Well, I broke the “cardinal rule” of concert going and dared to wear my Queers shirt at the September 25, 2009 “Punk Goes Pop” concert. TA-80, The Leftovers and the Queers rocked the Orpheum in Ybor City Friday night and proved that perhaps it isn’t so terrible for punk to go pop….occasionally.
With mohawks, leather-clad fans and converse hi-tops abound, the ambiance was set for a loud and proud night. I hadn’t seen the Queers perform in at least 5 years, although I will tell you that it was in the one, short year of my life that I lived in South Florida, in which I fell in love with their music. It was a kind of homecoming feeling, and I knew Joe Queer wouldn’t let me down.
The last time I watched them was in Eugene, Oregon at the WOW Hall, a venue much like the Orpheum but without the bar view of the stage. Still, The Queers were great at picking places that were simple and intimate, so as to really connect with the audience.
TA-80 opened with an incredibly punkish vibe. Their first song was less than a minute long, but the female bass player’s vocals were strong and powerful. The singer and keyboard player put on a space-like helmet adorned with a Mohawk on top and just started going crazy on the stage. TA-80’s energy was great, and they fell into the ideals of the quintessential punk rock show – loud, blaring, and leaving your ears ringing after only one song.
With two guitars, the bass, keyboard and drummer, this 5 piece kicked off the evening with deep and droning bass lines and succinct, punctuated guitar riffs that had the tattooed crowd slowly moving towards the stage to nod their heads in approval. The stage interaction was great between the band members and TA-80 was a worthy opener for the Leftovers and of course, for The Queers.
Next, the Leftovers took the stage. The Orpheum had just filled in and the beer was flowing. It was a good crowd and the four members of the Leftovers dominated the stage with their energy. After going to enough punk-rock or pop-punk shows, it’s important to walk in with no expectations for the openers, because you just never know, and in the case of the Leftovers, I was blown away.
Not only did the dueling guitars, bass, and drums connect to make some outrageously fun songs, but the band is made up of the kind of eye candy that made me remember why I married a musician. It was difficult not to swoon…or stare and drool.
The Leftovers put the rock, in “punk rock” and added their own signature sounds to each and every note. The fast drum beats, pulsating bass lines, pronounced guitar solos and overall talent rocked the audience and left them wanting more. There were many fans who immediately hit the merchandise table after the set to grab some CDs and a sticker or two.
After front man, Kurt, told a great story about the new guitarist, Matt leaving his internship as a paleontologist to go on tour, he announced “Dinosaurs are dead but rock ‘n’ roll still lives!” What else is there to say to describe how hilariously cool The Leftovers are, both in stage presence and musically?
Finally, we reached the moment where The Queers took the stage. This ensemble was slightly unfamiliar to me. A new female bass player was added and the drummer, Adam, from The Leftovers took the stage behind Joe Queer. A mosh pit broke out almost instantly, and despite some new faces on stage, they played like the very Queers I remembered.
Although I ran into a skeptic in between sets, feeling as though there was no indication that Joe Queer was even there and that perhaps the Queers just wouldn’t be what he wanted, Joe Queer took the stage and captivated the audience in mere seconds. The area in front of the stage filled, the crowd response was a positive one and everyone, on stage and off, was moving around and having a blast.
Joe Queer said they were only playing “Pop” songs so as to go along with the tour theme, but “We don’t quite know what the f*** we’re doing.” Even with the new additions they still had the same old Queers sound, especially when they played such awesome classics as “Noodlebrain,” “F*** The World,” and “Sheena is a Punk Rocker.”
True to form, and the idea of punk going pop, The Queers set was short but sweet and left the crowd fulfilled and satisfied. The early night at the Orpheum, ending at only 10:30 left the fans, and the bands ready to party in Ybor City. I mingled with the band members here and there and left remembering why I fell in love with Punk as a teen, and followed it no matter where it decided to go, whether it was going pop, or not!
Sunday, September 27, 2009
Monday, September 14, 2009
WMNF Celebrates 30 Years at the Ritz Ybor!
WMNF Celebrated its 30th Birthday in a big way on Saturday September 12, 2009 at the Ritz Ybor. My mission, and I chose to accept it, was 3 rooms, 12 bands, and about six hours worth of music: GO!
The night had a line-up of amazing talent and I wanted to hear it all, or as much as I could of each band at least. The Ritz Ybor was divided into three stage areas: Main Stage, the Royal Room, and the Rivoli Room. Main Stage opened with Have Gun, Will Travel, followed by the Legendary JC’s, Paul Thorn and closed the night with Nervous Turkey. The Royal Room had scheduled Sarasota Slim to open, followed by Knock Down Drag Out, and Barley Pink. Samantha Crain and the Midnight Shivers were also scheduled to play but were cancelled throughout the course of the evening.
The Rivoli Room hosted Suite Caroline to open, followed by Amanda Shires and her Roaring Fiddle, Tribal Style, and Ray Olan and the Jazz Ole Band. After being shown the Ritz Ybor’s layout by my Tampa-native concert buddy for the evening, we sat down and came up with a game plan to ensure we saw each band. The music kicked off at Main Stage around 6:45pm and patrons were filling in.
The atmosphere was awesome. There were smiling faces and crazy outfits abound, and WMNF had dressed up the Ritz Ybor itself with “Happy Birthday” banners, signs, and celebratory glitz and glamour, not to mention a giant birthday cake to be drooled over for at least half the night. I spotted a few familiar faces from my GrooveFest experience proving that WMNF certainly had its faithful supporters, and was certainly 30 years strong.
Have Gun Will Travel found their places on Main Stage after dropping their set list below them, which was written on paper plates, and readied the audience for the big night ahead. The 5-piece band included the stand up bass, a viola, drums, electric and acoustic guitars and lap steel guitar. They are an indie-folk band by reputation but at times felt a little bit country or rockabilly. The vocals were very simple in melody, but strong nonetheless. More amusing to me was that none of these guys really looked like they would play in an indie-folk band, although the lead singer’s voice was very indie-rock, the storytelling was relevant, real and heartfelt, and every member rocked their instruments, even something so simple as beating on an upside-down, empty popcorn tin.
Keeping with the flow we moved to hear Sarasota Slim, which was made up of a group of older gentlemen who played loud and proud. The crowd loved it and the Royal Room was packed. You could barely move in and out. Sarasota Slim was very bluesy with a few hints of rock slipping in and out. This trio, with your basic guitar, bass and drummer, eventually brought on a harmonica player to further rile up the interested audience. With only two bands down, it was apparent that the music of the evening had really risen to the occasion.
In the Rivoli Room was a performer I was particularly interested in giving a listen: Suite Caroline. This little 12-year old belted out something fierce! Finding a voice like that on someone so young was no doubt impressive, but her stage presence; even moreso. Suite Caroline informed the audience that one of her band members was in fact her guitar teacher. “How cute is that?” I heard from one woman and her friend responded, “I know!” Then I heard another audience member say, “She is so much older than her years.” It was at this point that Suite Caroline explained her next song was about the little bumps in the road and that life was hard, not always easy. I then heard a woman say “She’s 12, what would she know about it?” The overall reaction of the crowd to this crazy talent and strong-voiced 12-year old was positive. Not only was she adorable but she could sing, and play the guitar like nobody’s business. You could see her passion, and love of music in her eyes as she was playing. The room was mesmerized, and so was I! We moved back towards Main Stage after hearing her perform a song called “LOL” and were hyped up for the rest of the night.
The Legendary JC’s came out after a quick note from a WMNF representative that “U put the ‘U’ in Community radio,” and the crowd was ready, and even thicker than just an hour prior. The Legendary JC’s came armed with a saxophone, trombone, guitar, drums, harmonica, and bass. The very funky lead singer must have channeled a little bit of James Brown because his stage presence, and performance was amazing. He could not stand still and was constantly leaving the stage to invade the audience, at one point giving one woman a hug, and another a huge kiss on the cheek. Everyone was dancing and the Legendary JC’s huge instrumental opening really intensified the already positive vibe throughout the room.
This 8-piece band was soulful indeed but definitely had that funk twist. They slowed it down at one point and a small group in the audience started chanting something along with one of the songs. The lead singer took notice and insisted they really commit, then had the rest of the audience follow suit and he said, “Ah take the damn show, I don’t care!” However the Legendary JC’s took the show back and kept the whole room moving.
Amanda Shires and her Roaring Fiddle were now in the Rivoli Room and that’s where we were headed next. She definitely roared on her fiddle. The room was packed. We could barely see the stage but Amanda Shires’ sweet and sultry voiced carried well above the crowd. She sounded very folk in her story telling, and with her fiddle but also had a strong indie sound to many of her songs. With her accompaniment, the guitar and drums, together they captivated the audience. She had the cute face to match that cute voice, which was soft, yet strong and definitely had something to say. At one point she said “I hear 30’s a big year…” and the crowd laughed as I heard someone behind me say “She’s 25!”
Across the hall Knock Down Drag Out bellowed out their pure rockabilly sound. These guys had great energy, with even better outfits to boot! This 5-peice had the stand up base, the guitar, drums, a few fancy cowboy or western shirts, the piano player had amazing hair and a white and black spotted faux fur lined jacket, with the lead singer was adorned in very tight leopard pants with a matching black shirt with little leopard diamonds. Not only did the music rock, it was loud and made you want to dance, but the stage presence was outstanding. Knock Down Drag Out were at the middle point of the evening; the place was packed and the drinks were flowing!
Tribal Style followed Amanda Shires and her Roaring Fiddle. This 6-piece consisted of bass, keyboard, electric guitar, a saxophone player, drums and percussion such as bongos and congas. They were very reggae, smooth and vibrant with simple bass lines and great vocals. We were grooving and all of the sudden a woman went up to my concert buddy and told her “You dance to reggae like you have chewing gum on the bottom of your feet, watch!” And she did…so we did, for a bit at least. Everyone else was swaying to the island beats and enjoying the vibe.
Main Stage had Paul Thorn on it and he sang some soulful, blues-rock. WMNF had cut the cake so we grabbed a piece before it was gone and enjoyed the sugar-high and chocolate-goodness while digging the music. The dance floor was packed but we found a spot in the back to take it all in. Paul Thorn and his guitar were just one piece amongst the 5-member ensemble with the bass, another guitar, keyboard and drums. Many of the chords and riffs were familiar with essences of classic rock and a few blues songs within them. Paul Thorn was a big crowd pleaser. The audience was anything but tired; they were still waiting on more to keep the birthday bash going.
As almost experts at maneuvering from one act to the next, we went to see Barley Pink. This 4 piece band had dueling guitars, a drummer and a bass player. They had quite the following and the ladies loved them. They played some very, very loud rock ‘n’ roll music with a very high energy. The lead man had a very soft, high voice that was easily complimented by the other guitar player’s harmonies. Everyone was dancing and the room filled in quickly. Barley Pink was the hardest rock act of the evening and the fans in the Royal Room ate it all up like the WMNF birthday cake!
As the last act in the Rivoli Room, Ray Olan and The Jazz Ole Band played some pop-salsa that really made us move. The 5 players jammed on guitar, keyboard, bongos/congas, steel drums, cymbals and the lead singer had a cowbell and a few other instruments like maracas to keep the Latin grooves fresh. This was the point in the evening when everyone, including myself and my concert buddy, were really dancing. The beats were great; the perfect sounds to end the evening in the Rivoli Room, which transformed from dancing with some space, to dancing and getting to know your neighbor quite well. Although most of the lyrics were in Spanish, the feel was still there, as was the energy so it didn’t hinder the music. Ray Olan and the Jazz Ole Band left us to dance over to Main Stage for the final act.
Nervous Turkey, a trio, took the stage with a keyboard, drums and guitar. At this point someone who’d spotted us a few times throughout the night came up to enjoy the band with us and described Nervous Turkey, as “awesome” and said we just had no idea what we were in for. This blues-roots band blew us away; the perfect finale. At one point, the lead man, with his amazing classic-looking microphone, sang a very Marilyn Monroe-esque version of “Happy Birthday” to WMNF. The lead singer was powerful, with a deep, grainy voice and he rocked the harmonica in a few songs too. Certain aspects of their set were like something out of a sermon, and the red lights created great ambiance. Nervous Turkey really got the crowd going, and finished the night strong for WMNF’s epic birthday bash.
WMNF is now 30 years old. Although most don’t handle the 30th birthday very well, WMNF did it proud! Every performer brought their all to ring in year 30 right. Here’s to another 30 WMNF! Bring it!
The night had a line-up of amazing talent and I wanted to hear it all, or as much as I could of each band at least. The Ritz Ybor was divided into three stage areas: Main Stage, the Royal Room, and the Rivoli Room. Main Stage opened with Have Gun, Will Travel, followed by the Legendary JC’s, Paul Thorn and closed the night with Nervous Turkey. The Royal Room had scheduled Sarasota Slim to open, followed by Knock Down Drag Out, and Barley Pink. Samantha Crain and the Midnight Shivers were also scheduled to play but were cancelled throughout the course of the evening.
The Rivoli Room hosted Suite Caroline to open, followed by Amanda Shires and her Roaring Fiddle, Tribal Style, and Ray Olan and the Jazz Ole Band. After being shown the Ritz Ybor’s layout by my Tampa-native concert buddy for the evening, we sat down and came up with a game plan to ensure we saw each band. The music kicked off at Main Stage around 6:45pm and patrons were filling in.
The atmosphere was awesome. There were smiling faces and crazy outfits abound, and WMNF had dressed up the Ritz Ybor itself with “Happy Birthday” banners, signs, and celebratory glitz and glamour, not to mention a giant birthday cake to be drooled over for at least half the night. I spotted a few familiar faces from my GrooveFest experience proving that WMNF certainly had its faithful supporters, and was certainly 30 years strong.
Have Gun Will Travel found their places on Main Stage after dropping their set list below them, which was written on paper plates, and readied the audience for the big night ahead. The 5-piece band included the stand up bass, a viola, drums, electric and acoustic guitars and lap steel guitar. They are an indie-folk band by reputation but at times felt a little bit country or rockabilly. The vocals were very simple in melody, but strong nonetheless. More amusing to me was that none of these guys really looked like they would play in an indie-folk band, although the lead singer’s voice was very indie-rock, the storytelling was relevant, real and heartfelt, and every member rocked their instruments, even something so simple as beating on an upside-down, empty popcorn tin.
Keeping with the flow we moved to hear Sarasota Slim, which was made up of a group of older gentlemen who played loud and proud. The crowd loved it and the Royal Room was packed. You could barely move in and out. Sarasota Slim was very bluesy with a few hints of rock slipping in and out. This trio, with your basic guitar, bass and drummer, eventually brought on a harmonica player to further rile up the interested audience. With only two bands down, it was apparent that the music of the evening had really risen to the occasion.
In the Rivoli Room was a performer I was particularly interested in giving a listen: Suite Caroline. This little 12-year old belted out something fierce! Finding a voice like that on someone so young was no doubt impressive, but her stage presence; even moreso. Suite Caroline informed the audience that one of her band members was in fact her guitar teacher. “How cute is that?” I heard from one woman and her friend responded, “I know!” Then I heard another audience member say, “She is so much older than her years.” It was at this point that Suite Caroline explained her next song was about the little bumps in the road and that life was hard, not always easy. I then heard a woman say “She’s 12, what would she know about it?” The overall reaction of the crowd to this crazy talent and strong-voiced 12-year old was positive. Not only was she adorable but she could sing, and play the guitar like nobody’s business. You could see her passion, and love of music in her eyes as she was playing. The room was mesmerized, and so was I! We moved back towards Main Stage after hearing her perform a song called “LOL” and were hyped up for the rest of the night.
The Legendary JC’s came out after a quick note from a WMNF representative that “U put the ‘U’ in Community radio,” and the crowd was ready, and even thicker than just an hour prior. The Legendary JC’s came armed with a saxophone, trombone, guitar, drums, harmonica, and bass. The very funky lead singer must have channeled a little bit of James Brown because his stage presence, and performance was amazing. He could not stand still and was constantly leaving the stage to invade the audience, at one point giving one woman a hug, and another a huge kiss on the cheek. Everyone was dancing and the Legendary JC’s huge instrumental opening really intensified the already positive vibe throughout the room.
This 8-piece band was soulful indeed but definitely had that funk twist. They slowed it down at one point and a small group in the audience started chanting something along with one of the songs. The lead singer took notice and insisted they really commit, then had the rest of the audience follow suit and he said, “Ah take the damn show, I don’t care!” However the Legendary JC’s took the show back and kept the whole room moving.
Amanda Shires and her Roaring Fiddle were now in the Rivoli Room and that’s where we were headed next. She definitely roared on her fiddle. The room was packed. We could barely see the stage but Amanda Shires’ sweet and sultry voiced carried well above the crowd. She sounded very folk in her story telling, and with her fiddle but also had a strong indie sound to many of her songs. With her accompaniment, the guitar and drums, together they captivated the audience. She had the cute face to match that cute voice, which was soft, yet strong and definitely had something to say. At one point she said “I hear 30’s a big year…” and the crowd laughed as I heard someone behind me say “She’s 25!”
Across the hall Knock Down Drag Out bellowed out their pure rockabilly sound. These guys had great energy, with even better outfits to boot! This 5-peice had the stand up base, the guitar, drums, a few fancy cowboy or western shirts, the piano player had amazing hair and a white and black spotted faux fur lined jacket, with the lead singer was adorned in very tight leopard pants with a matching black shirt with little leopard diamonds. Not only did the music rock, it was loud and made you want to dance, but the stage presence was outstanding. Knock Down Drag Out were at the middle point of the evening; the place was packed and the drinks were flowing!
Tribal Style followed Amanda Shires and her Roaring Fiddle. This 6-piece consisted of bass, keyboard, electric guitar, a saxophone player, drums and percussion such as bongos and congas. They were very reggae, smooth and vibrant with simple bass lines and great vocals. We were grooving and all of the sudden a woman went up to my concert buddy and told her “You dance to reggae like you have chewing gum on the bottom of your feet, watch!” And she did…so we did, for a bit at least. Everyone else was swaying to the island beats and enjoying the vibe.
Main Stage had Paul Thorn on it and he sang some soulful, blues-rock. WMNF had cut the cake so we grabbed a piece before it was gone and enjoyed the sugar-high and chocolate-goodness while digging the music. The dance floor was packed but we found a spot in the back to take it all in. Paul Thorn and his guitar were just one piece amongst the 5-member ensemble with the bass, another guitar, keyboard and drums. Many of the chords and riffs were familiar with essences of classic rock and a few blues songs within them. Paul Thorn was a big crowd pleaser. The audience was anything but tired; they were still waiting on more to keep the birthday bash going.
As almost experts at maneuvering from one act to the next, we went to see Barley Pink. This 4 piece band had dueling guitars, a drummer and a bass player. They had quite the following and the ladies loved them. They played some very, very loud rock ‘n’ roll music with a very high energy. The lead man had a very soft, high voice that was easily complimented by the other guitar player’s harmonies. Everyone was dancing and the room filled in quickly. Barley Pink was the hardest rock act of the evening and the fans in the Royal Room ate it all up like the WMNF birthday cake!
As the last act in the Rivoli Room, Ray Olan and The Jazz Ole Band played some pop-salsa that really made us move. The 5 players jammed on guitar, keyboard, bongos/congas, steel drums, cymbals and the lead singer had a cowbell and a few other instruments like maracas to keep the Latin grooves fresh. This was the point in the evening when everyone, including myself and my concert buddy, were really dancing. The beats were great; the perfect sounds to end the evening in the Rivoli Room, which transformed from dancing with some space, to dancing and getting to know your neighbor quite well. Although most of the lyrics were in Spanish, the feel was still there, as was the energy so it didn’t hinder the music. Ray Olan and the Jazz Ole Band left us to dance over to Main Stage for the final act.
Nervous Turkey, a trio, took the stage with a keyboard, drums and guitar. At this point someone who’d spotted us a few times throughout the night came up to enjoy the band with us and described Nervous Turkey, as “awesome” and said we just had no idea what we were in for. This blues-roots band blew us away; the perfect finale. At one point, the lead man, with his amazing classic-looking microphone, sang a very Marilyn Monroe-esque version of “Happy Birthday” to WMNF. The lead singer was powerful, with a deep, grainy voice and he rocked the harmonica in a few songs too. Certain aspects of their set were like something out of a sermon, and the red lights created great ambiance. Nervous Turkey really got the crowd going, and finished the night strong for WMNF’s epic birthday bash.
WMNF is now 30 years old. Although most don’t handle the 30th birthday very well, WMNF did it proud! Every performer brought their all to ring in year 30 right. Here’s to another 30 WMNF! Bring it!
Monday, August 31, 2009
GrooveFest was Groovy - Sunday August 30, 2009 at Skipper's SmokeHouse
Pulling up to Skipper’s Smokehouse Sunday August 30, 2009 just a little after 3pm, I was bombarded with the sounds of the first annual WMNF GrooveFest already in full swing. Shak Nasti opened up what would be seven hours of jam-bandish fun in the sun. The greeters and ticket sellers were in high spirits and there wasn’t a single patron sitting still, whether they were getting food or drinks, chatting or swaying to the beat.
For a moment I actually forgot where I was. If it weren’t for the humidity and the menu chock-full of eastern seafood, I would have thought I was back on the west coast at a reggae festival, or at the Oregon Country Fair. The dreadlocks, tie-dye, friendly faces and audience members from the ages of about 2 through maybe even 92, were like something straight out of Eugene or Portland. I felt silly for not sporting my hand-made batiqued dress and Birkenstocks.
Shak Nasti rocked their reggae-funky sounds as people trickled in on the not too hot, partly cloudy gorgeous Tampa afternoon. The heavy bass lines and melodic wanderings of the guitar made Shak Nasti’s music stand out. They finished strong and loud as if to alert the following bands they had an act to follow. The crowd was relaxed but ready to jam alongside the musicians. The whole place was buzzing from the afternoon throughout the night and the energy never faded. This wasn’t the type of show to just sit and watch; you had to at least recognize the beat in some way, whether it was by the tap of a toe or the shimmy of a shoulder or two.
I looked up and did a scan of the crowd in between sets and quickly noticed that the number of people nearly doubled. The members of Soulshine meandered onto the stage to get ready for their set, both of whom, I realized, had just been watching Shak Nasti from the audience. It was then I noticed a fan with a “Shak Nasti” band shirt, near another man with a shirt that read “Grateful Dad.”
Soulshine set up many instruments including congas, bongos, and chimes with a flute, guitar and harmonica; a lot for just the two band members. Heavy on the drum beats, the sound managed to become seemingly soft as the lead repeatedly sang out “Just trying to find my soul some satisfaction,” with a few audience members mouthing the words along. Soulshine’s music brought more people out to dance by the end of the set and left the audience wanting more.
Next up was Middle Rhythm Session, a 5-piece band who took the groove up to a whole new level. With keyboards, bass, electric guitar, a full drum set, a cowbell and other various percussion instruments they enticed new dancers to the floor in front of the stage. Their sound was filled with rock and jam-band essences but a lot of great tones melting together all at once. The lead singer’s stage presence was very animated, which drew your attention directly to him. They had a more new alternative or rock sound than the other bands but won the audience nonetheless, and even got the tiny tots on the dance floor to bop around.
Three down, three to go, Earth Bombs Mars came out to belt out something very reminiscent of the classic jam band tunes, very Grateful Dead-esque and what every GrooveFest needs. At times their transitions and long musical phrases were something of the folk or country genres, but had a more calm feel than the Middle Rhythm Session. Still, it made you want to dance to the simple bass lines and soothing guitar riffs. It was during this band that the sun started to go down, but it wasn’t until after the sun set that the jamming intensified. Earth Bombs Mars kept listeners interested and the dancers moving with some hard rock melodies to spice things up until they slowed things down to end their set.
The Burnin’ Smyrnans were up next and while they set up, the WMNF representatives took over the stage to thank the crowd for coming and encourage people to enter the raffle and check out the various jewelry and craft vendors that had scattered themselves in the Skipper-dome. The five members of the Burnin’ Smyrnans took the stage with a saxophone, two guitars, a bass and drums in tow. It was as the band gathered to begin playing that not a single band had a female musician amongst them, but they certainly had many female fans.
Beginning with an upbeat tune, with a very ska/reggae resonance, they really amped up the pace following Earth Bombs Mars and the Burnin’ Smyrnans drummer was rockin’ the skins. The dance floor was packed, a first thus far, and the amazing melody with the singers’ harmonies were solid and projected a kind of Caribbean sound. It was hard for anyone to sit still, so I finally caved and got out on the dance floor to put my Eugene-grown moves into action, to which my husband commented, “You danced ridiculously in unison with the rest of them.”
The entire line-up of bands put their hearts and souls into every breath and every beat making each song better than the last and left each group raising the bar higher and higher. Burnin’ Smyrnans finished on a high note, loud and proud leaving the crowd ready for the headliner, Cope.
The composition of the vocals of Cope was amazing. The way each voice complimented another was soothing, but powerful. There was a hint of sounds like those of The Allman Brothers Band, another t-shirt found within the audience, and Cope possessed the most eloquent lyrics of the day. The synthesized keyboard sounds, dance beats and transitions mirrored so many different genres making Cope’s performance the epitome of the first annual GrooveFest.
An entire day of “Groove” in the heat had the possibility of being exhausting, but the crowd participation, epic people watching, overwhelming sense of community and the killer line up of bands made the day one of the best Sundays I’ve had in Tampa. At one point a young girl was dancing with a hula hoop doing things I never knew you could do with a hula hoop while keeping in perfect time with Cope’s rhythms. I was mesmerized by that, among many other things throughout the day but all, fell into the whole scene perfectly.
To end the evening Cope brought various members from the preceding bands onto the stage for one hell of a finale. There must have been nearly a dozen people on that stage for one last jam to close the mother of all GrooveFests. For the first one, it was absolutely wonderful and WMNF was well represented. If it’s going to be an annual event, 2010’s bill will have quite the act to follow.
For a moment I actually forgot where I was. If it weren’t for the humidity and the menu chock-full of eastern seafood, I would have thought I was back on the west coast at a reggae festival, or at the Oregon Country Fair. The dreadlocks, tie-dye, friendly faces and audience members from the ages of about 2 through maybe even 92, were like something straight out of Eugene or Portland. I felt silly for not sporting my hand-made batiqued dress and Birkenstocks.
Shak Nasti rocked their reggae-funky sounds as people trickled in on the not too hot, partly cloudy gorgeous Tampa afternoon. The heavy bass lines and melodic wanderings of the guitar made Shak Nasti’s music stand out. They finished strong and loud as if to alert the following bands they had an act to follow. The crowd was relaxed but ready to jam alongside the musicians. The whole place was buzzing from the afternoon throughout the night and the energy never faded. This wasn’t the type of show to just sit and watch; you had to at least recognize the beat in some way, whether it was by the tap of a toe or the shimmy of a shoulder or two.
I looked up and did a scan of the crowd in between sets and quickly noticed that the number of people nearly doubled. The members of Soulshine meandered onto the stage to get ready for their set, both of whom, I realized, had just been watching Shak Nasti from the audience. It was then I noticed a fan with a “Shak Nasti” band shirt, near another man with a shirt that read “Grateful Dad.”
Soulshine set up many instruments including congas, bongos, and chimes with a flute, guitar and harmonica; a lot for just the two band members. Heavy on the drum beats, the sound managed to become seemingly soft as the lead repeatedly sang out “Just trying to find my soul some satisfaction,” with a few audience members mouthing the words along. Soulshine’s music brought more people out to dance by the end of the set and left the audience wanting more.
Next up was Middle Rhythm Session, a 5-piece band who took the groove up to a whole new level. With keyboards, bass, electric guitar, a full drum set, a cowbell and other various percussion instruments they enticed new dancers to the floor in front of the stage. Their sound was filled with rock and jam-band essences but a lot of great tones melting together all at once. The lead singer’s stage presence was very animated, which drew your attention directly to him. They had a more new alternative or rock sound than the other bands but won the audience nonetheless, and even got the tiny tots on the dance floor to bop around.
Three down, three to go, Earth Bombs Mars came out to belt out something very reminiscent of the classic jam band tunes, very Grateful Dead-esque and what every GrooveFest needs. At times their transitions and long musical phrases were something of the folk or country genres, but had a more calm feel than the Middle Rhythm Session. Still, it made you want to dance to the simple bass lines and soothing guitar riffs. It was during this band that the sun started to go down, but it wasn’t until after the sun set that the jamming intensified. Earth Bombs Mars kept listeners interested and the dancers moving with some hard rock melodies to spice things up until they slowed things down to end their set.
The Burnin’ Smyrnans were up next and while they set up, the WMNF representatives took over the stage to thank the crowd for coming and encourage people to enter the raffle and check out the various jewelry and craft vendors that had scattered themselves in the Skipper-dome. The five members of the Burnin’ Smyrnans took the stage with a saxophone, two guitars, a bass and drums in tow. It was as the band gathered to begin playing that not a single band had a female musician amongst them, but they certainly had many female fans.
Beginning with an upbeat tune, with a very ska/reggae resonance, they really amped up the pace following Earth Bombs Mars and the Burnin’ Smyrnans drummer was rockin’ the skins. The dance floor was packed, a first thus far, and the amazing melody with the singers’ harmonies were solid and projected a kind of Caribbean sound. It was hard for anyone to sit still, so I finally caved and got out on the dance floor to put my Eugene-grown moves into action, to which my husband commented, “You danced ridiculously in unison with the rest of them.”
The entire line-up of bands put their hearts and souls into every breath and every beat making each song better than the last and left each group raising the bar higher and higher. Burnin’ Smyrnans finished on a high note, loud and proud leaving the crowd ready for the headliner, Cope.
The composition of the vocals of Cope was amazing. The way each voice complimented another was soothing, but powerful. There was a hint of sounds like those of The Allman Brothers Band, another t-shirt found within the audience, and Cope possessed the most eloquent lyrics of the day. The synthesized keyboard sounds, dance beats and transitions mirrored so many different genres making Cope’s performance the epitome of the first annual GrooveFest.
An entire day of “Groove” in the heat had the possibility of being exhausting, but the crowd participation, epic people watching, overwhelming sense of community and the killer line up of bands made the day one of the best Sundays I’ve had in Tampa. At one point a young girl was dancing with a hula hoop doing things I never knew you could do with a hula hoop while keeping in perfect time with Cope’s rhythms. I was mesmerized by that, among many other things throughout the day but all, fell into the whole scene perfectly.
To end the evening Cope brought various members from the preceding bands onto the stage for one hell of a finale. There must have been nearly a dozen people on that stage for one last jam to close the mother of all GrooveFests. For the first one, it was absolutely wonderful and WMNF was well represented. If it’s going to be an annual event, 2010’s bill will have quite the act to follow.
Monday, August 17, 2009
Saturday Night's For Exploring! Ybor City, First Exposure to the Florida Music Scene
New World Brewery Show – Ybor City
Dear Old Liar – Ryan Wendell Bauer - Mes Music –King of Spain
Alright, I must confess that I snuck in one “first Florida” show before my St. Pete Times Forum/ Green Day experience. Stickmartin performed at Skipper’s Smokehouse in July, and it was a great introduction to the Tampa music scene, but the line-up at The New World Brewery in Ybor City August 15, 2009 was indeed the actual initiation.
As a veteran Northwest concert-goer who moved from Oregon to Tampa, a place my sister described as “not being able to get any further away,” I had my suspicions that perhaps the music, the performers, the bands, the whole scene could also be “further away” from anything I was used to. Unaware as to whether or not those differences would be good or bad, I walked into the New World Brewery, with the “Ybor Square” sign looming in the backdrop, and I felt completely comfortable, which was a surprise and delight.
First of all, it was my only and my grand entrance into Ybor City. I’d heard many people say I needed to go there but the closest I’d made it was IKEA, which so doesn’t count. The NWB was tucked in and pretty quiet when I arrived. I walked past a few people running around the stage area and a DJ setting up. A quick scan of the place left no indication of who was performing and who was just grabbing a drink or ordering pizza that smelled really good. It was still early.
As far as Florida versus Oregon venues, Tampa has Eugene beat by a long shot. The relaxed, inviting vibe of the NWB, not to mention the indoor/outdoor setup and new wave of locals to mingle and observe wins over the hot, packed and claustrophobic vintage venues of the Northwest.
True to good, local show form, the line-up started an hour later than the time listed on the bill and people really started rolling in around 9:30pm. The audience was incredibly diverse, but the appearance of dreadlocks made me feel instantly at home. I watched people hug, be introduced to one another and chat, slowly realizing that this was the type of place that had avid regulars, and these were the kinds of bands who had very loyal followers.
The DJ was set up spinning everything from The Smiths to random oldies to warm up the crowd and get the audience settled. Soon enough, a gorgeous and classic looking blonde, accompanied by two women guitarists and a lanky male percussionist took the stage and commanded attention immediately. She held a 50’s looking microphone in her hand and belted out these jazz meets alt-roots, folky tunes like nobody’s business. She then announced the foursome as “Dear Old Liar.” The melancholy, sensual ballads made the crown swoon, or was it just the overpowering “chicks rocking” essence? The lead singer, who occasionally turned over to the keyboard to play a few melodies, said “We’re going to play a song for you to talk over.” The audience followed suit, but Dear Old Liar still had the attention of most of the NWB patrons.
Later the singer asked “Are you entertained? If you’re not, you should get a beer.” It was then that ambience of the evening set, and the audience was wanting more. I looked again and seemingly out of nowhere, the place was packed. The area that was initially half empty now had people filing in one by one and weaving through the planted audience members to get to the bar.
Dear Old Liar prepped the crowd for the rest of the eclectic evening ahead and played a great set. The walking base lines, sweet and sultry guitar riffs, jazzy drum beats and appeal of the lyrics with complimenting harmonies coming from that old-school microphone and the lead singer left crowd anxious for the next act, and another drink.
Shortly after Dear Old Liar tore down their stage set-up, a double-decker keyboard, microphone and amp were arranged as the one-man show was being put into action. Ryan Wendell Bauer introduced the keyboards as “The Mini 16,” and then said “Sometimes I play these keyboards; sometimes these keyboards play me.” I had no idea what I was in for.
After dedicating the set to Michael Jackson, Bauer started a keyboard/synth beat as background to a conversational intro with him making puppet-like hand gestures and mixing a kind of rap/poetry-slam/haiku singing style that I had never seen or heard. It was then I heard a girl proclaim “I love this guy! I just wanna hug him;” my thoughts exactly.
With crazy dance moves, clapping, audience participation and hilarious lyrics, Bauer had everyone in the place at least stopping to see what the hell was going on, if not thoroughly enjoying themselves. His set was about thirty minutes and the next act shuffled in to keep the audience interested.
MES Music took the stage as third in the line-up. The suburban, PG version of freestyling had a great following within the audience. The fans took over the area closest to the stage and a few friends of the lead hip-hop artist, accompanied him onstage and also added to the hip-hop beats. The crowd was into it, and MES Music said “This is when we get amped and have a little hip-hop party.” The party was a hit, and with such a diverse array of musicians, I’d lost grip of any expectations for the headliner, “King of Spain.”
The man, with his Mac book and guitar, sat down at the very edge of the stage and introduced himself to be “King of Spain.” He then commented on how much he enjoyed being a part of such “eclectic bills.” It was midnight and the crowd was moving in and out a bit more as King of Spain took things down into a very chill, calming mood. The audience was seemingly appreciative.
The music of King of Spain was filled with fast, complex lyrics and some of what he said was hard to catch. The feedback of the sound system took a lot away from the performance but the music was very sentimental, emotional, soft and soothing through it all. King of Spain was very in tune to every note, every harmony and every lyric. The Mac hooked up to the amp provided a lot of effects on his voice, background vocals, and harmonies.
The crowd mellowed out with the shift in music, but the place was still buzzing. The performance was good but almost felt a little too calm for the end of the night, like a lullaby willing you to go home and go to bed. It was almost 1:00am when the King of Spain ended his reign on the crowd and I was satisfied with this first Ybor City, New World Brewery, and local music experience. It wasn’t until I was halfway down the street that I realized there was another band playing, and that a last minute add-in was put on the line-up. I missed Florida Night Heat, but figured - not that I really needed to after such a great Saturday night - but now I have an excuse to go back if they play at the New World Brewery. Or, I could have them be my new local act to follow.
Overall, the line-up was great, the atmosphere amazing, and my first foray into Tampa nightlife and it’s music was a success. I went back to the apartment and, for the first time since we moved, felt like I’d had a real Saturday night and I was finally home. Local music can do that to you!
Dear Old Liar – Ryan Wendell Bauer - Mes Music –King of Spain
Alright, I must confess that I snuck in one “first Florida” show before my St. Pete Times Forum/ Green Day experience. Stickmartin performed at Skipper’s Smokehouse in July, and it was a great introduction to the Tampa music scene, but the line-up at The New World Brewery in Ybor City August 15, 2009 was indeed the actual initiation.
As a veteran Northwest concert-goer who moved from Oregon to Tampa, a place my sister described as “not being able to get any further away,” I had my suspicions that perhaps the music, the performers, the bands, the whole scene could also be “further away” from anything I was used to. Unaware as to whether or not those differences would be good or bad, I walked into the New World Brewery, with the “Ybor Square” sign looming in the backdrop, and I felt completely comfortable, which was a surprise and delight.
First of all, it was my only and my grand entrance into Ybor City. I’d heard many people say I needed to go there but the closest I’d made it was IKEA, which so doesn’t count. The NWB was tucked in and pretty quiet when I arrived. I walked past a few people running around the stage area and a DJ setting up. A quick scan of the place left no indication of who was performing and who was just grabbing a drink or ordering pizza that smelled really good. It was still early.
As far as Florida versus Oregon venues, Tampa has Eugene beat by a long shot. The relaxed, inviting vibe of the NWB, not to mention the indoor/outdoor setup and new wave of locals to mingle and observe wins over the hot, packed and claustrophobic vintage venues of the Northwest.
True to good, local show form, the line-up started an hour later than the time listed on the bill and people really started rolling in around 9:30pm. The audience was incredibly diverse, but the appearance of dreadlocks made me feel instantly at home. I watched people hug, be introduced to one another and chat, slowly realizing that this was the type of place that had avid regulars, and these were the kinds of bands who had very loyal followers.
The DJ was set up spinning everything from The Smiths to random oldies to warm up the crowd and get the audience settled. Soon enough, a gorgeous and classic looking blonde, accompanied by two women guitarists and a lanky male percussionist took the stage and commanded attention immediately. She held a 50’s looking microphone in her hand and belted out these jazz meets alt-roots, folky tunes like nobody’s business. She then announced the foursome as “Dear Old Liar.” The melancholy, sensual ballads made the crown swoon, or was it just the overpowering “chicks rocking” essence? The lead singer, who occasionally turned over to the keyboard to play a few melodies, said “We’re going to play a song for you to talk over.” The audience followed suit, but Dear Old Liar still had the attention of most of the NWB patrons.
Later the singer asked “Are you entertained? If you’re not, you should get a beer.” It was then that ambience of the evening set, and the audience was wanting more. I looked again and seemingly out of nowhere, the place was packed. The area that was initially half empty now had people filing in one by one and weaving through the planted audience members to get to the bar.
Dear Old Liar prepped the crowd for the rest of the eclectic evening ahead and played a great set. The walking base lines, sweet and sultry guitar riffs, jazzy drum beats and appeal of the lyrics with complimenting harmonies coming from that old-school microphone and the lead singer left crowd anxious for the next act, and another drink.
Shortly after Dear Old Liar tore down their stage set-up, a double-decker keyboard, microphone and amp were arranged as the one-man show was being put into action. Ryan Wendell Bauer introduced the keyboards as “The Mini 16,” and then said “Sometimes I play these keyboards; sometimes these keyboards play me.” I had no idea what I was in for.
After dedicating the set to Michael Jackson, Bauer started a keyboard/synth beat as background to a conversational intro with him making puppet-like hand gestures and mixing a kind of rap/poetry-slam/haiku singing style that I had never seen or heard. It was then I heard a girl proclaim “I love this guy! I just wanna hug him;” my thoughts exactly.
With crazy dance moves, clapping, audience participation and hilarious lyrics, Bauer had everyone in the place at least stopping to see what the hell was going on, if not thoroughly enjoying themselves. His set was about thirty minutes and the next act shuffled in to keep the audience interested.
MES Music took the stage as third in the line-up. The suburban, PG version of freestyling had a great following within the audience. The fans took over the area closest to the stage and a few friends of the lead hip-hop artist, accompanied him onstage and also added to the hip-hop beats. The crowd was into it, and MES Music said “This is when we get amped and have a little hip-hop party.” The party was a hit, and with such a diverse array of musicians, I’d lost grip of any expectations for the headliner, “King of Spain.”
The man, with his Mac book and guitar, sat down at the very edge of the stage and introduced himself to be “King of Spain.” He then commented on how much he enjoyed being a part of such “eclectic bills.” It was midnight and the crowd was moving in and out a bit more as King of Spain took things down into a very chill, calming mood. The audience was seemingly appreciative.
The music of King of Spain was filled with fast, complex lyrics and some of what he said was hard to catch. The feedback of the sound system took a lot away from the performance but the music was very sentimental, emotional, soft and soothing through it all. King of Spain was very in tune to every note, every harmony and every lyric. The Mac hooked up to the amp provided a lot of effects on his voice, background vocals, and harmonies.
The crowd mellowed out with the shift in music, but the place was still buzzing. The performance was good but almost felt a little too calm for the end of the night, like a lullaby willing you to go home and go to bed. It was almost 1:00am when the King of Spain ended his reign on the crowd and I was satisfied with this first Ybor City, New World Brewery, and local music experience. It wasn’t until I was halfway down the street that I realized there was another band playing, and that a last minute add-in was put on the line-up. I missed Florida Night Heat, but figured - not that I really needed to after such a great Saturday night - but now I have an excuse to go back if they play at the New World Brewery. Or, I could have them be my new local act to follow.
Overall, the line-up was great, the atmosphere amazing, and my first foray into Tampa nightlife and it’s music was a success. I went back to the apartment and, for the first time since we moved, felt like I’d had a real Saturday night and I was finally home. Local music can do that to you!
Tuesday, August 4, 2009
Green Day at The St. Pete Times Forum - My first Florida Show...and it was free. Thanks Creative Loafing
I’ll be completely honest and out myself as a Green Day fan, but the latest album, “21st Century Breakdown,” didn’t do it for me. For the St. Pete Times Forum show on August 3rd, 2009, I sifted through the punkish, and Hot Topic fashion-entrenched crowds knowing that even if the new album wasn’t my favorite, they would still put on a good show. They exceeded my expectations…and then some.
The Kaiser Chiefs opened, warming up the crowd and drawing in stragglers to the front of the general admission floor section, with a hypnotic energy. Front man, Ricky Wilson, demanded attention and won over the crowd instantly saying, “You may not know us, but who cares, right?” The Kaiser Chiefs played a short but sweet set, leaving the crowd wanting more and antsy to see Green Day.
Between sets the “Green Day Bunny,” adorned in a new tour shirt and chugging Miller Lite, came out to further rile and ready the crowd. A quick scan showed the vast array of the ages of their fanbase: Myself - mid-twenties, to my right - older teens, my left - a married couple in their forties and in front, parents accompanying kids between ages 9-12.
The lights went off cueing the screams of anticipation and the intro to the show, which was that of the intro to the album: “Song of the Century.” Green Day took the stage adorned in black with random red accents. His hair was black, spikey and unkempt, Billie Joe Armstrong had on a fabulous vest and a pair of black pants that gradually slipped down throughout the show, eventually provoking him to moon fans. He was all made up with black eyeliner proving that no amount of eye-makeup can cover one’s ability to rock out.
The trio played against a high-voltage backdrop of bright lights, video reels, and the occasional special effects of fire, fireworks or bomb-sounding blasts. After giving ample attention to the album for which the tour is promoting Green Day shifted gears to tracks from their entire catalog, churning out the tunes for which they are known best.
Amidst all these three-chord masterpieces, Billie Joe Armstrong would further captivate the crowd by pulling up audience members onto the stage to sing, dance, play with toys or even play a little bit of guitar. Three fans were given the mic during the performance of “Longview,” to sing in place of Armstrong. While Tre Cool and Mike Dirndt kept the beat going, one orange-haired girl was yanked from the audience to play with a water gun as Armstrong played with a toilet paper blower, and t-shirt shooter.
Besides the “Shenanagins,” that Green Day are so well-known for, although played nothing off of that particular album, they played an epic set, leaving Tampa Bay and St. Pete fans generally satisfied. Fans of “Dookie” and “Nimrod” were appeased with selections like “King for a Day” and the encore acoustic rendition of “Scattered”, and “American Idiot” album hits kept the audiences singing along with fists and “rock on” hand gestures up all around.
Billie Joe made a comment about moving away from not just three-chord progressions but now having some “four-and-a-half chord” songs. They played with the energy and intensity of the album itself but took it to a higher level. Listening to the album was boring in comparison to watching them live. It was watching them bring their latest “Breakdown” to life that reminded me of why I was drawn to Green Day in the first place. Where I thought 21st Century Breakdown left something to be desired…perhaps I just needed to see them relate to the crowd and deliver the music with such perseverance to really appreciate their musical growth.
Green Day dominated the stage at the forum for almost three hours filled with amusement and anything but restlessness. When the phones came out they were either illegally recording or up in place of lighters, but time was of no consequence to the crowd. Exiting with the masses at almost midnight, a young boy with his tour shirt on and a big smile, said, “Best concert I’ve ever been to.” I left exhausted and elated thinking…how the hell am I going to describe how awesome that was without saying something lame as, “It was kick ass”?
The Kaiser Chiefs opened, warming up the crowd and drawing in stragglers to the front of the general admission floor section, with a hypnotic energy. Front man, Ricky Wilson, demanded attention and won over the crowd instantly saying, “You may not know us, but who cares, right?” The Kaiser Chiefs played a short but sweet set, leaving the crowd wanting more and antsy to see Green Day.
Between sets the “Green Day Bunny,” adorned in a new tour shirt and chugging Miller Lite, came out to further rile and ready the crowd. A quick scan showed the vast array of the ages of their fanbase: Myself - mid-twenties, to my right - older teens, my left - a married couple in their forties and in front, parents accompanying kids between ages 9-12.
The lights went off cueing the screams of anticipation and the intro to the show, which was that of the intro to the album: “Song of the Century.” Green Day took the stage adorned in black with random red accents. His hair was black, spikey and unkempt, Billie Joe Armstrong had on a fabulous vest and a pair of black pants that gradually slipped down throughout the show, eventually provoking him to moon fans. He was all made up with black eyeliner proving that no amount of eye-makeup can cover one’s ability to rock out.
The trio played against a high-voltage backdrop of bright lights, video reels, and the occasional special effects of fire, fireworks or bomb-sounding blasts. After giving ample attention to the album for which the tour is promoting Green Day shifted gears to tracks from their entire catalog, churning out the tunes for which they are known best.
Amidst all these three-chord masterpieces, Billie Joe Armstrong would further captivate the crowd by pulling up audience members onto the stage to sing, dance, play with toys or even play a little bit of guitar. Three fans were given the mic during the performance of “Longview,” to sing in place of Armstrong. While Tre Cool and Mike Dirndt kept the beat going, one orange-haired girl was yanked from the audience to play with a water gun as Armstrong played with a toilet paper blower, and t-shirt shooter.
Besides the “Shenanagins,” that Green Day are so well-known for, although played nothing off of that particular album, they played an epic set, leaving Tampa Bay and St. Pete fans generally satisfied. Fans of “Dookie” and “Nimrod” were appeased with selections like “King for a Day” and the encore acoustic rendition of “Scattered”, and “American Idiot” album hits kept the audiences singing along with fists and “rock on” hand gestures up all around.
Billie Joe made a comment about moving away from not just three-chord progressions but now having some “four-and-a-half chord” songs. They played with the energy and intensity of the album itself but took it to a higher level. Listening to the album was boring in comparison to watching them live. It was watching them bring their latest “Breakdown” to life that reminded me of why I was drawn to Green Day in the first place. Where I thought 21st Century Breakdown left something to be desired…perhaps I just needed to see them relate to the crowd and deliver the music with such perseverance to really appreciate their musical growth.
Green Day dominated the stage at the forum for almost three hours filled with amusement and anything but restlessness. When the phones came out they were either illegally recording or up in place of lighters, but time was of no consequence to the crowd. Exiting with the masses at almost midnight, a young boy with his tour shirt on and a big smile, said, “Best concert I’ve ever been to.” I left exhausted and elated thinking…how the hell am I going to describe how awesome that was without saying something lame as, “It was kick ass”?
Monday, July 20, 2009
Poetry from the Past - Awakening the Poems from the Poetry Slams of Old
Bring Me Down
Negative energy surrounds me
It has found me
It's all around
And kicks me to the ground
I'm bound
To fail
To be arrested without bail
And get seperated from my trail
I complain
About the strain
And the pain
That constantly keeps me down
And out
I live in doubt
I live without
The ability to shout
As I'm drowning
And I'm frowning
Because I can't
Rant and rave
I'm a slave
To the unspoken
I have the token
To silence...
Love is a Maze
Love is a maze
Psychological haze
A phase
We go through
A groove we flow to
That's unknown to
Those around
That surround
Your outer shell
That fights off all hell
But no one can tell
They can't read
Or feed...your need
For the maze, that's ablaze
It's love, that's all
But you can't catch me if I fall
I'm out of reach
Amd you can't breach
The wall
Of reality
It's so hard to see
So I crash and burn
And I learn
That love hurts
And it won't work
If you don't reciprocate
Or anticipate
The blind love within
It's a win-win situation
Without frustration
If you follow your heart
And you begin to see
It's there between you and me
We're in the haze
Amongst the maze and in the groove
Nothing left to do
But give in; give up
And follow me, into the love
Negative energy surrounds me
It has found me
It's all around
And kicks me to the ground
I'm bound
To fail
To be arrested without bail
And get seperated from my trail
I complain
About the strain
And the pain
That constantly keeps me down
And out
I live in doubt
I live without
The ability to shout
As I'm drowning
And I'm frowning
Because I can't
Rant and rave
I'm a slave
To the unspoken
I have the token
To silence...
Love is a Maze
Love is a maze
Psychological haze
A phase
We go through
A groove we flow to
That's unknown to
Those around
That surround
Your outer shell
That fights off all hell
But no one can tell
They can't read
Or feed...your need
For the maze, that's ablaze
It's love, that's all
But you can't catch me if I fall
I'm out of reach
Amd you can't breach
The wall
Of reality
It's so hard to see
So I crash and burn
And I learn
That love hurts
And it won't work
If you don't reciprocate
Or anticipate
The blind love within
It's a win-win situation
Without frustration
If you follow your heart
And you begin to see
It's there between you and me
We're in the haze
Amongst the maze and in the groove
Nothing left to do
But give in; give up
And follow me, into the love
Sunday, July 12, 2009
Community Puts Stock in it's Own Market - Mosaic - Spring 2009 Edition
Community puts stock in its own market
by Alison Egan-Lodjic Photos by Chris Pollard — last modified 2009-06-03 13:48
Economic consciousness fuels support of local artisans and farmers at the Saturday Market.
Home to the original Saturday Market, Eugene tries to live up to its motto as “The World’s Greatest City of the Arts and Outdoors” from the first Saturday in April to mid-November.Despite the shrinking economy, Eugene’s tight, close-knit community has proved that a “succeed together or fail alone” mentality can fight off these economic woes.
“I think that right now, more than ever before, folks really think about where to put their money,” said Beth Little, general manager of the market for the past 10 years. “Buying local products in order to keep your own earnings in the town you live in is a viable form of economic development. I think folks are shopping at the market on purpose, to ‘walk their talk.’”
The corners of 8th Avenue and Oak Street are filled with customers taking in the sweet smells of hand-made candles and woodwork. The sound of a bluegrass band playing at the International Food Court echoes through the market, and the spicy aroma of Pad Thai and tamales lure shoppers to the booths. The area is buzzing and every booth has a line at least five people long. “This is the strongest start, according to income, we have had under my management,” Little said. Each year, she said, the market brings in millions of dollars to the local economy.The Saturday Market organization has 459 members, and about 250 booths set up each week. By the end of the year, Little expects to have more than 600 members.
This year, the market welcomed Nicole Peltz, chef and co-owner of Field to Table Private Dining & Catering.“As tough as the recession is, it’s not about closing businesses; it’s also about opening businesses,” Peltz said of her six-month-old business. Because of the declining economy, it was less expensive for her to jump into the service industry. “We’re making a profit and getting our name out there,” Peltz said.
Michael Bertotti has been selling at Eugene's Saturday Market for 30 years. From his booth, White Light Services, he has noticed the changing face of the market. Field to Table Catering uses local products, and Peltz attributes its success to Eugene’s locally focused and environmentally friendly community.
Despite the state’s 12 percent unemployment rate, vendors at the market have noticed only slight changes in sales patterns since opening April 4. Devon Bonady of the Fern Hill Nursery and Botanical Sanctuary has observed a rampant trend of consumer consciousness and buying locally farmed and made. Bonady said this year some of her “regulars” haven’t shown up, but in their stead, a newer, younger population has contributed to her business. “A lot more people are excited about gardening, probably because of the increased food cost,” Bonady said. “The consciousness about local foods will help the local economy.”
Cindia Carrere, jewelry crafter and owner of the Cinderella Lucinda booth, notes other benefits to staying local. “I think people are starving for that community connection,” she said.Carrere said although the news bombards viewers with recession horror stories, many consumers are prevailing.“I make a mental note every time I hear good stories that involve money and nobody crabbing about it,” she said.
For pictures: http://mosaic.uoregon.edu/newsmagazine/business/community-puts-stock-in-its-own-market/?searchterm=None
by Alison Egan-Lodjic Photos by Chris Pollard — last modified 2009-06-03 13:48
Economic consciousness fuels support of local artisans and farmers at the Saturday Market.
Home to the original Saturday Market, Eugene tries to live up to its motto as “The World’s Greatest City of the Arts and Outdoors” from the first Saturday in April to mid-November.Despite the shrinking economy, Eugene’s tight, close-knit community has proved that a “succeed together or fail alone” mentality can fight off these economic woes.
“I think that right now, more than ever before, folks really think about where to put their money,” said Beth Little, general manager of the market for the past 10 years. “Buying local products in order to keep your own earnings in the town you live in is a viable form of economic development. I think folks are shopping at the market on purpose, to ‘walk their talk.’”
The corners of 8th Avenue and Oak Street are filled with customers taking in the sweet smells of hand-made candles and woodwork. The sound of a bluegrass band playing at the International Food Court echoes through the market, and the spicy aroma of Pad Thai and tamales lure shoppers to the booths. The area is buzzing and every booth has a line at least five people long. “This is the strongest start, according to income, we have had under my management,” Little said. Each year, she said, the market brings in millions of dollars to the local economy.The Saturday Market organization has 459 members, and about 250 booths set up each week. By the end of the year, Little expects to have more than 600 members.
This year, the market welcomed Nicole Peltz, chef and co-owner of Field to Table Private Dining & Catering.“As tough as the recession is, it’s not about closing businesses; it’s also about opening businesses,” Peltz said of her six-month-old business. Because of the declining economy, it was less expensive for her to jump into the service industry. “We’re making a profit and getting our name out there,” Peltz said.
Michael Bertotti has been selling at Eugene's Saturday Market for 30 years. From his booth, White Light Services, he has noticed the changing face of the market. Field to Table Catering uses local products, and Peltz attributes its success to Eugene’s locally focused and environmentally friendly community.
Despite the state’s 12 percent unemployment rate, vendors at the market have noticed only slight changes in sales patterns since opening April 4. Devon Bonady of the Fern Hill Nursery and Botanical Sanctuary has observed a rampant trend of consumer consciousness and buying locally farmed and made. Bonady said this year some of her “regulars” haven’t shown up, but in their stead, a newer, younger population has contributed to her business. “A lot more people are excited about gardening, probably because of the increased food cost,” Bonady said. “The consciousness about local foods will help the local economy.”
Cindia Carrere, jewelry crafter and owner of the Cinderella Lucinda booth, notes other benefits to staying local. “I think people are starving for that community connection,” she said.Carrere said although the news bombards viewers with recession horror stories, many consumers are prevailing.“I make a mental note every time I hear good stories that involve money and nobody crabbing about it,” she said.
For pictures: http://mosaic.uoregon.edu/newsmagazine/business/community-puts-stock-in-its-own-market/?searchterm=None
Embracing Death - Artist Profile - Analee Fuentes - Ethos Magazine Spring 2009
Embracing Death
by Alison Egan-Lodjic
Story by Alison Egan-Lodjic Photos by Chris Parker
Analee Fuentes’ Coburg, Oregon, home is covered in her own work. Drinking tea from a mug featuring Vincent Van Gogh’s Starry Night, she directs attention to the skeletal figures on her windowsill and then to a wall size painting of her grandmother on a sofa surrounded by flying tacos. Although mostly of her own creation, Fuentes’ decor is a testament to her talent, not her pride. But the true introduction to this Mexican American artist lies across her garden and in her studio.Natural lighting is abundant in her cluttered yet creative workspace. “I’m kind of a pack rat,” Fuentes admits as she pulls out small animal skulls, bones, and a snakeskin—a tribute to her love of finding and collecting strange things. Death inspires her, as seen in her skeletal depiction of Bona Lisa, and her self-portrait with the bony figure of death embracing her. Fuentes calls death a “companion,” saying, “Me and death are good buddies. I have my skeleton as a physical reminder when I’m in here. I light my incense and talk to my ancestors, it’s a little ceremony, it’s good for me, even when my work changes or I’m doing something else. It’s very ritualistic.”
Her ancestry, family, and heritage all contribute to her work. Fuentes’ use of bright vivid colors and imagery creates canvases indicative of her Latina culture. Fuentes’ main source of inspiration is her family; her sister, mother, and grandfather are all artistically inclined. Artists such as Frida Kahlo, Diego Velásquez, Alfred Quiroz, and other contemporary artists also contribute to her visions.Fuentes’ mother had a genuine appreciation of the arts—and not just in terms of visual art. “For a poor Mexican woman she was amazing,” Fuentes says. “She would listen to opera, she would take us to the museums and to the park. She was always appreciating art, she was always making something. Her favorite medium was clay, she made jewelry, she cut paper stuff; she was always doing art.” Fuentes says her natural artistic ability is the “family curse.” It has become a part of her way of life and the way she thinks about and relates to the world. “I think drawing and painting are like language,” Fuentes says, “It’s a way to speak without having to deal with the medium of words.”
On her website, Fuentes says, “My upbringing informs every stroke of what I paint.” She explains that her mother “always used to tell [Fuentes] that making art was like eating, that everybody needed to make art.” And although blessed with natural talent, making of art for Fuentes wasn’t always that simple. For a period of time, art wasn’t essential to her way of life.At one point in her life, Fuentes decided to become a nurse. “I was a vocational nurse,” she says. “Everybody says you can always find work as a nurse and I suppose that’s true, but I think you also think you have to find some real gratification in your work for it to be long-lasting.” And for Fuentes, nothing was as gratifying as her artwork. So, after about a decade as a nurse, she returned to her true calling: her art.Her family first planted the seed that art is good and art is necessary. And in her formative years, through schooling and early experience with nursing, her love of working with the figure along with the tradition of The Day of the Dead, led to her study of and devotion to art.
Everything ended up pulling her back towards creating art.“I fought off doing art for as long as I could and then one day I just decided I was going to go back to school. I thought I’d try graphic design because that was the logical choice in terms of blending a job and art. I found out after the first year that I was just not made for art on the computer or precise stuff. I wanted to be more expressive. I knew that it wasn’t going to be something such as “commercial art.” I knew it was going to be more expressive. By that time I had a baby, I was also trying to figure out how I would fit into a work life with an art degree, and I liked the idea of teaching. I thought maybe if I’m lucky, and I’m really lucky … I’ll be good enough and have good enough skills and communication I might be able to find a teaching job. That really was the target.”In 1987, Fuentes began teaching at Lane Community College in Cottage Grove. She instructed a non-credit class for children and their parents. Fuentes called the class an “extension of my early upbringing,” saying, “[I] thought it would be cool if father, mother, and child came in and could create something together. It was a start, and I started working everywhere I could to get experience in teaching.”
For Fuentes, nothing was as gratifying as her artwork. So, after about a decade as a nurse, she returned to her true calling: her art.And although at the time her daughter was young, Fuentes was still able to focus on creating her own art. “I’ve had strands of work that have been more commercial and I know what commercial art looks like,” she says, claiming it’s more decorative. “If I had to survive as an artist, if for some reason I wasn’t able to teach, I would probably move towards the things that I also love.”Fuentes says, “I love gold and stuff that’s sparkly, I love organic line and overdone; I mean if I’m not careful things get real[ly] overdone in here and I have to back up a little bit.” She refers to this style as “Mexican Baroque;” her definition of excess. “I think there’s some of that in some of these pieces, Baroque is usually associated with ornate and beautiful, apparent in much of the different Chicano art, along with the tendency to embellish.”Fuentes’ embellishments are seen in her work with the figure, the body, and her representations of death.
From an early age, she was exposed to the tradition of The Day of the Dead, and the fact that in her culture, death isn’t a finality. “You go to a person’s gravesite and talk about them,” she says, “which isn’t implying that it isn’t a sad event, but it’s not a finality. I still talk to my mother and my grandmother; they are still a part of my life.”She goes on to say, “I think that death is going to come to all of us, in other words, we better have a really good time while we’re here, make the best of it in fact.” She says that The Day of the Dead “makes fun” of death, illustrating that it’s inevitable; a reminder to make the most of life. “In that way,” Fuentes says, “It’s not morbid or even depressing, it’s kind of like, ‘you know, hurry, you better have fun, you better make the most of it because that’s the end for all of us.’ Life and death are more of a mesh, more of a circle, a cyclical event.”
Raised with this kind of mentality that death can be silly and non-threatening, Fuentes says, “I think it models the way you experience and the way you live your lives,” which she brings out in all of her paintings. Some of her paintings have a specific intent while some are abstract, ranging from commissioned and commercial, to expressive.
However, a few of her paintings are just for her. One of her favorite mediums to work with, charcoal, helped her make two beautiful portraits of her mother and daughter. “I think those are the only ones that I probably wouldn’t put a price tag on, these just have a different feel to them; it’s family stuff.”And it’s all that “family stuff” that keeps her rich in tradition, ritual, and culture. But it’s only in recent years that her culture has grown close to her. Fuentes says that when she first arrived to the states in 1983, it was rare to hear people speaking Spanish. These days, according to recent statistics, one in every six children in Oregon public schools is Latino. “It’s a big brown wave. It’s great. I think diversity is important; it’s really the cornerstone of democracy. We learn about one another as human beings and how wonderfully different we can be. The browning of Oregon will be something that people have to deal with in one way or another.” It’s through her creativity and onto a canvas that Analee Fuentes embraces the growing diversity of Oregon, and shares her culture with fellow Mexican Americans, her students, colleagues, and patrons of her art.
See Full Story with Pictures : http://ethos.uoregon.edu/online-only/embracing-death
by Alison Egan-Lodjic
Story by Alison Egan-Lodjic Photos by Chris Parker
Analee Fuentes’ Coburg, Oregon, home is covered in her own work. Drinking tea from a mug featuring Vincent Van Gogh’s Starry Night, she directs attention to the skeletal figures on her windowsill and then to a wall size painting of her grandmother on a sofa surrounded by flying tacos. Although mostly of her own creation, Fuentes’ decor is a testament to her talent, not her pride. But the true introduction to this Mexican American artist lies across her garden and in her studio.Natural lighting is abundant in her cluttered yet creative workspace. “I’m kind of a pack rat,” Fuentes admits as she pulls out small animal skulls, bones, and a snakeskin—a tribute to her love of finding and collecting strange things. Death inspires her, as seen in her skeletal depiction of Bona Lisa, and her self-portrait with the bony figure of death embracing her. Fuentes calls death a “companion,” saying, “Me and death are good buddies. I have my skeleton as a physical reminder when I’m in here. I light my incense and talk to my ancestors, it’s a little ceremony, it’s good for me, even when my work changes or I’m doing something else. It’s very ritualistic.”
Her ancestry, family, and heritage all contribute to her work. Fuentes’ use of bright vivid colors and imagery creates canvases indicative of her Latina culture. Fuentes’ main source of inspiration is her family; her sister, mother, and grandfather are all artistically inclined. Artists such as Frida Kahlo, Diego Velásquez, Alfred Quiroz, and other contemporary artists also contribute to her visions.Fuentes’ mother had a genuine appreciation of the arts—and not just in terms of visual art. “For a poor Mexican woman she was amazing,” Fuentes says. “She would listen to opera, she would take us to the museums and to the park. She was always appreciating art, she was always making something. Her favorite medium was clay, she made jewelry, she cut paper stuff; she was always doing art.” Fuentes says her natural artistic ability is the “family curse.” It has become a part of her way of life and the way she thinks about and relates to the world. “I think drawing and painting are like language,” Fuentes says, “It’s a way to speak without having to deal with the medium of words.”
On her website, Fuentes says, “My upbringing informs every stroke of what I paint.” She explains that her mother “always used to tell [Fuentes] that making art was like eating, that everybody needed to make art.” And although blessed with natural talent, making of art for Fuentes wasn’t always that simple. For a period of time, art wasn’t essential to her way of life.At one point in her life, Fuentes decided to become a nurse. “I was a vocational nurse,” she says. “Everybody says you can always find work as a nurse and I suppose that’s true, but I think you also think you have to find some real gratification in your work for it to be long-lasting.” And for Fuentes, nothing was as gratifying as her artwork. So, after about a decade as a nurse, she returned to her true calling: her art.Her family first planted the seed that art is good and art is necessary. And in her formative years, through schooling and early experience with nursing, her love of working with the figure along with the tradition of The Day of the Dead, led to her study of and devotion to art.
Everything ended up pulling her back towards creating art.“I fought off doing art for as long as I could and then one day I just decided I was going to go back to school. I thought I’d try graphic design because that was the logical choice in terms of blending a job and art. I found out after the first year that I was just not made for art on the computer or precise stuff. I wanted to be more expressive. I knew that it wasn’t going to be something such as “commercial art.” I knew it was going to be more expressive. By that time I had a baby, I was also trying to figure out how I would fit into a work life with an art degree, and I liked the idea of teaching. I thought maybe if I’m lucky, and I’m really lucky … I’ll be good enough and have good enough skills and communication I might be able to find a teaching job. That really was the target.”In 1987, Fuentes began teaching at Lane Community College in Cottage Grove. She instructed a non-credit class for children and their parents. Fuentes called the class an “extension of my early upbringing,” saying, “[I] thought it would be cool if father, mother, and child came in and could create something together. It was a start, and I started working everywhere I could to get experience in teaching.”
For Fuentes, nothing was as gratifying as her artwork. So, after about a decade as a nurse, she returned to her true calling: her art.And although at the time her daughter was young, Fuentes was still able to focus on creating her own art. “I’ve had strands of work that have been more commercial and I know what commercial art looks like,” she says, claiming it’s more decorative. “If I had to survive as an artist, if for some reason I wasn’t able to teach, I would probably move towards the things that I also love.”Fuentes says, “I love gold and stuff that’s sparkly, I love organic line and overdone; I mean if I’m not careful things get real[ly] overdone in here and I have to back up a little bit.” She refers to this style as “Mexican Baroque;” her definition of excess. “I think there’s some of that in some of these pieces, Baroque is usually associated with ornate and beautiful, apparent in much of the different Chicano art, along with the tendency to embellish.”Fuentes’ embellishments are seen in her work with the figure, the body, and her representations of death.
From an early age, she was exposed to the tradition of The Day of the Dead, and the fact that in her culture, death isn’t a finality. “You go to a person’s gravesite and talk about them,” she says, “which isn’t implying that it isn’t a sad event, but it’s not a finality. I still talk to my mother and my grandmother; they are still a part of my life.”She goes on to say, “I think that death is going to come to all of us, in other words, we better have a really good time while we’re here, make the best of it in fact.” She says that The Day of the Dead “makes fun” of death, illustrating that it’s inevitable; a reminder to make the most of life. “In that way,” Fuentes says, “It’s not morbid or even depressing, it’s kind of like, ‘you know, hurry, you better have fun, you better make the most of it because that’s the end for all of us.’ Life and death are more of a mesh, more of a circle, a cyclical event.”
Raised with this kind of mentality that death can be silly and non-threatening, Fuentes says, “I think it models the way you experience and the way you live your lives,” which she brings out in all of her paintings. Some of her paintings have a specific intent while some are abstract, ranging from commissioned and commercial, to expressive.
However, a few of her paintings are just for her. One of her favorite mediums to work with, charcoal, helped her make two beautiful portraits of her mother and daughter. “I think those are the only ones that I probably wouldn’t put a price tag on, these just have a different feel to them; it’s family stuff.”And it’s all that “family stuff” that keeps her rich in tradition, ritual, and culture. But it’s only in recent years that her culture has grown close to her. Fuentes says that when she first arrived to the states in 1983, it was rare to hear people speaking Spanish. These days, according to recent statistics, one in every six children in Oregon public schools is Latino. “It’s a big brown wave. It’s great. I think diversity is important; it’s really the cornerstone of democracy. We learn about one another as human beings and how wonderfully different we can be. The browning of Oregon will be something that people have to deal with in one way or another.” It’s through her creativity and onto a canvas that Analee Fuentes embraces the growing diversity of Oregon, and shares her culture with fellow Mexican Americans, her students, colleagues, and patrons of her art.
See Full Story with Pictures : http://ethos.uoregon.edu/online-only/embracing-death
Lonnie Stoner - The UnCUT
The Hardest Working Stoner in Eugene
By Alison Chriss
Stoner keeps a personal Hall of Fame plastered on his walls so that when you enter his house you see his face once in the flesh and fifty times again in frames. Look closely and see his face coming out of Gene Simmons ass, or find him four people away from Dave Matthews. There he is with his arm around local radio-lady, Downtown Deb, and another with close personal friends, the Zen Tricksters. Walk into his kitchen and above an insane collection of Celestial Seasonings and Yogi Tea, and a shelf of stale peeps, assorted candy, cookies, chips and overall junk food buffet, is the “Woodstock Wall” decorated in posters and photographs from the legendary 1969 show.
He may just be the hardest working Stoner in Eugene, Oregon. Dubbed by the Barenaked Ladies as “The Best Name in Rock and Roll” before their musical tribute to his unusual name, Lonnie Stoner, roadie-extraordinaire and video technician sits amidst the hidden talent of the city. When he returns home “to rejoin his life in progress,” he says Eugene is also where, “I come to lick my wounds.”
Stoner said that for him, Eugene is just the place to be. Originally drawn to the area for the annual Country Fair, his visit he said that by the time he left, he said “Yep, this is where I’m comin’.’” Born in Sacramento and raised in San Francisco he left California after about 35 years. He says his stuff has been in Eugene for about three years, but he’s only really been here for a year and a half, on and off.
Puff Daddy spat Cristal in his face and Brad Pitt requested where to get condoms from him – with a spit clause in his contract and safe-sex knowledge, he has toured the world with and recorded the beautiful and crazy moments of Mariah Carey, Eminem, and The Who, to name a few. His collaged walls and collection of concert DVD’s with his name racing by in the credits, serve as proof of his proximity to fame.
He grew up loving video. “I was one of those kids that got yelled at for watching too much TV, and all I can tell parents is, ‘Hey, bear with your kids because they will get something out of it.’” At about age 15 he would sneak out at night to work the graveyard shift at a local radio station. He was in the military for three years, where he received his GED and according to Stoner, that was one of the things that helped prepare him for the regimen of the whole “get up and do it again.” He was in radio promotion for awhile, which took him around quite a bit. He joined the Bill Graham organization, not to be confused with the Evangelist, Billy Graham, and that job opened doors to many opportunities.
Stoner called Bill Graham, quite the promoter, and said he was a great inspiration to him. Graham is credited with setting the standard for large-scale, well-produced rock shows and connected Stoner with The Pretenders and Jesus Jones. Graham died in October 1991, leaving an absence of and the loss of a strong figure in Stoner’s life. After Graham’s death “I kicked around for about a year and did anything and everything I possibly could do that wasn’t involved with music,” he said.
Later, he visited a friend who owned a video and tour warehouse. Stoner said he made a “tacky comment” about how unorganized the facility was and he was hired to organize it. He worked there for three years and just watched it all, wanting to get in on the action. He explained his frustration during his tenure at the warehouse: “I kept watching Tina Turner go out the door, Paul McCartney went out the door, all these tours that they were doing and constantly promising me, promising me, then finally I quit,” he said. Then he got his “backstage pass” and got a job on the Kiss tour. “That was basically my college,” he said, “doin’ Kiss for five years I could basically go just about anywhere I wanted in the video business…only because it was like surviving a war. I was still mentally intact, sort of.”
During his five year stint with Kiss, Stoner was on his way to bachelor-hood, divorcing his wife, from which he adopted his legendary name. Believing it’s never too late to reinvent yourself, and being born without knowing his father, he says the name on his birth certificate is fictitious to him. “It’s a name that doesn’t exist with anything,” he explained. So, when he met, fell in love with and married Mary Anne Stoner, her father became more of a father to him than any other male role model. He thought, “Hey, why can’t I? She can take my name so why can’t I take hers?” He took his wife’s name all those years ago and he kept it!
After Stoner left the tour, applying for other “roadie” positions became much easier. At an interview for a job he applied for, he said, “The guy paused after I told him I did Kiss for five years and he said, ‘Oh my God, are you ok?’ And I said, ‘Yeah,’ and he goes, ‘Ok, how soon can you start?” With this position he continued his education and transformation into a Lonnie Stoner of all trades.
He loves to take pictures, and just bought a new Nikon camera, but is far more a video connoisseur. He summed up his video experience and commented that, “It’s not that I know what a good shot is, so much as I know what a bad shot is.” He continued, “You can look at any television and you know when something is being presented to you as an art form or whether it’s just being thrown at you.”
Presenting art forms and living on the road, Stoner most recently returned to his south Eugene home from working on the Journey, Heart and Cheap Trick Tour. Other great acts on his resume, and some featured on his wall, include Carrie Underwood and Keith Urban. He’s worked with a few other rap acts including, Fat Joe, for whom he contributed to a video, Foxy Brown and Lil’ Kim, who he witnessed get into a “knock-down drag-out dispute.” He also worked at Lollapalooza and the Tibetan Freedom Fest, which is where he met and spoke with Brad Pitt.
He said at the Tibetan Freedom Fest, “My job was to sit backstage with the stationary camera, and they would bring people in to interview them; I was the sound guy.” He explained that Brad Pitt had just started dating Jennifer Aniston and at one point during the middle of the interview, they stop and take a break and “He leans in and he asks me my name and if I know where to get any condoms,” said Stoner. “Knowing that there was a safe sex booth, Planned Parenthood thing right down the row I said, ‘Yeah, I’ll be back in a minute’ and I went and got him some condoms. I tell the story to my friends at home and they’re like ‘Yeah, sure.’ About a week later, headlines of the National Inquirer said ‘Brad Pitt Seeks Condoms at Tibetan Freedom Fest and Can’t Find Them.’ Now, I myself wanted to call and say ‘Hello! Get your story straight because I’m the one who gave them to him.”
Stoner explains that with a life on the road, and working on tours that “roadie-ism” is a double-edged sword: “I feel proud of being there but at the same time people get the image they’re all ‘groadie.’”Although each video and tour he’s been credited on gives him various titles, overall he is a video technician. They “basically pay me for my zooming and focusing abilities,” he said.
Stoner said he want to shift over to director soon; he directed some of the filming for Heart but has yet to be credited. He also directed some rap acts, with some credited and others not. He is pushing this year to become a “fledgling director,” as he calls it. He may be home in Eugene for now but his future plans are anything but uncertain and since his return last fall from the Journey, Heart and Cheap Trick tour, he has been anything but lazy.
Finding a local job is difficult for him. He’s a member of the Eugene chapter of the theatrical stagehand union, recently working as an electrician for the Hult Center’s production of Annie. “Realistically, in this business, unless you have a job already lined up that’s the next step – you’re looking for another job,” he said.
In terms of music industry insight, Stoner explains, “Most of what I do is on a large scale because, when you go out of theaters into arenas, you need video.” He explains that there has to be some kind of justification for that last seat in the house being $100.00. Video is a luxury and he explained it’s the last element added and the first cut out of a concert experience. He said, “The field I’m in is kind of limited but fortunately, I’ve been doing it so long.”
Life on the road has its ups and downs like anything else. “You make damn good money when you’re on the road but you have to balance it because when you come home, you’re not making anything,” he said. Supporting whatever you have going on at home is key; his decorated home proves his ability to do so.
He keeps a very open mind in work and in life. He has to try everything until he finds something he “jives” with. He says he still doesn’t feel like he’s found it. Perhaps his “fledgling directing” will be his big ticket in the business. However, he stressed that if you’re chasing the dollar sign, you’re probably in the business for the wrong reason. Stoner’s reason for being in the business boiled down to, “I loved going to concerts, but I didn’t like paying for tickets,” he said. “I guess the thing that I love about music is it’s universal – no matter where you go, there’s a sound there’s a noise, there’s a resonance.” He believes that music soothes the savage beast and is an infinite thing; it’s always been here and will always be here.
The music has taken this Stoner on many whirlwind adventures. With directing in his future, that dream tour may be just around the corner. He said if he could tour with anyone he would pick two: Pink Floyd or Led Zeppelin. He admits his real dream tour would be “One that lasts a couple of years and pays very, very well – oh, oh and get treated like a human being.” He elaborated saying that on tours like The Who and Dave Matthews Band, when you don’t have a want or a need that can’t be met, that’s the dream right there.
For now, he said, “I’m on a list of fresh meat that knows how to curl a cable; they call me and ask if I’m available, and when I’m not working, I call them and say, ‘I’m available.’ It’s a two way street.” His current plan is to pick up a leg of the Keith Urban 2009 tour in March. Stoner claims he lives just one minute at a time and one day at a time, but unlike the popular addiction recovery mantra, he says, “It’s not twelve steps, its life.”
Lonnie Stoner reflected on his past, present and future and said, “To me, this whole thing is just…bizarre. I mean I’m a ghetto kid from Sacramento, what do I know about any of this stuff?” His narcissistic tendencies ambivalently matched with self-humbling comments makes you wonder if he is even aware of his achievements, or if he is just so accustomed to a lonely life on the road, the lifestyles of the rich and the famous, that it’s just another day. This self-proclaimed “legend in his own lunch-time,” 52-year-old, prolific roadie-extraordinaire gained a flexibility in career from living a life on tour, and will keep him going with the flow (as flowy as his long, gray and weathered hair) until he ends up shrugging his shoulders in Eugene again to plan his next production.
By Alison Chriss
Stoner keeps a personal Hall of Fame plastered on his walls so that when you enter his house you see his face once in the flesh and fifty times again in frames. Look closely and see his face coming out of Gene Simmons ass, or find him four people away from Dave Matthews. There he is with his arm around local radio-lady, Downtown Deb, and another with close personal friends, the Zen Tricksters. Walk into his kitchen and above an insane collection of Celestial Seasonings and Yogi Tea, and a shelf of stale peeps, assorted candy, cookies, chips and overall junk food buffet, is the “Woodstock Wall” decorated in posters and photographs from the legendary 1969 show.
He may just be the hardest working Stoner in Eugene, Oregon. Dubbed by the Barenaked Ladies as “The Best Name in Rock and Roll” before their musical tribute to his unusual name, Lonnie Stoner, roadie-extraordinaire and video technician sits amidst the hidden talent of the city. When he returns home “to rejoin his life in progress,” he says Eugene is also where, “I come to lick my wounds.”
Stoner said that for him, Eugene is just the place to be. Originally drawn to the area for the annual Country Fair, his visit he said that by the time he left, he said “Yep, this is where I’m comin’.’” Born in Sacramento and raised in San Francisco he left California after about 35 years. He says his stuff has been in Eugene for about three years, but he’s only really been here for a year and a half, on and off.
Puff Daddy spat Cristal in his face and Brad Pitt requested where to get condoms from him – with a spit clause in his contract and safe-sex knowledge, he has toured the world with and recorded the beautiful and crazy moments of Mariah Carey, Eminem, and The Who, to name a few. His collaged walls and collection of concert DVD’s with his name racing by in the credits, serve as proof of his proximity to fame.
He grew up loving video. “I was one of those kids that got yelled at for watching too much TV, and all I can tell parents is, ‘Hey, bear with your kids because they will get something out of it.’” At about age 15 he would sneak out at night to work the graveyard shift at a local radio station. He was in the military for three years, where he received his GED and according to Stoner, that was one of the things that helped prepare him for the regimen of the whole “get up and do it again.” He was in radio promotion for awhile, which took him around quite a bit. He joined the Bill Graham organization, not to be confused with the Evangelist, Billy Graham, and that job opened doors to many opportunities.
Stoner called Bill Graham, quite the promoter, and said he was a great inspiration to him. Graham is credited with setting the standard for large-scale, well-produced rock shows and connected Stoner with The Pretenders and Jesus Jones. Graham died in October 1991, leaving an absence of and the loss of a strong figure in Stoner’s life. After Graham’s death “I kicked around for about a year and did anything and everything I possibly could do that wasn’t involved with music,” he said.
Later, he visited a friend who owned a video and tour warehouse. Stoner said he made a “tacky comment” about how unorganized the facility was and he was hired to organize it. He worked there for three years and just watched it all, wanting to get in on the action. He explained his frustration during his tenure at the warehouse: “I kept watching Tina Turner go out the door, Paul McCartney went out the door, all these tours that they were doing and constantly promising me, promising me, then finally I quit,” he said. Then he got his “backstage pass” and got a job on the Kiss tour. “That was basically my college,” he said, “doin’ Kiss for five years I could basically go just about anywhere I wanted in the video business…only because it was like surviving a war. I was still mentally intact, sort of.”
During his five year stint with Kiss, Stoner was on his way to bachelor-hood, divorcing his wife, from which he adopted his legendary name. Believing it’s never too late to reinvent yourself, and being born without knowing his father, he says the name on his birth certificate is fictitious to him. “It’s a name that doesn’t exist with anything,” he explained. So, when he met, fell in love with and married Mary Anne Stoner, her father became more of a father to him than any other male role model. He thought, “Hey, why can’t I? She can take my name so why can’t I take hers?” He took his wife’s name all those years ago and he kept it!
After Stoner left the tour, applying for other “roadie” positions became much easier. At an interview for a job he applied for, he said, “The guy paused after I told him I did Kiss for five years and he said, ‘Oh my God, are you ok?’ And I said, ‘Yeah,’ and he goes, ‘Ok, how soon can you start?” With this position he continued his education and transformation into a Lonnie Stoner of all trades.
He loves to take pictures, and just bought a new Nikon camera, but is far more a video connoisseur. He summed up his video experience and commented that, “It’s not that I know what a good shot is, so much as I know what a bad shot is.” He continued, “You can look at any television and you know when something is being presented to you as an art form or whether it’s just being thrown at you.”
Presenting art forms and living on the road, Stoner most recently returned to his south Eugene home from working on the Journey, Heart and Cheap Trick Tour. Other great acts on his resume, and some featured on his wall, include Carrie Underwood and Keith Urban. He’s worked with a few other rap acts including, Fat Joe, for whom he contributed to a video, Foxy Brown and Lil’ Kim, who he witnessed get into a “knock-down drag-out dispute.” He also worked at Lollapalooza and the Tibetan Freedom Fest, which is where he met and spoke with Brad Pitt.
He said at the Tibetan Freedom Fest, “My job was to sit backstage with the stationary camera, and they would bring people in to interview them; I was the sound guy.” He explained that Brad Pitt had just started dating Jennifer Aniston and at one point during the middle of the interview, they stop and take a break and “He leans in and he asks me my name and if I know where to get any condoms,” said Stoner. “Knowing that there was a safe sex booth, Planned Parenthood thing right down the row I said, ‘Yeah, I’ll be back in a minute’ and I went and got him some condoms. I tell the story to my friends at home and they’re like ‘Yeah, sure.’ About a week later, headlines of the National Inquirer said ‘Brad Pitt Seeks Condoms at Tibetan Freedom Fest and Can’t Find Them.’ Now, I myself wanted to call and say ‘Hello! Get your story straight because I’m the one who gave them to him.”
Stoner explains that with a life on the road, and working on tours that “roadie-ism” is a double-edged sword: “I feel proud of being there but at the same time people get the image they’re all ‘groadie.’”Although each video and tour he’s been credited on gives him various titles, overall he is a video technician. They “basically pay me for my zooming and focusing abilities,” he said.
Stoner said he want to shift over to director soon; he directed some of the filming for Heart but has yet to be credited. He also directed some rap acts, with some credited and others not. He is pushing this year to become a “fledgling director,” as he calls it. He may be home in Eugene for now but his future plans are anything but uncertain and since his return last fall from the Journey, Heart and Cheap Trick tour, he has been anything but lazy.
Finding a local job is difficult for him. He’s a member of the Eugene chapter of the theatrical stagehand union, recently working as an electrician for the Hult Center’s production of Annie. “Realistically, in this business, unless you have a job already lined up that’s the next step – you’re looking for another job,” he said.
In terms of music industry insight, Stoner explains, “Most of what I do is on a large scale because, when you go out of theaters into arenas, you need video.” He explains that there has to be some kind of justification for that last seat in the house being $100.00. Video is a luxury and he explained it’s the last element added and the first cut out of a concert experience. He said, “The field I’m in is kind of limited but fortunately, I’ve been doing it so long.”
Life on the road has its ups and downs like anything else. “You make damn good money when you’re on the road but you have to balance it because when you come home, you’re not making anything,” he said. Supporting whatever you have going on at home is key; his decorated home proves his ability to do so.
He keeps a very open mind in work and in life. He has to try everything until he finds something he “jives” with. He says he still doesn’t feel like he’s found it. Perhaps his “fledgling directing” will be his big ticket in the business. However, he stressed that if you’re chasing the dollar sign, you’re probably in the business for the wrong reason. Stoner’s reason for being in the business boiled down to, “I loved going to concerts, but I didn’t like paying for tickets,” he said. “I guess the thing that I love about music is it’s universal – no matter where you go, there’s a sound there’s a noise, there’s a resonance.” He believes that music soothes the savage beast and is an infinite thing; it’s always been here and will always be here.
The music has taken this Stoner on many whirlwind adventures. With directing in his future, that dream tour may be just around the corner. He said if he could tour with anyone he would pick two: Pink Floyd or Led Zeppelin. He admits his real dream tour would be “One that lasts a couple of years and pays very, very well – oh, oh and get treated like a human being.” He elaborated saying that on tours like The Who and Dave Matthews Band, when you don’t have a want or a need that can’t be met, that’s the dream right there.
For now, he said, “I’m on a list of fresh meat that knows how to curl a cable; they call me and ask if I’m available, and when I’m not working, I call them and say, ‘I’m available.’ It’s a two way street.” His current plan is to pick up a leg of the Keith Urban 2009 tour in March. Stoner claims he lives just one minute at a time and one day at a time, but unlike the popular addiction recovery mantra, he says, “It’s not twelve steps, its life.”
Lonnie Stoner reflected on his past, present and future and said, “To me, this whole thing is just…bizarre. I mean I’m a ghetto kid from Sacramento, what do I know about any of this stuff?” His narcissistic tendencies ambivalently matched with self-humbling comments makes you wonder if he is even aware of his achievements, or if he is just so accustomed to a lonely life on the road, the lifestyles of the rich and the famous, that it’s just another day. This self-proclaimed “legend in his own lunch-time,” 52-year-old, prolific roadie-extraordinaire gained a flexibility in career from living a life on tour, and will keep him going with the flow (as flowy as his long, gray and weathered hair) until he ends up shrugging his shoulders in Eugene again to plan his next production.
Lonnie Stoner Profile
The Hardest Working Stoner in Eugene
The “Blurse” of the Man, the Music and the Industry
By Alison Chriss
Step inside and instantly see the visually bombarding, personal Hall of Fame, covering the biggest wall of his home. Look closely and see his face coming out of Gene Simmons ass in one photo, another of him four people away from Dave Matthews, one with his arm around local radio-lady, Downtown Deb, and another with close, personal friends, the Zen Tricksters. He may just be the hardest working Stoner in Eugene, Oregon. Dubbed by the Barenaked Ladies as “The Best Name in Rock and Roll,” Lonnie Stoner, roadie-extraordinaire and video technician sits amidst the hidden talent of the city. He returns home to rejoin his life in progress, as he says, and claims Eugene is also where, “I come to lick my wounds.”
Stoner sits on his couch with his long, gray, stringy hair tied back behind him, wearing black cargo pants, boots and a plain, inconspicuous t-shirt peering through his glasses at his huge flat screen and watching the final product of his video work with Mariah Carey. He jokes about Carey’s stylist telling him what shampoo to use. Then he talked about being home saying that, for him, Eugene is just the place to be. Originally from California, he was drawn to the area for the annual Country Fair. By the time he left, he said “Yep, this is where I’m comin’.” He says his stuff has been in Eugene for about three years, but he’s only really been here for about a year and a half, on and off. The rest of his time has been spent on the road with musicians and a who’s who of random celebrities. He refers to his life in the industry a “Blurse,” which he describes as both a blessing and a curse.
Puff Daddy spat Cristal in his face and Brad Pitt requested where to get condoms from him – with a spit clause in his contract and safe-sex knowledge, he has toured the world with and recorded the epic and crazy moments of Eminem, Journey, Heart, Cheap Trick and The Who, to name a few. His collaged walls and collection of concert DVD’s with his name racing by in the credits, serve as proof of his proximity to fame, but leave out the amazing tale of just how he got there.
“I was one of those kids that got yelled at for watching too much TV, and all I can tell parents is, ‘Hey, bear with your kids because they will get something out of it,’” he said. As a teenager he would sneak out at night to work the graveyard shift at a local radio station. He was in the military for three years, where he received his GED. According to Stoner, the military contributed to helping him prepare for the regimen of the whole “get up and do it again.” He moved into radio promotion as he joined the Bill Graham organization, not to be confused with the Evangelist, Billy Graham, working with him for 12 years.
Stoner called Bill Graham quite the promoter and said he was a great inspiration to him. Graham is credited with setting the standard for large-scale, well-produced rock shows and he connected Stoner with The Pretenders, Jackson Browne, Bob Dylan, Jesus Jones and countless others for a few shows or a leg of a tour. He worked as a production assistant until Bill Graham died in 1991, leaving an absence and loss of a strong figure in Stoner’s life. After Graham’s death, he said, “I kicked around for about a year and did anything and everything I possibly could do that wasn’t involved with music.”
Anything and everything included being a cab driver for a few years, but he said, “Everything I’ve done has always come back to music.” This inevitably led him to a friend who owned a tour and video warehouse. Stoner said he made a “tacky comment” about how unorganized the facility was and he was hired to fix it, spending three years as a “warehouse rat.” He explained his frustration during his tenure at the warehouse: “I kept watching Tina Turner go out the door; Paul McCartney went out the door, all these tours that they were doing and constantly promising me, promising me, then finally I quit,” he said, “and then I got Kiss.” Working with Kiss, he explained, “That was basically my college. Doin’ Kiss for five years I could basically go just about anywhere I wanted in the video business…only because it was like surviving a war. I was still mentally intact, sort of.”
During his five year position with Kiss, Stoner was on his way to bachelor-hood, divorcing his wife, from which he adopted his wonderful last name. He says it’s never too late to reinvent yourself, and since he was born without knowing who his father was, the name on his birth certificate was fictitious to him. “It’s a name that doesn’t exist with anything,” he explained. When he met, fell in love with and married Mary Anne Stoner, her father became more of a father to him than any other male in his life. He thought, “Hey, why can’t I? She can take my name so why can’t I take hers?” And he took it, and kept it.
Post-Kiss, applying for other “roadie” positions became much easier. During an interview for a job he applied for, he said, “The guy paused after I told him I did Kiss for five years and he said, ‘Oh my God, are you ok?’ And I said, ‘Yeah,’ and he goes, ‘Ok, how soon can you start?” With new jobs at his disposal he continued to grow professionally and expand his video education and capabilities. With no previous, formal training, just a love of video and music, he explained, “It’s not that I know what a good shot is, so much as I know what a bad shot is.” He continued, “You can look at any television and you know when something is being presented to you as an art form or whether it’s just being thrown at you.”
Stoner most recently returned to home from working on the Journey, Heart and Cheap Trick Tour. Other great acts on his resume, and some featured on his wall, include Carrie Underwood, Keith Urban and the Dave Matthews Band. He’s worked with a few other rap acts including, Fat Joe, for whom he contributed to a video, and Foxy Brown and Lil’ Kim, who he witnessed get into a “knock-down drag-out dispute.” He also worked at Lollapalooza and the Tibetan Freedom Fest, which is where he met and spoke with Brad Pitt.
At the Tibetan Freedom Fest, “My job was to sit backstage with the stationary camera,” he said, “And they would bring people in to interview them; I was the sound guy.” He explained that Brad Pitt had just started dating Jennifer Aniston and at one point during the middle of the interview, they stop and take a break and “He leans in and he asks me my name and if I know where to get any condoms,” said Stoner. “Knowing that there was a safe sex booth, Planned Parenthood thing right down the row I said, ‘Yeah, I’ll be back in a minute’ and I went and got him some condoms. I tell the story to my friends at home and they’re like ‘Yeah, sure.’ About a week later, headlines of the National Inquirer said ‘Brad Pitt Seeks Condoms at Tibetan Freedom Fest and Can’t Find Them.’ Now, I myself wanted to call and say ‘Hello! Get your story straight because I’m the one who gave them to him.’”
Stoner has many backstage tales but admits, “A lot of it I’ve forgotten about; the short attention span helps. There are very few tours where you don’t have at least one meltdown,” he said. Although it can be a tough, arduous working environment, being a roadie affords him a unique brand of luxury. He admits it can be a lonely life and he can’t really keep relationships with a significant other, but touring gives him the opportunity to come home to Eugene and do whatever he wants to do, even if it’s more video work.
It’s hard for him to find a local job, as he says there’s not a whole lot of video stuff outside of sports in Eugene. He works with the theatrical stagehand union locally, recently working as an electrician for the Hult Center’s production of Annie. “Realistically, in this business, unless you have a job already lined up that’s the next step – you’re looking for another job,” he said. “Fortunately, there are hundreds of bands out there.”
In terms of industry insight he says, “You make damn good money when you’re on the road but you have to balance it because when you come home, you’re not making anything,” he said. “You have to be able to support whatever you have going on at home.” However, he stressed that “If you’re chasing the dollar sign, you’re probably in the business for the wrong reason.” Stoner said his reason for being a part of the business is, “I loved going to concerts, but I didn’t like paying for tickets,” he said.
Besides the perks of free shows, he elaborates on music being such a huge part of his life. He explains that the music drives him, opens new doors, and keeps him going. The music is his motivation. He said, “I guess the thing that I love about music is its universal – no matter where you go, there’s a sound there’s a noise, there’s a resonance. Music does soothe the savage beast; it’s an infinite thing, it’s always been here and will always be here.”
Knowing that music is the constant in his life, Stoner reflects on where it will take him next. “I just gotta try everything ‘til I find something I jive with,” he said, “I still don’t feel like I’ve found it.” While looking, his next move is exploring a new area of video; he will be shifting over to director soon. He directed some of the filming for Heart but hasn’t been credited, which has happened with other past projects as well. This year he’s pushing to become a “fledgling director,” as he calls it. Meanwhile, he enjoys being home. He visits friends, shares souvenirs, and continues to plaster his walls and photo album pages with concert paraphernalia.
For now, he said, “I’m on a list of fresh meat that knows how to curl a cable; they call me and ask if I’m available, and when I’m not working, I call them and say, ‘I’m available.’” The two-way street, as he explains, of being on the list of availability, got him a job on tour with Keith Urban again. Cherishing his last moments off the road, he’s ready and excited to get back to work.
After all he’s seen and done, Stoner says he lives just one minute at a time and one day at a time, and that “It’s not twelve steps, its life.” His life has taken him from the bottom to the top with music as his inspiration and the driving factor for his occupation. With aspirations of video directing, his next steps are sure to create even more legendary stories, pictures and media to fill his Eugene home. For now, he’s “On the road again…”
The “Blurse” of the Man, the Music and the Industry
By Alison Chriss
Step inside and instantly see the visually bombarding, personal Hall of Fame, covering the biggest wall of his home. Look closely and see his face coming out of Gene Simmons ass in one photo, another of him four people away from Dave Matthews, one with his arm around local radio-lady, Downtown Deb, and another with close, personal friends, the Zen Tricksters. He may just be the hardest working Stoner in Eugene, Oregon. Dubbed by the Barenaked Ladies as “The Best Name in Rock and Roll,” Lonnie Stoner, roadie-extraordinaire and video technician sits amidst the hidden talent of the city. He returns home to rejoin his life in progress, as he says, and claims Eugene is also where, “I come to lick my wounds.”
Stoner sits on his couch with his long, gray, stringy hair tied back behind him, wearing black cargo pants, boots and a plain, inconspicuous t-shirt peering through his glasses at his huge flat screen and watching the final product of his video work with Mariah Carey. He jokes about Carey’s stylist telling him what shampoo to use. Then he talked about being home saying that, for him, Eugene is just the place to be. Originally from California, he was drawn to the area for the annual Country Fair. By the time he left, he said “Yep, this is where I’m comin’.” He says his stuff has been in Eugene for about three years, but he’s only really been here for about a year and a half, on and off. The rest of his time has been spent on the road with musicians and a who’s who of random celebrities. He refers to his life in the industry a “Blurse,” which he describes as both a blessing and a curse.
Puff Daddy spat Cristal in his face and Brad Pitt requested where to get condoms from him – with a spit clause in his contract and safe-sex knowledge, he has toured the world with and recorded the epic and crazy moments of Eminem, Journey, Heart, Cheap Trick and The Who, to name a few. His collaged walls and collection of concert DVD’s with his name racing by in the credits, serve as proof of his proximity to fame, but leave out the amazing tale of just how he got there.
“I was one of those kids that got yelled at for watching too much TV, and all I can tell parents is, ‘Hey, bear with your kids because they will get something out of it,’” he said. As a teenager he would sneak out at night to work the graveyard shift at a local radio station. He was in the military for three years, where he received his GED. According to Stoner, the military contributed to helping him prepare for the regimen of the whole “get up and do it again.” He moved into radio promotion as he joined the Bill Graham organization, not to be confused with the Evangelist, Billy Graham, working with him for 12 years.
Stoner called Bill Graham quite the promoter and said he was a great inspiration to him. Graham is credited with setting the standard for large-scale, well-produced rock shows and he connected Stoner with The Pretenders, Jackson Browne, Bob Dylan, Jesus Jones and countless others for a few shows or a leg of a tour. He worked as a production assistant until Bill Graham died in 1991, leaving an absence and loss of a strong figure in Stoner’s life. After Graham’s death, he said, “I kicked around for about a year and did anything and everything I possibly could do that wasn’t involved with music.”
Anything and everything included being a cab driver for a few years, but he said, “Everything I’ve done has always come back to music.” This inevitably led him to a friend who owned a tour and video warehouse. Stoner said he made a “tacky comment” about how unorganized the facility was and he was hired to fix it, spending three years as a “warehouse rat.” He explained his frustration during his tenure at the warehouse: “I kept watching Tina Turner go out the door; Paul McCartney went out the door, all these tours that they were doing and constantly promising me, promising me, then finally I quit,” he said, “and then I got Kiss.” Working with Kiss, he explained, “That was basically my college. Doin’ Kiss for five years I could basically go just about anywhere I wanted in the video business…only because it was like surviving a war. I was still mentally intact, sort of.”
During his five year position with Kiss, Stoner was on his way to bachelor-hood, divorcing his wife, from which he adopted his wonderful last name. He says it’s never too late to reinvent yourself, and since he was born without knowing who his father was, the name on his birth certificate was fictitious to him. “It’s a name that doesn’t exist with anything,” he explained. When he met, fell in love with and married Mary Anne Stoner, her father became more of a father to him than any other male in his life. He thought, “Hey, why can’t I? She can take my name so why can’t I take hers?” And he took it, and kept it.
Post-Kiss, applying for other “roadie” positions became much easier. During an interview for a job he applied for, he said, “The guy paused after I told him I did Kiss for five years and he said, ‘Oh my God, are you ok?’ And I said, ‘Yeah,’ and he goes, ‘Ok, how soon can you start?” With new jobs at his disposal he continued to grow professionally and expand his video education and capabilities. With no previous, formal training, just a love of video and music, he explained, “It’s not that I know what a good shot is, so much as I know what a bad shot is.” He continued, “You can look at any television and you know when something is being presented to you as an art form or whether it’s just being thrown at you.”
Stoner most recently returned to home from working on the Journey, Heart and Cheap Trick Tour. Other great acts on his resume, and some featured on his wall, include Carrie Underwood, Keith Urban and the Dave Matthews Band. He’s worked with a few other rap acts including, Fat Joe, for whom he contributed to a video, and Foxy Brown and Lil’ Kim, who he witnessed get into a “knock-down drag-out dispute.” He also worked at Lollapalooza and the Tibetan Freedom Fest, which is where he met and spoke with Brad Pitt.
At the Tibetan Freedom Fest, “My job was to sit backstage with the stationary camera,” he said, “And they would bring people in to interview them; I was the sound guy.” He explained that Brad Pitt had just started dating Jennifer Aniston and at one point during the middle of the interview, they stop and take a break and “He leans in and he asks me my name and if I know where to get any condoms,” said Stoner. “Knowing that there was a safe sex booth, Planned Parenthood thing right down the row I said, ‘Yeah, I’ll be back in a minute’ and I went and got him some condoms. I tell the story to my friends at home and they’re like ‘Yeah, sure.’ About a week later, headlines of the National Inquirer said ‘Brad Pitt Seeks Condoms at Tibetan Freedom Fest and Can’t Find Them.’ Now, I myself wanted to call and say ‘Hello! Get your story straight because I’m the one who gave them to him.’”
Stoner has many backstage tales but admits, “A lot of it I’ve forgotten about; the short attention span helps. There are very few tours where you don’t have at least one meltdown,” he said. Although it can be a tough, arduous working environment, being a roadie affords him a unique brand of luxury. He admits it can be a lonely life and he can’t really keep relationships with a significant other, but touring gives him the opportunity to come home to Eugene and do whatever he wants to do, even if it’s more video work.
It’s hard for him to find a local job, as he says there’s not a whole lot of video stuff outside of sports in Eugene. He works with the theatrical stagehand union locally, recently working as an electrician for the Hult Center’s production of Annie. “Realistically, in this business, unless you have a job already lined up that’s the next step – you’re looking for another job,” he said. “Fortunately, there are hundreds of bands out there.”
In terms of industry insight he says, “You make damn good money when you’re on the road but you have to balance it because when you come home, you’re not making anything,” he said. “You have to be able to support whatever you have going on at home.” However, he stressed that “If you’re chasing the dollar sign, you’re probably in the business for the wrong reason.” Stoner said his reason for being a part of the business is, “I loved going to concerts, but I didn’t like paying for tickets,” he said.
Besides the perks of free shows, he elaborates on music being such a huge part of his life. He explains that the music drives him, opens new doors, and keeps him going. The music is his motivation. He said, “I guess the thing that I love about music is its universal – no matter where you go, there’s a sound there’s a noise, there’s a resonance. Music does soothe the savage beast; it’s an infinite thing, it’s always been here and will always be here.”
Knowing that music is the constant in his life, Stoner reflects on where it will take him next. “I just gotta try everything ‘til I find something I jive with,” he said, “I still don’t feel like I’ve found it.” While looking, his next move is exploring a new area of video; he will be shifting over to director soon. He directed some of the filming for Heart but hasn’t been credited, which has happened with other past projects as well. This year he’s pushing to become a “fledgling director,” as he calls it. Meanwhile, he enjoys being home. He visits friends, shares souvenirs, and continues to plaster his walls and photo album pages with concert paraphernalia.
For now, he said, “I’m on a list of fresh meat that knows how to curl a cable; they call me and ask if I’m available, and when I’m not working, I call them and say, ‘I’m available.’” The two-way street, as he explains, of being on the list of availability, got him a job on tour with Keith Urban again. Cherishing his last moments off the road, he’s ready and excited to get back to work.
After all he’s seen and done, Stoner says he lives just one minute at a time and one day at a time, and that “It’s not twelve steps, its life.” His life has taken him from the bottom to the top with music as his inspiration and the driving factor for his occupation. With aspirations of video directing, his next steps are sure to create even more legendary stories, pictures and media to fill his Eugene home. For now, he’s “On the road again…”
Green Day Album Review
Prolific punk rockers, Green Day, left their days of Nimrod, Kerplunk and Basket Case with their 2004 album, American Idiot. Following the same format, Green Day's current installment - 21st Century Breakdown - gives listeners exactly what the title warns: a complete breakdown of their music into something so "meh" there is much left to be desired.
Green Day made history by writing songs about nothing that in turn, meant everything! "Good Riddance" makes people cry even now, "Welcome to Paradise" still gets fans pumped and "Basket Case" will forever rear it's head at talent shows and on Guitar Hero and Rock Band playlists a lot. The band attracted a fresh, young, new and careless crowd in the ninties. With American Idiot, they blew everyone away with their eyeshadow, matching outfits and the ability to grow, musically, and mentally with their political satire and wannabe-activist tunes. "American Idiot" helped fans rock against Bush Jr., in it's "rock opera" form and "Suburban Jesus" was both insightful and quite the musical acheivement for the three-chord masters.
Is 21st Century Breakdown worth your money? YES! If you're a real Green Day fan, you'll appreciate it. It is a good rush-hour listen with a few catchy tunes that will keep you going. What it lacks is relevance. Green Day went deeper and more depressing, but with all of Obama's "Change" chants, forgive listeners for not wanting to have the breakdown with them. The true Green Day sound is still very prevalent on the album, but it lacks the power they regained with "American Idiot."
It's a good listen, just don't expect too much!
By Alison Chriss
Green Day made history by writing songs about nothing that in turn, meant everything! "Good Riddance" makes people cry even now, "Welcome to Paradise" still gets fans pumped and "Basket Case" will forever rear it's head at talent shows and on Guitar Hero and Rock Band playlists a lot. The band attracted a fresh, young, new and careless crowd in the ninties. With American Idiot, they blew everyone away with their eyeshadow, matching outfits and the ability to grow, musically, and mentally with their political satire and wannabe-activist tunes. "American Idiot" helped fans rock against Bush Jr., in it's "rock opera" form and "Suburban Jesus" was both insightful and quite the musical acheivement for the three-chord masters.
Is 21st Century Breakdown worth your money? YES! If you're a real Green Day fan, you'll appreciate it. It is a good rush-hour listen with a few catchy tunes that will keep you going. What it lacks is relevance. Green Day went deeper and more depressing, but with all of Obama's "Change" chants, forgive listeners for not wanting to have the breakdown with them. The true Green Day sound is still very prevalent on the album, but it lacks the power they regained with "American Idiot."
It's a good listen, just don't expect too much!
By Alison Chriss
Saturday, July 11, 2009
The Very First Blog Entry
Is it seriously that easy? I should have done this a long time ago. Welcome to my blog. Formerly Alison Egan-Lodjic I am now Alison Chriss. A recent graduate from the University of Oregon with a Bachelor's Degree in Magazine Journalism, and now married to the love of my life, I find myself in a new city with a new hubby with practically no job prospects.
I told myself that I should make a blog a million times but there was always something in my way. Now, I'm settled into married life and I left all my previous distractions and reasons to keep my away from it behind. I will finally have a real journal of my musings, rants, random thoughtfulness or thoughtlessness, depending on the day, and maybe now, people will see that I didn't get my degree for nothing!
Thank you for visiting my blog, feel free to comment and welcome into my own little world where I will hopefully "Write the Wrongs..."
I told myself that I should make a blog a million times but there was always something in my way. Now, I'm settled into married life and I left all my previous distractions and reasons to keep my away from it behind. I will finally have a real journal of my musings, rants, random thoughtfulness or thoughtlessness, depending on the day, and maybe now, people will see that I didn't get my degree for nothing!
Thank you for visiting my blog, feel free to comment and welcome into my own little world where I will hopefully "Write the Wrongs..."
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My daughter's first haircut was unfortunately out of desperate necessity after the car accident four years ago. My daughter has gorgeous...
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Every weekend I clean. A lot. For many hours. Sometimes just Saturday. Sometimes I span it over two days, depending on my energy level. But ...
