People and Articles of Interest-1

Music Changes the Taste of Wine

Kim Cameron develops the first music and wine pairing musical series which matches grapes to her original pop/rock songs. The first DC wine and music pairing is scheduled at Cabanas, March 28th.

(PRWEB) March 18, 2010 — Washington, DC – Move over food, there is a new taster coming to town – Side FX—a rock/pop group that has moved into wine pairing with a twist, a twist on their music that is. While many of us have had wine pairings with dinner, few have paired wine with sound. Tantalizing Tastes and Melodious Music is what the Side FX band calls “small tastes which heightens all of our senses” an example of how music, bands and wine makers are coming together to enhance the experience.

Kim Cameron from the Side FX Band
Kim Cameron, lead singer and songwriter with the Side FX band, has carefully crafted an entertainment platform which draws out different fruits, tannins, and spices in specific wines when held up against one of her original songs.
“When we first began testing the theory, we thought one of our slower songs would naturally fit a white wine, but after many tastings we found those songs were deeper than what our initial sense of hearing had us believe,” explains Kim Cameron. “We ended up pairing white wines with songs that we initially targeted for the Merlot grape for example.”

The group took this show on the road with their first ‘It’s Your Turn’ tour where wine enthusiasts and new wine drinkers were intrigued with the concept. Part of what the band is trying to accomplish is to get the audience actively involved with the show or, what Kim refers to as ‘the experience’ where multiple senses are involved for the night.

Recent studies are now showing what Kim and Side FX have known for years, pairing the right song with the right wine can have a heavy impact on bringing out the wines flavors and heighten the overall wine experience. The Heriot Watt University of Edinburgh, known for it’s forward thinking and having an international reputation for innovative education, enterprise and leading edge but practical research did a clinical study on the pairing of music with wine. The study found people rated the change in taste by up to 60% depending on the melody heard.

Four types of music were played – “powerful and heavy”, “subtle and refined “, “zingy and refreshing” and “mellow and soft”. The white wine was rated 40% more zingy and refreshing when that music was played, but only 26% more mellow and soft when music in that category was heard. The red was altered 25% by mellow and fresh music, yet 60% by powerful and heavy music.

While there has been talk for years about pairing music with wine at various events, no other artist has taken the next step and created an entire show and series out of the concept. “We developed a very detailed show outline that helps the venue chose the right number of tastings, how to organize the event and offers suggestions for food pairing with the music,” Kim says.

“I have never seen an artist offer this type of an event. I takes a lot of thought and preparation to deliver this type of show successfully,” says Joe Steger, Manager of Cabanas.

To find out more about Side FX, or their It’s your Turn tour you can visit www.sidefxband.net and www.kimcameronmusic.com.

To see Kim’s webisodes visit the bands youtube channel at www.youtube.com/sidefxband
Kim Cameron and the Side FX band offer an eclectic blend of pop, rock and jazz into a smooth, groovy listening experience.

FOR LOCAL PRESS INQUIRIES/INTERVIEWS, CONTACT MICHEL@REALIZERECORDS.COM OR 302.983.6976

You can also read more that we printed about Kim Cameron and the Side FX band at:
http://flipsidetomusic.com/?p=5405

Small Worlds exhibition by Keith Loutit

Small Worlds exhibition
by Keith Loutit
Digital Media Wall – Ground Floor
30 April – 4 July 2010
Sydney based photographer and short film maker, Keith Loutit is known globally for his Bathtub series of short films, that present Sydney and its surrounds in miniature. His scaled down and sped up realities challenge people’s perceptions of scale, helping them to distance themselves from places they know well, and see the ordinary as being worthy of their attention. The photographs and short films were made in places probably not too unlike where you live.

Combining a variety of techniques, Loutit aims to encourage people take a second look at places that are familiar to them. His latest short film work Small Worlds continues this theme, with it’s international debut at Sydney’s Customs House. Small Worlds will feature on the Digital Media Wall on the ground floor.

Photo credit EMMANUEL DUNAND/AFP/Getty Images

John Lennon?s autograph lyrics for “A Day In The Life”, the revolutionary song that marked the Beatles transformation from pop icons to artists is on display during a preview at Sotheby’s, June 11, 2010, in New York. The double-sided sheet of paper in Lennon?s hand is complete with cross-outs, corrections, reworkings, and chronicles the evolution of one of the most famous pop masterpieces from conception to the lyrics presumably used in the recording studio will go on auction on June 18, 2010 with an estimate of 500,000 to 700,000 USD.

A Day In The Life was the final track of the Beatles legendary 1967 album, Sgt.Pepper?s Lonely Hearts Club Band, which spent 27 weeks at the top of the UK?s charts and 15 weeks at number one on the American Billboard 200.

John Lennon’s handwritten lyrics have sold for $1.2 million at an auction in New York, purchased by an American private collector over the phone. They were for the Beatles hit A Day in The Life which was the final track of the band’s 1967 album Sgt Pepper’s Lonely Hearts Club Band.

It’s a double-sided sheet of paper which starts with “I read the news today oh boy about a lucky man who made the grade.” This apparently refers to Guiness heir Tara Browne’s car crash. Browne was a friend of Lennon’s and a society figure who crashed his Lotus Elan sports car in London and died in 1966, after failing to notice a red traffic light. Lennon later commented, “I didn’t copy the accident. Tara didn’t blow his mind out, but it was in my mind when I was writing that verse. The details of the accident in the song — not noticing traffic lights and a crowd forming at the scene — were similarly part of the fiction.”
The lyrics previously belonged to Beatles road manager Mal Evans. According to Sotheby’s, the document provides a “rare glimpse into the Beatles’ songwriting dynamic.” “A Day In The Life” was banned by the BBC when it was released because of the line “I’d love to turn you on” which supposedly encouraged drug use.

Original POST BY Ambika Muttoo AT 7:21 am Monday, June 21st, 2010
http://www.thefablife.com/2010-06-21/john-lennon-lyrics-fetch-more-than-a-million-in-auction/

A MELBOURNE ARTIST SHOWCASE SET TO STUN
When: Friday, 2010/04/23
Where: The Johnston – 67 Johnston Street , Fitzroy, VIC Australia

Cost/Tickets: $10 -

Friday 23 April 2010

It’s not everyday you can get a collection Melbourne’s finest independent pop artists and get them together for one fine showcase.
Local singer/songwriters Mz Liz and Marina Toskas are set to release their new singles and putting on an exciting live show to celebrate. They will be joined by special guests SilverDollars and Chelsea Adams at The Johnston on the 23rd of April a night of new tunes, local talent and fun.

She’s bold; she’s sassy; she’s got fiery red hair, Marina Toskas is Melbourne’s own DIY independent pop artist. Her debut single Rockstar is out now on iTunes which is set to rip it up on Australia’s dance-floor. www.myspace.com/marinatoskas

Mz Liz will get you in the mood with her debut single Flirt, available on iTunes with her warm vocals and RandB vibe, it’s no wonder she is already making waves in the international music scene and making friends with the industry’s finest http://www.myspace.com/mzlizmusic

Don’t miss out on SilverDollars first live set, he is alternative modern psychedelic solo artist set to make waves. http://www.myspace.com/silverdollarsthenewsound

Tickets $10 available at the door. Doors open 8pm
http://wots-on.info/whats-on/?event=A_MELBOURNE_ARTIST_SHOWCASE_SET_TO_STUN–Fitzroy–VIC–Australia–000A3qh–Live_Music–2010-04-23

Article submitted by: Debbie Stevens

One of the icons of Bluesfest – Jack Johnson – introduced to Australia via Bluesfest in 2002, is returning for our 21st Anniversary to knock you all out!

Jack Johnson’s exclusive 2010 Bluesfest appearances signal his return to Australia for his first performances since March 2008, and mark his first Bluesfest appearances since 2005.
These hotly anticipated performances will be Jack Johnson’s only Australian shows on this tour! Jack’s albums have sold over 15 million copies worldwide. To add perspective on this announcement, Jack Johnson’s last Australian tour (2008) included a sold out Centennial Park in Sydney (28,000 capacity), and two Myer Music Bowl shows in Melbourne (about 20,000 capacity each).
Jack completely embodies the spirit of Bluesfest with his ethos and commitment to great music, sustainable living, peaceful mindedness, and cultural respect.
So this is such a wonderful way to mark the move to our new home in Tyagarah with an artist who remains a big part of the Bluesfest experience. Jack’s band consists of long time members Adam Topol (Drums) and Merlo Podlewski (Bass), and Zach Gill (Keys).
The latest Jack Johnson album is actually a live album and film – both called En Concert (released October 2009) – which chronicles his 2008 world tour, from sharing the stage at Bonnaroo with Eddie Vedder to leading a massive sing-along in Paris.
Longtime favourites from Jack’s albums are interwoven with some of his favourite songs by Jimi Hendrix, Paul Simon and Charles Wright. A fantastic document, En Concert, in its first week of release reached #21 in the Australian charts, and #11 in the American charts! 
And after just two weeks, En Concert has already gone Gold in Australia! 

http://www.jackjohnsonmusic.com/

Article submitted by: Debbie Stevens

Photo: Getty Images

Aerosmith Reunited! European Tour Scheduled With Steven Tyler

The world has been saved from the threat of a Steven Tyler-less Aerosmith—the boys have patched up their differences and are heading back on the road. The drama started last November when Tyler began making noise about a solo career, sending guitarist Joe Perry into a twitter snit (yes, even Aerosmith members tweet). Though Tyler showed up onstage with his fellow Toxic Twin days later (memorably announcing, “Joe Perry, you are a man of many colors, but I…am the rainbow!”), the band was soon threatening to hold auditions for a replacement if Tyler, allegedly working on his memoirs, continued to ignore the band and refuse to tour.

With band members questioning whether he’d fallen off the wagon, the long-sober singer scooted off to rehab for painkillers around Christmas (dude was aching long before that stage fall in Sturgis). Despite any lingering questions that would follow Tyler serenading a Home Depot last month, the band has welcomed back their prodigal prancer. “I just auditioned and I got the gig,” Tyler joked in a video announcing their summer jaunt through Europe. “The rumors are true…I think,” says Perry in the clip. Aside from a brief, drug-stained period in the ’80s, the band has performed in its classic line-up for almost 40 years.

POSTED BY Anthony Miccio
http://www.thefablife.com/2010-02-25/aerosmith-reunited-european-tour-scheduled/

The Who's Roger Daltry and Pate Townshed (Photo: Win McNamee/ Getty Images )

The Who Rock Super Bowl Halftime With Explosive Set
Medley includes ‘Pinball Wizard,’ ‘Baba O’Riley,’ ‘Won’t Get Fooled Again’ and more.

The first half of Super Bowl XLIV might not have provided the offensive fireworks many had expected, but luckily for pyrotechnics obsessives, there was still the halftime show, featuring a bombastic set by the Who.

On Sunday night (February 7), the London legends brought out the big guns, ripping through a hit-filled set and leaving the skies over Miami’s Sun Life Stadium filled with smoke.

Opening with “Pinball Wizard,” Roger Daltrey and Pete Townshend traded verses while flashbulbs popped and flames leapt, the stage — a star-bursting L.E.D. number — shining brightly.

They segued right into “Baba O’Riley,” with the song’s famed opening strains echoing around the stadium. Green lasers criss-crossed the night sky, as Townshend windmilled like crazy, then pulled a solo out of his red Fender guitar. (Vegas oddsmakers put the over/under on windmills at 4.5. Hope you took the over.) Daltrey belted the tune out, and contributed a smoking harmonica solo of his own.

“Who Are You” was next and featured the band’s famed red, white and blue mod logo spinning around the stage, and another incendiary solo from Townshend. Then came a few verses of “Tommy,” the stadium bathed in cool blue lights as Daltrey sang, “See me, feel me, touch me.”

And since this year’s Super Bowl was being held in Miami (home of a “CSI” franchise), the Who wrapped with the show’s theme song, “Won’t Get Fooled Again,” featuring even more lasers, flames and — during the song’s epic drum fill — some serious fireworks. (Sadly, David Caruso didn’t make an appearance.) Daltrey yowled his famous “Yeaaaaaah!” and the sky erupted in even more pyrotechnics.

Then, as the Super Bowl crowd cheered wildly, Daltrey and Townshed embraced, and it was all over, except for the smoke. There was still plenty of that.

This report is provided by MTV News
by James Montgomery
http://www.vh1.com/news/articles/1631459/20100207/who.jhtml

David Tyrrell

David Tyrrell has come far in a short period of time, evidence of the artists dominance in the music world. What follows is a profile video of the latest project David is working on.

Shot in the icey cold, we catch David and the new members of the bands.

We eagerly anticipate the new album and cant wait for the band to start touring. All the best in the studio, and we look forward to hearing the new material!

David Tyrrell was one of the first musicians we worked with here at Band In A Box. We produced a full scale music video for the extremely talented musicians.
The original EP Believe was a collection of tracks which grabbed my attention immediately.

We met numerous times with Dave and his band, we developed a idea for their track Believe. The video was shot over a two day period, and we became long term fans of the David Tyrrell experience.

When it was announced that a new album was to be released, substance, i was personally extremely eager to hear the new material. The first thing i heard was the track substance, i heard a demo version, a rough recording…..
This track has since become a personal favorite, a truly moving, powerful and emotional piece of music.

David Tyrrel has come far in a short period of time, evidence of the artists dominance in the music world. What follows is a profile video of the latest project David is working on.

http://www.youtube.com/user/DTyrrell27

http://www.myspace.com/davidtyrrellmusic

She & Him reveal “Volume Two” details

She & Him will release their sophomore album, Volume Two, on March 23rd. Written by Zooey Deschanel (She) and produced by M. Ward (Him), Volume Two is the follow up to the duo’s critically acclaimed debut, Volume One. The album includes eleven original tracks and two covers: “Ridin’ in My Car” by NRBQ and Skeeter Davis’ “Gonna Get Along Without You Now.”

Described by Zooey as a “feel-good album,” Volume Two is bolstered by rich harmonies, sweet-as-sugar melodies, and Brill Building choruses. From sweeping opener “Thieves” and first single “In the Sun” (featuring guest vocals by Tilly and the Wall), to the tempo and mood shifts of “Home” and the vocals-only, hymn-like closer “If You Can’t Sleep,” Volume Two shimmers from start to finish.

Visit the newly redesigned She & Him website for updates as the release date approaches.
http://www.sheandhim.com/#/news

Merge Records Newsletter
http://www.reverbnation.com/c./fr5/label_27418?eid=3175737_20722937&fid=20722937&fsc=83a249b3ad5

Willie Mitchell: 1928-2010

Willie Mitchell, legendary Memphis producer, died yesterday due to complications of a recent cardiac arrest, CNN reports. Mitchell, a bandleader in the ’50s, released several hit singles throughout the ’60s and took over Hi Records in 1970, eventually signing Al Green and producing many of his most popular records.

“Willie helped me find my identity,” Green once said of Mitchell.
Read Paste‘s 2005 Production Notes piece on Mitchell, which details the ups and downs of his and Green’s longtime relationship.
http://www.pastemagazine.com/articles/2005/06/production-notes-willie-mitchell.html

By Austin L. Ray
Published at 10:55 AM on January 6, 2010
http://www.pastemagazine.com/articles/2010/01/willie-mitchell-1928-2010.html

Stephen King Lends Voice to Shooter Jennings Concept Album

Stephen King has had no shortage of help telling his tales of terror. For a 2009 audiobook, he called on the likes of Matthew Broderick and Tim Curry to relay stories of murder and apocalyptic tragedy. Now, it seems, King is paying it forward, lending his voice to Shooter Jennings’ debut album with his new band, Hierophant.

King appears on the upcoming post-apocalyptic concept album, Black Ribbons, as Will O’ The Wisp, a talk-radio host firing off one last series of rants before his show is taken off the air by government regulation. But don’t expect to hear King croon. The author punctuates the album’s 14 tracks as a narrator.

The lead single, “Wake Up,” from Jennings’ March 2 release can be found on his MySpace, and while it doesn’t seem to feature any of King’s narration, it certainly shows Jennings heading in a new sonic direction, featuring heavy alt-rock guitars and synth blips.

“I wanted to make a different kind of record-a new adventure,” Jennings said in a statement. “And no matter what people would think, it was important to not be afraid of anything. I was ready to follow my inspiration, wherever it took me. I know some folks may be surprised at how different this record is compared to my previous works, but I’m sure once they dig in they’ll find something that speaks to them. After all, it’s the twisted road that matters, not the destination.”

For those eager for a snippet of King’s turn as the beleaguered Will O’ The Wisp, a taste can be found on ShooterJennings.com.

By Rachel Bailey
Published at 12:00 PM on January 8, 2010
http://www.pastemagazine.com/articles/2010/01/stephen-king-lends-voice-to-new-shooter-jennings-c.html

We Must Remember This
Thirty years after The Who concert tragedy, some say a memorial is overdue

In some ways, The Who concert tragedy of Dec. 3, 1979 – in which 11 died and many were injured during a crush of fans trying to get into Riverfront Coliseum (now U.S. Bank Arena) for a “festival seating” show — seems like ancient history. But in other ways, it’s just like yesterday. The 30th anniversary is Thursday.

Nowadays, one would presume, instant digital and satellite-based personal communications would have alerted everyone — the entire world, actually — that people within that crowd of 8,000-10,000 were trapped and in danger. Back then, to go make a pay-phone call would have meant losing a place in a line that formed a good seven or eight hours before the show started so people could try to get a good spot inside.

“I’ve never seen a photo of the crowd outside, not in our seven months of research as a task force or afterward. It’s amazing to think about that in today’s world,” says Paul Wertheimer, a then-city employee who served as chief of staff for the task force that authored the “Crowd Management” report, calling for post-Who reforms at Cincinnati concerts. (He now runs the L.A.-based Crowd Management Strategies.)

Yet, for those trapped in the public plaza outside the Coliseum that night, where too few doors were open to get them quickly and promptly inside, 30 years is just a blink away. They had to fight to stay alive. Several told their searing, horrifying accounts for WVXU producer Lee Hay’s powerful The Who Concert: 30 Years Later radio special, now available at www.wvxu.org.

“This is still really painful,” Hay says. “This was a major event and it has been forgotten, especially by younger rock and rollers. They have no idea what happened. The younger generation has to be made aware of what their parents’ generation went through.”

In the radio special, Wertheimer — whom Hay interviewed — calls for a marker or memorial to be raised in remembrance of the tragedy, its victims and the subsequent leadership the city played in crowd control.

“That’s the major thing I hope comes out of this special,” Hay says. “There is a need for the city to put up a marker.” (There will be a remembrance Thursday, a vigil walk starting at 6:30 p.m. at the arena’s plaza and ending at downtown’s Christ Church at 318 E. Fourth St.)

Hay says that if there is anything good to come out of the tragedy, it was the Crowd Management report. Among other things, it firmly established that the crowd was not the cause but rather a victim of circumstances, forced to turn against its best interests by “festival seating.”

That practice, common at the time, meant only a fraction of the 18,000 concertgoers had a reserved seat. Many didn’t even want seats — they wanted the excitement of standing close to the band on the floor and came early to get the chance. Neither the Coliseum nor the concert producer had a plan in place to handle the crowds waiting early on the plaza, Wertheimer says. And through a variety of delays explained in Hay’s radio special, that was made continually worse, until the crush occurred as the doors finally opened late.

Earlier festival-seating shows by Led Zeppelin and Elton John in Cincinnati had indicated trouble could occur, Wertheimer says. “Festival seating quickly was deemed the primary motivating element that put the tragedy in motion. But overall after that, there was just a general failure to have a crowd-management plan.

“Every seat is potentially a seat in front of Pete Townshend,” he says of festival-seating’s fatal flaw at the time. “It made people in the crowd compete against each other. You force people to come early, force them to push and shove and raise crowd anxiety because they have to get that perfect spot. Whichever spot one person thinks (he) want(s), 50 other people are thinking they want the same one. For crowd safety, you need people working together for the benefit of the crowd.”

In 2004, the city repealed its festival-seating ban, but imposed strict limits on its implementation to safeguard fans.

There were 33 lawsuits filed by survivors and injured parties. According to Enquirer stories at the time, 32 were settled out of court in 1983 by five of the six defendants – the city, promoter Electric Factory Concerts, the Coliseum, its president and its directors. In 1984, the same parties settled with the last litigant with no details disclosed. About a week later, sixth defendant The Who settled all its lawsuits without details disclosed, which brought court action to an end. ©

By Steven Rosen
Wednesday, December 2,2009

http://www.citybeat.com/cincinnati/article-19446-we-must-remember-this.html

New She & Him LP to Feature Darker Darks, Brighter Brights, no Ben Gibbard
By Rachael Maddux
http://www.pastemagazine.com/articles/2009/11/new-she-him-lp-to-feature-darker-darks-brighter-br.html

For those folks who didn’t think Paste was totally daft for naming She & Him’s Volume One the best album of 2008, we’ve got good news for you: Volume Two is on the way. (For those of you who still consider us spineless drivel-mongers for the same, well, carry on with your Monday.)

The new album was recorded in Portland and Los Angeles over the past year-and-a-half, and will feature all-new original material penned by actress/chanteuse Zooey Deschanel and produced by M. Ward. “I think that the dark shades that were on the last record are maybe a little bit darker on the new record, and the brighter shades on the last record are a little bit brighter on the new record,” Ward tells Paste. “I think that people are going to hear more contrasts, which is always something that I shoot for in the studio.”

Volume One was essentially recorded in a vacuum free of outside pressure and expectations, an atmosphere that the duo tried to recreate for Volume Two. “I think we approached the second record organically, the same as we did for the first record,” Deschanel tells Paste. “But the songs are different so the record is different. We had a bit more time and resources so we were able to work a little deeper.”

After almost two years of balancing She & Him recording sessions and nationwide touring with their other endeavors (like Ward’s solo work and side-projects including Monsters of Folk, and Deschanel’s recent roles in movies including 500 Days of Summer) the two are still finding new reasons to be excited about their once-seemingly-unlikely musical partnership.

“Zooey writes pretty often and she doesn’t need any sort of encouragement,” Ward says. “What I wanted to do was to show more dimensions to Zooey’s writing, and I’m excited for people to hear the record because I think it’s going to continue to show the strength of her writing.”

“I learned that Matt can become a virtuoso of any stringed instrument he picks up, which is tremendously unfair to the rest of us mortals,” Deschanel notes. “It’s great to work with Matt because he is always true to himself, and working with him over an extended period confirms this time and again.”

An official release date for Volume Two hasn’t been set, but we’re told to expect it in the spring. For the curious, we do know that Deschanel’s new husband, Death Cab for Cutie frontman Ben Gibbard, will not appear on the album. (If you feel the need to weep, might we suggest doing so to the tune of the Twilight: New Moon soundtrack?)

For more on the new record, check out Paste’s December/January issue, hitting newsstands in December.

Photo by: Getty Images

Steven Tyler Quits Aerosmith?
Monday, November 9th, 2009

After 40 years of spinning and shrieking, frontman Steven Tyler has quit Aerosmith. At least that’s what fellow Toxic Twin Joe Perry thinks, judging from the flurry of upset tweets he dropped after reading that Tyler would be focusing on “Brand Tyler” in the future.

Read on line st left band to do “brand Tyler”? That’s all I know but like I’ve said hasn’t called me in months.a bit cold forget us 4 guys…What about fans? The people that also love him and put him where he is.after 40 years? And I gotta read it on line?…Last time I phoned him he hung up on me.

Though the band performed a handful of shows in Hawaii and Abu Dhabi following Tyler’s tour-ending fall in South Dakota last summer, relations have reportedly been strained, with the singer canceling their upcoming South American tour. “Obviously, he hasn’t been giving 100 percent for a long time,” Perry told People. “Frankly, the last few months I’ve been wanting not to rock the boat…I still care for him as a person, or at least the person I used to know. But things change.” While Tyler has yet to confirm the rumors, the band hopes to force his hand, possibly by continuing without him. “We’ll probably find somebody else, and then we’ll be able to move Aerosmith up a notch.” But who would dare put their scarf on his mic stand?

POSTED BY: Anthony Miccio AT 9:56 am
http://www.thefablife.com/2009-11-09/steven-tyler-quits-aerosmith/

http://andydooley.com/

That Song

Here we dwell in separate worlds

Just a tune a song apart

How did one song bridge that gap?

Its melody sang long and far

It’s not just me that feels this way

And look at where it brought you

Destiny they say is true for all

In God’s riches we share that fortune

Today I heard the latest sound

And your light bounced off each page

So I closed my eyes taking in each verse

Your rhythm led me all the way

Loved ones lost ones

A life well gathered

Images flickered of one man’s past

And at the end of the day

Nothing else really matters

So long as those memories last

Yes you’re on the outside

And each song sure shines

They reached miles across the water

Inside this heart and house of mine

Know each word touched a motherless daughter

Written for Gary Portnoy

www.garyportnoy.com

By: Debbie Stevens 2007

“A Door to his world”

His vagabond existence carries a load
A darkness surrounds his light
Here he lives
Here he writes
He delivers each line as his own
An ecstasy of fantasy spills from his mind
Just as his travels were a snake ride
Creatures of spirit
Raging for freedom
The trance will hold them still
Until the poet says no more-
He gives them what they want
His own pain

For Jim Morrison
By: Debbie Stevens

Music As Torture

A group of musicians and performers has teamed up to demand that the U.S. government release the names of all songs used to grease the interrogation wheels (a.k.a. torture) at the GW Bush Sleepaway Camp (a.k.a. the Gitmo prison in Cuba).

It had previously been announced that interrogators were blasting all sorts of music, sometimes for days on end, in an effort to disorient prisoners and get them to tell implicating lies about their involvement with terrorists just so they never have to hear another note of Rage Against the Machine’s music ever again (a.k.a. “the truth”).

Members of morally-superior bands like R.E.M. and Pearl Jam want to know if their music was ever used to inflict pain at Gitmo. (The RIAA undoubtedly also wants to know … in order to collect royalties). A White House spokesman said music is no longer used as torture. Someone please tell that to the program directors at every Top 40 Pop radio station in the country.

Story by: CityBeat
http://www.citybeat.com/cincinnati/article-19161-torture-tunes-sublime-and-the-game.html