For Artists, Musicians, and Writers Who Want to Avoid Starvation
Issue #11 - WINTER 2011
Find Yourself. Hit Your Target.
Get Inspired! Art & Poetry Project
Open for Submissions
In This Moment
The Black Crowes
Insane Clown Posse
MGMT and MORE
Find Yourself. Hit Your
Welcome to Winter 2011 issue #11
“Find Yourself. Hit Your Target”
I believe most writers, and most likely fine
artists, musicians and even other independently minded creators and busines owners
get that overwhelming sense of frustration
and desire to throw in the towel and allow
television to suck them into an alternate reality. Well, this summer, 2011, will complete
four years for Target Audience Magazine and
we have no desire to quit now.
This issue is dedicated to all those who
push through the temptation to wear out;
those who continue to make art when even
friends and family advise finding more
“practical” means of survival. For many of us,
living off our passion for art may be a long
time coming, but to those who perservere...
well, it’s a toss up between financial ruin and
Hell, I would imagine many of us would
settle for local notoriety rather than the
Billboard Top Ten, but the point is in not
giving up. Whether you are rocking out your
mom’s basement at 30 or painting the sides
of bridges at 18, keep going because you
never know just who you are influencing or
inspiring. It’s a circle, you know. Enjoy the
issue which aims at both promoting and
encouraging independent artists, writers,
-ellen eldridge, editor-in-chief
LETTERS TO THE EDITOR
Send letters to the editor at
Ellen Eldridge is one of the most conscientious and hard
working promoters I have encountered in my seven years in
the music biz. And I am writing this BEFORE I see my review.
Whatever the verdict on my music is, I feel comfortable
saying Target Audience Magazine deserves our uncompromised support. We (Sonicbids members) have all had our
share of disappointments, so my lonely voice says let’s support the real good ones.
Ric Zweig www.riczweig.com
Thanks for the Review!
Ellen! I just saw the review you posted of How The Dead
Live. Thank you SO much for taking the time to listen and for
your wonderful comments on the album and music.
You really made my day. I hope your 2011 is also full of
happy surprises. May it be your best year yet!
Jordan Reyne www.jordanreyne.com
IN THIS ISSUE:
From The Cover
Rusty Cooley Interview..............12
Rusty explains his beginning and
future with 7 and 8-string guitar
Art & Poetry Project...................61
Work to inspire and create!
Stephanie has been
a rock photographer in the pits at
every show from
Megadeth to Kelly
Clarkson. Her images have graced
magazine covers, billboards, tshirts, and much more. Page 38.
In This Moment Live ..........................15
What were you doing Dec. 11?
The Black Crowes..........................11
Also known as the ‘Junkyard
Poet’ shares some of his work
and ongoing community events
including spoken word and live
music performances. Digeridoo
added at no extra charge!
Another picture show
Let these pics spell it out for you
Insane Clown Posse..........................29
Imagine trying to shoot this show!
Guitar Column: Pirates of Cyberia.............................................................................4
Drumming: Your Way is the Right Way.....................................................................5
Hollywood Mimics Indie: Film Column...................................................................10
Live Review: The Posies................................................................................................16
A Hand for Muscians: Dr. Terry Zachary on the Handmaster........................17
Oblivious Signal: interview with a frontwoman................................................20
NOFX/Bouncing Souls Live at the Masquerade...............................................23
Kubrilesque: A Musical Parody of Love for Kubrick and Burlesque..........30
Madball Live with Pics................................................................................................33
Negative Suck Prose: Rules of the Game...................................................35
Author on Author: G.L. Giles interviews Arlene Russo.................................42
Art & Poetry Section.......................................................................................................61
Ellen Eldridge - Editor-in-Chief
Cyan Jenkins - Art Director
Russell Eldridge - Music Editor
Rose Riot - Photography Editor
Victor Schwartzmann - Poetry Editor
Jeremy Fox- Web Design
Katherine Tippins - Copy-editing
Alex Aaron, Omar Alvarado, David
Feltman, Gail Fountain, Don de
Leaumont, G.L. Giles, Julie Innis, Jerel
Johnson, Nadia Lelutiu, Tim Morris,
Lucas Mcpherson, Crystal Swarovsky,
Lisa Solomon Keel, Jill Kettles, William
Brian Maclean, Rose Riot Photography
Pirates of Cyberia
By Russell Eldridge, Music Editor
The world has changed a lot in the past ten
the whole band has made roughly 30,000 dollars
years when it comes to buying music. In fact, a lot of after paying the record company back. Currently,
people do not buy music, but they pirate it though
it is very difficult for bands to sell 500,000 copies.
file-sharing sites. This has made it really difficult for
Until a band reaches that point they’re not really
bands known and unknown to make a living. Before making anything off their CD sales if their signed,
file-sharing sites existed you had to actually buy
so they have to live off their sales from their merthe music of the bands you liked. Of course, before
chandise and from what the venues pay them to
that someone could make you a tape or burn you a
play. Because of pirating, record companies now
CD, but that wasn’t as damaging as having it easily
dip into profit from merchandise and money from
down-loadable for free.
shows, which is what a
Some people are
band has to live on until
mad at record companies
“Some people might think that if music they sell enough CD’s. So
for trying to protect their
not only does the band lose
product so they pirate it
money from CD sales, but
out of some confused sense
write and play for the love of music now from merchandise and
of vengeance not realizing
money from shows as well.
that they’re hurting the
artist more. Let’s say all
I predict there will be
the record companies go
more Disney style bands
bankrupt. Will those people stop downloading for
because their target audience is too young to know
free? What about smaller, independent bands that
about downloading, and their parents don’t know
aren’t signed? Will they buy the small guy’s music or either. I also foresee CDs disappearing all together. I
will they still pirate it?
personally like having the CD, but I think eventually
Some might think that if music is given away they will be a thing of the past like tapes and LP’s.
for free then more people will play and write music
Your music will have to be purchased from sites like
for the love of music instead of for money. Well, a
I-Tunes or E-Music, which I think is great! Now you
lot of people love music but we all have bills to pay.
can make money without being signed to a record
If you can’t pay your mortgage or feed your famcompany. Unless you’re popular enough to be piily with your music then you have to do something
else, leaving you less time to create. What about
the cost of recording, instrument maintenance, and
I’m not sure people realize the consequences
duplication? Not everyone is a musician so everyof pirating music which is why I am writing all this. If
body doesn’t see what goes into making an album.
you like a band then you should support them. Buy
Believe me, it is worth the 15 dollars or so that most their music and go to their shows. Purchase a shirt
places charge for a CD.
or a hat. If you download something and don’t like
it then delete it. Imagine if someone put your heart
With an honest cookie cutter type record
and soul on the internet for free.
deal, after the band sells 500,000 copies of its CD
Your Way is the Right Way
By Omar Alvarado of www.TheParadiddler.com
‘the blog for all
On www.TheParadiddler.com you will find
articles regarding all aspects of drumming, including opinion pieces, education, drummer spotlights, extensive product reviews, and a drum directory. In addition, instructional videos and drum
covers (which include accompanying articles on
why and how they were done) are presented.
Subscribers to the
free newsletter receive
“The Paradiddler’s Best
Hits,” a compilation of
some of the better articles
to have appeared on the
There are many aspects to drumming that contribute to a good performance. If we’re talking about a
live setting, making sure you hear the other musicians
to ensure everyone’s in sync is always important. As
far as your kit goes, you check your setup to make sure
all lugs are secure, drums are in place, throne is at the
right height, extra sticks within short reach in case the
inevitable stick drop occurs – the whole nine yards.
When you’re playing, you don’t want to think about the
technical – you just want to think about the ‘artistic.’
Of course, it may be that you as a drummer are
not at that stage yet. You
may be just starting off, playing the rudiments on the
When you’re playing, you
practice pad. Or you have
don’t want to think about the that shiny kit and you’re just
itching to play your favorite
technical – you just want to song, however bad it sounds.
In any case, the endeavor
think about the ‘artistic.’
begins in our quest to get
Cont. page 7
You don’t play drums and
have no interest in the article
above? Well, for guitarists in
the Cherokee Georgia area,
be sure to visit:
for all repair, restoration, and
custom guitar work!
WINTER 2011 ISSUE
PRE-ORDER NOW AT
better and better at playing our
And ‘there’s the rub,’ as
they say: “Our quest to get better
and better.” What does that mean,
anyway? If we want to get to play
on stage, as mentioned before, or
even if we just play for pleasure,
we inevitably want to play with
some semblance of knowing what
we’re doing! So, to do that, the
drummer has a slew of options,
more than ever before, for learning new skills, from the very basic,
to the very advanced.
There are so many angles
and slants to drumming, that
sometimes it can be overwhelming to determine where to start.
For example, an obvious place to
start for most is the actual drumming. Focusing from the beginning on the 40 Rudiments is a very
practical and wise approach, since
you’re learning the ‘vocabulary’
of all drum beats. Others may
think it very important to start
learning to read music first, and
then carry that over to the practice pad, and then eventually to
the kit. Nothing wrong with that
either! Still others may think that
a good place to start is to situate
the drummer-to-be behind the
kit and help with good posture,
drum and cymbal placement, etc.,
something to the effect of getting
to know the equipment before
learning how to use it.
And even with all of the
aforementioned scenarios, an
even better approach may be an
emphasis on a combination of
those scenarios! A good teacher
may touch up on the elementary
of each of those ‘branches’ of fundamental drumming, thus establishing a solid foundation for the
Then again, in learning to
play, or even bettering your play
if you have intermediate skills,
the student has a wide variety
of sources to choose from. We
obviously have the local teacher,
which can give you immediate
feedback. These days there are a
lot of online resources and instructional DVDs that have made
it possible for anyone, regardless
of location and availability of local
education (or lack thereof ), to
receive high-quality drumming
it possible to search for virtually
any topic relating to drums, be it
about gear, drum selection, drummer spotlights, hand and foot
A new drummer, and even
intermediate drummers, may feel
a little intimidated by the overabundance of knowledge there
is on practically any drum topic.
But usually a drummer is searching to solve a specific problem
they may be facing. For example,
many drummers starting off ask
has reviewed some of these exabout drum placement, and their
ceptional courses, which have a
position relative to the drums.
different focus depending on the
So they may post a question on
tastes and desires of the student.
a forum saying something like, “I
Courses such as Mike Michalkow’s need help with how to position
“Drumming System” and Dann
my toms.” They then receive many
Sherrill’s “Learn and Master Drums” answers, ranging from, “I like to
cover all the bases, or at least atangle my toms towards me, betempt to, from absolute beginner cause I like to have the toms right
to at least intermediate play. Oth- in front of me.” They may also
ers focus on a particular aspect of see, “I like to lay the toms as flat
drumming. For example, Matt Rit- as possible. That way the sticks
ter, a New York-based instructor,
have the best rebound, working
produced “Unburying the Beater,” with the natural effect of gravwhich is a DVD dedicated solely to ity.” What’s the new drummer to
bass drum technique. These are
all excellently produced instruc
Here’s another scenario. A
tional courses and worth serious
may want to know if it’s
consideration for improving your
better to play the bass drum with
play, especially for beginners, but
the heel up or the heel down (this
more advanced drums can cersubject, by the way, is covered
extensively in the aforementioned
In addition to that, the
“Unburying the Beater” DVD). The
Internet also has an abundance of newbie will see many answers,
resources available to the drumsuch as, “oh heel up is the only
ming student. The benefit of the
way I play, because I need to play
Internet is that you have at your
with a lot of power, and I play a lot
disposal literally thousands of
of double bass.” Yet on the other
other drummers participating in
hand you may get an answer such
forums, contributing their experi- as, “Most of the time I play with
ences, ideas, and solutions that
my heel down, because I feel I
very frequently is precisely what
have better control of the pedal
the student was looking to anthat way.” Again, who do you
WINTER 2011 ISSUE
Let’s not even talk about
“traditional vs. matched” grip –
that is a field unto itself! So, who’s
right? Who’s wrong? The answer
may surprise you. They are all
right! And, they’re all wrong. How
can that be?
It is quite possible that
the drums are the most versatile
and flexible of all instruments.
Although the snare drum is an
instrument in and of itself, when
incorporated into a kit, it becomes
part of the whole instrument – the
drum set. And configurations of
drum sets are as individual an art
as the drummers who play them.
In addition, drummers
come in all shapes and sizes.
Let’s take the example of bass
drum technique. The height of
the drummer plays a role in how
they learn to use the bass pedal.
Also, the height the drummer sets
their throne also may affect bass
pedal play. The taller drummer
may (I say may, but not necessarily so) set his throne a little lower
since he has a longer torso, and
can more easily reach the toms,
and maybe even angle them a
little flatter. His legs may be closer
to a 90 degree angle, and this affects how his foot plays the pedal.
So both taller and shorter
drummers go home to their kits
and set the drum throne at the
height the teacher taught them,
and place their foot on the pedal
just as instructed. But after trying it a few times, something just
didn’t feel right. Both drummers
being curious, they then start
playing with the drum thrown
height until they felt comfortable. Then they practiced a lot of
bass drum technique, checking
out several different sources, and
noticed that after a while it started
to feel, well, natural. Since they
practiced so much (notice that
they practiced ‘so much’), they
eventually found their groove
and their bass pedal play became
exceptional. So, they fired their
What the teacher told
them was right, but for him. It
was wrong for the students.
Any good teacher will help the
student determine what’s most
comfortable for them, and teach
them within that frame. It may
take time for a student to figure
out their comfort zone regarding
drum throne height, stick grip,
drum placement, and the like. But
with practice and a continuing
familiarity with proper technique,
the student will reach a comfort
zone. Being comfortable is key to
constant improvement behind the
It’s better not to get stuck
on the opinions or techniques of
others as to how to do something.
It is better to look at all possible
variations, for educational purposes, and use that knowledge to
find what works for you. There are
a lot of great drummers, and they
all have their own style. Be an astute observer, take in what works
for you, and practice that. You will
get better – your way.
Pretty much every rule in
drumming is meant to be broken, if it works for you. Take two
legendary drummers, Steve Gadd
and Steve Smith. Both of them
use the traditional grip for the
most part. Steve Gadd holds the
left stick way towards the back
end of the stick, whereas Steve
Smith holds it more towards the
middle. Who’s right? They both
are! They’re both sensational
drummers. It’s whatever works for
Online drum teacher Mike
observed that when students ask
about his bass drum technique,
they’re really not asking about
the technique, but rather for the
result. He recognizes that the
bass drum technique that works
for him will not work for, say, 7’
Shaquille O’Neal with a size 23
foot! He’d rather have the student
figure out what works more comfortably for them, and practice like
crazy, until the technique comes
naturally and without excessive
fatigue. And this can be applied
to every aspect of our drumming:
drum placement, grip, bass drum
technique, practice routine, etc.
The bottom line is that
there’s a plethora of opinions on
the best way to do this or that for
every aspect of our drumming. So
watch the videos of your favorite drummers, and observe their
techniques. Search the forums
on the subjects you need assistance in. Heed the advice of your
instructors. Then take it all in and
mold it to you. Always seek to
improve, to make adjustments.
But for the most part, if your technique is comfortable and it allows
you to get better and better, then
continue on that vein. Because in
the end, for you, your way is the
support independent art!
WINTER 2011 ISSUE
HOLLYWOOD MIMICS INDIE FILM-MAKING
By David Feltman
I had the chance to see a Christmas-themed,
Finnish horror film called Rare Exports at a local bar. It
was a compelling film full of naked old men, mutilated reindeer, and gingerbread. And though the bar,
crowded with drunks and hipsters, didn’t provide the
ideal viewing experience, it was a rare treat to see a
great indie film far off the beaten festival path.
Because traditional venues for indie films
— small arthouse and grindhouse theaters — have
all but vanished, it can be difficult to find the more
obscure indie films. However, indie films themselves
haven’t gone anywhere. Major studios have long
snapped up distribution rights for independent drama films, or “prestige pictures,”
during Oscar season. There’s no
surprise to see Black Swan and
Blue Valentine showing up in
theaters at the end of the year.
The summer is usually reserved
for the tent pole, blockbusting
moneymakers, such as last year’s
Scott Pilgrim vs. The World, Iron
Man 2 and Twilight: Eclipse.
Scott Pilgrim, distributed
by Universal, had all of the stars
and special effects of a summer
movie, and it was produced by an English studio and
shot in Toronto by cult director Edgar Wright. The
movie is also about an immature man-child learning to cope with the emotional baggage of a serious
relationship. It doesn’t sound like a typical summer
movie, nor like a typical indie film.
There are a lot of forces at work here. For one,
technology is cheaper. Aspiring filmmakers can get
cheap digital cameras and film in their backyards.
This can be good (see Hide and Creep) and bad (don’t
see C Me Dance). Also, distribution is growing due to
the Internet (Hide and Creep and C Me Dance are on
Netflix, but seriously, don’t see C Me Dance), giving
indie films more exposure.
Hollywood directors have started emulating
some indie storytelling techniques, such as the cinéma vérité hand-held camera, which has suddenly
become an action movie staple — although some10
one should buy tripods for Michael Bay and Paul
Conversely, indie directors have been crossing over to Hollywood. Names such as Chris Nolan,
Danny Boyle and the Coen Brothers have become
bankable. Even Wright is directing a
movie for Marvel studios. Although
the films of these directors have
mostly stayed true to their oeuvre,
the big budgets have something of
a homogenizing effect on the film
quality. Any one of these elements
deserves its own space for discussion, and I’ll probably do just that in
In short, I believe indie films are
becoming more profitable. The traditional lines that divide Hollywood
from domestic and foreign indie
films are slowly fading. Sharing the same air as the
yokels viewing Yogi Bear in 3D might induce scoffs
from snobbier film snobs when they go to see The
Kids are All Right, but that’s an instinct that’s been
bred out of most of us. In this McModern age, availability and convenience are what counts. You don’t
go to McDonald’s expecting fillet mignon, but would
you complain if that’s what you got?
David Feltman has reviewed film and music for 10 years. He has
written for Film Threat, Performer Magazine and The Birmingham
Weekly. He is from Alabama, studied independent film at BSC, and
has had a love affair with movies (particularly shitty horror movies) since the tender age of four. He always feels weird writing about
himself, especially in the third person.
the black crowes
live at the Tabernacle 11-20-2010
Photos By Lisa Solomon Keel
WINTER 2011 ISSUE
What inspired you to start playing
“When I was in 8th grade a buddy
and I were air-jamming to Ted
Nugent and Cheap Trick records
on tennis rackets. After about a
month, we got the brilliant idea to
get some real electric guitars
– that’s how it started.
I was just a stupid kid who decided
to take it to the next level. I got my
first guitar, a Peavey T-27, and a
Little Deck 8 amp and it began...”
How old were you when that happened?
I got my first guitar on my 15th birthday. I actually
had to wait for it!
Did you start taking lessons?
That’s another funny story. My mom signed me up
for a month of guitar lessons at H&H music, or I think
it was CNS back then. I took one month with this
guy and he told my mom, “I can’t work with this kid
anymore.” It’s really my fault, in a way, because here
I am 15 years old listening to Van Halen, Ozzy, and
Randy Rhoads records and he’s trying to teach me
out of the Mel Bay Grade One book; sight-reading
“Twinkle Twinkle Little Star” and boring openposition acoustic chords. I didn’t realize I was doing
this, but every week I would come in and go, “Hey
man check out his new riff my friend showed me.”
After about a month of showing him other riffs that
people had taught me, he had enough. He pushed
me off to one of his friends and I tried lessons with
him for about a half a month and quit because it
was the same thing. After that, a buddy of mine had
been carrying around an ad he ripped out of this
Hit Parader magazine for heavy metal guitar lessons
with Doug Marks, “Metal Method.” I started ordering
the courses and I taught myself from there, buying
books and instructional videos. I studied theory in
high school and college. I did it the old fashioned
way, with me in my bedroom studying books and
videos and cassettes and stuff like that.
I’ve noticed that when you play really fast your
fingers come in. Is that something that you have
No I think it’s something I do subconsciously. It’s
not something where I think I’m speeding it up and
I have to pull my fingers in. It’s just something that
happens when you break into that warp speed kind
I’ve also noticed the some of the fastest players,
like John Petrucci, appear to really tense up when
playing fast. To me, Michael Angelo holds his
pick in an unusual style. Is there something I’m
missing or should try with my own playing?
I don’t think so and I can tell you just by the analysis you gave me. You’ll notice that everybody that
you mentioned that picks really fast, they all do it
incredibly differently. Fast players all pick differently,
however, the one thing they do have in common is
that when they’re picking they don’t move any of the
joints in their finger or thumb. Some guitar players do that; I even have to correct students. When
you start moving the joints in your fingers or thumb
then you’re only going to be able to pick as fast as
you can flick. So, as long as all the motion is coming
from your wrist and or a combination of wrist and
elbow I think you’re okay because everybody does it
differently. Have you ever seen Marty Friedman play
where he sort of comes underneath?
Do you use or encourage your students to use a
I mess around with a metronome more now than I
ever did. I got the egg timer idea from “Metal Method” where I practice everything five minutes a piece;
I just kind of applied that to my playing. When you’re
practicing with a metronome you’re really locked
into this rhythmic thing and you have to stay consistent at one beat whereas the five minute idea is
about muscle memory and constant repetition. What
I’m teaching is kind of like isometrics. It’s the constant pushing and pulling at what you’re able to do.
What a lot of students don’t get is they only practice
things they can play clean. Well, that’s not going
to help them get faster; it’s just going to maintain
that level of consistency. The only way you’re going
to get faster is by pushing it until it falls apart then
backing off. Clean it up and then push it again. So, I
found a little more freedom and not so much restriction.
How old were you when you noticed that you
started to pick up some real speed?
That’s a good question. I think it happened to me
within the first two or three years because when I
started playing guitar it was just one of those things
– I said to myself, “This is what I am going to do,” and
I just dug in and started to go to town on it. When I
was in 10th grade, I was playing “Eruption” and Randy Rhoads’ solos note for note and up to speed. Also,
at that point, for me, there was no Yngwie Malmsteen. I’d been playing since ‘83 and I don’t think I
heard Malmsteen yet. I had been playing about 3 or
4 years and I was picking up Van Halen and Rhoads
type speed, but when Yngwie came out I thought,
There’s always somebody out there making it
faster. Do you ever practice any other artist’s
I never really did that except for learning my Rhoads and Van Halen solos in
the beginning. I did dabble with some
Yngwie licks and maybe some rhythms.
I’ve always learned bit of pieces here
and there, but I never spent time learning songs all the way through. For me,
I always just wanted to do my own
thing. I needed to let my inspiration
from other artists drive my creativity. That’s been the kind of path that
I’ve gone with. I’ve talked to other
guitar players that completely come
from the other school where they
learned songwriting from learning a
million songs, and I see the value of
that, but I think, for me, I was able to
do that by listening and not having
to spend hours learning other people’s songs. If you’re talking about
song arrangement, you don’t have
to learn that song to understand the formula behind
that arrangement. My creativity is fueled by inspiration from other artists. When my students ask me
how to get out of a rut I tell them to buy a new CD or
buy a new instructional book or DVD. Sometimes all
it takes is to hear a new CD by a new band; learning
one new chord, one new scale, one lick. Sometimes
that’s all it takes just to start a whole new deal going
Concerning the whole nature verses nurture
question, the idea that some are born with a
natural talent, do you think that, at least on some
level, some people have an easier time or an
inherit natural ability to play guitar?
I don’t think so and here’s why: I think some people
are more naturally driven and just have the passion
for it. I think the people that really aspire, and do
well, are those that love it so much that practicing is
just fun and exciting. People that struggle and fight
with practicing are the people that don’t progress as
quickly and don’t seem as much like naturals. For me,
I love to practice and play. Practicing is, sometimes,
more fun to me than playing because of what I’m
getting from the practice and what I’m being able to
now do from practicing.
Rusty Cooley will be hosting a TV show in Houston
on Channel 55 called Guitar Asylum TV featuring
uber shredding guitar lessons and interviews with
today’s hottest guitarists. Guests already lined up
include Jeff Loomis, Oli Herbert, Nile, Periphery, John
Petrucci, Mark Tremonti, and Gus G. The guests will
also be showing off their riffs and licks as well as the
gear they use. The show will begin airing in February
2011 on Saturday nights at 12:30 and will be available for rebroadcast via the internet.
eview and photos by
I saw In This Moment
for the first time this past summer
at Mayhem Fest. Discovering a
new group to add to the roster of
bands I like is always exciting. At
Mayhem, In This Moment made
it clear to me that they needed to
be on my list. I was psyched to see
that that they were coming back
The band is currently on tour with
Nonpoint supporting their latest
album, Star Crossed Wasteland,
anxiously, crouched in the photo
pit the night of Dec. 11, excited to
see what In This Moment would
do this second time around for
me. Jeff Fabb, drummer extraordinaire, started the show off by
standing behind his kit, giving
a battle cry with his drum stick
raised in the air.
The rest of the band followed his
cry and Maria Brink stood above
all of us, dominating with her “badassness.” She started the show
with the song “Just Drive.” It is hard
to ignore or deny that Maria is the
total package. Her vocals are a mix
of sexy rock goddess that reminds
me of Cherie Currie with the
fierceness of a pissed pterodactyl.
One look and you can see why she
earned the “hottest chick in metal”
award. She shows us that girls can
do it better, prettier and harder.
Maria and does an exceptional
job of getting the crowd into the
WINTER 2011 ISSUE
palm of her tattooed hand, telling
them how and when to tear it up
in the mosh pit. Directing them
to circle pit around her while she
stands in the middle of the room
on a table. This woman has earned
my mad respect, as has the rest of
It’s hard to say which musical
element I like best about In This
Moment. Chris Hosworth and
Blake Bunzell provide the rockyour-face-off guitars, Travis Johnson keeps us in rhythm with his
bass, Jeff Fabb drums his way into
my brain and Maria just dazzles.
When I see them all together, I feel
that they are lucky to have found
one another. I felt certain after
the show that they had not just
solidified a place for themselves
on my roster, but they made their
way onto the lists of most people
in the room.
The Posies recently
released a new record, Blood/
Candy, which makes it their
first record in five years and
seventh studio album. Since
their last release, band leaders,
Ken Stringfellow and Jon Auer
have been working on separate
projects to allow the strained
relationship to cool. But, 2010 finds the Seattle band
back together and on the road to promote their newest mutual effort, which Stringfellow referred to as
“the best album we’ve ever made and one of the best
albums ever,” during their performance in Atlanta at
The highlight of the evening was when
Stringfellow introduced the best song
on Blood/Candy, which features guest
vocalist Lisa Lobsinger from Broken Social
Scene. He explained that because she has
her own band and can’t be on the road
with them, The Posies make an effort to
recreate the song with a local musician
in each town on their tour. On this night,
Atlanta band Magnapop’s Linda Hopper stepped on
stage with her notes (lest she forget the lyrics) and
supplied Lobsinger’s parts to the fantastic, harmonic
and powerful “Licenses to Hide.”
It’s true that Blood/Candy is a great record! The
power-pop and complex arrangements are intoxicating and the gorgeous vocal harmonies between Auer
and Stringfellow are as impressive as ever. During
their Atlanta set, The Posies featured a handful of
songs from Blood/Candy, opening up with the playful “Plastic Paperbags.” Before blasting full force into
their set, Stringfellow had a bit of conversation with
the audience, which occurred at several instances
between songs, as he let loose his wit and humor.
He spoke about having been in Atlanta all day and
asked, “Where is everything? Where’s the stuff in
Atlanta? There’s a building here and then nothing but
gravel or crack houses, before you see another building miles away. Atlanta, have you ever heard of urban
planning, where they put buildings close together in
The second song was also a newbie, “So Caroline,” which found Auer in the vocal spotlight. Auer is
able to rip a guitar to pieces and make it look like it’s
a piece of cake, as he holds it vertically in front of him
and away from his body, so that the audience can
catch all the movement across the fret board, while
he just stares off into the distance! Auer’s vocals are
sweeter than those of Stringfellow’s, who has more
of an edge to his tone. The interchange between
the two is magical. While Auer puts his guitar in the
spotlight, Stringfellow is the showman. He loves the
spotlight and owns the stage as he flails his hair and
body, jumping around, kicking and plain old rockin’
out behind the mic, moving between guitar and keyboard.
There were several more stories about past
tours in Atlanta and Stringfellow even singled out an
audience member from stage that was singing along
to every song, exclaiming, “This is what I want from
everyone at our shows!” The set was uniformly inclusive of old and new material, and with a music career
that spans nearly two decades, The Posies delivered a
dynamic and sweeping performance.
Review by Nadia Lelutiu
Photo by Rose Riot Photography
9 muscles open
9 muscles close
SPRING 2010 ISSUE
How can a squishy ball help guitar players build
muscle tone where they need it most?
Target Audience Magazine Interviews ‘Dr. Zac’
Inventor Discusses Why Musicians Should Use His Unique Exercise Device
Handmaster Plus is a unique exercise
device, designed by a health care professional, that addresses muscle imbalance
that develops from repetitive gripping
activities, such as those common in nearly
all musical pursuits.
The device is based on five years of hand
muscle study that clearly show the strong
contribution of both a) finger grip muscles
(finger flexor muscles) and b) finger opening muscles (the finger extensor muscles).
Handmaster Plus strengthens both finger
flexor AND finger extensor muscles for all-inone continuous exercise.
The result is proper training and convenient
warm up and cool down.
Finger extensor muscles AND finger extensor muscles must both be strong and healthy
for the musician to perform maximally and
What type of hand injuries will the Handmaster Plus help prevent
and how does it work?
1) Muscle imbalance – poor
muscle imbalance between
the 9 muscles that close the
hand and the 9 muscles that
open the hand may lead to
carpal tunnel syndrome and
other nerve entrapment
syndromes. Handmaster Plus
allows the musician to easily re-balance the supportive
muscles of the hand, wrist
and forearm, greatly reducing
the risk of repetitive injury.
2) Weak stabilization – the finger extensor
muscles have been proven to be strong stabilizing muscles in any flexion or gripping activity.
Traditional hand exercise (spring loaded & coiled
devices) only address finger GRIPPING muscles.
Thus, musicians commonly encounter extensor
muscle tendinitis in the thumb, wrist, and forearm. Handmaster Plus easily strengthens all finger extensor muscles properly, greatly reducing
the musician’s risk of developing extensor tendinitis or tennis elbow. Strong stabilizer muscles
means the musician will experience less fatigue
and maximize performance!
3) Limited Blood Flow – In
order to properly strengthen
any area of the body, we must
exercise that area through a
full range of motion (ROM). Full
ROM exercises maximize blood
flow. Better blood flow means
healthier tissues and better
performance (i.e. use it or lose
it!). Handmaster Plus gives the
musician an easy exercise to
warm up and cool down, thus
reducing muscle, tendon and
OK, next question:
Why three different tensions?
Is there a certain tension you should use for a particular pain or symptom?
The 3 tensions are generally available to address the individual strength
of the user. Most musicians use our medium strength to address healthy
strength, balance and blood flow. In fact, our music brand partner (GHS
Strings www.ghsstrings.com) carries medium strength only.
The soft and medium strength are also used in therapy for rehabilitation.
We do not encourage the product to be used in rehabilitation without the
direction of a health care professional.
For my guitar students, I tell them to stay with a lighter tension for spring loaded hand equipment because
they’re not trying to build super strength, but just make their hand muscles stronger.
Would you disagree?
No, I would agree with that. First of all, as you can probably tell, I’m not a huge fan of spring loaded hand
exercisers. The reason is two-fold. Firstly, they can and will strengthen in only one plane making the muscles
very selective about which plane they are strong in. Very non-diverse as an exercise. Rarely do guitarists use
one plane for very long. Secondly, of course, spring loaded hand exercisers only strengthen the finger flexor
muscles (the finger extensor muscles are static). This leads to imbalance, the same imbalance that is already
inherent in most musical pursuits (flexors stronger than extensors).
The basic Handmaster Plus exercise (hand open/hand closed) keeps finger muscle balance in check as it
strengthens the hand muscles. Remember from yesterday that the finger extensor (opening) muscles are
stabilizer muscles. This is a very important point – and an issue that traditional hand exercise ignores. In
other words finger EXTENSOR muscles must be strong and supple in order to support the action of finger
flexion which is obviously so important in music (and especially guitar). In kinesiology, this is referred to as a
kinetic chain. Finger extensor muscles must be strong, making the flexor muscles stronger and less likely to
Should someone work their way slowly to the highest tension with the Handmaster?
This gets back to question # 1 above. For some stronger musicians, yes, there will be a desire to progress
to the stronger version of HM+ (Handmaster Plus). For most, the medium strength will maintain balance,
strength and healthy maximum circulation. BTW, blood flow (circulation) is vital as this is how the muscles,
tendons and joint surfaces stay healthy (nutrients and oxygen are supplied by the blood). It is also very
important to perform a mild full ROM exercise after a long playing session to remove toxins (end products
of muscle contractions) from the tissue, the same as athletes do post-performance. This habit reduces tissue
wear and tear in the long term. HM+ is perfect and convenient for this function. In short, there is no need
to over strengthen. The goal is to develop strong, supple, balanced muscles and to maintain efficient blood
flow to all tissues.
Does the elasticity of the bands wear down after a while and need to be replaced? If so, how long do
they last and how much is it to replace?
In most individual cases the finger elastics will last and maintain their strength (soft strength does have
some memory loss). In heavy use environments (clinics, etc.), the bands may need to be replaced. Replacement bands are available at www.handmasterplus.com for $9.95 for a package of 4.
WINTER 2011 ISSUE
About Marsha Friedman
Marsha Friedman is a prominent business
woman who has run her company successfully through prosperity and adversity, ironically having one of her best revenue years in the midst of 2008’s recession.
As a radio personality and public speaker,
Marsha can be heard every week on the
nationally syndicated talk radio show
“The Family Roundtable” where problems
that modern families face are discussed.
Marsha and her co-hosts have enjoyed
interviewing family experts as well as
celebrities such as Tony Curtis, Ed Begley
Jr, Augusten Burroughs, Faith Evans, Vicki
Lawrence, Denise Jackson, Janine Turner
and Rose Rock.
In this time of super select music genres, it
can be a challenge to find straight up rock. The
band Oblivious Signal keeps that genre alive with
the latest album release, Into The Night. All the
elements are there: clean, hard drums, screamy
Notoriety! Some industry reps are gonna be there
making collaborations with other bands. We’d
love to ‘colab’ to finally get that big record deal
someday so we didn’t have to have day jobs.
Speaking of festivals, you just got back from
“Slave to The Metal.” How was that?
That was...interesting (laugh). It was an OK show.
It could have been a lot better. It was nothing like
we thought it was going to be; it wasn’t promoted
very well. One of the problems for us was that it
was a very hardcore-oriented show and we’re just
not a hardcore band. It added to the weirdness.
We are a hard rock band, borderline metal. It was
all hardcore screamo.
How many dates did you guys play?
Just the one local show.
guitar and impassioned, to-the-point vocals.
The band is fronted by Cristina Feliciano, who is a
paradox in every way: young but wise, pretty but
tough and artistic yet business-minded. I spoke
with Cristina just days prior to the band’s performance at the Miami Music Festival.
TAM: Hi Cristina. You have The Miami Music
Festival coming up, are you totally excited
Any bands that you saw that really inspired
Fall of Olympus.
If you weren’t a musician what other job or
career would you like to have?
I want to work for Sony as an AR Rep!
C.F. Yes! Actually it’s two shows, Friday is a showcase and Saturday is a show for Atlantic Records.
Are you doing anything special to prepare?
Well, the band has all been sick, so lots and lots of
practice. I’m going shopping for more clothes to
wear for it.
What would you like to see come from your
performance this Friday?
WINTER 2011 ISSUE
I’ve heard that you are an equipment expert; how
did that happen?
Ha ha. The guitar player always asks me about tech
stuff. I love to read gear mags. I work a tech job for
my day job. I take stuff home with me.
My dad is an engineer; we work on
fixing stuff together. I’ve been around
electronics my whole life. He used to
open up TVs and fix them and I would
just sort of watch. We would put guitar pedals together when I first started
playing guitar. My dad and I looked up
how to make them, and then we went
and bought all the stuff we needed,
and we made pedals.
So let’s go way back to the beginning, how and when did your passion for music begin?
My mom will tell you that I’ve been singing my head
off since I was 3. I started playing guitar at 13, but I
didn’t get serious about singing until I was 16. I went
to Europe with “Projects.” It was like a missions humanitarian kind of thing. I had written some music
while I was there, but I wanted someone else to sing
it. Everyone was like, “No, you sing it.” Then I started
performing for special events at a skate park that I
used to work at.
You seem to have very diverse musical tastes —
any guilty pleasures if that’s even possible?
There is one person I don’t care how much it costs
to see. Last I saw her I spent $300 and that is Britney
The name Oblivious Signal, from what I understand, means the subconscious impression that
you give off. This definition reminds me of a
saying that goes basically like this:
There are 3 personalities in all of
this: 1) the person people see, 2)
the person we think we are, 3) the
person we really are. Do you agree?
I totally agree with that! Everyday we
do things. We’re not aware of how
what we do affects others. The name
of the band is supposed to make
people think and maybe be more
aware of what they are doing. I met a
girl who was having a lot of problems.
She was very dramatic. She didn’t
understand why all of this stuff was
happening to her and I said, “Maybe
you’re giving off oblivious signals.”
She thought I was making fun of her, but I really
What impression do you think people get from
That I’m tough, but I hurt too — just like everybody
What else inspires you to create music?
Everything from everyday life. I grew up pretty quick.
A lot of my experiences haven’t all been positive. I
haven’t always made the right decisions. All of the
events that have led up to today have inspired me.
Live at the Masquerade 2-1-2011
A downpour of cold,
heavy rain washed away
the fine line between punk
rock and stupidity for fans
who braved the Atlanta
weather to make the soul
doubt show at The Masquerade with NOFX and
The Bouncing Souls on
February 1, 2011. Upon
entering the upstairs room,
Heaven, each soggy fan
seemed to have a beer in
hand, eagerly awaiting the
start of the Bouncing Souls'
every stage move
with camcorders and
they were missing the
spirit of the moment;
that which can not be
hosted by YouTube.
When they lazily took the stage, looking incredibly
relaxed, the quiet voice of Greg Attonito thanked everyone for coming out in the bad weather. The irony
of playing “Say Anything” with its chorus, “I wish I
could say that I have no regrets today” struck me as I
contemplated whether braving the rain was going to
get me killed on the way home. I conceded to hope
the rain would let up and the show would be worthwhile. Actually, I had been a Bouncing Souls fan way
back growing up in N.J. enjoying punk shows at Asbury Park’s Stone Pony. After a few songs, I realized
I still knew all the words to several classics like “East
Coast Fuck You,” and “Lamar Vanoy” and “I Like Your
Mom” which were played by the request of someone
in the audience.
Attonito exhibited a true punk-community camaraderie with his fans as he shook hands and
fist-bumped just about everyone in the front row as
I stood just stage right, next to a homeless-looking
guy who shined a light on my notepad and asked
what I was writing. Gotta love those sociable punks!
The sway of surfers in the crowd and the fastpaced but light-hearted music reminded me of
being a kid again. Perhaps that makes me old, but
even the band had tinges of gray in their hair. I
looked around at those feverishly trying to record
“Kids and Heroes”
and “True Believers”
added a sad sentiment to the peacefully swaying crowd.
Maybe that was just
in my sappy, sentimental mind because
all the happy bouncing ended with “Here We Go” as
the Bouncing Souls bowed its 20-year history and
gave the stage to NOFX.
During the intermission, the punks starting getting restless, native though they weren’t (all). Some
antipathetic fan from Alabama decided to push the
little girls in the
front out of his
way, me included
only I refused to
let someone push
me down or back.
By the time NOFX
started to rock,
it felt great to be
around fans who
seemed to be
at their favorite
band’s show. One
girl brazenly told
me and my photographer, Rose
Riot, to stay out of
her way because
at some point
during the show
she intended on
Greg Attonito- Bouncing Souls
Rose Riot Photography
WINTER 2011 ISSUE
I’m proud to announce that she
followed through during, “Leave It
Alone” (again, the irony was not lost
on me), as she put her head on Fat
Mike’s shoulder as he sang, holding
his bass and looking sideways at
her like she was crazy.
The whole show included telling
jokes with the crowd who continually threw everything from damp
hoodies to crushed beer cans at
the stage. An amusing instance occurred when Fat Mike introduced
“Arming the Proletariat With
Potato Guns” and took a poll of
people who knew what “proletariat” meant. Always trying to
educate, those punk rockers are.
the Meek” from that album. The
bass pulsed through the speakers
and I decided, though NOFX put on
a triumphant set, it was time for me
to go so as not to fight the same
drunken assholes on the drive out
of Atlanta. The rain had let up and
I had let off steam, proud of my
punk rock roots.
Review by Ellen Eldridge
Looking into the audience, I
saw someone waiving a shoe as
if intending to throw it in some
sort of tribute to the album So
Long and Thanks For All the
Shoes shortly before hearing “Eat
All Photos by Rose Riot Photography
If you haven’t by now, it’s not too
late to get into NOFX. Start here:
Need A Job?
Join Mailing List Win CDs
Target Audience Magazine currently
seeks writers to review cds, live shows
(in all major cities), art openings, music festivals like Mayhem Festival, and
almost any type of independent event
relating to promoting the arts, independent music, and writing.
The editor also seeks creative nonfiction submissions on topics which
inspire like music and art and how it
effects ones desire to create more art.
Please contact Ellen for detail
WINTER 2011 ISSUE
Nov. 3, 2010
WINTER 2011 ISSUE
Photos by Rose Riot Photography
Insane Clown Posse
Review and photos by Rose Riot Photography
I’ve never been one to back down
from a challenge. When I discovered that Insane Clown Posse
was set to play in Atlanta at The
Masquerade, I saw a challenge.
Anytime I hear rumors that other
photographers won’t shoot someone, immediately my interest is
piqued. I had heard tales of various food items being thrown into
the crowd and aggressive fans. I
thought, “Hell, I shot GWAR, how
could this be worse?” All these
rumors did was fuel me to pursue
some unique images. I was going
to be “Down with The Clowns.”
I arrived to the venue about one
song into ICP’s set. I assessed the
scene: stage covered in plastic,
lots of lights, guys wearing clown
make-up and various zombieclown creatures taunting the
crowd. The crowd: hundreds of
bobbing and swaying fans wearing clown make-up and really
big sports jerseys. So far, it was
nothing I couldn’t handle. Time
to make my way to the photo
pit. I started shouldering my way
through juggalos like levels on a
video game. I made it to where
the opening for the photo pit
normally is. It was blocked. Damn!
I decided to try the other side,
so I continued the zigzag pattern of shouldering and made it
to the opposite end. Same thing:
It looked like I was going to have
to shoot from the crowd. I got
as close to the stage as I could,
about three layers of body away
from the front. Good enough, I
had brought a protective cover for
my camera, but I hadn’t seen any
reason to use it...yet. I pulled my
Canon 50D out and went to work.
First challenge, I’m short. It
seemed that I was surrounded
by the tallest guys in the room. It
was not the kind of show where
I could say, “Excuse me sir, would
you mind terribly if I stepped in
front of you for a moment to take
a few pictures?” So, I did what us
shorties do, I held the camera over
my head and snapped. It was like
Violent J was waiting for my lens.
The second I popped my arm up
over the crowd periscope style,
a wave of Faygo root bear about
knocked me and my camera
down, and I didn’t see it coming.
From that moment on, it was like
a broken fire hydrant of soda.
Still not backing down, I guarded
my camera with my body and
put the waterproof cover over my
gear. I wasn’t going to let some
cheap beverage stop me!
So, with camera condom in
place, I attempted to shoot again.
I then realized my lens was fogging up from the heat and moisture. I took about 10 more pictures before I came to the reality
that maybe this really was a bad
idea, even with protection. The
Clowns had won, they were more
than I could handle.
I took my “white flag of surrender” and wiped the sweet liquid
off my face. The crowd released
me from my position and I walked
to the back of the room and did
more over-the-head blind shooting, at least capturing a wide view
of the stage. I shot about 15 pictures total that night as opposed
to my 200 that I might shoot on a
ICP has dialed it in; they knew
exactly what the juggalos wanted
and gave it to them (with Faygo to
wash it down). I learned later that
they went through 16 pallets of
Faygo that night. Despite almost
destroying my beloved camera,
I’m glad I went.
Within minutes I had sticky liquid inside my boots and clothes.
WINTER 2011 ISSUE
a Musical Parody
with a Tease”
The Evolution of “Kubrilesque” as told by producer Crystal Swarovski
“Kubrilesque: Or a Musical Parody with a Tease”
is a parody of the films of Stanley Kubrick, executed
chronologically and set to music. The Girls of Cherry
Kiss Burlesque are the dancers and actresses that show
off a multitude of eccentric talents. As the creator of the
show, my infatuation with Stanley Kubrick and his films
borders on obsession, making “Kubrilesque” a labor of
love. Cherry Kiss Burlesque started performing 6 years
ago with small burlesque theme shows, including
“Chicks in Space” and “Jungle Exotica.”
Fellow performer, Polly Peabody, and I knew we
wanted to work on something bigger. Together, we
came up with the idea of a Stanley Kubrick themed
show, and decided we would use our already exist-
The first attempts at creating
pieces for the new show were a
combination of smashing success
and total disaster
ing shows to workshop some of the pieces that would
ultimately be included in “Kubrilesque.”
The first attempts at creating pieces for the new show
were a combination of a smashing success and a total
disaster. First, we put together a parody of Clockwork
Orange, one that is no longer in “Kubrilesque.” It involved tap dancing statues and Droogies acting out
a rape. After the performance, I remember being very
proud when a fellow producer told me, “You are taking
it to the next level.” Unfortunately, the following piece,
a “Full Metal Jacket” parody was to be performed, and
all the work was left up to me with a week until the
show. It was overwhelming. Our cheap-looking props
and costumes cost me more money than we made at
our shows. The performance ended up consisting of
me being half naked tied to a giant bulls-eye while cast
members pretended to shoot at me and the dancers
put on a bad cheerleading routine in army attire.
Needless to say, it failed royally.
Despite being advised against it, I decided to push
forward and “Kubrilesque” went up in spring of 2008 as
a burlesque review, for a two night run. The Poubelle
Twins joined the cast as sexy Grady Twins; Scarlett
Letter performed a show stopping fan dance in the
“Eye’s Wide Shut” parody, and the ballerinas stripping
out of monkey suits and performing a mock water ballet made the show a success. Some of the other pieces
were hit or miss and the “Clockwork Orange” parody
was a mish mash of umbrellas spinning, pantomime,
and tango gone wrong. At a photo shoot a week later, a
photographer spoke frankly to me about the show, not
knowing that I was involved. While she said that she
admired that we attempted to take a show to the next
level, she felt it wasn’t quite there yet. Her comment
In the summer of 2008 we did our first “Kubrilesque”
European tour. I had been on so many tours that I
thought I could handle tour managing. What was I
thinking? The trouble started on the plane overseas
where one of the very attractive dancers was bought numerous drinks from
a questionable man. He also may or
may not have drugged her. By the
time she got to the passport check,
she no longer had her passport. Long
story short, we wound up needing to
rent a car and drive six hours on the
wrong side of the road to perform a
show in 5 hours – and one performer
short. That was day one of our ten-day
some bumps along the way, but finally
went off with a bang! We had amazing
reviews and sold the most tickets at
the Prague Fringe festival. Needless to
say, we were in a much better position
in 09’ than in 08’, and I had learned
from my previous experiences, such
as how to keep track of passports and
avoid bar fights and drugged performers. Olivia Bellafontaine was great
in the role of a clown robber (a parody
of The Killing), I performed a Gothic
ballet number, while pulling stream-
“Kubrilesque” has become a tribute, a parody, a musical,
a showgirl show, a fetish event, a burlesque show, and a
cohesive piece of art.
Luckily, the tour did get better: the
shows went well and we made some
amazing friends along the way, including FoxTrot India, a performer from
Australia who replaced our missing
dancer on the tour.
Everything was great until we arrived in Amsterdam, where we started
a bar fight when some guys stole
Dolly Danger’s passport. Also in Holland, I almost lost a dancer and my
shirt when the train doors shut with
dancer, Nancy, on the other side. We
were both banging on either side of
the doors screaming when a homeless
man pressed a button and the doors
opened. Well, how was I to know how
train doors work in the Netherlands?
After two passport dramas but only
one lost performer, the tour ended
in Estonia, where we were the first
burlesque show to ever perform in the
country; they called us a sex parody
show, which isn’t too far from the
truth, I suppose.
After another year of rehearsing, we
toured Europe again, this time with
a larger cast and a full “Kubrilesque”
show. This bump and grind show had
ers out of my vagina, Honey Holiday
took on the role of Alex in the Clockwork Orange parody, and we finally
had a Clockwork Orange number that
rocked! In addition, I choreographed
a number to Polly Peabody’s brilliant
conception of Barry Lyndon, which
will forever be a memorable part of
the show and a moment that never
fails to get stunned laughs; a Victorian
number with hoops skirts and all the
trimmings, and dangling beneath
each girl’s dress a hairy pair of balls.
I left Europe, this time feeling even
more obsessed with Stanley Kubrick
and my show. I began heavily researching Kubrick’s films, interpretations of his films, other parodies of
his films, even conspiracies surrounding Stanley Kubrick. I had found my
inspiration in my performers, women
who became my muses and my best
friends. I put the show on one final
time in Hollywood, with a cast of 25
and a large Hollywood audience. This
time I added many hints of Kubrickisms, not to mention more bells and
whistles. The show now brags some
original music and I am working on an
WINTER 2011 ISSUE
Crystal Swarovski (above)
Crystal has performed in 16 different
countries including: Off-Broadway show
Bombshell the musical, New York Fringe
show Porn Rock the Musical, Nat’l Tour
of A Christmas Carol, European Tours:
Kubrilesque and Erocktica. Regionally
she has played the lead role in numerous theater productions including:
Romeo and Juliet (OFT), Midsummer
Nights Dream (Long Island Shakespeare
Company), Angels in America (OFT),
and Rocky Horror Picture Show (Center Stage Productions.) Burlesque and
performance art has taken her to many
venues and festivals including CBGB’s,
Miss Exotic World competition 06’ (Las
Vegas), Boudoir Bizarre 08’ (Amsterdam),
Eros Festival 07’ (Latvia), Barcelona Erotic
Festival 08’, Amsterdam Clinic Weekend
09’, Praha Fringe 09’. In 09’ Crystal was
featured in the music Video Congo Lisa
on Mtv’s Jackass and has two horror
films to be released in 2010: Burlesque
Massacre and Eyes of the Woods. Her
first directing project was a 45 person
cast of The Music Man. Kubrilesque, her
second directing credit, is her baby and
she is very excited to see it grow with
each time it is kissed by it’s amazing
entire score with Shelly Lynn of the
The show has become a tribute, a
parody, a musical, a showgirl show, a
fetish event, a burlesque show, and
a cohesive piece of art. For me it has
been a pocket-draining, tiring, obsessive work in progress. “Kubrilesque”
has also given me everlasting friendships and never-to-be-forgotten
experiences. I feel blessed to be
humored by the coolest chicks in the
world. Truth be told, they’re still humoring me… and asking when and
where the next show will be.
I hope to present the show in other
parts of the USA. I am in the process
of writing more music, sewing more
costumes, organizing more promotions, and casting more performers. You can count on one thing:
“Kubrilesque” will always be getting
bigger and better. If you are interested in keeping up with Kubri-news,
you can check it out at http://www.
kubrilesque.com/, as well as on Facebook, Myspace, and Youtube pages
that can all be found on the website.
I hope that you see “Kubrilesque” and
that when you do, it inspires you,
makes you laugh, and disturbingly
turns you on -because then I know
I’ve done my job.
madball: Live at the Masquerade
Review and photos by Rose Riot
I had the pleasure of visiting Hell
(the bottom level of the tri-level
music venue The Masquerade in
Atlanta) to see Freddy, Mitts on
guitar, Igor Watson on drums,
and Hoya Roc on bass this past
The band delivered reliability
with a very simple stage decorated only with attitude. The energy
in the room was angry but happy
about being angry. The zealous
crowd filled the pit and screamed
and yelled in unity. Madball did
some singles off the new album
like “Danger Zone,” but for me
the highlights were “Down By
law” and the classic “It’s my Life.”
As much as I get the feeling that
Madball backs down to no one,
the band displayed a healthy fear
of fire but cutting its set short
when the fire alarms went off in
The show was a healthy shot of
adrenaline into the heart that
pumped life and productive anger back into all in the room.
Now, let’s go start a revolution!
It’s nice to know that there are some things in life that you can count on.
New York Hard Core band Madball’s latest release Empire is one of those
things that could easily be used as a motivational tool for current and former disenfranchised youth. It yells mantras designed to get us off our asses
and do something. In the song “All or Nothing” we are told to, “leave our
mark,” and the song “In the End” warns of self destruction.
A few favorites that stand out include the song “Shatterproof,” in which the
singer, Freddy Circien, is joined by his brother Roger Miret from Agnostic
Front. The voices of these two strong, hardcore men work well together. The
songs “Con Fuerenza” and “Spiderweb,” are sung entirely in Spanish. I don’t
know why, but stuff always sounds cool to me when sung in Spanish.
Another great track, “R.A.H.C. (Real American Hardcore), is a sarcastic jab at all the haters that claim that
Hardcore is dead. Finally, the 44-second version of the song “Tough Guy” features voice clips of Joe Pesci.
“Tough Guy” is like a piece of performance art only unlike performance art, it’s bad ass.
Empire minces no words. It is direct and to the point the way Hard Core should be. It is reliable and it is
here to stay. Everything I have said about the album could also be said about the live performance that
WINTER 2011 ISSUE
Alright, Slayer is not out of commision, the band is currently on tour in Australia and has been
playing alongside Megadeth, Anthrax and Metallica as part of “the Big 4,” but singer Tom Araya
did undergo back surgery which forced the band to halt its scheduled tour with Megadeth on
the American and Canadian Carnage Tour dates that were set to kick off on January 18, 2010,
as well as the band’s UK/European headline tour scheduled for March and April. While we wish
Tom well, we can’t help but wonder if his head-banging years had included chiropractic maintenance would he have been able to prevent his back surgery altogether?
submit writing that doesn’t suck
Rules of the Game
And please, my father? Don’t flatter yourself,” Suzie
said. “My father was a rock star, so no, this isn’t some
gothic novel of incest and intrigue.
Rules of the Game
By Julie Innis
Suzie makes me do terrible things
with my microphone.
“Do you have any idea how much this equipment
costs the station? They’d kill me if they ever found
out,” I say. “If you don’t do what we tell you, old man,
they’ll be finding out much sooner than you think,”
Suzie says as she reaches for my belt.
Suzie is my head intern. I hired her five years ago.
At the end of our first summer, she told me she was
staying, despite the fact that the internships were
meant to run for one summer only. HR had long ago
determined that the best way to quell sexual harassment lawsuits was to limit any one intern’s exposure
to me. But Suzie had otherplans. “Get used to me,
old man,” she said. Then she told me who her mother was. “Sally LaRue, ring any bells?”
“Christ on a cracker, are you my daughter?” I
asked, clutching at my throat. The network had
long encouraged such theatrics from me during my
talk-show interviews with the rich and fallen. The
throatclutch was my trademark move. My memory
of her mother was hazy, but I remembered enough
to know it ended badly.
I remembered too that bodily fluids had
“Christ on a cracker? How old are you anyway?
This is Hollywood, old man, and the name of my
game is revenge. You left my mother hanging and
now I’m going to hang you.”
Suzie was an English major from some all-girl’s
college back East, so though at times she seemed
hyperbolic, perhaps even a tad melodramatic, I
didn’t question her base of knowledge on the Gothic
nor did I question her base of knowledge on revenge. Suzie did revenge better than any intern I’d
She was also quite adept at knot-tying, soft bondage holds, voice-overs, and video splicing. She was
easily the best intern I’d ever had. Had I not been
having her on a regular basis, I’d have been very
proud to claim her as my daughter that first summer.
But by the second, third, and fourth year, it became clear to me that Suzie’s need for revenge was
boundless. As was her taste for the good life. New
clothes, leased cars, spa treatments and fancy restaurants, all of Suzie’s bills paid in full by me. One word
of protest and she’d waggle a DVD in my face. “Think
of your fans. Think of your ratings. Think of your
wives. Think of your sons and your daughters,” she’d
I thought and I thought and I talked to my lawyers and I signed all the checks. It was exhausting,
but as they say, karma’s a bitch.
“You played with fire, old man,” Suzie reminds me
often. Now into our fifth year together, I’m not sure
how much more of this I can take. I am, after all, an
old man despite the Botox and pancake makeup
and the triple by-pass and turkey wobble chin tuck.
Darla holds the camera while Suzie undoes my
She’s grown a lot rougher over the years and
yanks the belt tight around my paunch before pushing it backwards through the buckle. The network
gave me this belt seven years ago for the show’s
25th anniversary. More a gag-gift than anything
else, I suspect, the show’s logo chrome-plated and
studded with rhinestones, but I’ve always worn it
Suzie whips the belt through my pant loops
and tosses it over her shoulder. I wince to hear the
buckle clank against the metal radiator.
When not working as a houseplant,
Julie Innis can be found eating soup
at various lunch counters throughout the Metro region. If you ‘Google’
her, some stories might pop up.
These stories may or may not be
“Hey, careful, “ I say.
“Shut up, old man and smile for the camera,”
Suzie says as she takes my face into her hands and
smashes her lips against mine. Ours is more martial
art than sexy seduction and I’ve learned to let my
mind wander while Suzie films her latest round of
blackmail footage. I think about baseball. I think of
the crack of the ball against the bat.
I think about cracking a bat into Suzie’s skull. But
murder isn’t an option.
Suzie’s already made this clear.
She has all her bases covered. “Play ball, old man,”
she tells me and I do as I’m told.
WINTER 2011 ISSUE
Stephanie Cabral discusses
her passion for the fine art of photography with Target Audience Magazine and
provides helpful information on the nature
of the business now as opposed to when
print magazines flourished, gear she prefers, and what keeps her going.
TAM: How did you get your start in
I took a high school photography class as
one of the art requirements and I instantly fell in love with it
because I always thought of myself as an artistic person, but
I was an average drawer, an average painter. I wasn’t really
great in any sort of artistic outlet. Once I started photography,
I could capture exactly what I wanted to.
I was a huge fan in high school and I decided, at 16, I was going to move to L.A. and work for RIP Magazine. So, out of high
school, I got my Associates of Art degree in Art Photography
from a junior college, then I transferred and starting taking
bachelor courses for my degree in Communications with a
minor in photography.
How did you get your start with RIP Magazine?
I interned at RIP Magazine. I actually went to the NAMM show
one year and I saw Lonn Friend, the Editor
of RIP Magazine, walking through the hall.
I pretty much hunted him down. I had my
portfolio in hand and asked him if he would
hire me as an intern so that I could work for
his magazine. He gave me his card told me
to call the office and they hired me as an intern pretty much right away. After interning
for them for a little under a year, I finished
school and they hired me... I graduated on
Friday they hired me that following Monday.
What kind of gear do you use?
My very first camera was a Pentax, but I got
a Nikon N-90. I have pretty small hands,
even for a woman, so I got the middle of the
range type camera. Even now I shoot with
a Nikon D300 or a D700 and I love it. You
know, I would love to have D3X, but it’s just
so big and it’s hard for me to maneuver. So,
I’m still a Nikon girl.
What settings do you usually use
when you shoot live concerts?
I’ve always shot at shutter priority. I
would shoot as fast as I possibly could
with the available light that I had at the
wide-open aperature. I would try to
get the fastest lens - if that was a 1.4 or
a 2.8 aperture lens then, minimum, I’d
try to stay at 1/25 of a second at shutter
What are some of the trickier aspects of rock photography?
Just because you can see something that looks amazing,
trying to capture that on film is really hard. Stage smoke
and fog look really cool when the light hits it, but it is a pain
in the ass to shoot through because that light will glare
off of it. The flash will bounce off of it like a foggy day with
your high beams on. The hardest part of being in the photo
pit as live photographer is trying to make your photos look
different than everyone else that’s standing two feet away
from you. So, I’ll try to do stuff using a super-wide, almost
fish angle, lens - getting really close to the subject, or popping that little flash close up and blurring the background
lights. I definitely love the color and even having a strobe
light on stage. You can do a one-second exposure and get
five strobe images with artists like Marilyn
Manson without using your flash; basically
using the stage lighting.
What would you say are the trickiest
parts about doing gear shoots?
Number one is making sure all the equipment is cleaner than you’ll ever see it,
because when you light something you
don’t necessarily see like when you fire
something off and later realize there was
a piece of dust on a pickup. Number two
is reflection of the light, like shooting a
really high gloss guitar. It’s like a mirror;
anything you bounce off a mirror comes
straight back into the lens. If you get it off
to one side or the other it bounces away
instead of back at you.
to do more sessions. Learn as much as you can about lighting
and session photography because that’s really the only place
that you can earn a respectable living, by doing publicity
Do you ever like to get outside the rock photography
scene and shoot landscapes, wildlife or even things like
weddings or holidays?
That is definitely a way, when I retire, I can supplement my
income; by shooting kids and stuff like that. Fortunately, I
haven’t had to do that and, unfortunately, I hate it. I shot three
or four wedding in my life and I hated every single one of
them. It feels yucky, like a chore. I enjoy shooting music and I
really love working with musicians. Across the board I primarily like the heavy metal bands, but I’ve shot a lot of pop artists
too. Artists like Ashanti; she was easy to work with.
In college I had a lot of assignments to shoot including a trip
to Yosemite to shoot all Ansel Adams type photos.
What tricks to you use to counteract glare?
The hardest part is pointing and shooting with a flash right
next to the lens, so use a tilted head on your flash, a bounce
card, or try to put in one of those soft boxes. Anything you
can do to soften up that light would help. Getting farther
away. When I shoot guitars what I’ll usually try to do is set the
soft boxes off to the side, but then I’ll also try to back up use
an 80 Millimeter lens. So, I am definitely way farther away,
but it kind of blurs out the
background. You get a
shallow depth of field and
focus in on just the guitar
When I went back to the lab and developed my film, I saw the
boring photos that looked like every other student’s. So, I lit
my negative on fire and kind of made it all bubbly and then
I printed a print from that. So, it made it this kind of warped,
melted waterfall and I called it my Anti-Ansel.
I had to be the sarcastic smart ass because I never really
wanted to be the pretty anything. I don’t want to be the
pretty girl. I don’t want make pretty pictures. I like crazy or evil
or fun, just different. I ended up entering into a local photog-
What advice would you
give to people who are
just now starting out,
getting their internships, and trying to build
a name for themselves
as freelance photographers?
metal bands, but I’ve shot a lot of pop artists too. Artists like Ashanti; she was easy
to work with. It was a simple shoot, I had
the light below her with the yellow filter
on it. It looks so warm and inviting. It was
When I started I was primarily marketing myself towards
magazines. I shot for RIP Magazine, Metal Edge, and Metal Ma- really simple and quick, but she’s so beauniacs for a long time, but those magazines are all gone now. tiful and it was a beautiful angle that just
I would say to anyone starting out don’t expect to become a worked really well.”
millionaire being a live photographer that’s for sure. You have
- Stephanie Cabral
I tell everybody practice
makes perfect. When I was
17 I was sneaking cameras
into concerts. Once I was
18 and could go to local
clubs, I would shoot friend’s bands or any local club style
band as much as I could because you learn from your own
mistakes. You know something that works one time doesn’t
necessarily work the next time and it might just be because
the stage lighting’s different.
WINTER 2011 ISSUE
raphy contest and got first place for my Anti-Ansel and it
was really because I did not want to take photographs in
Yosemite. I literally took five photographs the whole time
I was there on this photo field trip and I ended up lighting my negative on fire and everyone thought it was so
artistic and great when really I was just being a 19-yearold brat.
you’re going to pose nude for a painter, you want to feel comfortable with that person. The same goes if you’re some cranky
rock star that has to get his photo taken. He’d rather do it with
somebody he likes. So, the last few photo shoots I have had
have all been with friendly bands. I mean, I just did Armored
Saint’s new album. I’ve known those guys for 15 years. I just did
Death Angel’s new publicity shoot. I’ve always been a huge fan
of Death Angel. I’ve done Nevermore’s photos in the past and
Have you made a successful enough career to sustain
I just did their new record. All these guys I’ve known forever;
yourself as a freelance photographer where this is
they were concert buddies, drinking buddies. When they’d
your main source of income?
come to town, I’d take photos, but now it’s become, “Okay, well
This is my only means of
we need somebody to do our pholiving. When I first started I
tos - can you do it?” and it’s actually
was always a coward about
“Make friends with as many people as been really great. They trust me.
being full freelance. So, I
you can in this business. For me, since I Whether it’s somebody who has a
worked for RIP Magazine
and I was was their in-house primarily enjoy shooting the hard rock receding hair line and he trusts that
I am not going to show it, or somephoto editor, but I also was a
body’s gained 10 or 15 pounds that
photographer. Then, I went
they want to hide. I am open with
and worked for Metal Blade
saying I want you to look the best
Records for a while and I
high school metal scene.”
that you can look. I want the artist
worked for Epic Records for
to always be happy. I could never be
while and I was a photograa paparazzi that wants to take a picpher at night and on weekture
fat on the beach or some guy who
ends. It’s really been only the last three years where I had
cool, that’s not the way you earn
no other means of living other than photography, which
get future jobs. I want to be
in a down economy you’d think it would be really bad,
to like and apprecibut it’s actually come out really good. I get a lot of those
middle-of-the-road type offers for photo sessions. I’m not
getting the 20,000 dollar photo shoot call, but getting
For me, since I primarily enjoy shooting the hard rock metal
enough good offers three times a week where it’s been
bands it is a total community. Knowing all the bands, it’s like
amazing. It’s been really good actually.
a total high school metal scene. When Pete Steele of Type-ONegative died I hadn’t seen the guy in three or four years, but
Do you have anything else to add that you think would
every time I saw him he said, “Good to see you again, how’ve
be beneficial advice or inspiration for our readers?
you been?” I honestly had the hugest lump in my stomach for
I would say follow your passion, practice makes perfect,
about three days after I heard that he died and I had only spent
and make friends with everyone that you can. Don’t
a few hours with him over the last 15 years, but I did a photo
burn any bridges; a lot of my shoots have come because
shoot with them when were out on the beach at midnight in
they’re friends who feel comfortable working with me. If
Venice and it was awesome. Pete was always a courteous and
Be Our Next Featured Artist
Even Dimebag, I really only shot him live a few times and hung
out a few times after shows, but still it’s like AWE it’s shame he’s
WINTER 2011 ISSUE
Interview with an Author
vampires do exist, and they are known as sanguine
vamps (the kind that actually drink blood from donors without killing them) and psychic vamps (the
energy-draining sort). How long have real vamps
existed? Which early literature, etc. points to their
G.L. Giles, an author of several vampire and vampyre books, took the time to interview Arlene
Russo about her book, The Real Twilight
Indeed the type of vampires mentioned in The
Real Twilight have made themselves known in the
past couple of decades. But vampires have been
reported from the earliest civilizations. Ancient
Greeks and Egyptians have recorded accounts
and beliefs of vampires thousands of years ago.
Ancient Greece in particular had the legend of the
lamia, a spirit of the underworld that would drink
the blood of children.
Although these ancient reports of vampires were
recorded, it was really in medieval times that reports of vampires in Eastern Europe really took off
following numerous recordings of bodies dug up
that appeared to have been alive, or rather undead. Hence, the mythology grew and as a result
Transylvania is so engrained in vampire mythology- and no wonder I have been there 4 times!
And no wonder Bram Stoker based his book in this
Why do you believe that real vampires are growing
in number in this day and age?
Your book, THE REAL TWILIGHT---TRUE STORIES OF
MODERN DAY VAMPIRES, was recently released. Did you feel compelled to write it because of all
of the Stephenie Meyer’s Twilight Series hype? Or
were you planning on writing a similar book anyway, with a different title perhaps?
Absolutely not! I have been writing about vampires from the mid nineties- well before Miss Meyer probably started even dreaming up the Twilight
saga! I have already written a book on the vampire
phenomenon called Vampire Nation which was
published in the UK in 2005 and in 2008 in the USA
by Llewellyn. And it was the publishers who chose
the title, not me. Good title though!
You point out that real (the non-supernatural sort)
By the early 1990s vampires started to appear
on the internet as the first web sites began catering for people who liked vampires - and those who
were vampires. The internet has become a significant focus for bringing together fringe groups,
such as those interested in vampirism, into virtual
‘communities’. This new breed of online vampires
seek solace and advice on the world wide web, as
well as gather information. They find each other
through message boards, chat rooms and ‘personals’ on web sites. The online vampire community
is huge and crosses continents, ages and creeds.
Never before have vampires had so much freedom
of information and support to furnish their lives.
Also the increasing emergence of psychic vampires has fueled this growth as people are realizing
that there are other breeds of vampires.
SPRING 2010 ISSUE
Do you think that the number of
Solitary Vampyres is growing or
just the number of vamps belonging to Houses, etc.? And why?
I would say that the number of
Solitary Vampyres is growing as
people feel less the need to join
Houses, as the internet is a meeting place of sorts.
You interviewed some proudly
out-of-the-coffin vamps for your
book. Which interviews stand out
in your mind the most? And why?
It would b be hard to choose
one- each has their own fascinating story to tell. I have lots of
favourites! I enjoyed researching
how psychic vampires draw their
energy from everyday life and
how they can draw energy on
a regular basis without anyone
You began Bite Me magazine by
yourself over a decade ago. What
prompted such a big undertaking? What do you attribute the
magazine’s amazing success to?
It all started with a chance visit
to the ‘world’s biggest Dracula
party’ in Los Angeles in August
1997 for a convention to celebrate the centenary of Bram
Stoker’s immortal novel Dracula.
I had travelled over 5000 miles
for this special event and over 4
days I met a host of interesting
characters, from Hammer Horror
legend Countess Dracula Ingrid
Pitt & other Hammer stars to the
son of Bela Lugosi. I also met my
first real vampire there. The whole
experience sparked the idea for
Bite Me and as soon I arrived back
in Scotland, I was on a mission: to
produce a publication that would
unite vampire fans from all around
the world. From an initial plan to
produce a small fanzine, I decided
I wanted to produce a ‘proper’
mag. One that could sit amongst
shelved in stores across the world.
So big, glossy, and colourful it had
to be! I therefore undertook a self
-taught crash course in publishing. Issue 1 of Bite Me was published in 2000.
Please tell us in detail about the
“Special Commendation Award”
you received in 2008.
I received a ‘Special Commendation’ for Services to Publishing
from the Periodical Publishers Association. For the first time in the
six years of the Scottish Magazine
Awards, the judging panel decided that a special commendation
should be awarded to one publisher only. The judging panel, led
by Helen Alexander CBE, former
CEO of The Economist Group, said:
“Bite Me is an original and exciting
product. If ever there was a great
example of never-say-die, then
this is the person. She has singlehandedly edited, published and
distributed a magazine against all
the odds for the past ten years.”
Will you be going out on a book
tour? If so, then where are some
of the places you’ll be signing?
Sadly I do not believe there is a
tour but never say never…
Where can readers go to subscribe
to Bite Me magazine?
Also the Bite me Facebook page
Where can copies of your book,
THE REAL TWILIGHT, be purchased?
It was an amazing feeling- as most
of the magazines nominated for
the awards are corporate magazines and those with fairly large
editorial and production teams,
unlike me and my one man band!
WINTER 2011 ISSUE
Unlike a novel, that might very well be
read once then discarded, this is a great
reference book that you’ll want to keep on
your bookshelf to be read time and time
As the title suggests, it’s the perfect read for
those who already know they’re kitchen witches,
those who think they might be or those who just
want to know more about being one. However,
it also covers a lot more than kitchen witchery as
there are some really cool bonus chapters (Chapters Fifteen and Sixteen, respectively) added at the
end that cover “Gods & Goddesses” and “Folklore
In Chapter Sixteen entitled “Folklore Witches,”
Anderson even includes The Boo Hag of the Gullah
tradition whose “closest cousins would be of the
Vampire and Succubus/Incubus variety” (p. 113).
Well, you probably won’t read many books
mentioning her at this point, as she’s not really
that well-known yet! That was a treat, after reading much of the same rehashed material in many
pagan books out there.
As Anderson explains, “Gullah is a culture unique
to coastal South Carolina and a small part of coastal
Georgia that stems from the culture, beliefs and
traditions brought over by the slaves.
Gullah is not a pagan belief, but rather it is the
eastern shore version of Voo Doo, or Voodou” (p.
113). Anderson also makes mention of the lesser
known Witches’ Burrs, pods from the Sweet Gum
tree, “which add power to any magick or mojo” (p.
Again, you don’t hear of Witches’ Burrs in many
books. It’s probably because Anderson has obviously taken the time to learn the native tales and
indigenous items of the areas she’s lived in. When
she “lived in New Mexico the museum there sold
‘rain sticks’” which “are used to cleanse an area or
person or [used] as a weather spell to call the rains
down” (p. 6).
I bring up these state-specific examples to show
that Anderson clearly believes in the fact that a
“good Kitchen Witch is open to her environment
and can turn the mundane into magick” (p. 7).
Which brings me to how Anderson defines a
kitchen witch. Though she clearly points out that
“a general knowledge and love of cooking is essential,” that’s not what really makes one a kitchen
witch (p. 4). Rather, she illuminates “that [all] a
Kitchen Witch needs in order to consider themselves one is to believe that the kitchen is the heart
of the home” (p. 3).
Magick for the Kitchen Witch is the first book in
Anderson’s Copper Cauldron Series. Also check out
her second book in the series, Magick for the Elemental Witch, which was recently released. To stay
updated on Anderson’s book signing events, etc.
Review by Lucas Mcpherson
Lucas McPherson is an author, reviewer, and interviewer. Her book, with illustrator Cyan Jenkins, titled
POETRY, SONGS AND STYGIAN STORIES was released
earlier this year and is available as an e-book or
paperback at http://www.iuniverse.com/Bookstore/
WINTER 2011 ISSUE
Submit your book for review!*
*book may actually be reviewed by a kitten
A must for gorehounds!
This thriller, jam-packed with lots of action and a
plot filled with twists and turns galore, is sure to
satisfy. Plus, it has its share of gruesome death
scenes described in mesmerizing detail, so horror46
genre gorehounds might very well find it a tasty
treat, too. It tells the story of private investigator
Richard Moonlight (hence the title) who believes
he may have murdered his secret lover, Scarlet
Montana. Having lodged a bullet in his brain after
an unsuccessful suicide attempt, Moonlight’s mind
doesn’t always function correctly, so he’s not sure
of what really transpired till the satisfyingly lengthy
and shocking denouement towards the end of
the novel. Though there’s certainly enough action
to keep your interest throughout, it’s actually a
character-driven book, too, with characters that are
frequently dead-on real. Besides “Dick” Moonlight
and Scarlet Montana, Moonlight’s ex-wife, Lynn,
and his ex-APD partner, Mitch, etc. were extremely
well-drawn characters. All loose-ends are tied up
by the last page with many of the bad guys getting
their just deserts, but thankfully at the same time,
the ending leaves it open for a sequel.
Review by Lucas Mcpherson
form) and one part The
Celestine Prophecy, this book
both entertains and teaches.
As the title suggests, this
novel takes you on a spiritual
journey. Make that a spirited
spiritual journey where you
meet the main character,
Randall Lender, a spiritual
guru of sorts, who has mastered astral projection. Well,
almost…turns out, he gets in
a bit of a bind as an evil spirit
tricks him, unbeknownst
to him at first, into another
man’s body after he left his
own body in a state of what
could be perhaps best de-
scribed as conscious dreaming involving an out-of-body
experience. And, maybe that
wouldn’t have been so bad,
but he’s duped by a man, or
the man’s evil doppelgangerlike spirit more correctly,
who is working for some evil
forces, into the body of a hit
man who has just murdered
a woman. That in and of
itself would have been bad
enough, but Lender thought
this evil one to be a friend and
mentor, so insult was most
assuredly added to injury.
Talk about an interdimensional dilemma! Fortunately
for Lender, who most people
think is the heinous murderer
named Johnny McKenzie
after Randall Lender accidentally astrally projects into the
murderer’s body, he wins the
support of his attorney, Sandy. Sandy is aided through
most of the book by Lender’s
daughter, too. Lender is
definitely taken on a spiritual
journey/battle to be able to
combat combined evil forces
that could be the New World
Order, Clergy of the Major Organized Religions, definitely
a backstabbing friend, etc.
However, he’s not the only
one who is spiritually gifted.
Before Sandy met Lender she
WINTER 2011 ISSUE
wasn’t much into spirituality, as she was pretty much
literally a letter of the law
type person, but after meeting her client, she changes.
Before all is said and done,
she not only believes, but she
becomes able to move things
with telekinetic energy, etc.
In closing, this book manages
to present spiritual insights
in a way that’s not pedantic
or pathetically dull. Rather,
the plot is action-packed and
entertaining while, at the
same time, the characters are
dynamic. Definitely worth
picking up a copy!
Review by G.L. Giles
Jason Deierlein was an honor roll student. An excellent
swimmer who was forced into a challenge after a car accident. His coma dreams and struggle to remain conscious
are told with honesty and valor. His process to regain
former abilities are told with the knowledge that he was
fortunate of being bestowed this god given opportunity.
Deierlein befriends fellow patients who have less and
uses that as inspiration in ending his struggle. A book
written to inspire the lives of us all, but a tale recounted
A true story filled
to show a tangible reason why we should be grateful for
all that we have.
This book is the true story of Jason Deierlein;
and, for all Ernest Hemingway lovers out there, like
me, it’s written in Hemingway style prose.
It’s a relatively short read of 138 pages, and one
thankfully not filled with many redundancies, and,
perhaps most importantly, it’s filled with brutally
When just a teenager, Deierlein was in a terrible
accident when the van he and three friends were
in was hit by an eighteen-wheeler. Deierlein’s best
friend, Hays, died from the impact, but Deierlein was
left in a seven-week-long coma as the result of being
flung a great distance from the van and landing on
a barbed-wire fence. It’s no wonder that Deierlein
suffered brain trauma, etc. from the ordeal, but it is
incredible that he managed to regain consciousness,
after seven weeks, after all that his body and mind
had been through.
Deierlein shows that his being in great shape as
a competitive swimmer before the car accident on
June 21, 1995 and his “Will to Live” from his own inner strength aided him greatly in his recovery.
In addition, he gives more clarity into the still
somewhat lingering mystery of what being in a
coma is like, by recounting
what he endured, nightmares-wise, etc. Reading what his comatose mind
went through was both fascinating and terrifying at
the same time. I had the good fortune of meeting
Deierlein in person this year, and I was immediately
struck by how he had no kind of “poor me” attitude
about what he’d been through whatsoever, even
though there are a few minimal long-term effects of
the accident still remaining.
In fact, he embodies just the opposite attitude:
one of gratitude. And, this undying spirit he projects
is readily apparent to all who have the opportunity
of meeting him, watching him on YouTube, etc.
To reach Jason regarding questions about his
visit his website at www.jasondeierlein.com
and/or e-mail him at ja[email protected]
Review by Lucas Mcpherson
For a boy seemingly born a bit late, Jesse Kinch carries
quite a classical sound. His guitar tone and choice of
covers, including “All Along the Watchtower” by Jimi
Hendrix, brings about an atmosphere many older fans
will enjoy. Amazingly, this young artist shines with a
perfect storm of marketable qualities from his charming looks to his command of the elements of songwriting. Originals like “Timeless Rider” remind of influences
from Kurt Cobain’s mournful “Something In The Way”
to the Grateful Dead’s “I Know You Rider.” The inclusion
of samples add a more modern effect like what one
would expect from electronic music circa Nine Inch
Nails. Indeed, Kinch may well have an almost perfect
blend of attributes that are all worth checking out.
Review by Ellen Eldridge
If Bob Seger,
to jam around
you would get an idea of Ric Zweig’s music. Each song
changes its sound from verse to chorus to solo and back
again. Sometimes subtly and other times in your face.
“Running Out Of Time” starts with that classic single
sound chug on guitar. Then the lyrics paint a portrait of
somebody who lives the lifestyle of a rock star, but at the
same time sees the end of the road and has nothing to
show for it. You can hear the turmoil within the pentatonic speech of the solo.
“Out With The Tide” starts with drums that are reminiscent of “Hey Pachuco!” from the Royal Crown Revue.
Once the organ starts, the song switches to the feel
of “Black Magic Woman” from Carlos Santana. This is
carried throughout the song with smooth and melodic
“I’d Like To Do It Again” sounds like a Tom Petty song
tune without his typical 8th note strum.
“This Song” brings the coffee house environment to
mind. You can taste the Java on each note. The caffeinated chorus could be a little loud for some sipping on
their espresso or a tall half-skinny half-1 percent extra
hot split quad shot latte with whip, but most musicians
would prefer to be listened to and not just be a musical
tree in the corner. When it’s loud enough people can’t
talk, they have to listen.
Ric Zweig is a vocalist and guitarist out of Hollywood
Florida. You can find him online at
Review by Russell Eldridge
WINTER 2011 ISSUE
Every once in a while,
when I feel I can get
away with it, I let
symbolism and the essence of strange overtake me as I did with
Twenty7. The band’s
name instantly drew
my attention because of my fascination with the
number 27 and its serendipitous appearances in
This is good stuff! “No Chemical Love” adds more
of the gritty rock that one would expect from
Western influence and makes for an easy to sing
along to track great for nights out.
Aside from the facets which drew my attention,
this collection of musicians formed in Los Angeles
when bass guitarist and vocalist Okan Sarli left his
hometown Istanbul, Turkey, with a vision to introduce his music style to a greater international audience. Auspicious beginnings including playing
as the house band for the Whiskey a Go Go in the
Furthermore, “Papatya” translates to “daisy” which fall of 2009 led to a featured performance in front
I’ve considered an all-too-often underrated
of 35,000 people at the Foca Outdoor Rock Festiflower. As for the song, it opens with a mournfully val in Izmir, Turkey, and playing the famous Viper
drawn out cry which does strike as humorous
Room this past Thanksgiving. A tour is scheduled
when considering the lyrics speaks to a “daisy on
to begin in San Diego in February 2011. With the
your soul.” Symbolically, one could get down-right newest tracks available for free on the band’s
metaphorical with this idea and the instrumenta- website, it is amazingly simple to take a listen and
tion allows for a building of meaning and soulful
decide to invest in the Papatya EP.
searching. Get inspired and dance around the
apartment as Turkish voices entice you to to “run
barefoot and naked with beautiful pain.”
Review by Ellen Eldridge
Emerging from the acid soaked
backwoods of Athens, GA,
Efren returns with an EP follow up to their debut release.
Always Been A Bleeder keeps
it simple on its brief five-track
disc and that proves to be a
wise move for the alt-country
rockers. The EP proves a perfect
showcase for the band’s newcomers and a fine companion
piece to their full-length album, Thunder and Moan.
The EP oscillates constantly from high to low, capturing the
peppy finger-picking boot-tappers and slow and gloomy
ballads that mark the band’s repertoire. The album opens
with the jangly, otherworldly folk of “Stay High”. The track
maintains an energetic rhythm supported by a strong melodic base of slide-guitar. “Next Tuesday” follows by dropping the tempo to a standstill and hushes the vocals to a
raspy moan only to rev back up with “Potholes”.
“Potholes” and “Rapids are easily the best tracks on display
here and the cornerstones for the EP. “Potholes” is a bouncy
ditty that wanders around, building upon itself. The vocals
and the structure of the song convey a sense of restlessness
and yearning that makes it perfect driving music. “Rapids”
closes the album and, unlike any other track here, plunges
unexpectedly into a plunking wave of guitar noodling before queuing up the vocals and slowly working into a more
traditional country ballad. It’s a peculiar and quiet arrangement that recalls Yankee Hotel Foxtrot-era Wilco and they
couldn’t have picked a better way to end the disc.
Everything you need to know about Efren is perfectly encapsulated on this release:
Smokey vocals with eerie falsetto harmonies? Check.
Early Beck-styled psychedelic country? Check.
Arrangements that morph from a full band to a one man
Alternating spacey atmosphere and dirt-under-your-nails
If you’re a fan of the genre, if any of this sounds remotely
interesting to you, then Always Been A Bleeder is one to
check out. This is a perfect introduction to a promising
Review By David Feltman
The New Breed of Old School is a re-recording of 6 songs
from the first full length CD Fear, Lies, & Propaganda with
the new lineup featuring Jessica Sierra on vocals, Dave K
on drums, Adam Savage on guitar, and Rev on bass. It was
recorded September 6th and 7th 2010 at White Sight and
Sound Studios in Framingham MA by Jim Foster.
The first track off Mongrel’s EP The New Breed of Old
School, “West Memphis Hell,” starts with an eager heaviness
and sophomoric lyrics, but the addition of female vocals
pick the song up and carry it to an anthemic high school rally. The second song, “I Refuse,” feels only slightly less sophomoric, but much more energetic with a good, old-fashioned
punk backing harmony reminiscent of early Bad Religion. An
added guitar solo gives the track more credit as a rock song
while maintaining its overall punk character.
“Shut Up, Get Dead” seals the deal as perfect music for
angry teens, but even older music fans will feel lured in by
the tone and supreme quality of Jessica Sierra’s vocals singing “shut up, get dead cus I fucking hate you...cus you suck
at life” in the chorus. Sierra truly solidifies the band with her
pitch and grit. She adds the quality that separates Mongrel
from just another basement punk band.
Check them out at:
Review by Ellen Eldridge
Every once in a while an album comes along and slaps
you in the face. It says, “Hey, my band has been around a
while and released five studio albums before this, but Now
you pay attention???” Cake’s Showroom Of Compassion is
just such an album- you’ve heard them on the radio, now go
out and listen to an entire album.
Cake’s 6th studio album Showroom Of Compassion picks
up right where the band left us six years ago with their
last release. This time, though, they are on their own label,
Upbeat Records, and handled the recording, producing and
engineering themselves. The result is genius.
Showroom Of Compassion is still rich with the signature Cake
sound: sing-speak lyrics, powerful horn sections, poppy guitar riffs, solid beats and of course, front man John McRae‘s
The first single, “Sick Of You,” has reached #4 on the Billboard
Alternative chart, and for good reason. The catchy guitar
riff and straightforward beat reminds the listener of its first
big hit, “The Distance,” off the 1996 debut album Fashion
The opening track, “Federal Funding,” is filled with political
commentary over a tight, rhythmic pulse. It’s a great start for
the album that reintroduces the listener to the Cake sound
and gets the blood pumping right out of the gate. Other
tracks like “The Winter” and “Got To Move” stand out as Cake
pushes its sound beyond its typical comfort zone, striving
to take the music in a new direction. The band pulls this off
without leaving behind its
signature sound or alienating
”Teenage Pregnancy” is an
piece that starts out with only
a piano playing a haunting
melody and builds into a massive movement of trumpets
and synths backed by a tight
beat. This mix up adds a nice
change of pace to the album.
Overall, Showroom Of Compassion is a strong follow-up for
the band and should make any Cake fan happy to have such
solid new material from a group that has been around for so
4 out of 5 stars.
Check it out here: www.cakemusic.com/
Review By Alex Aaron
WINTER 2011 ISSUE
Recs Of The Flesh
It would be unfair to simply
shoehorn Recs of the Flesh into a
category as simple as “noise rock.”
Their sophomore effort, The Threat
Remains and is Very Real reveals an
eclectic range of influences that
includes dance punk, math rock,
shoegaze, new wave, etc. This is
a band that has no fear of trying
The experimentation pays off with some really batshit crazy music. And I mean “bat-shit crazy” with all
of the love and affection I can muster. “Subliminal/Delusional” establishes a mid-tempo dancepunk groove
that abruptly drops into a halting sludge before firing
back up. It’s one of many quirky math rock touches
that make for some interesting moments.
The CD is full of the sort of dissonant buzzing and
popping that calls to mind bands like My Bloody
Valentine. Songs like “Midnite Rush” and “No Big
Deal” stand out as examples of a hip, nightmare vibe
derivative of Rob Zombie, jerking the album out of an
iffy slow patch.
The Threat Remains loses its way around “Pictures,”
which starts out slow but never warms up. If the
tempo was a little slower and the song a little shorter
it might have worked, but the trudging pace and
length causes the song to wear thin. “Save Your
Selves” commits the same sin immediately afterward.
Not all of the experiments pan out. “Acts of Reparation” is a baffling track that sounds like a parody of
The Cure. I couldn’t tell if the song was serious or
not. Even if it’s meant to be funny, the song runs well
aground of the other material on the CD which makes
it stick out in a bad way.
Thankfully, there are far more hits than misses to be
found here. Recs of the Flesh is a band that’s evolving into a strange and fascinating creature. There’s
definitely some tightening and honing needed, but
this is obviously a band that doesn’t mind constantly
pushing to become better.
Review by David Feltman
Anyone interested in winning a free copy of the
album should simply LIKE the RECS OF THE FLESH
After that, just need leave a message on the page
saying you LIKED it and on MARCH 1, 2011 Max
will pick the contestants’ names out of a hat*,
select a winner., and contact the winner via Facebook to mail the CD.
*hat may be a top hat or baseball cap
Merry Ellen Kirk
When I think of Nashville, Tennessee,
I think of cookie cutter singer/songwriters using every available cliché
in the book and country singers
who are about as country as New Kids on the Block.
Imagine my surprise at first listen to Merry Ellen Kirk’s
Merry Ellen Kirk’s gorgeous falsetto accompanied by
her subtle piano playing was the perfect soundtrack
to a cold, snowy day as it seemed to completely wrap
me in warmth. “Blinding Me” was another gorgeous
and subtle composition that I found to be both musically and lyrically engaging in its sparseness. The
very light use of background instrumentation added
an ambiance to this song that created a really great
There is nothing over played or over polished on
these songs and I honestly favored this route over
the busier sounding “Let The Light Flow In.” Unfortunately, I found the poor production quality of the
backing instruments to distract from the true underlying greatness of this song. I feel that too often
singer/songwriters feel this need to add a band in the
background in order to attract a more mainstream
audience and as in this case, I feel that it takes away
more than it adds. Kirk is a fantastic singer, pianist
and lyricist and those are the things I think should be
the concentration of focus. Don’t get me wrong, the
songs with the extra instrumentation aren’t bad but
I don’t feel that they are nearly as strong as the more
stripped down piano/vocal songs.
To compare the true “diamond in the rough” quality of
Merry Ellen Kirk to any other songwriter would do her
a serious injustice. She possesses a voice and a style
all her own that is a hodgepodge of many influences.
Check it out at:
Review by Don de Leaumont, the editor of
The Great Southern Brainfart
Hip-hop is constantly reinventing itself.
Florida’s Not Them continue to plot the
course of hip-hop’s interesting voyage with
their debut Blame it on the Blackout.
Their biggest advantage is that they hail
from Florida. Currently, Florida is trying to
position itself as the hot spot for hip hop
The so-nerdy-it’s cool track “So Dope” is
a catchy dance track that is probably being
played in the club at the time of this writing. “Drink Tonight” has that 90s g-funk vibe
that would make Snoop tip his glass.
While Atlanta is in no way relinquishing
its throne as the city of hip-hop, Florida has
been pushing its own diverse brand of rap
artists, that serve as an alternative to the
generic “dirty south” rap of Atlanta.
The laid back beat, pro alcohol lyrics and
accentuating keyboard makes for a hypnotic song that will bring a few bodies to
the dance floor…or the liquor store.
Not Them’s fun but serious at times
approach is a welcome breath of fresh air,
not to mention its music can get the club
jumping. Blame it on the Blackout is a strong
record that deserves attention amidst being
against the releases of more established
artists. Do not blackout on this record.
“Troubles” has a Kanye-esque quirkiness,
and a dark aura. The dissonant piano only
adds to the creepiness of this track as it
deals with a man’s struggles with fame. Not
Them may not revolutionize the rap world,
but they will definitely carve a niche in a
Check it out: www.notthemmusic.com/
Review by Jerel Johnson
Wading through piles of mediocre music will eventually burn out even the most bright-eyed and bushy-tailed
music enthusiast, so it quickly becomes a rare treat to
find a band that really grabs you and reminds you why
you wanted to write about music to begin with. The
Wallburds gave me such an album with its debut With
A U. And at the risk of sounding like a gushing fanboy,
I’ll say that I love The Wallburds in spite of the fact that
this album is plenty flawed. Sure, there are some pacing
issues and some of the songs don’t entirely work, but,
when they do work, when everything comes together,
The Wallburds is rock magic.
The softer songs don’t
hold the same charm as the
raucous ones. Songs like
“The Very First Time” play
like a slow dance at a 50s
prom. Clocking in at a 4:16
run-time, the track wears
thin in short order. The
folksy ballad “Kindergarten
Crush” comes across like an Elliott Smith b-side: not a bad
song, but not terribly exciting either. Anytime the tempo
drops the band loses far too much steam.
I can’t overemphasize the pure feel good rock ‘n roll
infectiousness that spreads from this EP. Theirs is the stuff
of “Risky Business” caliber, socks and underwear, singing
into a hairbrush indulgence. The Wallburds combine all of
the energy and swaggering enthusiasm of bands like Velvet Underground with the ultra hip rock crooning of Elvis
Costello. Following in the steps of other “The” bands (The
Strokes, The Hives, et. al), The Wallburds hit all of the right
retro rock notes. If they can maintain the momentum
this EP provides it could take them a long way. However,
With A U has trouble maintaining its own momentum.
The Wallburds is easily one of the more promising
bands I’ve heard in a long time, needing a bit more polish
and room for compositional development.
Check them out here: http://www.thewallburds.com
WINTER 2011 ISSUE
Review By David Feltman
Atlanta’s own Nate Currin has the West Coast
on his mind with his debut
album Goodnight California.
The title track’s upbeat
melody contrasts with the
words of a man saying
goodbye to his West Coast
girl. The song’s slow buildup explodes with an audio
texture of pounding drums,
acoustics, keyboards and
distant electric guitars.
“Gypsy Girl” instantly recalls vintage Sugar Ray with
its hip-hop beat, rap vocals
and easy going guitar backdrop. While it may have been done a decade
ago, Nate keeps the track fresh by adding
a country western vibe to the song. This is
definitely a song that would be played at
any beach party during spring break.
room all night long. The droning guitar solo
and pumping bass only add to the charm of
The U2 influence comes out strong on
“Lucid Dream”. The opening guitar line and
techno beat fall like rain drops, awakening
the listener. The song lyrics “I can spend
all eternity missing you” complement the
dreamy atmosphere of this track. This is
easily one of the best tracks on this album
and would definitely be a hit song on adult
Atlanta has given the country another
breakout act with Nate Currin. Goodnight
California is a must buy for fans of rock,
acoustic or alternative. It is a strong debut
Check it out at: http://www.natecurrin.com/
Review by Jerel Johnson
“Dance the Night Away” once again
shows Nate’s eclectic tastes, mixing 80s new
wave with rock. Listening to this song brings
an image of a couple dancing in their living
Verlee For Ransom
isn’t waiting to grow
up to get
life. And why
for jazz, soul,
is mature, and she’s forging ahead with her new
band, which consists of cellist-guitarist Kyle
Morrison, keyboardist Rio Chanae, bassist Kaye
Gill, and drummer Tyler Dobson. It wouldn’t be
surprising to find out the young band went to
performing arts school because, judging by their
live videos, they appear to be well-behaved and
That’s likely why they recently charted #12 on
ReverbNation’s Alternative Music Chart.
“More of a Mess” is an excellent showcase of Verlee’s vocals and the band’s eclectic style, which
is jazz that’s accessible enough to pass as pop.
Vocals call to mind Bjork because of the bite and
release style mixed with smoothness. Meanwhile, drums splash with cymbals and piano
features while cello and bass drive the rhythm.
“So Says the Doctor” finds Verlee’s vocals going
for sultry and pushing her natural range, but
then pulling back for the catchy, smooth chorus,
while the band takes the song in a direction that
involves soaring electric guitar solos and crunch
throughout. Other songs take the band to soulful melodies with harmonious singing, which it
executes with flair.
Review by Gail Fountain
When people hear the word
“Blues,” Chicago, Mississippi,
and Texas usually come to mind.
New York blues performer
MOTU shows that Yankees get
the blues every now and then
with his upcoming, eleventh,
beat serves the as the musical landscape to this tale of a
poor boy who has faced hard times all his life. Stevie Ray
Vaughn’s presence is in full effect here.
The boogie comes out in
tracks like “Stumble and Fall”
with its jazzy, soulful piano
and bar room harmonica. The
highlight is the sweet guitar
leads peppered in the middle of
MOTU has already garnered attention in blues circles,
playing at the 2009 International Blues Challenge, and
winning two BILLBOARD World Music Awards. While the
blues enjoys cyclical popularity with mainstream American audiences, artists such as MOTU keep the blues alive
with a devote following and consistent album releases.
The Delta may have the blues on lock, but MOTU proves
that even New Yorkers get and can play the BLUES.
The hangover continues on “Drowning in Whiskey”.
That hazy, smoky groove is in full effect on this song,
with MOTU’s raspy vocals adding to the funky stupor.
“I’m Just a Poor Boy” delivers no-frills blues, coming out
solid with a clean guitar lead. The track’s tough, dynamic
“Time Runs Faster” is a melancholy highlight. The
simple, but downbeat riff keeps the listener’s attention
for the tracks three minute duration. Once again MOTU’s
guitar work tug at the heart and on this track, the lead
aims straight for the soul.
Check it out at: http://www.motu.net/
Review by Jerel Johnson
The Sun Travellers
Two Italians, a Swede and a Scot walk into a bar in
Amsterdam…and decide to form a band named the
Sun Travellers. Though their story has the makings of a
classic joke, this eclectic collection of musical journeymen, and their unique approach to groove oriented
modern rock deserve to be taken seriously.
Delving into unexpected harmonic and melodic
areas, the chord progression and melodic material from
“Skywalker” are great examples of this approach, the
band mixes in electronica and dance beats to their oldschool approach to songwriter. The term old-school in
this instance is a positive thing, and only comes to mind
because of the band’s strong focus on melody, poignant
lyrics, such as those on “A Thousand Stars,” and harddriving drum beats.
When they get together, these four musicians sound
as if they have cherry picked the best musical elements
from the ‘70s, ‘80s and ‘90s, leaving out all the fluff,
which allows them to cut to the chase and write great
is known for many
things, its Cafes and
Red Light District
usually come to
mind when the city
is mentioned in conversation, it can now add birthplace of one of Europe’s
strongest up and coming bands to its list of accomplishments.
We often think of the U.K. as being the hotbed for new
music across the pond, but with bands like the Sun Travellers rising to prominence, the Continent’s music scene
is starting to give the Brits a run for their money.
Review by Matt Warnock
WINTER 2011 ISSUE
Tim Morris is a true Southerner, an aspect
that can be seen in the imagery and metaphors of
his poetry: crows, crooked preachers, and muscadine
wine. Born in Mobile, AL, Tim graduated from the
University of South Alabama with a B.A. in English/
Creative Writing and a minor in Philosophy.
After getting married in 1996, he and his wife moved
to North Georgia, where they currently reside with
their two daughters on their modest estate, Withering Cedars. A high school literature teacher by day,
Tim has been honing his poetic voice for nearly two
decades. His influences are numerous, but he counts
Walt Whitman, Charles Bukowski, Jack Kerouac, and
the Chinese poets Li Po and Han Shan among the top.
When he’s not behind the pen, Tim likes to hike the
North Georgia Mountains with his family, play drums,
and dabble in photography.
He is the author of ten chapbooks and has been
published in a variety of print and electronic literary/
Be The Next Featured Poet!
Submit up to three poems and a bio to
WINTER 2011 ISSUE
“a brother’s love”
when the phone rang at 3:17am
i was, needless to say, alarmed.
the voice on the other side
introduced itself as my brother.
in an exaggerated,
almost belligerent tone,
he mimbled something about
cruelty, taxes, and, i think,
i could hear car horns
and excited voices beyond his.
i asked where he was.
on the wind, he whispered.
on the wind,
and then nothing but screams.
paul! i shouted, hold on!
i’m calling mom!
but at that, the phone died.
who was it? asked my wife.
my brother. he’s in some kind
but, she continued hesitantly,
you don’t have a brother.
i know, that’s what makes this
so hard to do, i replied,
and dialed my mother’s number.
Tim’s work has the power to make you laugh and
give you chills at the same time. His poem, “A
Brother’s Love,” from Everything But the Green Shirt,
elicits a familiar familial tone in a title which could
introduce a cliché. The humor of a frantic phone call
concerned with a brother’s safety comes from the
fact that the man could have been crazy – or even
a dream. Tim’s crafty quality of playing with humor inside more controversial topics has led those
who’ve read it to love his work as well.
In addition to creating thought-provoking yet
humorous poetry, Tim plays a multitude of instruments from djembe to didgeridoo. Entreat yourself
to a free download of his work by clicking below:
preparing to trade my skin
for propriety (jeans and a flannel shirt)
i stand naked at the window
and listen to birds
singing in wet trees,
rejoicing (i imagine)
a break between rains,
and must smile
at the simplicity of the moment.
to have no worries
of politics or pulpits;
to raise a heathen voice
and have no judging eyes.]
a train howls toward the west a false beast with prophecy
on its lips.
moon swings wearily
from a cloud…
lay empty in the grass…
coyotes tempt the darkness
with sweet laughter…
breath is an assassin
in an upturned palm –
and know tomorrow’s possibilities.
still wrapped in elation,
i slip between prison walls
one limb at a time
as sunlight begins to split
i admire those birds,
especially their sporadic swarms
on bright spring days;
their drunken dance
across a fuck you sky.
does god still love his little children
even when they play in the mud
and leave tracks all over the carpet?
WINTER 2011 ISSUE
“a capsized serenade”
“I bequeath myself to the dirt to grow from the
grass I love, If you want me again look for me
under your boot-soles.” -- Walt Whitman
this breath i draw...
this breath i draw...
along with legions,
has been floating
on the eddies,
along with legions,
longing for life.
has been floating
on the eddies,
a tear from the christ.
longing for life.
the bones of galileo.
a tear from the christ.
the bones of galileo.
the blood from a bullet
the blood from a bullet
death isn’t still.
death isn’t still.
the trees tell their stories.
all you need to do
is sit back, listen,
the trees tell their stories.
all you need to do
is sit back, listen,
and be amazed
at the music
made from six feet below.
and be amazed
at the music
made from six feet below.
ART & POETRY
Groundrules for Submitting
Target Audience Magazine offers a unique opportunity for fine artists and poets
to both promote work through exposure, but to also inspire and be inspired in
the creative process. All artists, musicians, and writers understand inspiration
comes from many and varied sources.
“I just hope that our fans are people who are inspired by music,
and just use our music as a background or inspiration for whatever it is they do.”
- Maynard James Keenan
Taking this idea, we offer an Art & Poetry Project for each of our quarterly issues in
which the best combination of art/poetry inspired work will be published.
Those artists and poets who draw inspiration from one another are encouraged to
submit for publication. If you are a painter or illustrator, photographer, or otherwise inclined to create fine art and you do so from the inspiration garnered from
an independently written poem, prose, or short story, please submit. We also accept poems/prose or short stories (under 500 words) inspired by fine art in all its
Submit your project with both artist and poet information, permission (both
authors of the fine art as well as the written work MUST be copied on the email for
authorization), and links to website of both artist and author to:
WINTER 2011 ISSUE
ART & POETRY
By Jeffrey S. Callico of www.negativesuck.com
I have been here for years. I have obeyed all the rules and followed all the policies and
dotted all the eyes and crossed all the tees. Everything has gone well for me. I have
not spilled coffee on my bosses’ laps, I have not slapped a fellow employee for pissing me off in the breakroom, I have not cursed someone out (customer or otherwise)
in person or over the phone, I have not done anything wrong since the very first day I
arrived. My record here is spotless, as if the cleaning person cleaned it herself repeatedly for days on end. I have not stapled someone’s hand in anger over a misplaced
file, I have not toppled over a cabinet filled with archival records onto someone’s
head while they weren’t looking, I have not spat in the face of someone who told me I
should go fuck myself, I have not gone and fucked myself when I knew that someone
was thinking I should.
I am blameless and everyone knows it.
Please close the door on the way out.
Art by William Brian Maclean http://roostertree.com/lynchpin.html
ART & POETRY
WINTER 2011 ISSUE
Art by William Brian Maclean http://roostertree.com/lynchpin.html
ART & POETRY
Art by William Brian Maclean http://roostertree.com/lynchpin.html
ART & POETRY
WINTER 2011 ISSUE
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