CVWW May 2015

MAY 2015

THE Lifestyle Magazine for Custom Vehicle & Music Enthusiasts

ALWAYS FREE

DOYLE

RECKER

Doyle Wolfgang von Frankenstein Need we say MORE? p. 4

From the streets of Vancouver, WA, Recker is quickly becoming a regional name. Scoring opening slots for major national acts, Rich Recker and the boys are making a name for themselves with down home ‘80’s kick ass rock. Spend a few minutes with some local favorites. p. 22

Contents...

Opinion on Rising Vinyl Sales: Sexy, Cool, but not Impactful According to Beau...DOYLE in concert!

News You Can Use - Bikes: Cars & Bicycles Co-Existing Tattoo feature: Ink as you Age… HAIR TRIGGER: a Comic from Anthony Hitaffer Gear the Pros Use: Guitar Damon Gray of RECKER Gear the Pros Use: Guitar Tommy Slaughter of RECKER Off the Beaten Path: A Perspective - the Music Industry is Dying?

Order in the Chaos: Brien DeChristopher’s Music Blog News You Can Use - Cars: Quickie Ways to Save on Maintenance CV WorldWide Magazine

Locally Owned / Nationally Known

3 12 14 19 20

Jamie Paullus, as always, up front and center for some of Spokane’s best shows. This month: We Are Harlot and Flyleaf.

Page 36

30 31 34 40 42

Sherry Keith Mush Room Head Oh, and that Doyle dude.

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Music Industry Execs Sees Vinyl Rise as More 'Fad' Than 'Explosion' "It's a sexy, cool product," says RCA Records President Tom Corson. "[But] It's not going to make or break our year"

Last year's 52 percent jump in vinyl sales has been fantastic for record stores — "and growing more important by the day," Carl Mello, senior buyer for New England music chain Newbury Comics tells Rolling Stone — but the record industry isn't quite so enthusiastic. The vinyl explosion has been so pronounced that pressing plants can't keep up with demand, putting retailers in the awkward position of running out of hit LPs such as Taylor Swift's 1989, Sam Smith's In the Lonely Hour and even Jack White's Lazaretto, which sold more than 86,000 copies and was 2014's best-selling vinyl album.

But managers and record labels clearly see vinyl as a fad — vinyl makes up just 6 percent of overall album sales, according to Nielsen Soundscan. This may explain why record executives aren't rushing to prop up the roughly 15 remaining record plants in the U.S. "It's a great marketing opportunity. While we do expect growth to continue, it'd be hard to project exactly what that's going to be," says Candace Berry, general manager of Universal Music Distribution, part of the world's biggest record label. "I know a lot of people in the business who've gotten back into vinyl the last couple years. But I'm not sure they're playing their vinyl every single day like they're listening on their device."

This sentiment of "we love vinyl but . . . " is common among top record executives. "We welcome it. It's a sexy, cool product. It represents an investment in music that's an emotional one," says Tom Corson, president of Sony-owned RCA Records, home of Usher, Justin Timberlake and Sia. "It is a small percentage of our business.

It's not going to make or break our year. We devote the right amount of resources to it, but it's not something where we have a department for it."

That disconnect — fans who love old records but listen to music via streaming or downloads — has made the industry skeptical of going all-in on vinyl. (CD sales dropped 15 percent last year and digital tracks were down 12.5 percent after a decade of growth; by contrast, on-demand streaming, via Spotify and others, jumped 54 percent.) "On a personal level, I love it. I grew up with vinyl. I have a record player. I buy records. It sounds better to me," says Jonathan Daniel, co-manager of Fall Out Boy, Sia and Wavves. "On a business level, I don't think it means anything. It's so small relative to Fall Out Boy or Sia or any of our artists. It's still not a meaningful part of their business."

In Omaha, Nebraska, Robb Nansel operates a longtime indie label, Saddle Creek, as well as a small, vinyl-only record store. He says vinyl has been consistent for years — LPs recently made up 50 percent of overall sales for Pujol, one of the label's newer acts — which helps cover for decreasing CD sales. But he doesn't expect the LP boom to continue: "It's always going to be a niche.

It's great, obviously, that people are buying records. Not to be negative about it, but I feel like it's going to peak, if it hasn't already.

"From a label perspective, it's expensive. You've got to ship it. There are environmental concerns," Nansel continues. "But we love vinyl. It's our preferred format."

Steve Knopper, Rolling Stone

Doyle Wolfgang von Frankenstein Live. Uncensored. Brutally Honest..would you expect anything else?

<CV WorldWide> So before we begin I need to same way and I think we would be just fine. tell you something that was funny... *laughter* <Doyle> Well Sherry, it better be funny because <Doyle> That‘s great, let‘s do this! that is all I do. *laughter*

<CV WW> I actually met you at NAMM last <CV WW> When the interview was getting set year, of course you meet a ton of people and I up I was sent a list of things to go over, and one of don‟t expect you to remember, but you were doing the things I was told is you are very blunt and not signing‟s with Piggy from Rob Zombie. to take anything personal. lol <Doyle> Oh man, NAMM just blows my fucking <Doyle> *Laughing* They would be correct, it‘s mind. I have such bad social anxiety that when I true, I am brutally honest. get into that thing, it‘s like sardines and everybody wants a picture with me, I can‘t walk two feet, it‘s <CV WW> Well I told the person that would not horrible and I freak out.

be a problem as that is how I prefer it and I am the <CV WW> I get the same way just walking

through it, it‟s crazy and a bit much. *** CVWW would like to add that we did this interview in Doyle’s hotel room while he was getting ready for his show, so basically in the hotel bathroom which explains these next few statements. *** <Doyle> You know, that chair is not for me to sit down, it‘s for you. *laughter*

<CV WW> Well, you know I just figured I would stand behind and hold the chair up. *laughter from everyone in room as I of course take my seat in the bathroom doorway* <CV WW>tell us about the early years - how did you first get inspired to play music - what was the catalyst that got you hooked? <Doyle> Ummm, well it was my mom. She was the one who actually got us into music. She is a ‗50‘s kid so she had all the 45‘s; Dion, Elvis, The Crystals and The Ronettes, I mean everything you could think of. So we used to listen to those and then we started listening to heavier stuff like Led Zeppelin, David Bowie and Alice Cooper. In fact Alice Cooper is pretty much why I look like this.

So I was really into it, and then I was a roadie and guitar tech for ‗The Misfits‘, my brother was in that band, he was like 5 or 6 years older than me.

<CV WW> Nice! *laughter*

<CV WW> Yea, they were here not too long ago, <Doyle> That‘s why I‘m not a shredder, I didn‘t spend the time alone! *laughter from all of us* I actually shot that show. <Doyle> Oh did ya?

<CV WW> What made you gravitate to this gen<Doyle> Well, back then they went in to do an re of music? <CV WW> Oh yes.

album and we brought my guitar and my amp, which was better than the guy they had, so they were just going to use that, but he never showed up. I used to practice with it so they told me ‗well you just play it‘ and I said ‗fuck yea I will play it‘ and that was it! I was 15.

<Doyle> What Genre? I don‘t think I‘m in one! *laughter*

<CV WW> So, a lot of people want to know, how do you keep the devil lock in place? <Doyle> This is it right here, electrical tape. It‘s

<CV WW> 15, I thought it was 16 we were ready to go! *laughter* <CV WW> KY and Electrical tape? *laughter* wrong. *laughter* <Doyle> My first show was 16…

<Doyle, holding up KY> Yup *laughter*

<CV WW> I don‟t believe everything I read so I <CV WW> Growing up, were you interested in had to ask. *laughter* Do you ever get weird looks anything else besides music, like sports, or was it at CVS or something when you are putting that all music all the time? stuff on the counter? <Doyle> GIRLS! *laughter from all of us*

<Doyle> *laughing* Yeah, and if I go in with one

<CV WW> After experimenting with a few, you developed the Annihilator guitar - is this a case of "they just don't make 'em like I want dammit"? <Doyle> Pretty much. I had drawn that guitar on a book cover. Remember when your mom would take a paper bag and cover your school books?

<CV WW> Oh yes! lol <Doyle> Well of course I got all F‘s and D‘s so I was drawing all day and I drew a guitar on there and it was so cool that I ripped it off there and kept it. Then I started making guitars with a friend of mine and I actually laid the Iceman on the ground and I held it up and it was right to scale and I was like holy shit so we just made it!

<CV WW> So, has anyone ever gotten damaged by the sharp edges? <Doyle> Umm, not really, no. I‘m pretty accurate with that, they will run into me, like the singers will run into me, I don‘t run into them. *laughter*

<CV WW> Yea, things can get pretty crazy sometimes, I saw a video just recently where you were kicking some guy who had ended up stage while you were playing and I was like “damn look at him go.” *laughter* <Doyle>*laughing* Well, I don‘t go to where he works and jump on his desk right? *laughter*

of my friends they are looking at us like we are <CV WW> Exactly! It amazes me sometimes the gay. *complete laughter from everyone* things that go on at shows, I actually got knifed

once in a photo pit in Seattle at a Michael Monroe <CV WW> So, I am sure you here this a lot but show of all people, all because I would not move you're in great shape, obviously, how do you find for some guy who wanted to be standing where I the time to work out and keep fit in between all was. Insane! your shows and appearances? <Doyle> I make the time I don‘t find it. I have weights on the bus and it‘s the first thing that comes off and the last thing that goes in. I already worked out today, they brought it in the club, set it on the floor, I do it and they bring it back.

<Doyle> WOW! Yea, I had a knife thrown at me too on stage.

<CV WW> Isn‟t that awesome? <Doyle> My tech brought it to me and said look at what these motherfuckers threw at you, it was bent on the end and it hit my cabinet.

<CV WW> Have you ever been approached to do <CV WW> Yea, no thanks. a fitness shoot for a magazine? <Doyle> Umm, I have not.

<CV WW> Shame…

<CV WW> We heard you've got your own signature amplifier cab, is that true?

<CV WW> Ok, early on you played an Ibanez <Doyle> Yea I just made my own and had a company who was taking about doing it, but I‘m not Iceman… <Doyle> Correct!

sure if they are going to or not.

selves. I brought all the stuff, we did not use ProTools on the guitars, bass or vocals, only on the drums. We just used these 24 track TasCam recorders, bought one for me and one for my singer so I could give him my file and it goes in no problem. We liked everything and we did it ourselves.

The thing that I didn‘t like about it was we recorded 25 songs - well, actually we did 6 and then we realized we were doing it wrong and we had to start all over. So 6 and 25 is 31; we did 31 tracks and it took us a year and a half, it was horrible.

<CV WW> The inspiration for "Abominator" apparently came to you while driving, can you tell us about that? <Doyle> *laughing* Yea, well that‘s what you get when you‘re driving in the car talking to yourself out loud...*laughing* Everyone does that!

<CV WW> Yep! *laughing* <Doyle> I wasn‘t even having a conversation with myself I just blurted out the word Abominator, we didn‘t even have a title. I slammed on the breaks and instantly texted Alex, or maybe called him, and I said what do you think of this and he said ―yea yea, the next song we do is gonna be Abominator!‖ So the next thing I wrote I said to him, here is a Black Sabbath-y type of fuckin‘ song for ‗The Abominator‘ and he made Abominator in like <CV WW> You decided to go solo, and so far it's a day!

been an incredible success - what is different in <CV WW>WOW! your approach to writing and recording music as a <Doyle> Oh yea. That is the ORIGINAL demo vocals on that song too, he wanted to do them over solo artist as opposed to being in a band? <Doyle> It‘s really not a solo project, It‘s me and the singer Alex Story of ―Cancerslug‖. I just write the music and arrange it, and then I give it to him and he writes all the words and the melodies, I don‘t change anything.

and I was like no.

<Doyle> No, not all, it‘s easy.

<Doyle> I am.

<CV WW> So you wanted to leave it the way it was, nice.

<CV WW> Speaking of making personal things, <CV WW> Ok, nice. Do you feel any pressure this is something new I learned about you, we hear now that you are not in the other band and doing you're now making your own HOT SAUCE, is your own thing? that right? <CV WW> Is it? <Doyle> Yea, I‘m the boss now! *laughter*

<CV WW> *laughing* There you go!

<CV WW> What can you tell us about it? <Doyle>Ah it‘s really good! If we were on the bus you would be eating it right now. *everyone in room laughing*

<CV WW> How involved are you in the record<CV WW> So is this a hobby? ing process, what do you like or dislike about it?

<Doyle> We actually recorded that album our- <Doyle> No. Glen Danzig‘s personal assistant is

one of my good friends and he made a hot sauce and I never ate hot sauce before, and he gave me a big bottle and I went home and ate the whole fuckin‘ thing! I was like ―this is fuckin‘ great‖. So he wanted to go into business and I kept trying to give him the money and he was like ―no no, hold onto it.‖ Then like 6 months later he was like ―hey do you have the money‖ and I told him ―I told you to take it, when people hand you the money you take it.‖ So he looked at me and said ―ahhh hold onto it.‖ He never got off his ass, and then my cousin had some money and he wanted to do it and he said why don‘t we do that? So we tried to get samples from my buddy, and then months later we said fuck it and got somebody else and we put whatever ingredients extra I wanted in there ya know, and it‘s a Vegan Sauce and it‘s really fuckin‘ good!

<CV WW> On a scale of 1-10, how HOT is the sauce? <Doyle> Ahhh I would say it‘s about 5.

<CV WW> So, *laughing* do you "put that shit on everything"? <Doyle> Ummmm, well I do put it on a lot of stuff. It‘s a fat burner, that is why I eat it. *laughing*

<CV WW> Ahhhhh ok *laughing*

that‘s what I keep, if I write something that is too <CV WW>are you going to branch out and make hard I don‘t.

other sauces at some point? <Doyle> We are making an Abominator Sauce because everyone is crying that it‘s not hot enough.

We recently had a sample of the Abominator sauce and OH BOY!

<CV WW> Awww, how old is she? <Doyle> She‘s 12.

<CV WW> You have a son too correct? <Doyle> I have 3 sons.

<CV WW> One of them is in a band called <CV WW> *laughing* Basically they are going Sleaze, am I getting that right? <Doyle> You are right, wow! *laughing* to wish they had not asked for that. <Doyle> Yea, their asses are gonna whistle! <CV WW> I do my research! *laughing* *laughing*

<CV WW> Can you tell us about a particularly <CV WW> What bands do you count as your crazy show on this tour? <Doyle> Last night was the only good show. major musical influences? <Doyle> Everything I listen to. I listen to every- <CV WW> Where were you last night? thing you know. I listen to David Bowie, I listen to The Ronnets, Pantera, Arch Enemy, Black Sabbath. I don‘t try to write a song like this or that. I write it on my daughter‘s pink daisy rock acoustic guitar, and whatever‘s comfortable for me to play

<Doyle> We were at some Navaho reservation.

Umm, they just get it. They like it, they starve for it. It‘s like when I tour outside of the country. The place that sucks to play is the United States. Every band hates playing here, there‘s no money, every-

one just fuckin‘ stands there. When you go to Japan, Europe or South America everyone goes out of their fucking minds!

<CV WW> I have seen footage of Wacken and actually Doro was my interview this month and she was discussing it with me as well. I just want to go there once, it looks AMAZING and it looks like I may have that chance very soon, hopefully. <Doyle> I‘ve played that and it‘s fucking insane!

People as far as you can fucking see! If you get that chance go for it!

<CV WW> Do you have a favorite city or venue to play? <Doyle> I like to play in Japan.

<CV WW> What is your favorite part about being on stage playing? <Doyle> Getting off! *extreme laughter* Then finishing so I can take a shower and go to bed. *laughter*

<CV WW> *laughter* No I get it. <Doyle> Ya know, if the crowd is good I like it but if they suck I really hate it.

<CV WW> Looking back, through the years, what do you feel you do better musically NOW than you did when you first started? keeps you motivated to play? <CV WW> I‟m just going to nod my head. <Doyle> Trying to get that success because I don‘t have it yet. *laughing* <Doyle> Pick better girlfriends.

<CV WW> If you could go back and talk to a <CV WW> We hear you are working on a new younger Doyle, what advice would you give him? album, when is that due to come out? <Doyle> I would fucking choke him! *laughing*

<CV WW> OK *laughing* <CV WW> Where does the inspiration for your songs & music come from?

<Doyle> Umm all we have to do is the drums our drummer quit, so we are not having him on it.

The thing is, he had one more song to do, that motherfucker, so he fucked up but we have a guy now doing it; he was going to do it before this tour, but he had a death in the family so he was unable to do it so we will probably do it in late June maybe.

<Doyle> Well, Alex writes the songs I just write the music. I gave up writing lyrics because I suck at it. *laughing* When you suck at something what do you do? When you have somebody better than <CV WW> Is there any information you want to you, you have them do it.

<CV WW> That is true.

share about the direction it‟s going.

<Doyle> Well it was written and recorded at the <CV WW> After so many years in music, after same time as the other album. It was all one album all your success in all phases of your career, what we just split it in half.

<Doyle> I mean, you can‘t give me a fucking dollar for a song? A fucking dollar?!

<CV WW> Recently you made a life change to go vegan, what caused you to decide to make that choice? <Doyle> Yes I did. I did it for ethical reasons and health reasons, you know to not leave a biological footprint of fucking destruction. The food actually is insanely great! It‘s the best food ever!

<CV WW> Any final message for your fans and our readers?

<CV WW> Who are the other members of the <Doyle> Umm yea, stop stealin‘ shit! band and how did you know they were the perfect fit? <CV WW> I will totally say that because I agree <Doyle> Right now it‘s just me and Alex, we are *laughter* still trying to find the rest of the band. Right now <Doyle> So will I! *laughing* we have some guys filling in for the tour until we find new guys. <CV WW> Thank you so much for taking the

time to talk with us, we plan to do a review of the

<Doyle> I have to blow dry this hair, it will be show and I will also be shooting the show as well. kind of loud, you can yell. *laughing*

Not sure if they let you know but you are our cov<CV WW> Oh, well you are in luck I‟m good at er and feature interview for next month and we that. *laughing* <Doyle> That‘s good, then again most women are honored to have this time with you. See you out there! are. *extreme laughter from all of us* <Doyle> No problem at all, and no I did not know <CV WW> During your career, the music indus- that. Cool! Have fun!

try has changed quite a bit, particularly in terms of music distribution - how do you think iTunes & other sites have changed the industry for artists? <Doyle> I like iTunes, I use it all the time. The first thing I bought was Abominator. I buy shit all the time, I buy too much shit. But too often fans are not buying it, you know? I can‘t stand people stealing it! If I had a motorcycle factory and you walked in and took one is that a fucking crime? So stealing the music is a crime too, you want more of it but you‘re stealing it and now we have to get jobs because you are stealing all the fucking money. We are like wandering minstrels playing for a snack or someplace to fucking sleep. We are trying to feed our fucking families just like everybody else and it‘s a fucking job. I think that shit should be policed and they should be punished! I think they should have to pay a fucking fine!

<CV WW> I hear this so much, and I agree with you 100%

"Tonight every lovely thing will learn how to bleed..."

On the eve of April 5, 2015; Doyle takes the stage of "Vinyl" inside the Hard Rock Hotel and Casino in Las Vegas, Nevada.

There's fire in the air and they crash onto the stage with all the energy of the early Misfits. First up is the title track from their first and newest release "Abominator". From the first few notes of the show to the last few notes of the show; it's clear this band is out to tear up the stage. They weren't there to sound like some pop-rock NuMetal band or a whiny Nickelback knockoff. They've descended upon the stage for one purpose and one purpose only... to kick some ass. It's all they know how to do and they do it well.

Doyle just celebrated his 50th birthday and is still a monster both musically and physically. You see him standing stage right, beating the living shit out of his guitar with this dead eyed look and well... it's something to behold. The lead singer Alex, tears up the stage with the same kind of attitude as a younger Glen Danzig (not the fat Elvis Glen) without being a knock off. He's fresh, hungry and pissed off. The same goes for the rest of the band... the term "new blood" kept coming to mind while watching them. Same direction.

Different material. New start. And as always... the same "take it or leave it" attitude that Doyle has always brought to the stage.

For those unfortunate souls out there who haven't experienced Doyle yet, they truly are like a "Hybrid moment" between the old Misfits and Danzig. NO... they don't sound like the new Misfits -they're heavier. They sound like a Frankenstein's monster made from pieces of the Misfits and Danzig. It's metal. Actual metal. Not the watered down, keyboard infused laptop metal of 2015 that has caused the crash of the American metal scene... it's actual metal. It's raw, full of attitude and in your face. It's unforgiving and doesn't care if you love it or hate it. It possess the grind and lyrics - the look, feel, sound and character that only improve over time... sadly, most people will probably never know it.

It's just a sad reality that most "side project" bands like Doyle suffer immensely from what I call "The disease of their peers". Other bands -- (most other bands) get to that point in their career where they eventually dissolve. Their members splinter out and end up releasing crappy, lazy, unlistenable material. They're "famous for being famous" and put little to no effort into their projects. They mope onto the stage with a lackluster performance in a sad plea for beer money.

People end up shelling out a few bucks at one of their shows just to "say they saw them".

The Doyle "side project" is truly nothing of the sort and is the

polar opposite of the "side project" stereotype. Doyle is very much, the missing link that most die hard fans have been looking for and is considered by most to be the best Misfits project since the old days...

If you really think about it; back in the early '80s, the Misfits weren't the well known legends they are today. Their material was only available on DIY vinyl found in the back of shady record shops. The only place you would see the now infamous "crimson ghost" logo, was on some gutter punks jacket or scrawled onto something with a magic marker.

They were underground and you had to be one of the few crazy punks who was looking hard enough to discover the Misfits. They weren't playing in the auditoriums reserved for the likes of the Bee Gees and Donna Summer -- they were playing in any firetrap that was crazy enough to let them tear the place down.

Well now the Misfits are basically a household name.

Even if you've never heard one of their songs, you recognize that name attached to that skull. Like anything else, it's become a well established brand.

Doyle is kind of like a hard reset.

He'll always be a legend -- a Misfit. However, in his own band he's not completely married to the tried and true Misfits formula -- the brand. People interested expect to see something a little different from the typical formula. They know theyâ&#x20AC;&#x2122;re not going to see the Misfits. The most many people hope for is a half-assed jam session with the original guitar player. If you are truly a music fan and aren't afraid to think for yourself a little, you'll be blown away when you see an actual band playing up there. Not just a "cover band" or a "side project" but a new piece of horror-punk inspired metal that makes the hair on the back of your neck stand up. A group of guys that can produce that sound that every punk and metal head knows and understands as well as the sound of their own heart beating -- the sound that people outside of our circle don't get and never will.

That moment when you hear "it" and you feel that rush and say to yourself:

"THIS IS BAD-ASS!â&#x20AC;?

Beau Fox

Cars and Bicyclists: Peacefully Co-Existing...

10 Rules for Bicyclists Inspect Your Ride: It sounds basic, but to ride safely, your bike must be in good working order. Clarke tells riders to check the brakes to ensure they are working, along with inspecting the chain and gears. Inspect the bike before heading out to be sure nothing is loose or falling off. If you don't have to worry about wayward bike parts, you can focus better on the traffic, he says.

Follow the Rules of the Road â&#x20AC;&#x201D; All of Them: You have the same rights and responsibilities as drivers. That means bicyclists must stop for traffic signals and stop signs. Bicyclists should ride with the flow of traffic.

Look up the specific rules for your state.

You can usually find them at the website of your state's motor vehicle department. Helmet laws vary from state to state, and sometimes only apply to children. The Bicycle Helmet Safety Institute keeps an updated list at its site.

Whether it's the law in your state or not, "we encourage people to wear a helmet," says John Bowman, a spokesperson for the National Motorists Association, a membership program dedicated to protecting the rights of American

motorists.

Bicyclists should remember that they can be held liable in traffic mishaps, says Bob Mionske, a Portland, OR cycling attorney and avid cyclist. Suppose you cut a motorist off and he crashes. Don't be surprised if the driver comes after you, he says.

Observing the basic speed laws is important, Mionske says. "It's possible to speed, especially downhill." On San Francisco hills, for instance, he says a bicyclist can travel at carlike speeds. When passing motorists, do so in a straight line and make your move smoothly, Mionske says. Otherwise, you may startle them into doing something unsafe â&#x20AC;&#x201D; like steering into you.

Think of Yourself as Invisible: "Assume you are invisible to every car on the road," Bowman says. Thinking this way, he says, can lead a cyclist to think more actively about steps to take for greater safety, such as equipping their bike with reflectors. Some cyclists also make a practice of wearing bright, eye-catching clothing or reflective safety vests.

Clarke says a bicycle should be equipped with a front light, rear light and reflectors. "Pedal reflectors are good because they are in motion."

Cyclists also should make an effort always to stay out of a vehicle's blind spot, Mionske says. Try to make eye contact with a driver that's within your view, says Clarke.

You're visually confirming that the driver knows you're there, and vice versa, he says.

Be Predictable: Many car-bike collisions occur when a bicyclist does something the motorist doesn't expect, such as darting up to an intersection

Neighborhood: Yes, more and more communities have bike lanes, encourage bike commuting and in general are more bike-friendly. But that atmosphere can give bicyclists a false sense of security, Bowman says. They tend to let their guard down and possibly skimp on safety. Even in bike-friendly environs, you have to watch out for cars â&#x20AC;&#x201D; and other bicyclists.

and going straight when it looked to the driver as if the cyclist would turn right, safety gurus say. "Be as predictable as possible," Clarke says.

Signal your turns and stops. The League has riding tips on its site. It advises cyclists to indicate their intent to stop by putting their left arm out and down, palm to the rear. To signal a turn, cyclists should extend their left or right arm straight out.

Be Aware of Common Hazards: Veteran bicyclists know about the accident called "being doored," says Gary Brustin, a bicycling accident attorney in Santa Monica and San Jose, California. As the name implies, a cyclist is pedaling along, doesn't notice a motorist getting out of a parked car, and is thrown, sometimes violently, when he or she hits the opening door. "Try to ride a little more to the left if there are lots of parked cars," Brustin says. He also suggests that riders slow down and keep an eye out for people who may be in cars. Even though cyclists are right under the law to ride alongside the parked cars, they don't want to be "dead right," he says.

Railroad tracks are another potential hazard. "It's easy to catch wheels in railroad tracks," Clarke says. "To avoid that, cross as close to a 90-degree angle as you can. Sometimes that will mean you have to check behind you, to see if you can pull out in the traffic lane safely."

Disengage From the Rage: Road rage against bicyclists is, unfortunately, still with us, says Brustin. Don't react to angry driver behavior, he says. If you yell back or gesture, a driver just might confront you, he says. A better plan is to "try to get a good look at the person," he says. And although this is easier said than done, try to get the driver's license plate number, Brustin says. "Say nothing," Brustin says. "Get off the road." He suggests pulling into a parking lot or other safe place.

If you sense immediate danger, Brustin advises calling 911 and telling the emergency operator the story: That a motorist came too close, was rude and threatening and that you are frightened.

Let Bygones Be Bygones: "Don't blame one motorist for what another one did," Mionske says. Carrying a chip on your shoulder while riding can set a cyclist up for a kind of post-traumatic stress disorder, Mionske says. After too many close calls, and not letting go of bad attitudes of previous drivers, your adrenaline may always be up, he says.

That can't be good for maintaining health or avoiding confrontations.

Keep Your Rights in Perspective: Brustin and others advocate a ''realworld" view. If you always follow the letter of the law, you may be causing trouble for yourself, Brustin says. For instance: "You have the right to go through that intersection at a reasonDon't Assume Safety in Your "Bike-Friendly" able speed," he says. But if traffic is heavy or

the road is wet or a traffic jam surrounds you, slowing down is the thing to do. Again, you don't want to be "dead right," cycling safety experts say.

Be a Goodwill Ambassador for Bicycling: This may sound corny, but it could be very productive, Brustin says. Being an ambassador for good bicycling requires that you respect the law at all times, understand the motorist's point of view and make a conscious effort to improve the image of bicyclists.

Mionske is onboard with this idea. When a motorist yields to him, he doesn't ignore the good manners. "I thank people for their courtesy," he says. "I wave at them." As goodwill builds from good bicyclist behavior, the vibes on the roadway may just change. "Eventually motorists, instead of despising us, will treat us with equality," Brustin says.

Cars and Bicyclists: Peacefully Co-Existing... them as equals, just as entitled to the roadway as drivers are.

Drivers who get impatient with bicyclists Appreciate Bicyclist Vulnerability: might want to stop for a moment and think A car weighs 2 tons or so, while the averabout the human being on that bike, says a loage bike is a mere 20 pounds; "In any collision, cal Portland cycling attorney and cyclist: What any physical interaction between car and bike, if that rider was my friend, a friend of a friend, the bike always los-es, you never see a collision or a neighbor? Somehow, seeing bicyclists that where the bike rider came out less injured.â&#x20AC;&#x2013; way makes people a little more patient, he says.

When drivers don't humanize cyclists this Know Bicyclists' Rights: way, he finds, they often perceive riders as mere Drivers sometimes have little idea of the objects. traffic laws that apply to bicyclists. A recent visitor to a message board discussing cyclists and Consider the Benefits of Bicycling â&#x20AC;&#x201D; for Drivers: motorists wanted to know why cyclists can't "One cyclist on the road is one less car." just use the sidewalks.

Cyclists don't wear out the road, he adds In fact, bicycles in the roadway are con(which means fewer potholes for you). "We sidered vehicles. NHTSA says cyclists 10 years lessen traffic congestion," he says. "We can't and older should behave as though they were pollute." vehicles on the street, riding in the same direcSo if you're idling in your car behind a tion as other traffic that's going their way and cyclist who you wish would go faster, think of following the same traffic rules. The cyclists, it this way: "Well, he might be in my way temthen, are on the same level as motorists. porarily. At least he is not in a vehicle and in my way the whole commute."

Adjust That Attitude: Many motorists tend to think of cyclists Spare Them the Right Hook: as ''in their way"; rather, they should think of Intersections are venues for serious carcycle collisions. Drivers making right turns, especially, should watch out for cyclists. A cyclist may be a little behind and to the right of you, and may be planning to ride straight ahead. If you don't signal your right turn, you could wind up hitting each other, with the point of contact somewhere on your car's right side. If you are trying to figure out if a nearby cyclist is planning to turn right, look for his raised left hand in a squared position, or an extended right hand.

10 Rules for Car Drivers

rections and merging into a traffic circle.

Roundabouts require every participant's attention, as does the more comprehensive "shared space" concept of traffic design, which uses minimal road signs, crosswalks, lights and barriers and inte-grates pedestrians, cars and bicycles in the same terrain. The need for heightened interaction, paradoxically, makes everyone safer, traffic-design experts say.

Look Before You Exit Your Car: Cyclists are terrified of being "doored."

Imagine a rider pedaling along next to a row of parked cars. Suddenly, a driver flings her door open. The impact can send the cyclist flying, and riders have died when they've been thrown into traffic.

While the driver can take a few seconds Beware the Left Turn: A driver trying to make a left turn sees an to look and stay put if a cyclist is approaching, oncoming bicyclist, but the driver figures he has a cyclist has no sure way to anticipate whether a driver inside a parked car is about to open the plenty of time to complete the turn. Sometimes, that's not true. It's a common scenario; door. All he can do is scan for drivers who look and after a collision, a driver often says he did- as though they might be preparing to exit a car. n't realize the cyclist was going that fast.

A bike can easily get to 15- or 20-mile-per Accept That Bicyclists Are Here To Stay: Bicycling is on the rise. People are taking -hour speeds. "If in doubt, yield." Exercise the same caution as you would for an approaching it up for exercise or to reduce commuting costs.

New York City, Portland, Oregon and San vehicle.

Francisco, among other cities, all have seen an increase in commuter cyclists. It's time to make Give Cyclists 3 Feet of Clearance: Twenty states have now passed laws re- peace with them — for everyone's safety. quiring motorists to give bicycles on the roadway about 3 feet of space. "Bike riders really appreciate that.‖ The 3-foot rule helps drivers by giving them a concrete frame of reference, he says.

Look Around — but Not at Your Phone: Drivers who have hit cyclists almost always say the same frightening, sobering thing: "I never saw him before I hit him."

If drivers only expect other cars on the road, they're setting themselves up for dangerous interactions. A model of greater awareness can be seen in the European-style ''roundabout," with traffic coming from all di-

What Do Tattoos Look Like When You Get Older?

Ridiculously Badass, As Evidenceed By These Tattooed Seniors Jamie Kenney, Bustle.com

I got my first tattoo almost 15 years ago when I was a senior in high school. (Note to young readers: Really think about whether high school is the best time to decide to get a tattoo.

The answer is probably no. Okay, preachy mom moment over.) Even though I was a teenager, the most frequent comment people made about my new tattoo was, ―Yeah, but what will it look like when you‘re old and wrinkly?‖ I even had one teacher (whom I loved) ask, ―What are you going to do when it sags?‖ To which I replied, ―Well… it‘s not really in a spot particularly prone to sagging.‖ (It‘s not.) ―Oh honey,‖ she replied, ―it aaaaaallllll sags.‖ These foreboding words were terrifying for so many reasons, but specific to my tattoo, it definitely raised concerns. Because what did I know? Do tattoos stretch as you get older? How was I supposed to know? Fortunately, this new video from Buzzfeed elegantly answers that favorite concern troll question via badass images of seniors sporting tons of ink. So, what will your tattoos look like when you‘re old? In a word: awesome. In two words: Completely awesome.

Certainly tattoos have enjoyed a mainstream cultural moment in the U.S. over the past decade or so that they have not previously. Once adorning only those on the fringe of ―polite society,‖ it is now estimated that 1 in 5 adults has a tattoo, and that number goes up to 40% of adults between the ages of 18 and 29. It‘s no longer weird to see a housewife with a rose on her ankle, or a youth minister with full sleeves. So in a few decades, we will be seeing a large portion or perhaps even a majority of senior citizens tatted up. Based on the preview in this video, it‘s going to be pretty cool.

There are lots of arguments not to get a tattoo: a lot of them are valid, a lot of them are not. I think we‘ve now settled where the ―but it‘ll look bad when you‘re old!‖ argument falls on that spectrum.

<CV WorldWide> Tell us who's in the band and <CV WW> If that's true, what led you to the detheir role cision to bring others in and make it a group?

Rich Recker - Main songwriter, bass player, lead <RICH> It was always my plan to get out and vox play the material live but it was on the back burner JK Licktee - Rhythm guitar, backing vox for a while. After my 2nd CD "Tragedy or TriDamon Gray - Lead guitar, backing vox umph" received some very positive attention and Tommy "Stixx" Slaughter - Drums reviews online, I started to really focus on putting a band together to play some live shows.

<CV WW> Rich, do i read correct that you start<CV WW> Tell us how about the journey to get ed off as a solo act? to THIS line up of Recker - you took a hiatus last <RICH> Yes.

year, but now have returned with band. It was obvious that Damon bring the fire, it's a great balance a couple of new members, tell us shared a lot of the same influ- and mix. ences and could bring the songs about that process <RICH> I was in a cover back to the style I was looking for <CV WW> What message do band back when I first start- and that was it. This lineup you try to convey with your mued working on my solo material. played its first show in November sic, what do you hope fans take After I released my 2nd CD, the 2014. away? drummer and guitar player offered to learn a few of my songs.

We started off as a 3 piece but we needed a bigger sound. Having only 1 guitar player wasn't enough live. I found JK through Craigslist and we played a few shows as a 4 piece. The reactions from the shows were very positive. Unfortunately, the other guys and I differed a little bit in our approach and style to the material. I have a very "80's" sound that I felt was getting lost a little bit in their interpretation of the parts. I decided that I really wanted the songs to sound closer to the way I recorded them so I let them go to find some other players. I auditioned several guitar players and drummers (all through Craigslist) until I found Tommy on drums. Tommy recommended Damon for the guitar slot since Tommy and Damon knew each other from a previous

<CV WW> What do you think each member brings to the group, what works so well with THIS group of guys? <RICH> This lineup is still pretty new so I think we are all still finding our places in the band.

But, Tommy and Damon have known each other for years which I think is a big part of the band being as cohesive as it is.

Also, all of us are pretty easy going so there haven‘t really been any big disagreements or arguments yet. One thing that everyone brings to the group is that we go out every show and give 100%. Everyone is committed to putting on a good show and making sure the audience goes home happy. <TOMMY> I feel that Rich brings the coolness to the band, Jack brings the groove, Damon brings the fun and party and I

<RICH> I don‘t necessarily have a specific message but most of the songs are about relationships – which I think a lot of people can relate to. <CV WW> What can fans expect to see at a show? <DAMON> Energy and Entertainment. It‘s my hope that the fans walk away from our show saying ―Wow that was fun‖. It‘s important to us to make the audience feel like they are part of the show. <RICH> Lots of high energy, loud guitars and a band having a great time.

<CV WW> What do you think is the appeal of Recker to the fans? <DAMON> Duh…we are four good looking dudes. HaHaHa. I think the music with the fun guitar riffs and catchy chorus lines really give the audience something to sing along with and dance to. Our fan interaction from the stage is also something audiences really enjoy being a part of too. We are also very accessible to our fans and enjoy chatting whether it‘s online or person. <RICH> I honestly don't know how to answer this question. I think we have good songs but I am biased in that opinion! ;) But seriously, I am blown away by the compliments we receive after shows and it feels good to reach

people with our music.

<CV WW> You've played some big shows with some national acts (and upcoming with Quiet Riot and Y&T), what do you take away from that type of show, seeing and playing with them? <DAMON> The experience of playing in front of such a large crowd is always nice. Of course meeting some of your childhood idols is always nice, too. It‘s always nice to look out and see friends and family in the crowd at these bigger shows pumping their fists in the air. It‘s a great feeling. <RICH> The biggest take away for me is that I am grateful to be able to do something that I love doing. I have been in quite a few bands over the years but this is the first time that I am out playing my own original material and that is very rewarding. I've also seen how connected people are to the music and how meaningful it can be. I appreciate that more than I used to.

playing music that will make people feel good and want to shake their butts. Of course the partying has slowed down quite a bit. LoL It takes a lot longer to recover from a hangover now than it did in my 20‘s. <RICH> From a songwriting perspective, my songwriting has evolved to include more "tricks" and I have a greater appreciation for how hard it is to keep things fresh. As a bass player, I think I am more well-rounded now than I have ever been.

<DAMON> Don‘t be afraid to take chances. Remember you are there to showcase your music but also to entertain your crowd. <RICH> Don‘t be a dick to your band mates.

<CV WW> How have you changed given all these years in music? <DAMON> I got older! HaHaHa. I think I have slowed down a bit and gone back to my roots of

<CV WW> What advice might you give a younger version of yourself ? <DAMON> Get a good manager! HaHaHa <RICH> Get out sooner and take more chances. Play with as many people as you can. Learn as many styles as you can and learn as many cover songs as you can.

<CV WW> What do you think you do better now than you did <CV WW> Do any of your songs speak to you on a personal back in the day? <DAMON> I think I‘m a better level?

entertainer. It takes a while to learn how to work a crowd and keep them excited through the whole show. Over the years I‘ve watched other great performers and tried to figure out how they kept their crowds so pumped. I guess it s always a work in progress. <RICH> I agree with Damon.

When all I had to do was worry<CV WW> If you could take ing about playing bass, it was much easier to let the singer work

one thing away from a prior band in which you've played, what would you say that was?

the crowd. Now, it‘s something I have to do a little bit more and something that isn‘t natural for me.

<DAMON> Yes, our song ―Nation on Fire‖ speaks about the issues going on in our country right now. It really makes you think about the issues a lot of folks are dealing with currently. <RICH> Well, since I wrote them all….Yes! HaHa. At the moment, I am particularly fond of ―Let It Rock‖ and ―Dark Days‖. ―Let It Rock‖ is the song that has gotten the most attention online and has opened a few

my house and record everything on the computer. I usually start with a rhythm guitar tracks first and then get as much as I can done in a rough mix to send to the drummer. Sometimes, I‘ll have lyrics ready and guitar licks but sometimes I just sing ―blah, blah, blah‖ or make up funny words where the verses will be so the drummer knows where I will be singing. Once I have the drums recorded, I re-track all of the parts to the drum track to get them as tight as they can be. I usually record guitars first, then bass, then lead vox, then backing vox and finally lead guitar. Once I have everything tracked, I mix down. It‘s a lot of work but I really enjoy the recording process; except when equipment is acting up or there are technical issues.

doors for us. It has sort of become our battle cry. :) ―Dark Days‖ is just a riff that I really like and the meaning of the song is something I can personally relate to. Sometimes, you just have to suck it up, put up with all the bullshit and the crap that‘s com- <CV WW> Recker's 2nd offering at you and just keep pushing ing, „Tragedy or Triumph‟, in to get what you want.

2010, became a top seller

<CV WW> Recker released „Vita-Amore-Destino‟ in 2009, and it pretty much became an instant hit through CD baby - did you expect THAT much so early? <RICH> No I didn't. I honestly didn't know what to expect. Of course, I thought I had some good songs. And, I felt good about the CD but I wasn't sure if people would like it as much as I did or how it would be received.

<CV WW> Tell us about the process of recording and mixing a full album. Was it harder or easier than you expected?

AGAIN on CD Baby - what pressure, did you feel, to produce a successful follow up to your debut? <RICH> Actually, I didn‘t feel too much pressure after ‗Vita, Amore, Destino‘ was released.

That CD was a learning process for me on releasing music as an independent artist and I really had no expectations of how well it would do. As it turned out, I actually felt more pressure after ‗Tragedy or Triumph‘ came out.

It received several very positive reviews online and the momentum seemed to be building. I wanted to try to capitalize on that success.

<RICH> I have a background in recording and engineering so I had a pretty good idea of what to <CV WW> In 2012, following expect. I have a small studio in „Believe‟, you put yourself out

there and began playing live shows, and almost immediately became a local favorite - how did that validate your music? <RICH> People thought that I was crazy to try and go out with only original music. But, that was always the goal...to have a 30-45 minute set of all killer, original music that would get us opening up for national bands – which we are doing. So, to go out and have audiences respond as well as they have to our originals has been phenomenal.

<CV WW> Recker is now a "featured artist" on ReverbNation...what does that mean for your music getting out to the masses of music fans? <DAMON> It‘s great! It really gives us a chance to get our music out to the world and share our passion with so many people other than just our local crowd. It‘s always cool to get a message from someone in another country saying how much they dig your music. <RICH> We have made quite a few new fans through ReverbNa-

tion since that feature appeared back in February. We also received some internet radio interest as a result. I still receive fan requests through ReverbNation so it turned out to be a great way to expose our music to a much wider audience. And, as Damon said, ReverbNation is global and allows us to reach a lot new fans in other countries. <TOMMY> I think it is a good tool to broaden our spectrum of music listeners.

you have any other interests or about every genre of music dewas it just all music all the time pending on my mood - one day it could be Korn, the next could be once your got bitten?

<DAMON> I always wanted to play in the NBA. LoL. I actually played college basketball but injuries really took a toll on me. <RICH> When I was much younger, I dreamed of being an athlete. I loved playing baseball and played some sports in high school. But, once I picked up the bass and formed my first garage band that was it! <TOMMY> Music has been my <CV WW> Who do you guys major influence since the age of 4 count as your musical influences? although I was involved in quite <DAMON> For me it has to be a lot of different sports.

Van Halen. I was also turned on to a lot of classic rock bands at an <CV WW> Who is on your muearly age which shaped my love sic player, who do you listen to of music early on. during your downtime? <RICH> KISS was a huge influ- <DAMON> Lately I‘ve really ence on me. Gene Simmons is been getting into Phil X. He‘s the the reason I picked up the bass. new guitar player in Bon Jovi.

Bands like Motley Crue, RATT, Great player and a really cool Judas Priest and Iron Maiden guy! were also big influences for me. <RICH> My iPod is stuck in the <TOMMY> My major influ- ‗80‘s! LOL! I do like some newer ences would be Led Zepplin, stuff and I listen to all kinds of Rush and Van Halen. music but I still listen to all the

Blackberry Smoke.

<CV WW> Do you guys have a favorite local place to play? <DAMON> I wouldn‘t say we have a favorite. Our first few shows were at a local club called ―Malibu‘s‖ where we kinda got our start. I figure as long as the load in and out is easy I like the club. HaHaHa <RICH> Anywhere people show up! LOL! For me personally, Malibu‘s will always be a special place because that is where the band really started to take off.

<CV WW> Do you have a particularly memorable show that sticks out? Why was it memorable?

<DAMON> For me it would have to be the time in a former band we were playing a show and a drunk female jumped up on stage in the middle of a song and started literally taking off her clothes. You should have seen bands I loved when I was a kid. the crowds face when she started <CV WW> Growing up, did <TOMMY> I listen to just taking off her pants. Priceless. I figured someone would stop her but nope. LoL. <RICH> We have played two shows with an AC/DC tribute band (Thunderstruck) and they have been off the hook, crazy!

Whatever it is about that lineup has drawn great crowds and great energy! Those two shows will always be memorable for me.

<CV WW> Have you played a show that make you think "damn, is this really worth it?" <DAMON> There have been many for me. I think we have all

weird...right?

<CV WW> It's still a pretty small market in the scheme of things, have you guys thought of going big time to another city?

done shows that you look out and you‘re playing for a waitress and a bartender. Other times its packed house and everybody is rocking and you think ―Wow this is killer!‖ You take the good with the bad I guess. <RICH> Not in this band…at least not yet! I definitely felt that way when I was playing 4 sets a night in bar bands. <TOMMY> There's always that show or a few that you ask yourself that question.

<CV WW> What motivates the guys to keep improving, to keep expanding your horizons as musicians and a band? <DAMON> Putting together new songs is really motivating to me. When you play it live for the first time and the crowd goes nuts it‘s a great feeling. When I see the fans digging what we are doing it really motivates me to continue to get better and bring the best out of myself and my band mates. <RICH> I agree. Getting a great reaction from the crowds makes

<DAMON> Oh yea we have talked about it for sure. I‘d love to get out to Vegas or maybe make a run to southern California. That would be great! Never say never! <RICH> For me, it is one step at a time. Everything we have done has led us to something else bigger and better. It would be great to get out on the road to other cities but I have no problem with where we are right now. everything worthwhile and <TOMMY> If we could go "big makes me want to make every time" to another city I would serishow better. ously consider it. <TOMMY> The love for music.

<CV WW> Let‟s talk about the music industry today...music distribution is much different now, do you see that as progress? The <DAMON> It‘s really a tight ability to market/sell individual scene here in Portland. We all songs, does that benefit the inpretty much know each other. dustry as a whole? <CV WW> Tell us your opinion of the Portland/Vancouver music scene? Do you feel like the "other brother" to Seattle?

Right now the tribute scene is on fire but original bands are really starting to make a comeback. It‘s nice to see. It‘s great because heading up to Seattle to do a show is a nice change of scenery once in a while. <RICH> It has been great getting out and playing with so many great bands and musicians in the area. There are always a ton of shows on any given weekend and plenty of venues to play. <TOMMY> There doesn't seem to be a huge connection with the Seattle scene, as far as the Vancouver/Portland scene you never know what is going to be a hit or a miss - keep Portland

<RICH> I‘m not sure releasing individual songs affected the industry. If you think about it, that‘s where it started in the 50‘s and 60‘s – everything was a single. Personally, I think selling individual songs is great. I can remember when you used to hear a single from a band, go out and buy the album, and find out the rest of it wasn‘t as good. I like the fact I can buy only the songs I like – or all of them if I want. Also, single songs are also a great way for us to put something out a little quicker. <TOMMY> I think the state of the music industry distribution nowadays has not been benefi-

cial to the industry as a whole.

<CV WW> What is your final impression about Social Media?

Is it a worthwhile effort, necessary evil, or wasteful distraction? <DAMON> Again, I think it‘s both good and bad. I mean it seems like before a band can even get their new album out to the stores for sale its already on YouTube which is kinda crappy for the band to sell any. On the other hand I think it‘s a great way to develop a fan base around the world and meet people you‘d never have a chance to interact with without social media. <RICH> All of the above! LOL! Seriously, you can waste hours of your life on stupid, meaningless shit on the internet. But, it can also be a great tool for reaching people that you wouldn‘t otherwise be able to reach. <TOMMY> I think social media is a very important tool to promote in this age of technology; this is the world we have become.

Recker in 2-3 years? <DAMON> Hopefully we will still be putting out new songs and putting on shows that our fans continue to enjoy. Doing an occasional trip to Vegas for shows would be cool too. We always have new stuff up our sleeves.

HaHaHa <RICH> I‘d love to see us continue on the path we are one.

Keep opening for the national acts that come through and eventually do some local headlining shows. A few road trips would be great. <TOMMY> Hopefully making music and touring full time.

<CV WW> It's 1/3 through 2015, what big things can we expect from Recker this year?

<DAMON> Well…of course we will be playing with Quiet Riot and Y&T in May at the Bossanova Ballroom in Portland. We actually were supposed to be on an episode of ―Bar Rescue‖ but that fell through. Hopefully we can get on a few more national shows and continue to get our music out <CV WW> Where do you see to the people.

<RICH> Hopefully, more shows with national acts that come through Portland. I‘d also like to get some more songs recorded and maybe shoot a video.

<CV WW> Any final thoughts to our readers & your fans? <DAMON> I‘d just like to express my thanks to all the fans that support us and follow us on social media. It‘s always great to chat with new friends. We really appreciate you all and always look forward to seeing you at our shows. Remember you can find us on Facebook and Reverbnation.com. Our CD‘s are available at CDBABY.com, iTunes.com, and Kmart.com. Drop us a note, we would love to hear from you.

Until then ―Let it Rock!‖ <RICH> Just…―Thank you‖… to the people who have supported us, to our new fans, anyone who has bought a CD or a t-shirt, liked our page or shared our posts! We really couldn‘t do it without you. We look forward to seeing you all out there! And, thanks, of course, to CV Worldwide for the interview!

Wearable Art

Gear the Pros Use! Guitar: 

Gibson Les Paul Traditional



Bare knuckle Pickups



Fender Light picks



D'addario strings 09's

Amp:  

Marshall Jcm 2000 DSL 50 watt Halfstack

Pedalboard Effects:  Boss Chorus  Tuner  Custom (Onfloor Audio) Overdrive/Boost  MXR Carbon Copy Delay  Slash Wah Pedal

Gear the Pros Use! Bass Drum: 18 x 22 in  Snare: 7x 14 in.  Tom: 7 x 8 in  Tom: 8 x 10 in  Tom: 9 x 12 in  Floor Tom: 12 x 14 in  Floor Tom: 14 x 16 in  STM Suspension Tom Mounts Zildjian A Custon cymbals  14" hi hats  14" fast crash  16" crash  17"crash  18" projection crash  20" china  22" ride

PDP kick and toms with maple shells, DW snare drum, PDP rack with Gilbraltar mounts, DW 9700 series hardware, Pearl Eliminator Demon Drive pedals, Zildjian A Custom cymbals, Evans EC2 and Emad2 drumheads, Vic Firth drumsticks

The Music Industry is Dying? GREAT! The demise of the music industry can actually work for musicians as a moment of liberating grace. You can make a sane living in an unpredictable economy.

Y

ou know the kind of people who say ―I‘d never bring a child into this world?‖ That‘s how some people feel about bands. That‘s how I felt, for about five years. My first band— complete with the Rolling Stone music director handling management, and the ex-Napster COO ready to handle legal— melted down so ―unexpectedly‖ that I fled to Washington, D.C., to write and to study political theory. Screw the music industry, I thought. This is doom.

But a funny thing happened on the way to becoming a Beltway Boy. I had a chance to move back to Los Angeles, and I took it. I hooked back up with my drummer. And we started writing new songs. And we started a new band.

And somehow, strangely, my life isn‘t over yet.

That‘s not to say there aren‘t head-check moments.

They happen every day. Shouldn‘t you call it an early night?

Shouldn‘t you spend this time catching up on email? Doesn‘t that riff rip off Capital Cities?

And then the big one: Isn‘t the music industry more screwed than ever?

Fortunately, I have legitimate professional reasons to read up on the endless Internet debate

at the intersection of music policy, music technology, and musical artistry. And the more I keep tabs on the dueling judgments of people like industry lifer Bob Lefsetz, ex-Gang of Four bassist Dave Allen, Talking Heads guruDavid Byrne, and the University of Georgia‘s David Lowery (ex-Camper Van Beethoven and Cracker), the more I realize that the so-called demise of the music industry can actually work for musicians as a moment of liberating grace.

And for the rest of us, it can open our eyes to a form of economic life that doesn‘t fill us with resentment or depression.

All our leading music com-

Believe it or not, though, music is one of the last culturally dominant rich people’s games where those on top often lose it all.

mentators are making a serious effort to understand why the music business has been upended and what ought to come next.

But as forceful as their arguments may be, my attention returns again and again to the upshot of the disruption at the system level.

What we find there is simple, yet remarkable: a ton of obscure and insignificant acts at the bottom— as expected—and, at the top, a g r o w i n g n u m b e r of struggling would-be blockbuster acts.

Not just in supposedly selfmarginalizing rock music, either!

Right at the epicenter of big time pop, music is foundering as a wealth enterprise. Even the most over-the-top stunts aren‘t pushing celebrity musicians‘ numbers up to where the industry hopes. ―Pop music has evolved into a lifestyle condiment,‖ sighs Steven Hyden at Grantland. ―Technology can't change this, it can only expedite it. This is not a new story. What changed in 2013 is that the endgame can be viewed with greater clarity if you choose to see it.‖ At the same time, great sadness awaits those going into the lifestyle condiment business.

In a post entitled ―Hipster Death Spiral,‖ Lefsetz mocks the cognoscenti touting music‘s answer to microbrews. ―Don‘t I know that I

should be championing the obscure? That anything successful is not worth paying attention to?‖ That‘s so twentieth century. When we were one cohesive society. Now it‘s every man for himself. And either you pop your head through or you‘re irrelevant.

Even worse, you can be famous and irrelevant. All that counts is the mainstream. If you‘re not attempting to be known by everybody, if your goal is the niche, it‘s almost like you don‘t even exist.

And if there‘s one thing we‘re all trained down to our bones to fear, it‘s being stuck in a life where we seem not to exist.

Believe it or not, though, music is one of the last culturally dominant rich people‘s games where those on top often lose it all. In national politics and global business, the safest place to be is the pinnacle. Insulated from ruin, networked into success, failing upward and retiring in splendor are commonplace. Only the most egregious sexual and ethical errors will destroy your career— and sometimes not even then.

Music is far less forgiving.

In that industry, the financial churn that helps democracy thrive is alive and well among

current—and former—stars. It‘s easy to squander your wealth. It‘s easy to lose the support of institutions, audiences, and even fans.

And it‘s fiendishly hard to generationally empire-build. For Trumps, Hiltons, or Cuomos, passing power or money onto the next generation requires no more than time and effort. For the music elite, it‘s a roll of the dice at best. How many kids of A-list musicians have maintained the wealth and status of their parents?

It‘s financially bad news for the Francis Bean Cobains of the world. But the forever-shifting fortunes that define every level of the music industry offer a model for sane living in an economy that seems ever more sharply divided between big winners and big losers. Unless corruption and patronage are endemic in an industry (heads up, politicians), it‘s possible to grow and sustain what old-school economists call ―middling fortunes.‖ Those at the bottom mostly hustle in obscurity. Those at the top mostly slip down the greasy pole. And those in the middle mostly plow ahead, refreshed by the repose of spirit or

soul so hard to find at the top or the bottom. ―There is nothing keeps longer than a middling fortune,‖ wrote master French moralist Jean de La Bruyère; ―and nothing melts away sooner than a great one. Poverty treads on the heels of great and unexpected riches.‖ The changes wracking music are really justrestoring the natural landscape of any free industry.

But what about that technology, you ask? Even if you rise up or slip down to ―working musician‖ status, won‘t the Spotifys and YouTubes ruin your income stream?

Not if you focus on why we‘ve even still got a music industry. People want to be moved.

Yet sculpture, architecture, painting, and even film are letting down masses of people every day. Music anchors and unites creative endeavors in a way no other art form can.

Wake me up when you rise to that occasion. With a little luck and a lot of hard work, I‘ll meet you there.

James Poulous The Daily Beast

Order in the Chaos Helpful Band Tip #2 - Knowing Your Role One of the most distressing and disturbing dreams I have ever had was when I dreamed we all lived in a world without music.

Where all ears stopped caring to hear it, musicians stopped playing it, and teachers stopped teaching it.

Not in that order, mind you, but you get my drift.

Unfortunately, that dream, while perhaps not overly true to form, IS coming to bear. But, only in the aspect of the musicians these days.

The fact that less and less of them actually take the time to rehearse both personally AND with their band. Resulting in sub-standard performance and product... thus, resulting in less palatable ear candy to the listener.

If you are a Guitarist: Practice your scales WITH A METRONOME! You can't expect to play on time with a real drummer if you don't work at it. Practice your chords. Practice your phrasing. And know your gear. But most importantly, play from your heart AFTER you learn your scales, chords, and timing. In the words of Paul Gilbert, "You have to know the rules BEFORE you can break them.

I may not be the fastest or most eloquent guitarist out there... but I DO understand the importance of these points. And while my solos may not be Yngwie-fast... at least they have feeling. More than I can say for most pro-level guitarists in the Industry-led music scene today.

It doesn't matter what genre of music you play, playing from the heart will always prevail... and doing so with SKILL and ARTICULATION from years of hard personal practice will pay off BIG.

If you are a Drummer: Welcome to the only position in the band who's performance CANNOT be copywritten.

There, you heard it from me so you no longer have to be kept in the dark on why YOUR royalty checks might be lower percentage than everyone else's.

But, learn your kit. Learn your timing, and learn how to make good decisions when behind the kit (Don't be afraid to study the classics like John Bonham, Keith Moon, Charlie Watts, etc. Trust me, they played with more heart and soul than ANY of your present day drummers.

Practice your rudiments. Practice your rolls, etc. Keep up on it, and when alone... you got it... PRACTICE WITH A FREAKING METRONOME!!!! You have a very important job... to keep everyone else ON TIME! And, if you REALLY want to be a pro... rehearse and perform with your band with an in-ear click. It adds consistency and better precision with your

audience.

that those three very important things are what make you a singer. And, without those three things, you will probably never see a bigger If you're a Bassist: Learn your bass. Learn your Scales, Tri- stage and, thus, bigger audiences.

Practice your voice exercises, practice ads, Hand Positions, Pedal Tones, and timing. singing from the diaphragm, and practice your And for Heaven's sake... stop playing along with the guitar line. It is lazy and while it might skills at working with others... and yes, important yet silly as it sounds, practice your stage be appropriate in certain key parts of a song, persona. It's extremely important to be an EFyou gotta get out of the habit and give the lisFECTIVE front man. That is part of your job. teners a break and add some flavor to the Engage the audience, and kick their ass... that's band's sound and product. what they are there for. They are not there to be Learn how to stick in the pocket. Work with your drummer. I can't tell you how many ignored or put to sleep. Talk to them, invite them into what you are doing. Drag them into band situations I have been in where I would leave the room and come back fifteen minutes your drama in the songs... Don't just yell at later to a silent rehearsal space. The drummer them, bore them, or talk TOO much in besitting behind his kit picking strips of wood off tween songs. his sticks, and the bassist quietly trying to figure These things might appear to be my opinout that elusive Entwistle lick. Play together... even add a night where you and the drummer ion, but if you tried to be a Musician instead of just a guitarist, singer, drummer, bassist... you get together for an hour or two... it will bless might get a LOT more enjoyment from your your band's rhythm section greatly and will experience. And doing these things are a provmake YOU almost indispensable. en and tried way to make music not only better for the performer, but more importantly better If you are a Vocalist: for the LISTENER. You have one frigging job to do... and Give it a shot... test me, and tell me it that is to SING. Then do it. And stop being abdoesn't work. But, focus on yourself, and don't sent to practice, showing up late to the gigs, skipping sound checks and then bitching about worry what everyone else is doing... shoot, you just might outgrow your band and move on to how terrible your stage sound was, etc. Just bigger and better things... that's what personal SING! growth is all about, but don't obsess about what Very few singers I have ever come into contact with have been responsible and respect- is not, but rather what is NOW, and make it better... growth should come naturally. ful enough to the band to be punctual and rehearse with them on a regular basis... unless, of course, they are in charge and ruling the band with an iron fist. And, trust me, that's no good either.

The fact of the matter is, you are the voice and face of the band. The band's job is to make YOU look good. But if you don't SOUND good, you've failed right out of the gate.

I'd like to say, you that you should leave your arrogance, conceit and ego at the door, but we should ALL recognize and understand

Brien DeChristopher is the guitarist and primary songwriter for Seattle Seale-based hard rock band "Agents Of Chaos". He has logged countless hours on stage in live performance, and studio recording time.

You can see this and other Pearls of Wisdom at http://www.blogster.com/briendechristopher/

QUICKIES: HOW TO SAVE ON CAR MAINTENANCE Today‘s cars, with their specialized electronics, computerized internal controls, and longlife fluids, offer fewer and fewer opportunities for do-it-yourselfers to roll up their sleeves. It‘s a mixed blessing. Cars need much less maintenance than they did in the good old days, and they last longer than ever. But some services that used to be routine now require the attention and tools of a highly trained specialist. Still, there are plenty of tasks that can keep a weekend mechanic busy for hours, and save you a few bucks in the process.

Go by the book. Your owner‘s manual is the court of first resort for maintenance schedules and specifications for fluids, tires, lightbulbs, fuses, and other parts.

It‘s vital to follow the manufacturer‘s recommendations. Using the wrong transmission fluid, for example, could wreck the gearbox and void the powertrain warranty.

Go buy the book. For moderately ambitious tasks, get hold of a detailed repair manual, such as those from Bentley, Chilton, or Haynes. The books show how the myriad components assemble and disassemble, and they explain how to perform basic maintenance and repairs, and typically troubleshoot, too. They generally cost $15 to $30 at autoparts stores or online, and even if you use the manual only once, it

will probably pay for itself.

Search the Net. Google your car‘s make, model, year, and area of interest (e.g. ―2002 Ford Focus headlight replacement‖). Such a search can turn up helpful tips and videos from mechanics, owner‘s forums, and even the carmaker. But always be mindful of the source.

Watch the video. YouTube and other online portals have step-bystep videos illustrating repair processes on countless cars submitted by fellow consumers and professionals.

What you can do?

Treating hazy headlight lenses.

Modern headlight assemblies usually have clear plastic covers that can become hazy over the years from exposure to the elements. To save the expense of

changing the whole headlight reflector assembly, you can use a restoration kit, usually consisting of abrasive cloths and a special finishing liquid. Some kits are applied with elbow grease, and others call for an electric drill.

We tested a few, costing from $9 to $21. We found they all made a notable improvement, but some were better than others.

Windshield wipers. You can extend the life of wiper blades by keeping them clean. Wipe off the rubber edge with a paper towel moistened with either glass cleaner or water and a little dish soap.

It‘s a good practice to clean the windshield and the wipers whenever you fill up with gas. And don‘t use the wipers to clear ice from the windshield. Doing that quickly damages the rubber edges. Instead, use an ice scraper and

the car‘s defroster.

Wiper blades don‘t last long. In our tests we‘ve found that six months is about the best you can expect a set of wiper blades to stay in top form. (See our windshield wiper buying advice and Ratings.)

Be prepared to get new blade assemblies every spring and fall, or as soon as you notice consistent streaking. And if you‘re changing one, you might as well change both, because they are subjecteto the same aging factors.

Auto-parts and big-box stores sell replacement blades, which cost $6 to $20 each. Some cars use unique blades that aren‘t widely stocked, so you may have to go to the dealer‘s service department.

Blade assemblies usually just snap on and off the wiper arm, requiring no more than a flatbladed screwdriver, if that. But some can be tricky, and it‘s helpful to have someone with experience walk you through it the first time. Easier still: Many autoparts stores will install the blades they sell free of charge.

Wash and wax your car. Giving your car a good cleaning helps preserve the paint by removing road grime and residues that can eat through the finish. The time spent hand-washing a car gives you a close-up view of every body panel, so you can spot scratches, chips, and dings you may not have otherwise noticed.

First wash the car with a cleaning solution designed for automotive finishes, working your way down from the top.

To maintain a quality shine, periodically apply car wax.

A spray wax is best suited to weekly or special-occasion appli-

cations. Other waxes can be used less frequently, every two to three months. (See our car wax buying advice and Ratings.)

We‘ve found that paste waxes hold up no better than liquid waxes, which are easier to apply. But none of the waxes we‘ve tested held up for more than a few months at best. We‘ve also found that microfiber cloths work better than old T-shirts, terry towels, or cotton rags.

Stain treatment. Pet-stain removal products can do a good job getting food, beverage, and other stains off cloth upholstery and carpeting. Key rules to follow: • The quicker you treat a stain, the better.

• Blotting is better than rubbing.

• Use cold water instead of hot, which can set a stain.

• Test any cleaning product first on an inconspicuous area to make sure it doesn‘t affect the upholstery‘s color.

• Spray bottles are just as easy to use and are less costly than aerosols.

• Use Scotch Guard or a similar product to make stain removal

easier later on.

Dent removal. To avoid the cost of a body shop or even a less costly "paintless dent removal" specialist, you may want to try a do-it-yourself dent-removal kit.

Those kits, available through infomercials and online, usually cost about $20 to $30. Essentially, they work by hot-gluing a suction cup onto the dent and then pulling the dent out with a special tool. Those we‘ve tried made some improvements, but the results weren‘t perfect. Two we tested were Ding King and DentOut. Generally, the more experience you have, the better the results. You have to be careful with the hot glue, and you should avoid pulling the metal out too far. Small dents less than 1 inch in diameter were the toughest to fix. The kits worked best on dents about 4 inches across.

Light bulbs. Changing some light bulbs (called a lamp in industry parlance) isn‘t difficult— most these days have a twist-andpull bayonet base or simply pull out and push in. Bulb specifications are usually found in the

HOW TO SAVE ON CAR MAINTENANCE (CONT) manual. However, accessing a bulb can be a real chore. Consult a service manual or look online if access to the bulb isn‘t obvious.

Sometimes it can be beyond the skills of a do-it-yourselfer. Accessing a fog-light lamp, for example, may require removing the car‘s front bumper.

Auto-parts stores and your dealer carry good selections of replacement bulbs, but you may find the common bulbs at your local hardware store.

Makers of some replacement halogen headlight bulbs claim they are brighter and reach farther than the original equipment. They may possibly be more intense, but the distance thrown by the beam is much more dependent on the headlight‘s reflector design than it is on the bulb. When installing a halogen headlight bulb, take care not to touch the glass with your bare fingers. Skin oils on the quartz glass are said to shorten its life.

Coolant. You should have the coolant changed at the interval specified in the owner‘s manual.

If you need to top up between changes, add coolant to the coolant reservoir usually found near the radiator. You can buy coolant at a service garage, or auto-parts or big-box store.

Sometimes it‘s premixed, and sometimes it comes in a concentrated form that you mix yourself using distilled water. A 50/50 mix is standard. Just make sure to get the proper coolant, which should be listed in your owner‘s

manual.

Checking to see whether the coolant is still properly resistant to freezing is a simple procedure. You‘ll need a coolant tester, but they‘re cheap—as little as $3 at an auto-parts store. The tester lets you suck a small sample from the coolant reservoir and then read on its gauge the temperature at which the sample will freeze. In most of the northern U.S., the coolant should stay liquid down to -30&deg; F. Actually changing the coolant yourself may not be worth the hassle. You need a safe way to dispose of the discarded fluid, and doing the job right involves flushing the whole cooling system, which creates gallons of contaminated wastewater.

Weather-strip. The rubber weather stripping used to seal doors can come loose if the clips fail, or it can deteriorate with age.

If the rubber is in good shape and the clips are present, you can reattach it just by pushing the clips back in place. You may be able to get replacement clips from your dealer‘s service department. You can also try gluing it back in place with a special-purpose weather-strip adhesive available at auto-parts stores for about $10 a tube.

Fuses. Any of a modern car‘s

many electrical subsystems can stop working if a fuse blows. The owner‘s manual tells you where to find the fuse panel and provides a diagram telling which fuse controls what. There‘s usually a fuse-puller tool, like a small clothes peg, inside the fuse-panel door. Always replace a blown fuse with one of the same amp rating, as specified in the owner‘s manual. In other words, don‘t replace a 10-amp fuse with a 20amp fuse. That could cause a fire.

Note that fuses usually blow only if something has overloaded the circuit. So a blown fuse can signal something more serious, such as an electrical fault, that will require a professional to remedy.

Touch-up paint. Touching up paint flaws early can save a heap of money down the road. You can touch up small scratches and chips with touch-up paint, available for a few dollars at your car dealership and at some auto-parts stores. Make sure you get an exact color match. Touch-up paint usually comes in a small bottle with an applicator brush in the lid. Otherwise, use a small, pointed artist‘s brush and cover the scratch by going over it in tiny dabs. Let the paint dry for at least a day or two before polishing the car.