always been a band –and will probably always be a band—that just writes what comes naturally. There is an old saying that sometimes writing a sad song is easier than a happy song, but there were a lot of issues, a lot of family issues, a lot of it weighed heavily on Ben, expecting his first child and being married, and being in love… so all that kind of stuff definitely comes into it. You couldn’t do it with it out, coming in. So, melancholy… yeah. Did we mean it to come out that way? No, it just came out that way.  Because to us is the most pop thing we’ve ever done. People of course reviewed it and said “They’ve lost their edge!”, and it’s like “OK, well, whatever. Like, “OK, we’ll go and make a crappy record again”. This one we spent a lot of time polishing it, which was really great, you know. If we do that again – I don’t know. But for this record that’s what came out of it and it felt natural.

Mia: Did all of you participate in creating and arranging the songs?

Creighton: Yeah, we all had a hand in it. Bill played a huge part in the arrangement of most everything, like getting string players. The whole idea, the whole mode we switched into was just “anything goes – if we can get our hands on it, bring it in!” So, any time we were in the studio we had this guy who worked at the North Carolina School of Music in Asheville, where we recorded the record – we would just pay him a hundred bucks a night for him to go steal instruments from the school and bring them into the studio, and we only got 24 hours to use it. So every song at one point had timpanies on, you know. Or every song had this on it, because we only had it for 24 hours – then the guy would come back at 2 in the morning and take it back, and we’d pay him a hundred bucks. So we went for “put everything in it and if we don’t like it, we’ll take it out”. So if there ever was like an unabridged track it would be hilarious because there was so much stuff on it, you know. A lot of it didn’t make it but it was fun just to mess around with stuff.

Mia: Yeah, if you can afford it…

Creighton: Yeah, yeah, if you have someone stealing it for you, you go ahead! [laughter]

Mia: So how do you choose which songs do make the cut and which don’t?

Creighton: For the record? Hum, well, that part you do have to discuss it once you sign to a label and management, and stuff like that. Because sometimes you feel strong about a song, and they don’t, and that’s kind of when they step in to a certain degree. And other ones we fight to the death for, you know? But then you get these little packages of unreleased tracks and you go: “Uuuh, where are these gonna go for?”

And sometimes you end up getting in… a song that me and Bill wrote called “Life on Earth” is on the Twilight soundtrack [laughter]. And that’s what they got! You know? I was stoked; I took my mom to see the movie… So that kind of stuff happens, and they all get this little magical re-working. So it’s kind of cool in a way that all the stuff doesn’t make it, you know. It doesn’t make it for a reason, but when the time comes it’s awesome. They just keep on coming out and you’re like: “Yeah! That one made it!” or “Oh, that one didn’t – but it’ll come out somewhere”. So it’s kind of fun.

Mia: So did you watch the movie?

Creighton: Oh, yeah. Oh, yeah. I took my mom to see it. Yeah… [pauses, laughter] But I consider myself more of a werewolf, but…

Mia: I’ll write “Yes”.

Creighton: Yeah, exactly! Yeah, I’m a huge youth culture fan.

Mia: So, I don’t know to what extent you can answer to this, but Ben said in an interview that most of his lyrics are just “inside jokes and crappy lyrics as usual”.

Creighton: [Laughter] He doesn’t take compliments, you know? Ben is a humble guy and he doesn’t really like to be flattered in any way, shape or form. No, he’s not very comfortable with that. But a lot of it is inside jokes and a lot of it comes from the way he writes, which is usually in a remote place, no-one around, and he gets super paranoid. He thinks someone’s outside trying to get him and stuff like that. So… It’s just the way he writes – he puts himself into this situation. Similarly to Stephen King in The Shining kind of style – he gets inspired that way, and it just works. Actually, a lot of the times I don’t figure out what he’s saying until a year or so after… I’m like “That is awesome!” or “I know what you’re talking about! I remember that!” So it’s a lot of fun, I would think too, for the listener –at least it is for me–, being like: “Why is he saying that?” or like “What’s that phrase…?”

Mia: Do you ever ask him about his lyrics?

Creighton: No, I try to figure it out on my own and then, once I think I have it right, ask him, and I’m usually wrong [laughter]. But yeah, it keeps it pretty fun.

Mia: Do you ever listen to your songs for pleasure?

Creighton: No, I can’t [sighs]. I don’t think any of us really can. If it comes on a movie or a TV show or something like that it’s neat, but, you know, don’t really invest yourself in it. I don’t think any of us are very comfortable with it [laughter].

Mia: Do you get self-conscious?

Creighton: Yeah! That’s my main thing – “I played that too fast”, or like “Oh, that’s not good”… you know. But it’s also a good thing.

Mia: So you guys self-produced and fully own “Infinite Arms”, not to mention the fact that you released it on your own record label. You seem to have a very good grasp of what needs to be done business wise. Would you say this is the model the new recording artist should adopt?

Creighton: Yeah, it’s a tricky question, because at first thought you’re like: “Yeah, do it yourself, don’t let anyone tell you what to do”. It’s a huge thing to own your publishing and those kinds of things, it should be step one these days, and that should be a first. But also it is a difficult question to answer because there are still things in the industry that do help: you do have to have people pushing the record, and you really have to do your best to find someone that you trust, because it’s still a slimy business, as with most things! But I think it would be a great model for people to follow, you know, to attempt, but it’s also not that easy. When it’s this much more work opposed to having this label being like: “No, we got you, we’ll do this for you”. It’s kind of looking at the fine print and seeing what works for you, of course. I mean, I wish that everyone could do it on their own, but it’s not that easy. It is a lot of money, and there’s just so much extra stuff that you have to do. If you’re into that, it’s fun! [laughter]

Mia: I guess having ownership to your own material and trying to figure the business out sometimes leads to missteps. You’ve lent your songs to ads, movies and TV shows, but you also got a lot of flack when you let Wal-Mart use one of your songs.

Creighton: Yeah. That actually got stopped, though. We stopped it. That was the first, you know, that was the first real one that was like: “Okay, we have to think this stuff through”. You know, I wasn’t on the first record. It was “The Funeral”, and it was Ben, and legitimately Ben at that time was expecting a family and he wasn’t thinking about the repercussion of it, obviously. And we were a really young band, you know. So you really do have to watch your ass – you have to be careful and really think about what you’re putting out there, of course. So, if anything it was the best learning curb ever – we were feeling like: “Okay… well, fuck. People are pissed. We can’t do that”.

Mia: Well, really, I don’t see the big deal. Even knowing what Wal-Mart represents, but still – you guys were starting up and the music industry is not at its best moment anyway…

Creighton: Right, right. Yeah, and if you break it down too, it’s like… those people still go to fucking Wal-Mart, you know. It’s so cheap, you know.  That guy who’s bitching about it he probably bought the CD in Wal-Mart. But in a lot of ways too the process side of these things is – our radio system in the States has pretty much gone to shit. And another cool thing that you said when we started this conversation is bands like Deerhunter and Animal Collective are really pushing past that and a really awesome way to get your music out there is films and TV shows, and not necessarily the ones that you like. There’re obviously ones that aren’t preaching something that you don’t believe in, which is a huge step, but it’s a great way to get your music out there because you’re not being played on the radio. So it’s actually really cool when I’m like: “Oh, that movie has our song in it”. And specially, sometimes I’m sure they’ve told us, and I just forgot –like the movie Due Day, with Zach Galifianakis–, “The Ghost” is in that one, I totally forgot about that. I watched it in the hotel a week ago and I was like: “Holy…!”

Mia: As long as it’s not a Mel Gibson movie I guess you’re fine…

Creighton: I love Mel Gibson! Just kidding [laughter]. The old racist! [laughter] No, you just have to see, you know, you have to do your research, do a little homework on “Is that cool?”. Because a lot of times not only is it the way you get your stuff out there and the exposure but also it gives us money, you know. And everyone who says that’s not the case, they’re lying. It’s still a job! It is my favorite thing in the world but it’s work and you gotta – if you don’t tour, for a while, like you can actually still feed family on it.

Mia: Yeah, and also it is a job that can be very precarious, especially the way the music industry is right now, so it must be kind of scary to go ahead and be like “Yeah, I’m just gonna pursue this”. Because even if you’re awesome, it seems like it’s really rare to actually be able to make a living out of it.

Creighton: Yeah, and it seems like such a new thing. And it obviously is a thing where people go like: “This band is hip, and this is going to get the kids to buy the soundtrack” or even go to see the movie, because… it’s like when there’s a movie I didn’t become particularly interested in, but I knew my friends are in it, yeah, of course I’ll go to see that. So it also works from that tip – marketing ploys and stuff like that. But honestly, I don’t think it’s a big deal as most people make it, it’s just exposure.

Mia: And speaking of movies – you were in one recently [Nightfur].

Creighton: Oh, yes! Oh, yes, a very important film! [laughter] Groundbreaking. Yeah. It wasn’t even being an actor, I’ve actually never seen it, because I’m so afraid of it. Well, it was a friend who came in at a three week block of time… where my friend from L.A. who’s like: “Look, I’m going to be making this movie in North Carolina”. I live in South Carolina – and he was like: “I really want you to do it”. And it just kind of fell right when I had some time off, so I said okay. I mean, I just love film and I rather be on the other side of the camera, but I thought I’d give it a go, just to see how it goes. It’s just a weird sci-fi movie and I love sci-fi, but even while we were making it I was like: “What the hell is this?”, you know. So… I don’t know, maybe someone has seen it and enjoyed it, but I’m way too afraid to watch it.

But it was fun and I’d do it again. I’m just obsessed with doing anything artistically, just creating… The only thing in life, I’ve learnt, that really pays you back is being creative. So anything like that comes to me – painting, drawing… I’m starting a skate company, stuff like that. When I’m on the road I’m focused on that. So, just get out there and do something is more of my obsession, just don’t sit on your ass.

Mia: Well, if you weren’t so driven and part of Band of Horses, you might have never gotten to meet the Boss…

Creighton: Oh, yeah. Absolutely! We’ve been so lucky, we’ve met so many awesome heroes. We got to play a show with Willie Nelson. It was hilarious – we were going to play in Maui, with him, where he lives. And so we fly into Maui and we go straight to this very little rehearsal space and we’re all just sitting around, waiting for him to show up. And he pulls up in this bio-diesel Mercedes Benz, and we were like: “Oooh, fuck. That’s him!”. He gets out of the car, and goes: “Eh, I’m Willie!”. And then we practiced “Mama Don’t Let Your Babies Grow Up to Be Cowboys” with him and then his wife, who’s also his manager, goes: “Come to house tonight, we’re playing poker”. We were stoked but none of us really knows how to play poker – I think Ryan is really good at poker, but none of us…

So we went back to the beach house trying to learn how to play poker. I have no attention span for card games, like… I’m just like: “A bird!”, you know. So we get there and we get in the house and it’s him and Woody Harrelson, the actor. And a couple other… who knows who the other people were. They were playing like five hundred dollar hands and we were like: “No way”. They wanted us to sit down, I’m sure, but… So surreal. But it was pretty awesome.

But yeah, we’ve met The Boss, that was super, super trippy. It was insane. And Neil Young, and we got to open up for Pearl Jam – we’ve been really lucky on the “Meet the Heroes” tip for sure. It’s exciting. Yeah, and also it puts your parents: “Okay, he’s actually doing something – he met The Boss”, you know?

Mia: Something to tell your dad! That’s pretty good! Any other crazy stories you want to share?

Creighton: Ahh… I don’t think I’m allowed to! I’m just kidding! No, we’re old and boring now [laughter]. We don’t really get in too much trouble anymore, we all have wives and stuff. About as much trouble I get to is for skateboarding, when there’s a place to do it. We’re pretty tame these days. We’re trying to grow old better, so…