WEBVTT

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<v Speaker 1>Oh is it show time?

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<v Speaker 2>People say, good money to see this movie.

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<v Speaker 3>When they go out to a theater, they want cold sodas,

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<v Speaker 3>pop popcorn, and no monsters.

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<v Speaker 2>In the Protection Booth, everyone pretend podcasting isn't.

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<v Speaker 3>Boring at off.

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<v Speaker 2>How do you feel about.

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<v Speaker 1>Pyra Radio and if Sam Fringe and y B FCC.

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<v Speaker 3>What I like is that we're able to play whatever

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<v Speaker 3>we want to play, We're able to say whatever we

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<v Speaker 3>want to say, and nobody dicks with us.

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<v Speaker 4>In fire radio, It's just like a weird urban legend,

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<v Speaker 4>and then you'd hear it and realize.

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<v Speaker 2>It was real. Kind of this like mysterious thing that exists.

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<v Speaker 3>Able people knew there was an illegal radio station, so

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<v Speaker 3>we're like, no, we knew what it was.

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<v Speaker 5>Adot Applyvate radio stage last eight month signal across five

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<v Speaker 5>entire city blocks. My message for those pirates out there

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<v Speaker 5>that are saying that we're going to get away with

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<v Speaker 5>this was, uh, don't get too comfortable.

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<v Speaker 1>Hey, folks, welcome to a special episode of The Projection Booth.

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<v Speaker 1>I'm your host Mike White. On this episode, I'm talking

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<v Speaker 1>with Sue Carpenter. She is the writer and director of

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<v Speaker 1>the new documentary forty Watts from Nowhere that is playing

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<v Speaker 1>over at the slam Dance Film Festival coming up pretty

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<v Speaker 1>darn soon. Miss Carpenter was a DJ and founder at

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<v Speaker 1>an underground slash pirate radio station back in the mid

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<v Speaker 1>nineties into the early two thousands. Had a great time

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<v Speaker 1>talking with her about the station as well as why

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<v Speaker 1>she decided to make this movie right now. Thank you

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<v Speaker 1>so much for listening, and I hope you enjoyed the interview.

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<v Speaker 1>Before this was a documentary, it was a book. Can

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<v Speaker 1>you tell me a little bit about how the book

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<v Speaker 1>came about.

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<v Speaker 6>Yeah, the book came about because I have a horrible memory,

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<v Speaker 6>So shortly after the station was busted, I decided that

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<v Speaker 6>I should chronicle it when I had everything fresh in

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<v Speaker 6>my brain, and so the book came out in two

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<v Speaker 6>thousand and four. I started to write it, and I

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<v Speaker 6>think I got the deal in nineteen ninety nine or

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<v Speaker 6>two thousand, so I started to write it probably a

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<v Speaker 6>year after the station went under and that's why that exists.

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<v Speaker 2>And then why the documentary.

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<v Speaker 6>Now, Because I've found that there was all this vintage

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<v Speaker 6>footage that I didn't know existed or hadn't remembered. To

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<v Speaker 6>the point about me having a horrible memory because I

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<v Speaker 6>did a sit down interview in nineteen ninety eight with

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<v Speaker 6>the person who had all this footage. I don't remember doing.

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<v Speaker 6>I only found out that this footage existed two years ago,

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<v Speaker 6>and I thought as a journalist, I had worked in print,

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<v Speaker 6>I'd worked in radio, worked in television, and I figured, Okay,

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<v Speaker 6>I have all this experience. I know how to tell

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<v Speaker 6>a story. Now I have this footage, I'm just going

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<v Speaker 6>to give it a shot. So that's how that happened.

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<v Speaker 2>This project came together pretty quick.

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<v Speaker 6>I am not somebody who likes to go slowly. I

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<v Speaker 6>know that if I just dragged this out, I would

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<v Speaker 6>hate it. I had a very tight deadline. I wanted

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<v Speaker 6>it to premiere in twenty twenty five because that's the

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<v Speaker 6>thirty year anniversary of when I went on air, and

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<v Speaker 6>so for us to meet the deadlines for all the

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<v Speaker 6>film fests, it meant that we had to have our

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<v Speaker 6>first cut together last summer and then massage. So in

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<v Speaker 6>earnest it probably took seven months, and then it was

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<v Speaker 6>like three months of dialing things in. It was locked,

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<v Speaker 6>but we had to upgrade some of the photos in

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<v Speaker 6>the video and music and get all that license and

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<v Speaker 6>all that mambo jumbo.

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<v Speaker 2>Just gathering all the people must have been quite an ordeal.

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<v Speaker 2>I work in daily news.

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<v Speaker 6>I'm a breaking news reporters on used to working pretty

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<v Speaker 6>quickly getting in touch with people. And also this is

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<v Speaker 6>self financed, and I couldn't afford to drag it out either,

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<v Speaker 6>you know what I mean. So I'm just lucky that

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<v Speaker 6>people came on board and I could set up the

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<v Speaker 6>interviews and make sure those were happening and delegating. Once

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<v Speaker 6>you find your people to do certain things and they're

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<v Speaker 6>off and running while you're doing your thing, and it

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<v Speaker 6>really worked out.

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<v Speaker 2>Were you still in contact with all of these folks.

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<v Speaker 6>No, I really was not, and I was re entering

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<v Speaker 6>their lives cold and funnily, Quasar in the movie, who

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<v Speaker 6>seemed a little hesitant to be interviewed at first, sat

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<v Speaker 6>for an interview, and then we got the film together,

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<v Speaker 6>the first cut, and then I somehow shared it with

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<v Speaker 6>him and he liked it so much that he wanted

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<v Speaker 6>to be involved as a producer. And he just is

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<v Speaker 6>one of these people who continues to know everybody. So

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<v Speaker 6>he was able to take a lot of the really

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<v Speaker 6>tough things off my plate, like trying to clear the

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<v Speaker 6>Mazzie Star footage or get certain pieces of music because

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<v Speaker 6>he knows those bands. That was great.

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<v Speaker 2>Why the hesitation was it because this was inherently an

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<v Speaker 2>illegal activity.

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<v Speaker 6>I don't know. I think that some people just they

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<v Speaker 6>moved on to their lives, so why do they need

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<v Speaker 6>to revisit it. But I don't think that was most people.

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<v Speaker 6>And it was a slight hesitation. It wasn't you have

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<v Speaker 6>to convince me. It was like pushed me over with

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<v Speaker 6>a feather, But it was just like, why are you

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<v Speaker 6>doing this? And I think there was also some that

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<v Speaker 6>it was going to be a vanity project. Look at

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<v Speaker 6>what I did, look at how cool I was back

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<v Speaker 6>in the day, and I really did not want that

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<v Speaker 6>to be what it was. And I was very careful

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<v Speaker 6>working with the editor to make sure that it just

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<v Speaker 6>didn't seem like I was blowing my own horn.

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<v Speaker 2>Well, it is interesting that so many of the interview

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<v Speaker 2>subjects address you and are speaking directly to you, and

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<v Speaker 2>that's a nice touch.

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<v Speaker 6>Yeah, that's because I was doing all the interviews. The

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<v Speaker 6>original interviews from back in nineteen ninety eight were done

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<v Speaker 6>by one of the DJ's, Robert Sullivan, and a little

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<v Speaker 6>bit by me too, But the ones that were done

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<v Speaker 6>in over the last year were done by me, and

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<v Speaker 6>I think that really helped because they knew that I

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<v Speaker 6>knew the story and they knew the story, and I

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<v Speaker 6>think that it got different answers from them that seemed

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<v Speaker 6>warmer and made the film seem more intimate. And he's

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<v Speaker 6>watching it feel like they're part of it too.

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<v Speaker 2>Yeah, it feels like they're in the living room with

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<v Speaker 2>you when you're interviewing them.

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<v Speaker 6>Yeah.

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<v Speaker 2>Yeah, you mentioned the rights and clearances and I couldn't

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<v Speaker 2>believe just how much music you had in there. What

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<v Speaker 2>kind of hoops did you have to jump through for this?

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<v Speaker 6>We have an amazing music supervisor, Maria Koog, who came

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<v Speaker 6>to me through Quasar Brandon, the guy who knows everybody.

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<v Speaker 6>He was like, you should be working with Mara on this,

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<v Speaker 6>and she just worked her magic. We got stuff I

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<v Speaker 6>never would have expected us to get. I would not

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<v Speaker 6>have expected us to be able to clear Red Hot

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<v Speaker 6>Chili Peppers, Rage against the Machine, and I'm pulling out

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<v Speaker 6>the biggest bands, which is obviously not what KBLT or

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<v Speaker 6>Pira radiumid Station was really about, but they do play

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<v Speaker 6>a role in the station's history, and then Fugazi, who

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<v Speaker 6>apparently does not license their music anywhere, Bikini Kill, John Spencer,

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<v Speaker 6>Blues Explosion, some of the local bands like Touch Candy,

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<v Speaker 6>which was really one of my favorites from back of

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<v Speaker 6>the day, Pop Defect. The animator was also in a

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<v Speaker 6>band called the Abe Lincoln Story, so there's some footage

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<v Speaker 6>of that band in there. A lot of it was

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<v Speaker 6>the local scene. Everybody has moved on with their lives,

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<v Speaker 6>and weirdly they moved into areas that were very helpful

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<v Speaker 6>for the making of this movie. Animation, music, supervision, music composing.

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<v Speaker 6>So I just feel like I was really lucky.

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<v Speaker 2>Would having Tom Morello in the movie help with the

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<v Speaker 2>licensing a breach against the machine?

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<v Speaker 6>I think that it did, And that was weird that

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<v Speaker 6>I even got to interview him. I was doing a

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<v Speaker 6>story for broadcast television and I normally never even do

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<v Speaker 6>those stories, and for some reason, his people reached out

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<v Speaker 6>to me and said, hey, do you want to do

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<v Speaker 6>the story with Tom, and so I did, and then

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<v Speaker 6>at the end of that interview, I just said, Hey,

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<v Speaker 6>I'm working on this documentary. Can I ask you a

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<v Speaker 6>couple questions for the documentary? Have you heard of the station,

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<v Speaker 6>and he had he was never involved with the station,

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<v Speaker 6>and answer those two questions. I of course then had

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<v Speaker 6>to get approval to include them in the documentary, and

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<v Speaker 6>then those people we had to reach out to through

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<v Speaker 6>the music supervisor. But I feel like the movie really

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<v Speaker 6>syncs up with who he is as a person. It's

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<v Speaker 6>very socialist, it's very like power to the people. And

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<v Speaker 6>also that song Gorilla Radio is like so completely on point,

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<v Speaker 6>which is why I wanted to use it. I think

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<v Speaker 6>it was all of those things. And even though we

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<v Speaker 6>were offering like almost no money, they don't need it,

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<v Speaker 6>so I think that worked in our favor too. Yeah,

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<v Speaker 6>but I was shocked that we got almost every single

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<v Speaker 6>song that we wanted.

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<v Speaker 2>You've been that sweet spot talking about ninety five, where

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<v Speaker 2>there are some independent bands that have already signed with

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<v Speaker 2>the majors, your Nirvana, your Pearl Jams, but there are

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<v Speaker 2>bands that are still out there born independently, and dealing

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<v Speaker 2>with them, I imagine has to be way easier than

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<v Speaker 2>dealing with the big boys.

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<v Speaker 6>We knew that we wouldn't be able to get any

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<v Speaker 6>universal bands just because they wouldn't play with us for

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<v Speaker 6>our price point. That we were offering or offering everybody

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<v Speaker 6>the exact same money, whether it was a band that

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<v Speaker 6>nobody had heard of or fro the band that everybody

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<v Speaker 6>had heard of. So some were easier than others, but some,

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<v Speaker 6>like multiple bands were on that same level, and so

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<v Speaker 6>she was dealing with the or same label, and then

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<v Speaker 6>she was dealing with the same person, and once somebody

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<v Speaker 6>had said yes, then it was just like, so that

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<v Speaker 6>was great.

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<v Speaker 2>I also have a very bad memory. So were there

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<v Speaker 2>times while you were making this documentary where you're hearing

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<v Speaker 2>stories about yourself and you're just like, I don't remember

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<v Speaker 2>this at all.

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<v Speaker 6>I don't know if I was really hearing stories about myself.

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<v Speaker 6>I was trying to get them to fill in gaps

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<v Speaker 6>of the story, just to be able to tell the

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<v Speaker 6>story cleanly through other people's words and how people misremember

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<v Speaker 6>so their stories might not completely sync up. And I

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<v Speaker 6>had that in a few different situations. Mike Watt didn't

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<v Speaker 6>remember how he came into the station, but I did,

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<v Speaker 6>and somebody else did. Oh yeah, I did hear one

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<v Speaker 6>new story, which it's when a spiritualize came into the

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<v Speaker 6>radio station just for a really quick interview. I didn't

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<v Speaker 6>realize that Hope sand of Baal from Mazzie Starr was

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<v Speaker 6>with him. Obviously I was not there because I don't

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<v Speaker 6>remember that. But there were just so many bands that

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<v Speaker 6>had come into the station, huge bands that I should

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<v Speaker 6>have been informed of that I it was just so normal.

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<v Speaker 6>I guess at the point Beth, people didn't feel like

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<v Speaker 6>they needed to tell me that my favorite artist was

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<v Speaker 6>just in my house.

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<v Speaker 2>How big was the studio before you put in all

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<v Speaker 2>the equipment maybe.

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<v Speaker 6>Five feet wide and it was like the size of

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<v Speaker 6>a queen size mattress.

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<v Speaker 2>So have you seen this with an audience yet?

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<v Speaker 6>I did a friends and family screening in August. It

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<v Speaker 6>was just a little screening room that only sat thirty

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<v Speaker 6>people at a time, so we did three in a

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<v Speaker 6>row and it was a lot of the DJs and

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<v Speaker 6>my son and it was really level. It's so fun

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<v Speaker 6>when people that you know who were part of it

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<v Speaker 6>like react and just I loved that they loved it.

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<v Speaker 6>That was different that I got. I felt like it

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<v Speaker 6>wasn't just see you later on their way out the door,

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<v Speaker 6>tried to avoid. I felt like they genuinely liked it.

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<v Speaker 6>So that was good.

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<v Speaker 2>Wow, look forward to you being able to see it

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<v Speaker 2>now at slam Dance. This should be fantastic.

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<v Speaker 6>The premiere I just found out yesterday is going to

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<v Speaker 6>be in a theater with four hundred seats. I am

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<v Speaker 6>hoping that we fill them, and then if it is

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<v Speaker 6>fold then I'm hoping that it is just like rowdy

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<v Speaker 6>and laughter and yeah, the whole emotional roller coaster that

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<v Speaker 6>I hope everybody who watches it feels.

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<v Speaker 2>Thank you so much and thank you for the film.

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<v Speaker 2>Like I said, I really enjoyed it and it was

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<v Speaker 2>great talking with you.

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<v Speaker 6>Thank you so much.

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<v Speaker 7>I could never say my way to the job because

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<v Speaker 7>my love what always lets me right up. And since

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<v Speaker 7>my options I've been with other way asked at a

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<v Speaker 7>bargain with my ready here DJ, I said, I'd like

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<v Speaker 7>the song to be number one. He said, I'd really

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<v Speaker 7>really love to help you, Madison, And then I knew.

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<v Speaker 5>That I would have him to thank because he asked

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<v Speaker 5>me how much I had in the bank.

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<v Speaker 8>He said that they.

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<v Speaker 5>Love him investment, and then all the others I've been

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<v Speaker 5>giving them sounds. He said, then you are would justify

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<v Speaker 5>the guys. Any line, he said, the record wouldn't have

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<v Speaker 5>to be happy, and I want everything to hear if

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<v Speaker 5>it's not. It was the event that I got, and

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<v Speaker 5>that the other one they're giving is a shot.

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<v Speaker 3>Let's you know, mind there is some girl cheating.

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<v Speaker 5>Man you name, and they were giving the sun because

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<v Speaker 5>then the reward it just just fine to gons edit

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<v Speaker 5>the line name. Mister d J, I thought you said

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<v Speaker 5>we had a day. I thought she said you scratched

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<v Speaker 5>my back end, I'll scratch you, reckon.

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<v Speaker 8>And I thought you said we had a day.

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<v Speaker 5>Well, I talked you about the world of Suddress.

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<v Speaker 2>I wonder whinning in the freedom this?

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<v Speaker 8>You know, the rabbits had.

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<v Speaker 5>To spit tween him, just be space patient must be

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<v Speaker 5>wearing them because.

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<v Speaker 8>They haven't made a sign. Not did anyone to meet him?

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<v Speaker 8>Came and the chuckie is mood out of town.

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<v Speaker 5>The diacono said, didn't know. I did be He said

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<v Speaker 5>the theme was not serve investment. And then all the

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<v Speaker 5>others have for given the sound, he said, and then

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<v Speaker 5>we are justified the gossom.

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<v Speaker 8>As a man of the line in mister Gid, I thought.

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<v Speaker 5>You said we have a d I thought she said

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<v Speaker 5>you scratch my back and I'll scratch you. And I

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<v Speaker 5>thought you said we had a day.