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Princess of Thorns
By: Stacey Jay
Narrated by: Julia Whelan
Of Beast and Beauty
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Really enjoyed the narration
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Addicting listen!!
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felt empty and landed flat
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Cliffhanger!!!
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Enchanting, confident and thoroughly entertaining!
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Mixed Feelings
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A Great Winged One will soon arise and cast his fearsome shadow upon the land. And just as Night slays Day, and Day slays Night, so also shall another Black Witch rise to meet him, her powers vast beyond imagining. So foretells the greatest prophecy of the Gardnerian mages. Carnissa Gardner, the last prophesied Black Witch, drove back the enemy forces and saved her people during the Realm War.
The controversy should make you want to read this book!
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Nice Girls Don't Have Fangs
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She did it again!
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One of my favorite authors. Only 1 small complaint
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Kingdom Chronicles, Book 1
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Narrated by: Shiromi Arserio
Eileen has never been interested in love. Ever since her father's abandonment, she's vowed to never experience such pain again. But the enchanted forest has different ideas. When the continuously shifting pathways lead her to a mysterious stranger, Eileen finds her promise to fiercely guard her heart increasingly difficult to keep. One night when she becomes lost in a storm, the enchanted forest's pathways lead her to the castle, home to the kingdom's Dark Prince, where Eileen finds herself entangled in what many consider an opportunity but which Eileen believes to be a curse.
Very Sweet!
By gregg woods on 12-29-20
Scarlett has never left the tiny island where she and her beloved sister, Tella, live with their powerful - and cruel - father. Now Scarlett's father has arranged a marriage for her, and Scarlett thinks her dreams of seeing Caraval, the faraway once-a-year performance where the audience participates in the show, are over. But this year Scarlett's long-dreamt-of invitation finally arrives. With the help of a mysterious sailor, Tella whisks Scarlett away to the show. Only as soon as they arrive, Tella is kidnapped by Caraval's mastermind organizer, Legend.
While many will love it, I did not.
Though she looks like a mere mortal, Princess Aurora is a fairy blessed with enhanced strength, bravery, and mercy, yet she is cursed to destroy the free will of any male who kisses her. Disguised as a boy, she enlists the help of the handsome but also cursed Prince Niklaas to fight legions of evil and to free her brother from the ogre queen who stole Aurora's throne 10 years ago.
Will Aurora triumph over evil and reach her brother before it's too late? Can Aurora and Niklaas break the curses that will otherwise keep them from ever finding their one true love?
©2014 Stacey Jay (P)2014 Tantor
Family Literature & Fiction Action & Adventure Epic
"The combination of adventure; lovable, complex characters; and a touch of romance make this a book that teens will be drawn to, especially those who appreciate strong female protagonists." ( School Library Journal)
Juliet Immortal
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What listeners say about Princess of Thorns
DecemberRain
Fairyblessed
Aurora is "fairy blessed", and is much more a soldier than a princess, off on a quest to save her brother and her people. In fact, Aurora is so much more like a soldier that she dresses as a boy to disguise herself.
Niklaas has a curse of his own, and they join together on a quest that takes them through dangerous territory and through dangerous battles.
On the road to save a kingdom, will they also save each other?
Things I loved about this book: Soul eating Ogres, fairy magic, seers, Ogre eating trees... so much awesome magic in the background!
What I didn't love:
Its just a bit heavier on the romance and the swooning than I'd prefer. I'd prefer a little more soul eating ogre and a little less he loves me he loves me not, but that's my own preference.
Overall, I found the book enjoyable and give it a solid 3 stars.
Babs2122
Very entertaining!
Fun story! I didn't want it to end. It was a well written adventure/love story.
MeGaVoltZ
Sweet fairytale with an awesome narrator
First of all, Julia Whelan is now officially on my favourite narrators list. Her voice is easy on the ear and shows a full range of emotions. She's certainly enhanced the story with her performance.
As for the story itself. Wow that was such a fun and very sweet fairytale full of romance and adventure! It's light hearted yet not light on twists and turns. This is the first book of Stacey Jay that I've read but I now look forward to checking out her other works.
Great story, great chemistry, great fun!
Would you recommend this audiobook to a friend? If so, why?
I would recommend this book to anyone who loves a little magic and fairy tale. This is not a remaking of Sleeping Beauty, but the main character Aurora is the daughter of Sleeping Beauty and she is Fey blessed. She needs to save her little brother from the evil, and very disturbing, Ogre Queen Ekeeta. She meets Niklaas and he believes that she is her younger brother. The two travel together, arguing and teasing and getting to know each other. It's a good story!
How would you have changed the story to make it more enjoyable?
I really loved the story, honestly, it made me smile so often. And I read reviews from some people who didn't like it and they commented the the development of the world was lacking. And I agree. I would say, most people do not know the original Sleeping Beauty story and this book was based off THAT story. So, I think it would be have been better if she'd included a synopsis of that story or something in order to better set the world they were in. Otherwise, you have questions that you don't get answers to at all. I decided to read a synopsis of the original story and suddenly the whole book made sense. I was never lost after that point (Wikipedia). Aurora and Jour (Jor in this book) are the actual children of Sleeping Beauty.
I laughed a lot, shook my head a lot, teared up some too. It was a charming story and I'd very eagerly read it again. At first I didn't like Julia Whelan's voice for Niklaas but it didn't take more than a couple chapters before I knew it was perfect for his hysterical character.
Aurora and Niklaas enjoy a very interesting relationship. As for most of the book, he believes she is a 14 year old boy, he talks to her about things he wouldn't talk to a girl about. He's quite cocky and proud of himself and has had his fair share of girls. He likes to inform "Ror" as he calls Aurora, about what women like and so on. Aurora's reactions are funny, her argumentative nature is funny and the way the two play off each other is wonderful.
I did like the climax of the book as well. It was short and unexpected, but it had me worried and wondering what was going to happen next. I like books where I am surprised by people's actions, rather than expecting them and this book more than delivered!
Nickal16
Good teen adventure
What did you like best about Princess of Thorns? What did you like least?
I enjoyed the narrators. They did a good job. I bet teens will love the story, but it was a little young for a 50 year old like me.
What about Julia Whelan's performance did you like?
Both performers did a great job. Very easy to listen to.
Do you think Princess of Thorns needs a follow-up book? Why or why not?
Teens might like a trilogy, but I wasn't thrilled enough to read any more.
WF2022
Would you listen to Princess of Thorns again? Why?
Yes. I really enjoyed the narration it was done really well and made the story extremely enjoyable and fun to listen to.
Story had promise but lost its steam progressivly
What could have made this a 4 or 5-star listening experience for you?
Nothing, really, just kind of lost interest with the storyline. I'm not a big fan of story lines where the entire plot is basically just the main characters being chased from place to place and that's pretty much all this was. Constantly running with little to no interaction between the two main characters but ALOT of inner monologues.
Has Princess of Thorns turned you off from other books in this genre?
No, I still enjoy the re-telling spin offs of myths, legends, and fairy tales.
Have you listened to any of Julia Whelan's other performances before? How does this one compare?
Have not heard Julia Whelan's other performances. My issue wasn't with the narration, though. It was with the story itself.
You didn't love this book... but did it have any redeeming qualities?
Not for me.
I'm not saying it was a bad book, someone else may enjoy it more then I did. It just wasn't the kind of story I enjoy is all.
Love this story
I love this story, and I really like Julia Whelan as a narrator in general. Except in this instance, I didn't like how she voiced Niklas—I think it would have been better to get a male narrator for that point of view.
Little Front
Wonderfully magical!
Gahhh this book was perfection! It had so many magical elements! A princess disguised as a boy on a journey with a steamy hot cursed prince to gather forces against a troll queen! Need I say more...no! This book was epically beautiful!


When you dial a telephone Dumber, high-speed switching mechanisms select your party and connect you. Through a new development of Bell Telephone Laboratories, similar mechanisms are doing the same kind of job in private wire teletypewriter systems which America's great businesses lease from the telephone company.
Company X, for example, operates an air transportation business with scores of offices all over the country. At one of these offices, a teletypewriter operator wishes to send a message, let us say, to Kansas City. Ahead of the message, she types the code letters "KC". The letters become electric signals which guide the message to its destination.
Any or all stations in a network, or any combination of stations, can be selected. Switching centers may handle 50 or more messages a minute . . . some users send 30,000 messages a day. Delivery time is a few minutes.
Defense manufacturers, automobile makers, airlines and many other American businesses are benefiting by the speed and accuracy of the new equipment — another example of how techniques developed by the Laboratories for telephone use contribute to other Bell System services as well.


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Naloxone, also known as narcan, is a temporary opioid overdose antidote that reverses the effects of opioids. It is not effective at treating overdoses related to benzodiazepines (such as Valium®, Xanax®, or Klonopin®) or other types of drugs (such as methamphetamine or cocaine). It cannot be abused, and giving naloxone to someone who is not overdosing on opioids will not hurt them. Naloxone is available in different versions, such as in a syringe or in a nasal spray.
How can I get naloxone?
Naloxone is a prescription medication. However, a Wyoming law (Wyoming §§ 35-4-901 through 35-5-906) allows pharmacists to prescribe naloxone to individuals. Anyone can go to a local pharmacy and ask about obtaining naloxone.
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Tag Archives: Paris
Posted on January 11, 2015 by Andrew Collins
Radicalism usually prospers in the gap between rising expectations and declining opportunities. This is especially true where the population is young, idle and bored; where the art is impoverished; where entertainment – movies, theatre, music – is policed or absent altogether; and where young men are set apart from the consoling and socialising presence of women.
This thought-provoking quote is from Lawrence Wright's vital 2006 book setting out the long context leading to 9/11, The Looming Tower, which I read in 2007. In it, he traces al-Qaeda back to its roots in Egypt, and Sayyid Qutb, the "father" of the radical Islamic movement: a middle-class, educated civil servant and writer who learned his hatred of America while studying there in the 1940s.
It was modernity Qutb took exception to ("secularism, rationality, democracy, subjectivity, individualism, mixing of the sexes, tolerance, materialism") and returned radicalised to Egypt, a country still under the yoke of Western colonialism. After Gamal Abdel Nasser took control in a military coup against the bloated ruling class in 1952, Qtub hoped for "a just dictatorship", but Nasser moved the country towards a socialist, secular society (ring any bells?) and Qtub's cohorts in the Sharia law-favouring Muslim Brotherhood turned against the leader they had helped to put in place. (The Brotherhood would, of course, play its part in the post-Arab Spring reconstruction vacuum.)
Qtub ended up in prison in the crackdown on dissenters after a failed assassination attempt on Nasser, and it was here, brutalised, tortured and horrified at the Muslim guards' treatment of other Muslim prisoners, that he wrote his apocalyptic manifesto, Ma'alim fi a'Tariq (Milestones), which, among other assertions based on his own dark reading of the Quran, stated that any Muslim serving Nasser was not a "true Muslim". (This observation from 50 years ago felt relevant again yesterday when Malek Merabet, brother of the murdered Muslim policeman Ahmed Merabet in Paris and a proud, upstanding example to anyone in a crisis, called his brother's killers "false Muslims".)
Thus, did Qtub make enemies of anyone who didn't agree with him and set the clock back to the days of the Prophet Mohammed, before which the world existed in "a period of ignorance and barbarity", jahiliyya. When Qutb was hanged on August 29, 1966, Wright's fastidious book seems to say, al-Qaeda was effectively born.
I reprint the quote above, and the context beneath it, because it kept coming back to me over the past week's grim events. It might seem glib to accuse radicalised men like the Kouachi brothers of simply being "young, idle and bored" (and it doesn't account for the actions of Hayat Boumeddiene, partner and accomplice of Amedy Coulibaly in Thursday's Montrouge shooting and Friday's Porte de Vincennes siege), but there is a grain of truth in the generalisation, and those in the neglected suburbs of Paris certainly felt – and feel – disenfranchised and apart from the glories of modern, secular French society.
I have no answers to the broader problem, but I do think an inquiring understanding of the situation is required – and a reaction as dignified and nonviolent as the one we're seeing across France. None of this happened overnight. The warning signs were there. And so much of it leads back to pre- and post-war Western colonialism (Saudi Arabia's close ties to America were always troubling to more traditionally versed Muslims and when King Fahd allowed US troops to be stationed there in 1990, the camel's back was figuratively broken). It's something Nigel Farrage and Marine Le Pen would do well to remember before they open their mouths today, I think.
Posted in Politics | Tagged Books, France, Middle East, news, Paris, radicalism, religion, terrorism | 1 Reply
Funny Monet
Posted on October 8, 2011 by Andrew Collins
Well here's a pleasant surprise: a good Woody Allen movie. I contextualised my position on Woody in my review in March of You Will Meet A Tall Dark Stranger, which may well be his worst ever film. You can read that again here, if you want to understand my disappointment in full. Needless to say, like many others, I used to love him, and fell out of love with him when he started to make films outside of New York. It's like the old Jewish joke he tells in Annie Hall: the food here is terrible … and such small portions! As a rule, Woody Allen films are now terrible … and they arrive at a rate of sometimes two a year!
Well, I'm relieved and delighted to report that the chatter is true: Midnight In Paris is a return to form. Not a fully fledged return, but a wander in the right direction. There are three things that make it work:
1) Owen Wilson. All my all-time favourite Allen films have Woody in them, in the lead, playing the screen version of himself. However, as he's aged past the point where he can any long "get the girl" without the rest of us squirming and mopping our brows, he's had to try out a few surrogates. John Cusack was good, Kenneth Branagh less so, Josh Brolin and even Larry David a disaster. But in Owen Wilson, he's found himself. Here, Wilson plays a writer (of course, which other profession is Woody interested in?) who becomes inspired to write his novel on a visit to Paris. He's clearly in a toxic relationship with Rachel McAdams, whose parents are overbearing, Europhobic Republicans, and whose attraction to Michael Sheen's pompous pseud marks her out as a shallow waste of space. But beccause Wilson plays it puppydog innocent and eager to please you root for him without thinking, hey, he's asking for it. There's something about Wilson's round, imperfect face and his shaggy mop that brings you onside from the first glimpse. If Woody decided to always cast Wilson from now on, I'd be more than happy.
2) The idea. Yes, it's a moderately-high-concept Woody Allen film. Because the story involves Wilson going back in time to Paris in the 1920s when the clock strikes midnight, and much of its humour revolves around the literary, musical and artistic icons he bumps into in the sort of cafes and salons that still exist in modern-day Paris, Woody gets to indulge his own love of a prelapsarian golden age when American greats like Hemingway, Porter and Fitzgerald rubbed shoulders with Europeans like Picasso, Dali and Bunuel. Woody has always had a symbiotic relationship with Europe, and Midnight In Paris sort of encapsulates that mutual admiration, but in a genuinely funny conceit. So it's not an all-out period piece like Sweet And Lowdown, Bullets Over Broadway or The Purple Rose Of Cairo, but it hints at all three, and that's a good thing.
3) It's not set in London. As proud as we are to have him in our great capital, Woody Allen does not understand the way people speak here, and as a result, he's made his worst films here: Match Point, Cassandra's Dream and Tall Dark Stranger. And maybe it's more irksome when an artist idealises a place you actually know inside out? (He does it to Paris, naturally, especially in Midnight's opening montage, but then again, he once did the same for Manhattan and he didn't even have the excuse of being a tourist!) Either way, any city that tempts him away from London is good news.
More context for my enjoyment of Midnight In Paris: I've seen an awful lot of violent films of late. Good and powerful films, but 18 certificate brutal. I was so looking forward to turning up to the Curzon and seeing a 12A certificate that would be guaranteed free of violence. Especially impact-based violence. The fact that it was a funny film, and I mean a film that made me laugh out loud often – not least when Wilson meets Dali (a show-stealing Adrien Brody cameo), Bunuel and Man Ray and explains his time-travelling conundrum and they find it perfectly commonplace ("Of course, but you're surrealists") – meant that it was just the tonic. This is not a revolutionary piece of work. It is not "important" in that sense of the word. But it was important to me yesterday afternoon. It provided cultural and comic relief. It was lovely to be sat in a pleasant arthouse of an afternoon and sense that others were getting the gags about Hemingway and Zelda Fitzgerald and Picasso and Gertrude Stein and Gaugin … frankly, most Woody Allen fans would. But Woody Allen fans are akin to those who support a local football team who used to be in the Premiership and now struggle on a regular basis to find their old form, and yet, you support them doggedly anyway, and take no pleasure in their downfall.
In contrast, last night I caught up with the opening episode of Romanzo Criminale, which represents Sky Arts getting into the BBC4 game by importing a subtitled drama series, this time from Italy. It's set in Rome, in the past – the 1970s – and presents anything but a tourist's-eye view of the city. A brilliant antidote, once again. I'll write about it, and FX's forthcoming French import Braquo, soon.
Posted in Cinema | Tagged cinema, Curzon, Paris, Woody Allen | 1 Reply


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Fitzgerald on Trevor Siemian returning to Northwestern
Collins: 'It's about putting the pieces together'
Lovie on returning to Tampa to face USF
Lovie Smith on freshmen getting playing time for Illini
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Northwestern's Jackson, Thorson rivals turned friends
Fitzgerald: 'We've got a huge challenge in front of us'
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Northwestern back? Cats look like different team in last two games
By Vinnie Duber October 17, 2016 6:30 PM
Northwestern back?
It was a brutal start to the season for the Wildcats, who were stunned in embarrassing fashion with losses to Western Michigan and Illinois State in the campaign's first two contests, hardly the ideal beginning for a team coming off a 10-win 2015.
But in its last two games, Northwestern has looked like a brand-new squad. Wins over Iowa and Michigan State both came on the road and both featured electric performances and a combined 92 points from an offense long believed incapable of such things.
The explanation for the turnaround might not be terribly complicated, according to head coach Pat Fitzgerald, but one thing is for sure: The team that started the season in such awful fashion is no more.
"That team stunk," Fitzgerald explained during his weekly press conference Monday. "So I just hope we don't have that team show back up. I think that team is dead. I think, I don't know for sure yet. I'll know a little bit more tomorrow. That was a really bad football team. It's my fault. I think we're working to get better, I think we're working to get things fixed."
Things have looked so much better in the last two games, particularly on the offensive side of the ball, where the Cats have the Big Ten's leading rusher in Justin Jackson (116.3 yards per game) and leading receiver in Austin Carr (99.2 yards per game). This past weekend's game against Michigan State was particularly explosive, with Northwestern racking up 490 total yards, Jackson rushing for a career-high 188 yards and a pair of touchdowns and Carr catching a career-high 11 passes for 130 yards and two touchdowns.
Fitzgerald said quarterback Clayton Thorson had the best game of his career with an 18-for-30, 164-yard, three-touchdown game at Iowa. Well then how would he rate Thorson's efforts against Michigan State, when the redshirt sophomore completed 27 of his 35 passing attempts for 281 yards and a trio of touchdowns?
The huge amounts of production and the back-to-back victories in hostile Big Ten environments couldn't have been predicted as little as three weeks ago, when Northwestern was coming off a nasty home loss to Nebraska, the Cornhuskers offense shredding the Cats defense and Fitzgerald's team shooting itself in the foot left and right.
But a change has come.
"I think it's the way that we've been preparing," Fitzgerald said Monday. "You start to get the DNA of your squad, and we were so inconsistent. We needed to have a much greater attention to detail, and that was my challenge to the coaches. Obviously for us being as inconsistent as we were early, it comes to coaching, it comes to attention to detail, it comes to discipline, it comes to focus, it comes to fundamentals, it comes to competitive nature, it comes to toughness, it comes to the standard that we have. And we weren't playing to our standard, and that's on us as coaches.
"I think that's what we're doing, we're just grinding. We've got our focus in the right spot. I think we're embracing that improvement mentality. I think every team is that way right now, you're six or seven games in. You know who you are, whether you look in the mirror and go, 'Wow, you're pretty hot,' or you look in the mirror and go, 'You're pretty ugly.' It doesn't matter. You are who you are, and you've got to find a way to win.
"Those who embrace that grind and that improvement mentality typically do the right things during the week to put themselves in a position to be prepared. If you're prepared, you've got a chance to win. If you don't, you beat yourself during the week, you go into the game and you lose because you're not prepared and you don't have an opportunity. To me it's not rocket science, it's really a simple formula. The challenge is doing it."
The Cats have done it, apparently, because things are much different.
Of course, Fitzgerald knows there's still work to be done. Northwestern's defense — including a banged-up secondary that's been much maligned all season — allowed a combined 71 points in those two wins.
But the No. 1 thing on Fitzgerald's mind Monday was his team's slow start against Michigan State. Northwestern was in a 14-0 hole after a short 39-yard Spartans touchdown drive and a Clayton Thorson interception was returned for an easy touchdown. Of course the Cats woke up, but Fitzgerald was not pleased at how long it took them to do so.
"I really think we were kind of out watching the Homecoming parade till Joe (Gaziano)'s sack (of Brian Lewerke)," Fitzgerald said. "That's what was frustrating to me, and at halftime I was very, very demonstrative. I was not very pleased at all with how played in the first half.
"You achieve what you emphasize, and we talk all the time here about starting fast. We start our practices fast, everything we do is that way, that nature. And not to do that, to me, is a choice, and I didn't like the choices we were making early."
The Cats bounced out of that hole against Michigan State, but it sure is a bad habit with a tough Indiana team up next and top-10 squads Ohio State and Wisconsin after that. With those three teams still on the schedule, reaching the requisite six wins for a bowl berth will be a challenge.
But if the last two games are any indication, Northwestern should be feeling much better about that challenge than it did after the season's first four games.
Tags: Northwestern Wildcats football
Northwestern running back Jeremy Larkin diagnosed with cervical stenosis, will retire immediately
By Tim Stebbins September 24, 2018 11:39 AM
Tough news out of Evanston this morning: Northwestern announced that running back Jeremy Larkin will retire immediately after being diagnosed with cervical stenosis.
Sophomore Jeremy Larkin will retire from football, effective immediately, due to a recent diagnosis of cervical stenosis. The condition is not life threatening but prevents continued participation in football.https://t.co/5BZO8naHCn#B1GCats pic.twitter.com/0XKWqvhd1J
— Northwestern Football (@NUFBFamily) September 24, 2018
Cervical stenois is the narrowing of the spinal canal in one's neck, according to Mayo Clinic. Larkin's condition is thankfully not life-threatening, though it does prevent him from continuing to participate in the game of football.
"Football has been a lifelong passion and it has been a process to reconcile the fact I won't be on that field again, given I've played this game since I was five years old," Larkin said.
"I'm extremely appreciative of the Northwestern sports medicine and athletic training staffs for uncovering this condition, and for my coaches and the medical staff for always putting my health first.
"I came to this University to engage at the absolute highest level on the field and in the classroom, and I'm grateful for the opportunity to continue one of those while supporting my teammates from the sideline."
Head Coach Pat Fitzgerald called the news "heartbreaking."
"This is heartbreaking because I see every day how much Jeremy loves the game, loves his teammates, and loves to compete," Fitzgerald said in a statement. "But this is the absolute best possible outcome for him.
"The discovery of this condition allowed Jeremy and his family to make an informed decision for his long-term health and well-being. For those of us who have known Jeremy Larkin since his high school days, his future is exceptionally bright. I can't wait to see the impact he makes in our world."
Larkin is a sophomore from Cincinnati. He finishes his Northwestern career with 156 carries for 849 yards and 10 rushing touchdowns.
Tags: Northwestern Wildcats, Jeremy Larkin
Former Illini champion Kevin Anderson upsets Roger Federer in Wimbledon quarterfinal
By Ben Bokun July 11, 2018 2:35 PM
Former University of Illinois tennis star Kevin Anderson completed a marathon upset against an all-time great on the highest stage of professional tennis.
Anderson came back from two sets down to beat Roger Federer in Wimbledon's quarterfinals 2-6, 6-7, 7-6, 6-4, 13-11 on Wednesday morning. He will play in the semifinals of the tournament for the first time in his career.
As a native of South Africa, Anderson played three seasons with the Fighting Illini and won the NCAA doubles championship during the 2005-06 season as a sophomore. The 32-year-old was a three-time All-American in singles at Illinois.
We have a new GOAT on the 🎾 court!! No. 8⃣ seed 🇿🇦 @KAndersonATP wins against No. 1⃣ seed and reigning @Wimbledon champion 🇨🇭 @rogerfederer 2-6, 6(5)-7, 7-5, 6-4, 13-11 in the quarterfinals.#Illini 🔷🔶 | #Wimbledon pic.twitter.com/dTDtw2tRq3
— Illinois M Tennis (@IlliniMTennis) July 11, 2018
Now, as the eighth ranked singles player on the ATP World Tour, Anderson is a force to be reckoned with at the professional level. He made it all the way to the US Open final in 2017.
The former Illini star will look to keep his recent success going when he represents Illinois in the semifinals of Wimbledon this Friday.
Tags: Illinois Fighting Illini, Kevin Anderson, Roger Federer, Wimbledon
Northwestern running back Jeremy Larkin diagnosed with cervical stenosis, will retire immediately Former Illini champion Kevin Anderson upsets Roger Federer in Wimbledon quarterfinal Northwestern set to play Wisconsin at Wrigley Field in 2020 See how they stack up: Week 12 college football top 25 rankings See how they stack up: Week 11 college football top 25 rankings Will Illini go winless in Big Ten? Picture ain't pretty after loss to Indiana See how they stack up: Week 10 college football top 25 rankings Northwestern becomes first FBS team ever to win three straight games in overtime See how they stack up: Week 9 college football top 25 rankings Northwestern's end-zone interception seals triple-overtime upset of Michigan State Illini turn it over three times, give up touchdown to offensive lineman in loss to Wisconsin See how they stack up: Week 8 college football top 25 rankings Illini play freshman quarterback Cam Thomas for first time, but still fall at Minnesota Big play from Justin Jackson sets up Northwestern's overtime win over Iowa See how they stack up: Week 6 college football top 25 rankings New quarterback but similar result as Illini get walloped by Iowa Northwestern's offense goes missing as Penn State sends Cats to blowout loss Wisconsin rolls on: Ten big things from the weekend in Big Ten football See how they stack up: Week 5 college football top 25 rankings Northwestern tries late comeback but drops conference opener to Wisconsin
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MASS IMPACT: AN ORAL HISTORY OF THE 1999 BOSTON SUPERBOWL MC BATTLE
Written by DANA SCOTT Posted March 11, 2019 Filed Under: FEATURES, Interviews, MUSIC, Non-fiction
Twenty years ago, the Boston hip-hop scene hit a relative peak when the region's leading promotional company, MetroConcepts, held its inaugural Superbowl MC Battle at the Western Front in Cambridge. The pivotal moment, which went down during the 1999 Super Bowl, which the Pats didn't play in, left an eternal stamp on local music.
"This was 1999, pre-Patriots being good," said Papa D, a co-founder of the Mass-based Brick Records. "No one really cared about going out on the night of the Super Bowl."
Despite already having won respect through earlier pioneer acts like the Jonzun Crew, the Almighty RSO, Edo Rock (later known as Edo G), and TDS Mob, the Boston rap scene at the time had some impediments. Namely, besides college radio shows and occasional one-off events where local artists got exposure, there were few rap-friendly places to perform, largely due to policies and trends that, with very few exceptions, kept hip-hop out of downtown clubs and venues through the '90s.
"Race is what caused most venues to avoid booking hip-hop, period," former Boston hip-hop promoter O'Neal Rowe said.
In spite of the obstacles, Rowe and his friend Tim Linberg partnered to form MetroConcepts in 1996. Both men helped spark a Boston hip-hop revolution as they worked tirelessly to break local talents such as Akrobatik, Mr. Lif, 7L & Esoteric, REKS, Sage Francis, Virtuoso, and DJ Fakts One.
The first Superbowl Battle was a major catalyst for so much movement on the scene, as the event was stockpiled with several artists who would go on to become underground rap legends. This is an oral history of how it came to fruition and left an indelible legacy.
Tim Linberg (co-founder of MetroConcepts): Boston certainly then and even now is a very segregated community, and at the time hip-hop was premainstream. The white club owners on Lansdowne Street did not want people from Roxbury, Dorchester, and Mattapan coming to their clubs. It took a bunch of years for hip-hop to break through, and I have no doubt that race played a role on both sides for their reluctance to book and on my ability to break in.
Edo G (MC, Boston rap legend): We needed more places. The Channel, near South Station by the seaport, was in the '80s and the early '90s. Other than that, it really wasn't nowhere. … We had nowhere to go. I can't remember any place where there were having consistent hip-hop shows from '90 to '95. I didn't perform "I Gotta Have It" when it came out, when it was at its height in Boston, because there was nowhere to perform it. We performed it in Cambridge at a school. That was the only place we did it.
Esoteric (MC, half of 7L & Esoteric): Venus Di Milo, Avenue C, Bill's Bar, the Middle East, the Playhouse, Western Front, even Bahama Beach Club—I went anywhere clubs were letting people rap. I did a few odd talent contests at Chez Vous Roller Rink and lots of other venues off the beaten path when I was coming up, when grabbing the mic was a lot more scary and more of a risk than it is today. Today every fifth person has tried their hand at rapping. Back then it was, "Whoa, you rap?"
Linberg: I started DJing house parties in college, nothing of particular merit. I wasn't a great DJ but I was into it. I moved back to Boston after I graduated college, bought a pair of turntables and started buying records. My buddy [O'Neal] and I started to get some sense of where hip-hop was being played, so we made a mixtape and went to a few clubs and said, "Hey, we want to do a hip-hop show." And the Western Front said, "Okay, we'll give you two shows a month." Then we were like, "Damn, really? Now what do we do?"
We set up shop at the Western Front for a couple years on Sundays and that's where we started doing an open mic for local MCs. It started out as a DJ thing, which was really like a bunch of friends doing parties. It wasn't a business. Also, there was a low-wattage pirate radio station set up in Allston/Boston area called Radio Free Allston. Good people who were trying to do something pretty cool. We had a show on that station called Hip-Hop 617.
O'Neal Rowe (co-founder of MetroConcepts): When we started getting people together in '96-'97 or so, it was clear there were so many hip-hop artists that were looking for opportunities to perform together and on a stage. Boston had a ton of talent all over the city, all different backgrounds, but venues really weren't into opening up to hip-hop acts or DJs.
REKS (MC): The issue in Massachusetts has always been a lack of major radio push for artists. I feel a lot more of us could have broke out of the city with support from major stations. The college stations were truly a godsend.
Mr. Lif (MC): In that era, when the independent hip-hop scene was born, it still revolved around the studio. It was Butta Beats that was run by Ray Fernandes … a studio where people kind of congregated.
Fakts One (DJ, radio host): I started at WERS [99.9 FM] as a producer, which is basically like a show assistant, in the fall of 1995. I got my own show the next year in '96.
Linberg: Fakts was like our Funkmaster Flex for Boston. … If an artist came to town, we were taking them to [email protected]. That's basically as big as it got from an exposure standpoint. It was our lifeblood. If college radio and WERS didn't promote our show, we were screwed.
Esoteric: 88.9 [Emerson College], 90.3 [Boston College], 88.1 [MIT], 95.3 [Harvard] were all very important to spreading the word about local artists with material. Most things aired on 88.9 by local artists were typically off of cassette demos before cats became ambitious enough to press vinyl. Our first vinyl was 1996 thanks to Truth Elemental from Brick [Records], and when that was pressed we felt like superstars.
Fakts One: I learned some FCC tricks from the reggae cats to boost up the power of our transmitter so eventually I had people listening live from as far north as Maine. Prestreaming, preweb. At the time, my radio was on and I focused on the indie/underground scene, so I had relationships with everyone as artists. It was the perfect storm.
Rowe: Once we did a handful of events and open mics we were able to convince booking agents and owners that there was a vibrant audience in Boston that was completely untapped. And I think Boston hip-hop artists got more chances to open up shows and headline their own record release parties to continue to build a scene that contributed to a lot of talented acts getting a chance to shine. I credit these artists as their fan bases really made the scene what it was, so without acts like Lif, Ak, Edo G., Illin' P, 7L & Esoteric, Reks, Skitzofreniks, Fakts One, and many more it wouldn't have been as meaningful.
Ken Capobianco (music journalist): The hip-hop crowd in Boston was mostly all white college kids. I used to go to the Middle East and Bill's Bar, and I was a bit older in my early to mid-30s, and it was nothing but people [who were] in the city to go to college. That's why it was hard to build an audience for a lot of these guys, because the people coming to the show would come and disappear. Really, those crowds were not diverse.
Linberg: O'Neal and I started to hook up with this dude name Rocky LaMontagne who was doing All That! Hip-Hop, Poetry & Jazz events at the Nuyorican Cafe and Lyricist Lounge in New York, so we got connected through him, and started doing All That! together at the Western Front as an open mic night with a live band called Downlow Connection. Great guys. We did that, and then decided to do a battle.
Linberg: There had been battles, both planned and unplanned for events at the Western Front, but we just said we're going to get everyone because there was a hole in our schedule because of the Super Bowl and the Patriots sucked. It was like, What are we gonna do? The first battle we did was all locals in that Cambridge melting pot scene. Checkmark (of Skitzofreniks); Lif; Akrobatik; Esoteric; REKS; Virtuoso; Big O, who was incredibly dope; and Sage Francis, who no one knew. I think half of them didn't want to do it, but they felt obligated.
Capobianco: Lif wasn't into battle rapping. That wasn't his thing. I covered him from his very beginning. I think he did maybe two, and I don't think he wanted to be there at the 1999 Superbowl MC battle.
Fakts One: I was honestly surprised at how many "known" MCs wanted in. That made it bigger.
REKS: As far as the battle scene, I feel it was ultra competitive with great talents comprised of young and hungry MCs. The likes of Alias, Ripshop, Mr. Lif, Akrobatik, Esoteric, and Professor Shuman was phenomenal, just to name a few.
Papa D (co-founder of Brick Records): Lif, Ak, and Eso all had records out prior to this event. As for that second generation of dudes—I don't know if it was a proving ground, but you know, it was definitely the start to their careers. Everyone that was in the battle was doing something in the Boston scene, so it wasn't all filled with dudes you'd never heard of. But the internet wasn't popping yet, so it was really dudes you would see at shows, who were trying to record with certain producers.
Linberg: I definitely know that some of the artists were more amped to be there than others. It was the first battle that we had done, and we didn't really figure out the formatting of it too well ahead of time. When we got there we were like, "Man, we have too many rappers" because basically we put out a call for participants. … A lot of great MCs didn't make it past the first round because the format was so fucked up. …
The prize was $100. I'm sure some of the people got mad when they lost, but they took it for what it was. It was definitely a "respect" thing.
Capobianco: I remember judging a lot of the battles at that time. … These guys really understood what it took to battle. They weren't just giving out stupid silly punchlines. It went beyond that. They really understood how to work a crowd and how to weave runs and themes through the short battle.
Sage Francis (MC): [It was] everyone who was doing anything in New England's hip-hop scene back then.
To the credit of almost everyone I battled, the only thing they knew about me is that I did spoken word and I had a college radio show in Rhode Island. As a radio host, and as a fan of their music, I knew a lot about everyone I was battling. Not only that, but I was battling regularly in Providence for quite some time before the Superbowl MC Battle happened. It was a big deal to me. Not that it wasn't a big deal to others, but I think I was the one who went full "gym class hero" while almost everyone else was in more of a "we're all friends" chill mode. I wasn't friends with them, though. I was definitely an outsider trying to get my name out there.
Fakts One: It was basically a who's who of Boston rap. Energy building up to it was nuts. Just about everyone in that battle had vinyl out or coming out—reps and egos on the line.
Linberg: It was chaos.
Linberg: A year after, we took it to the Middle East because we needed a bigger room. January 1999 was the first one, and then we did six more battles after that. The last one was the nail in the coffin at Avalon [nightclub] in January 2005. 8 Mile had already come out, so we jumped on that and got JAM'N 94.5 FM onboard as a sponsor, and they agreed to throw down $5,000 as the prize. It was a bigger opportunity, and MCs from all over were flying in for it. We booked KRS-One to perform and be a judge, and it was sold out with like 1,000 people. It was a big show in a big room.
I have to say, looking back, it was a JAM'N 94.5 audience that wanted to see an 8 Mile-style rap battle, and we had these wordsmith sort of underground kids from Cincinnati and other places … so there was a disconnect. So I don't look at that battle as one of my particular favorites. But all the Middle East ones and the first at the Western Front were all dope to me in their own way.
Fakts One: Sage versus Akrobatik was the best. It was yin vs yang—the two different styles both representative of the division in the indie scene. Nerdy verbose white dude, technical versus street-smart brother/poet. Equally dope but different from each other. And both really freestyled! None of the corny prep rap battle shit nowadays.
Sage Francis: Winning that battle definitely kicked off a lot of major developments in my career, especially since no one really knew who I was outside of the Rhode Island scene. It was a surprise attack on my part and it was definitely an "underdog victory" story, which helped my momentum.
None of this would probably be talked about if it wasn't for my video camera. The video that is posted on YouTube was from my video camera, which was stolen from me a couple months after the battle. It's the only footage that exists, so I'd like to thank whoever stole my shit for bootlegging the material and eventually getting the footage into someone's hands who posted it YouTube many years later. You're still a steaming pile of shit, though.
This article was produced in collaboration with the Boston Institute for Nonprofit Journalism. To see more long form arts reporting like this, support independent journalism at givetobinj.org.
DANA SCOTT
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Filed Under: FEATURES, Interviews, MUSIC, Non-fiction Tagged With: 7L, Akrobatik, Alias, Brick Records, DJ Fakts One, Esoteric, hip hop, Metro Concepts, Papa D, Sage Francis, Superbowl Battle, WERS, western front


Originally Published: December 4, 2018 3:08 p.m.
WILLIAMS, Ariz. — Commercial water hauler Brian Predmore woke up prepared to do a little accounting and maybe deliver a few loads of water to his residential customers, but little did he know he would add firefighting to his duties that Tuesday morning.
On Nov. 13, Predmore, who is an accountant and part-time delivery driver for Grand Canyon Drinking Water, was delivering water to Garland Prairie resident Alan Mularkey when a fire erupted in an outbuilding on the property.
"I saw smoke coming from the shed which I thought was strange, but at first I thought maybe they were smoking jerky or something like that," Predmore said.
Predmore said Mularkey had requested the company fill one of the ranch's large water tanks and a small horse trough that morning. The tank was larger than the capacity of the truck, so Predmore planned to do more than one trip to fill it.
Predmore said he met Mularkey on his initial trip to the property and they discussed which tanks would be filled. Predmore filled the tank next to a hen house and then returned to the station to refill his truck for the second delivery.
Since Predmore had never delivered to the residence before, he wasn't sure if the smoke was an actual fire.
"I'm kind of new to the area, and wasn't sure what was going on," he said.
As Predmore finished filling the tank, which was just a few feet from the 400-square-foot hen house, he noticed smoke coming from the roof, but no flames.
"I figured I'd go fill up the tank at the house and was just hooking up the hoses there when I heard some farm hands yelling 'The barns on fire, the barn's on fire!' he said.
Predmore walked back to the hen house and asked the men if he could help. The workers said they had no way to put out the fire since their tank hose was melted inside the hen house.
"I realized my truck was mostly loaded so I ran back to get the truck and drove it over there," he said. "By that time the wall was on fire, so we hooked up the (truck) hose.
"It's not like a normal fire truck though, it only pumps like two gallons per second…its basically like a bigger garden hose," he said.
As the hen house burned, an overhanging ponderosa pine tree also caught fire, but the men were able to put it out.
With a limited capacity of water, the men closely tracked their water usage and by the time the tank was empty, the fire was nearly out.
"It was kind of like a bucket brigade, but with a little more technology," Predmore chuckled.
Mularkey credits Predmore and the ranch hands for preventing a potentially devastating fire.
"The fire got hot enough in such a quick time that it actually melted the windows, they are completely bubbled out," he said.
Several hens died from the smoke from the fire, but Mularkey said because of the men's quick thinking, the fire was extinguished before it spread to the forest. The building sustained significant damage, but wasn't a complete loss.
"If it was full we could put 100 hens in there; thank goodness it wasn't full though," he said.
Mularkey said the fire most likely started from an electrical problem, possibly from a heat lamp in the hen house, but at this time there wasn't a definitive cause.


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Horror Express (Blu-ray Review)
Review Date: Feb 04, 2019
Eugenio Martin
1972 (February 12, 2019)
Granada Films/Benmar Productions/Scotia International (Arrow Video)
Film/Program Grade: B-
Video Grade: A-
Audio Grade: B+
Extras Grade: B
Destined to be amongst the crowded VHS and DVD cheap bins for decades, 1972's Horror Express (AKA Pánico en el Transiberiano) attempted to bring Christopher Lee and Peter Cushing together, but this time around, as cohorts instead of opposing forces.
In the film, Lee is an anthropologist returning to Europe by train with the frozen remains of what he believes to be a prehistoric man. Cushing, a friend and colleague, is also aboard with business of his own. Once they're on their way, the creature thaws and escapes its confines, stalking other passengers and killing them one by one by bleeding their brains dry of information. It's soon apparent that what they're dealing with is, somehow, not human at all, but an alien from another world.
Horror Express, above all things, is an unusual film, blending horror, science fiction, and comedy into an often bumpy mixture – chock full of ideas instead of an even iron-clad tone. Lee and Cushing are wonderful together, and it's certainly nice to see them on the same side for a change. In real life, they were the best of friends, but they were hardly ever given a chance to actually convey their bond on film. The rest of the cast is mostly serviceable, aside from Telly Savalas who comes into the story late but winds up being thoroughly memorable as a potential villain.
The film's beastly antagonist is one of the least-used ideas for a monster movie. Not only do its creepy, red-glowing eyes drain minds of knowledge, but it also has the ability to body swap if it feels in danger or is on the verge of dying, meaning that anybody could be this alien being. The special effects, including the gore, are utilized well. The most disturbing of these, at least in my opinion, is seeing the effects of what the monster has done to a brain. It's not necessarily witnessing the top of someone's skull removed, but how perfectly pink and smooth the organ in question is, lacking any natural ridges or lines. It still gets under my skin whenever I see it.
Far from boring, Horror Express is an enjoyable film in stages, but it's a tad bit long in the running time, focusing too much on extraneous characters without fully doling out the suspense in certain areas. Yet still, for a low budget Spanish production that keeps things relatively confined to one environment, it does a lot with very little, and that's the most that you can ask for.
Arrow Video brings Horror Express to Blu-ray with a new transfer that's been restored in 2K (in its original 1.66:1 aspect ratio) from the original 35mm camera negative, but also incorporates an additional 35mm interpositive element for the fifth reel, which was missing during the restoration. Compared to the previous Blu-ray release, this is a much more natural-looking presentation when it comes to the color palette. It's obviously sharper with higher levels of detail that newer scans and restorations tend to exhibit, but it's also cooler, cleaner, and shows off more refined detail in the shadows. It's a nice presentation with mostly even grain levels that can be a little coarser from time to time, but it's definitely the best the film has looked on home video.
The audio is presented on an English mono LPCM track with optional subtitles in English SDH. Aside from some minor distortion during the opening, it's a relatively clean and clear presentation. Dialogue is quite discernable and the score gives the track more of a rounded feel than many other mono tracks usually do. Sound effects are mostly good, although they do tend to show their age. There's also next to no instances of hiss leftover, nor are there any dropouts. It's also worth nothing that the previous Blu-ray release from Severin Films featured an additional Spanish language track, but that hasn't been replicated here.
The extras for this release include an always enjoyable audio commentary with authors Stephen Jones and Kim Newman; an optional 7-minute introduction to the film by Fangoria's Chris Alexander; Ticket to Die, a 9-minute appreciation of the film by Steve Haberman; Night Train to Nowhere, a 15-minute appreciation of the film and its late producer Bernard Gordon by filmmaker Ted Newsom; Murder on the Trans-Siberian Express, a vintage 14-minute interview with director Eugenio Martin; Notes From the Blacklist, a vintage 31-minute interview from 2005 with producer Bernard Gordon; Telly and Me, a vintage 8-minute interview with composer John Cacavas; the original theatrical trailer in HD; and a 32-page insert booklet with the essays Horror Express by Adam Scovell and Riding the Horror Express by Mike Hodges, as well as restoration details.
Not included in the extras is a 1973 interview with Peter Cushing from the Severin Films DVD and Blu-ray releases; an isolated score and effects audio track from the Image Entertainment DVD release; and the Super 8 and Digest versions of the film, a German theatrical trailer, and alternate German opening and closing titles from the film's German DVD and Blu-ray releases.
Long-time fans of Horror Express, especially those who were subjected to subpar standard definition presentations of the film, are likely to have their expectations exceeded with this one. It's a fine package overall. Although there are few extras missing, the A/V presentation excels.
– Tim Salmons
1972, Alberto de Mendoza, Alejando Ulloa, Alice Reinheart, alien, aliens, Angel del Pozo, Arnaud d'Usseau, Arrow Video, Barta Barri, Benmar Productions, Bernard Gordon, Blu-ray, Blu-ray Disc, Christopher Lee, comedy, Eugenio Martin, Faith Clift, Faith Swift, Gene Martin, George Rigaud, Granada Films, Gregorio Sacristan, Helga Line, horror, Horror Express, John Cacavas, Jose Jaspe, Juan Olaguibel, Juan Olaguivel, Julian Halevy, Julian Zimet, Julio Pena, Peter Cushing, review, Robert C Dearberg, sci-fi, science fiction, Scotia International, Silvia Tortosa, Telly Savalas, The Digital Bits, Tim Salmons, Víctor Israel, zombie, zombies


text:
Die Liste der Monuments historiques in Villiers-le-Bois führt die Monuments historiques in der französischen Gemeinde Villiers-le-Bois auf.

Liste der Objekte

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redpajama_set_name: RedPajamaWikipedia


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redpajama_set_name: RedPajamaGithub


The Copper rod upcast continuous casting machine is used to produce the long and bright oxygen-free copper rod. The induction melting furnace melt the copper cathode into liquid, the liquid keeps off the air by charcoal or graphite flake in case of be oxidation. The induction holding furnace keeps the copper liquid temperature in 1150℃±10℃, the casting machine crystallizes the copper liquid in crystallizer quickly, then continuously produces copper rod, then the final product will be finished through the double head take up machine and other accessory equipment.
whole furnace, it is fastened on the foundation by ground bolt,inductor composed of coil, water jacket, iron core and copper channel.The high voltage side of the inductor(primary)includes coil with cooling water, the voltage could be adjusted form 90V-420V(holding furnace is 90V-380V), the low voltage side of the inductor(secondary)includes short circuited copper channel, after electrifying, it will produce big current in copper channel with the action of electromagnetism induction, and melt the copper channel and also melt the cathode at the same time .Water jacket and coil all need to be cooled by water, the water can be recycling used, and is supplied by the cooling water system.
The continuous casting machine is the main part to realize the continuous upcasting which includes the traction system, the level tracking system and the crystallizer, the structure is gantry four pillar.
The traction system includes two units of servo motor, reducer and traction rolling wheel, it could make 0-600 times high speed interval motion and make the copper rod come up though the traction rolling wheel, each unit of traction system could drive 6 pair traction rolling wheel, and drag 6 pcs copper rod separately.
The automatic level track system could insure that the crystallizer is in the stable depth in the copper liquid, and to make sure the producing is continuously.
The crystallizer could freeze the copper quick into solid-state by cooling it and realize the heat exchange, each crystallizer can be change and be controlled separately without any influence of other crystallizers' normal working.
The output frame is set up on the upper part of the casting machine. It includes the platform, the support, the vertical guide wheel and roller. It separates and feed the casted rods into each double head take up machine without influencing each other.
The take up synchronizing device is a device which is set up between the output frame and the double head take up machine. There are twelve units of displacement transducers and swing link. By controlling the angle of the swing link, the speed of the take up machine can be controlled with high accuracy and high sensitivity, meantime it can supply the reliable signal for the automatic control.
The double head take up machine includes the traction roller, the coiling device and the coiling plate. Each unit of the take up machine includes four or three motors controlling the two sides of take up device for two rods, the max coiling weight is 3.5ton.
The electric control system includes the power system and controlling system. The power system supplies the power to each inductor through several power panels. The control system assures the normal producing, the recording and displaying of the data. The detail recording and displaying information is inductor voltage, current, furnace temperature, water temperature(including the crystallizer water temperature), traction speed and traction distance etc.
The feeding system feed the whole piece of copper cathode by the electric hoist. It assures that the copper cathodes is supplying to the melting furnace continuously.
The temperature testing system includes two parts: copper liquid testing and water testing. The testing result is shown on both on the digital temperature meter and the industrial control scream for producing monitoring.


text:
Funktronica Jams: An Interview with Freekbass of Headtronics
Jane Jansen Seymour
Freekbass explains the "funktronica" sound and discusses his work with Headtronics, who recently appeared at Moogfest.
Freekbass arrived at Moogfest in October with a different Headtronics trio than usual, which is just part of the footprint for the band. He's a protégé of legendary funk bassist/singer/songwriter Bootsy Collins, and in Asheville, Freekbass was hanging out with another legend, the "Wizard of Woo" Bernie Worrell of P-Funk. DJ Spooky was enlisted to take the place of DJ Logic but this seemed perfect, since he's the one who appeared in the Moog documentary along with Worrell. Every show is start to finish improv, all crazy funk with bass, electronic beats and keyboards--no matter who is playing the show.
Are you enjoying Moogfest? Is there anyone you want to see?
Oh yeah, definitely. I want to actually see [DJ] Spooky's own set. I'm also excited to see Dan Funk who is a Los Angeles DJ kind of musician and I love really where he's coming from, his whole headspace and what he's doing. So we're just trying to squeeze in as much on this Halloween as we can, you know?
Tell me about your Funktronic sound.
Well we came up with that word. There's obviously the electronica music scene, which is huge, and then there's the jam band scene. So it's combining that--a lot of people have been using "jamtronica" for a little bit. But we're coming from the organic side, from a funk sensibility which is kind of where my roots are obviously. Bernie's roots, that needs not to be said, and then you mix the electronic in with it too. We started playing a few shows and a little catchphrase started catching on--"funktronica--and I thought that's a pretty cool word. It seems to really match what we were doing.
And when was this?
Headtronics has only been out touring since April of 2010 so we're a fairly new band. It's a side project for everybody. DJ Logic and I were playing a festival together and he had me come up on a set and jam with him. Stephen Molitz, who's the keyboard player, was there too so he played and we just ended up jamming all the time. We thought, "Let's go on the road with this". It's always a logistical nightmare because all three of us have our own booking agents, managers, and stuff, so getting one week where everybody's scheduled isn't easy. That's kind of how Moogfest happened. Steve Molitz couldn't do it because he's out with his band called Particle so I know Bernie because of Bootsy, so I was like, "Hey, Bernie could you come and do this?" Logic had worked with Bootsy too, so then we had Headtronics with the Logic/Freekbass/Bernie version. When they called about Moogfest, we're like, "This is great!" You know, of course, Bernie had to be involved with it being about Moog. So I called up and said "Hey Logic, guess what?" And he's like, "Ah man, I'm out in San Francisco playing a jazz festival out there". I'm like "Agh!" So long story short, we found out Spooky was here and his beats are sort of in the same sensibility as Logic's are--it was the perfect storm.
The band as you said is a side project and it's also set up to have special guests, which is part of the jam sensibility with the funk thrown in. Talk about that structure--does it give you more freedom?
I love it. All Headtronics shows are one hundred per cent improvised. Everybody's always like, "Come see our show, it will be different tonight!" And with us it's for real. Then--not to sound cornball--but in a way it's almost like the audience dictates what you do and how you move. Is a song going to be three minutes or is it going to be twenty? We could play one song for the whole hour set tonight, or we could play three ten-minute songs or whatever. That's what's kind of exciting about it. With my own band, I jump around and get a little crazy onstage but with this band I'm a little more centered. But I'll tell you, I'm worn out after a Headtronics show. In a good way though, because you're always having to almost think one step ahead the whole time. I love it, because it's very challenging. I can also start bringing a lot of those sensibilities to in my own band and other projects--it keeps all that fresh as well. It's just a great thing.
We started Headtronics to do a show here and a show there. Now we're starting to do shows more and more regularly, and it's getting more exciting because the band's getting bigger. With all these different players we have coming in, it's almost like the Rhythm Devils where it's Mickey Hart's project with Bill Kreutzmann from the Dead and then they have a cast of characters that change. It's a different dynamic each time you go see the band live. And by default Headtronics is essentially me, DJ Logic, and Steve Molitz; that's the crux of the band. But we can do different variations of it--as long as it keeps in that funktronica sensibility.
Do you see a CD or a recording on the road?
For sure, definitely. Like I said, the show's all improvised but when you play with the same players you remember that one little idea you had, so certain ideas start creeping into every show. So we're starting to kind of get certain songs that are kind of quote-unquote songs. In the studio, the one thing Logic and I are talking about is when we do record a CD, we want to try to duplicate what we do on stage. Whether doing an actual live CD, which we haven't really decided on, or if we do it in the studio, it should sound the same where Logic will start a beat and I'll do my bass line and Steve or Bernie or whoever's doing keyboards will add their craziness on top. It needs to really capture that.
Have you always played the bass and how did you pick it up?
Well, I started off as a drummer. So I was a drummer for a long time; it's kind of my approach even to the bass. Then I moved over to guitar until I saw a bass player and I thought how it's the best of both worlds! It's like a drum you can play notes with! I started playing drums when I was about ten or eleven and then picked up bass around fourteen. I still play a lot of drums and guitar, plus a little bit of keyboards and stuff. But bass is definitely my instrument--I mean with a name like Freekbass, it's got to be bass. It would be kind of silly if I played guitar, now wouldn't it?
Tell me about your signature bass–how did that come about?
The bass itself is what it is called a "one two three up." The neck is a one and if you can see, it goes into a two and then a three pointing straight up. We actually used to use that symbol, not as a bass necessarily, but on our posters when we first kind of started playing shows. We were playing a show down in Mississippi; I think it was there, where we met this guitar [maker] Luther. He'd done guitar for a couple of guys in Train and did one of Yoakum's guitars and he was at a show where we were hanging out after the show talking about the symbol we used on our posters. He said how we should make that symbol into a bass. I told him that would look pretty wicked, could you do it? I've got three CDs out and for each CD I've got a bass "one two three". So the one on my stage I'm playing tonight is my second one, that's actually on Junkyard Waltz.
And what about the custom amp?
Yeah, I have an endorsement with this company called Kustom and they were doing this line called Groove Bass Amp. When they launched the amp, they got in touch with me and asked me if I wanted to be an endorser for it, be the crazy cat that would be the guy to help sell it or whatever. I use a ton of effects and sometimes I'm playing higher stuff, sometimes I'm playing lower traditional bass stuff. Not to sound too music techie, but the nice thing about the rig is that it's got a ton of low end and you also get a lot of definition. It seems in a lot of amps I've played in the past, you had to sacrifice one or the other. You could get an amp with a nice warm sound on the bottom but as soon as the rest of the band came in, you kind of lost all your definition. Or the opposite would happen, where you'd have all this nice definition but it would be all "clackity clackity". The really nice thing I liked when they got in touch with me was it was an honest thing. It has so many EQ options you know, graphic EQ and parametric EQ. It's got a ton of power--I think the amp is like 1300 watts. Now I don't use that much power, but a lot of times with the bass it's not so much that you have that much power so that you can turn it up loud; it's more about being able to push air. And that's the thing--so the amp can really handle that. So it worked out great and it's still being produced.
You've been a big part of the Cinci music scene for years and recognized as such. For someone who's never been there--what's the scene like and is there anyone we should know about?
First off, the scene itself is weird because it's a very conservative city. Cincinnati is very, very conservative and segregated, too, in a lot of ways. Now you get inside the city center and it's obviously real hip but anywhere in the suburbs is very conservative. But every generation has some kind of funk thing that comes out of there. King records started there in the '60s. James Brown recorded all his hits there--every big James Brown record was recorded in Cincinnati at King Records. They just put a plaque up and they're working on turning the studio into a museum. So that's how Bootsy got discovered because he was playing in the studio when James was there when he fired his band or something. James was like "Hey, come over here!" And then the next thing you know Bootsy was jamming. It was that kind of story. So you had James Brown in the '60s and early '70s, then Bootsy in the late '70s/early '80s.
There's a twin city called Dayton, which is 40 minutes up the road, and there's that group called the Ohio Players. Babyface is a big R&B producer and he was in a band called the Deele which was out of Cincinnati. There's also a label called La Face Records which is home to Pink and TLC--they're now out of Atlanta. Actually, Bootsy is the one who gave Babyface his nickname too. So it didn't matter if you were out of the suburbs or the inner city, there was so much rhythmic music there. Ironically there's a huge bluegrass scene too. Cincinnati is on the border of Northern Kentucky so it's kind of a Minneapolis/St Paul kind of scenario. My theory is even though you might think that funk and bluegrass are so different, think about how rhythmic the two music styles are. You've got this rural area of Kentucky right next to urban Cincinnati, so you've got this hodgepodge of rhythm and sounds. Now in terms of current bands coming out of the area, in the '90s there was a band called the Afghan Whigs who were a pretty big group in the whole Seattle Sub Pop scene. And there's a new band called Heartless Bastards with a gal named Erica who has an amazing voice. She actually moved to Austin recently but they grew out of Cincinnati music scene.
Did you grow up there?
Yeah, and that's actually how I met Bootsy. One of his singers was a guy named Mudbone. Mudbone had his own group called Sly Fox and they had a big hit called "Let's Go All The Way". In the mid to late '90s he was trying to put the band back together again and he was doing demo stuff. I was playing in some bands around Cincinnati at the time, and he had me do some demo stuff with him. He said there was a label out of Japan called P-Vine Records. P-Vine Records was doing this Jimi Hendrix tribute record where they had all these funk and soul artists do songs about Jimi Hendrix. Mudbone was doing a song with Bootsy producing and engineering it, so he said, "Why don't you come out to Bootsy's?" and of course I was like "Whaaa!" And that's how we met and we really hit it off, so we started writing songs together. Originally when the whole Freekbass thing started, it was going to be more of a studio project. I thought, "Well, this material sounds pretty cool, so it would be cool to go do some shows". And a couple shows led to a couple more ,and the next thing I know I'm on the road with an agent. That's kind of the very, very abridged story.
Is there an AKA, can we know what your real name is?
I think my mom even slips every once in a while and calls me Freekbass. My real name is Chris Sherman--my Clark Kent alias, I guess.
Funk Headtronics In Spotlight Freekbass


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