The Jom and Terry Show was the backup band led by American punk legend Mike Watt (formerly of The Minutemen and Firehose) for tours of the US and Canada in 2001 and 2002. The band, in addition to Watt on vocals and bass, included Tom Watson (Slovenly, Red Krayola) on guitar and vocals and Jerry Trebotic on drums. The group's first tour (dubbed the "Time To Cat And Not Mouse" tour, since Watt had just finished touring, or "sidemousing" as he calls it, as a member of J Mascis and the Fog) in the fall of 2001 was originally scheduled to start on September 11, 2001; Watt was in the process of leaving his apartment to pick up Trebotic and Watson when one of his friends called him and told him to turn on the news; the night's opening date in San Francisco was postponed until the end of the tour, and Watt would perform each night's show on the tour wearing dark sunglasses in memory of the victims of the 9/11 attacks. Director Bill Draheim toured with "The Jom and Terry Show" while they performed their Minnesota leg. Mike Watt and the Jom & Terry Show Eyegifts from Minnesota is the documentary resulting from the footage taken. After 49 tours across the United States Watt performs his first gig in Duluth at the NorShor Theatre then his first show in Saint Paul at the Turf Club. Finally the documentary ends in Minneapolis with his 46th show in as many days at the 7th Street Entry. At the tour's October 5, 2001 Detroit date, Watt and the Jom and Terry Show were booked in The Shelter Club, which was located in the basement below the much larger St. Andrews Hall, also a music venue, in which the thrash band Megadeth was scheduled to play at the same time. Watt recounted the bizarre juxtaposition between the two acts in his online tour diary: Watt and the Jom and Terry Show had arrived at the Shelter Club in Watt's Ford Econoline van with only their instruments, amplifiers, and Trebotic's drum kit; Megadeth had two semi-tractor trailers full of equipment and a crew of roadies loading in to the St. Andrews Hall. Watt and company's backstage contract rider was minimal (the band often took buyouts from the promoter for chow money rather than have the promoter pay for a ton of food that