July 2019 Static Live Magazine


STATIC LIVE Magazine is Central Florida’s premier publication dedicated to celebrating music and culture. STATIC LIVE provides extensive, detailed community information from fashion to art, entertainment to events through noteworthy interviews, sensational photography and in-depth editorial coverage. STATIC LIVE is the only publication of its kind in Central Florida and reaches all target markets through wide distribution channels. Our staff includes highly accomplished contributors with award-winning backgrounds in music and entertainment; we know how much business is captured from the entertainment market. Our free full color publication can be found throughout Central Florida at key retailers, hotels and restaurants in high traffic areas. Our mission is to highlight the incredible talent, culture and lifestyle in Central Florida. With eye-opening profiles and coverage of the music and art community, STATIC LIVE readers will be positively influenced by our topical content and trending advertisers. STATIC LIVE Magazine is the most effective tool for branding connectivity with consumers in our area.

I’m a 23 year old bartender at Outriggers Tiki Bar in New

Smyrna Beach, Florida. When I’m not at work I like going

to the beach, riding my bike, fishing or role playing with my

many Barbie and Ken dolls in my grandparents’ basement.

My other hobbies include:

Dungeons and Dragons

Dressing cats in silly outfits

Soup can label collages

Taxidermy & ant farms

Writing romantic novels for the homeless and less fortunate

Making boys cry

Drinking with strangers

Things I’m most proud of are my Band Aid collection and the

ability to hold my breath for 73 seconds while not blinking

Favorite movie: Independant

Favorite food: Good

Favorite color : Corduroy

Favorite band : Rubber

Favorite drink : Free

Favorite quote: Huh?

Photo Credit: Doug Ochoa Photography 3

“The thing is, we’re all really the same

person. We’re just four parts of the one.”

~ Paul McCartney


















Oh My Goddess

The Mods

A Day in the Life of a Gigging Musician

R.I.P. Local Music Scenes

My Granddaddy’s BBQ Hash

We Didn’t Learn Anything, We Just

Know Everything

The Decade of Eternity

The “Boo” Sisters: A Rite of Passage

Static Live Calendar

Artist Feature: Dan Gunderson

An Original Music Manifesto

Big Brother’s Revenge by Hank Harrison


Behind the Mic

Snap It

Phantom Foodie

Metal Compost

Static Live Media Group, LLC

927 S. Ridgewood Ave., Suite A5

Edgewater, FL 32132

386-847-2716 www.staticlivemag.com

Billy Chapin, Owner/Publisher

Sean Impara, Owner/Writer

Jenny McLain, Editor/Dir Operations

Nicole Henry, Graphic Artist

Blake Abbey, Staff Photographer


© 2019, Static Live Media Group, LLC. All rights

reserved. No part of this publication may be

reproduced or transmitted in any form by any

means electronic, mechanical, photocopying,

recording or otherwise without the prior written

permission of the authors.



Making great music since 1999

For scheduling, Contact Sean at (386) 847-2716

As highlighted in the May 2018 issue of Static

Live Magazine, “The Beatles invaded America,

pioneering as the ‘Greasers of England’. The

Fab Four donned many different looks ranging

from fierce to leather jackets; from cowboy boots to

pompadours. The ’60s brought an upheaval of music,

fashion and attitudes. The arrival of Motown and R&B,

originating in Detroit, marked a significant progression in

the Civil Rights movement; but Motown also taught the

world how to dress. Groups like Smokey Robinson and the

Miracles and Diana Ross and the Supremes brought forth

pop-soul classic lines and the two or three-piece suit was a

favorite.” Music and fashion are reciprocating influencers

on the visual style of entertainment, and this will never end

- thank goodness!

The ‘60s also birthed in Britain “The Mods,” modernists; a

culture of revolution of sorts. The trend is characterized

by things such as Vespas, mini motorcars, leather, graphic

symbols, horizontal color stripes. The Mods could be found

hanging out in coffee shops (before Starbucks and cell

phones) and jazz clubs and reading philosophy. They were

fueled by any nervous system stimulant that they could find

(and this was before ADHD was around) and they used

music and fashion as a gateway to the constant reinvention

of themselves.

The Fab Four’s

matching suits,

natural colors and

fairly uniform look

that evolved into

the more extreme

fashion statements,

were no doubt

part of the social

revolution that was

Mod Culture. This

was contributing

to the growing


Jamie Lee

culture of young people that were looking for a place in the

world that wasn’t always easy to find. The Beatles helped

by dressing stylishly, as Mod would dictate, and furthering

the young people’s thoughts that they were not alone.

If musicians like the Beatles could “not always find their

way” then this style of dress must be helping them

with the process. Many say that it

was Beatlemania crossing the pond

that spread the Mod culture to the


Sonny and Cher were also in

the Mod during the 1960s. Cher

sported the miniskirts, go-go

boots and asymmetrical hats

of a solid color; the duo wore

matching suits in various solid

colors, staying true to the

fashion of the time. Some

of the top musicians of the

time who were wearing Mod

include The Yardbirds, We

Five, Elvis Presley (before

all the rhinestones), Gary

Lewis and The Playboys

and The Byrds cultivated

a fashion statement that would last

almost a decade.

Music is said to be universal. Fashion isn’t far behind,

considering the power famous musicians have in controlling

fashion trends. Kurt Cobain had jeans, flannel and the thrift

store look in general (remember Grunge?); Diana Ross

had her big hair, big diamonds and big personality (before

Rhianna was shining bright like a diamond); Madonna’s

sense of style was chaos meets shabby-chic with lots of

hanging necklaces, big bows and lace; Elvis

Costello had his coke-bottle glasses; Joan Jett

sported leather. All these artists were before

the newest form of music creatively controlling

fashion - artists starting their own fashion labels 5

(too many to count!).

Hearing and connection to memory is the way

musicians gain entry into the consciousness of

listeners. I try to be meta-aware when I perform so

when the opening arises I can jump right in your brain.

When players just repeat a rendition without soul it

can still be an ok experience when it’s a favorite song,

just missing something. Also, I notice that meta-aware

singers and players have the right stuff to use off-beat

phrasing to effect. When you know it’s coming before

it’s coming, it allows for playfulness that all audiences

worldwide find charming. Feel the full phrase, not just

the beat or the four-bar, and then you are in control.

Easier said than done, trust me.

Problem with all of this is, it’s rather elusive. You

CAN practice and learn it but very few teach it and in

fact, it’s almost unteachable. In the end, we all teach

ourselves. It would be better to be born with it or start

very young but hey, no pain no gain. Metronome use

and lots of attention to detail will get you there. I like

to try just missing the beat (early and late) with the

car blinker in front of me at stop lights. Its kinda like a

metronome and it’s all over in minutes, which is what

you want with a metronome. Another good choice is

keeping a regular beat with your left hand on your

knee. Then with your right, do all the divisions and

start adding grace notes and phrasing like a


I’m writing this on a Monday, which is a musician’s

day off, but TUESDAY is your best practice day.

Come Wednesday it’s open mics, Thursday I’ll play

smaller bars and restaurants, then beer brawls and

festivals for the weekend nights and Sunday

weddings. Rinse repeat. We minor hometown Rock

Stars try to play it cool. Believe me when I tell you

the best of us are actually practice nerds. Scales and

arpeggios, rhythm and phrasing. There’s no great

secret. The key to it all is conviction and consistency.

Just remember TUESDAY is how

the weekend concerts happen.


Thursday and Sunday help

pay for it but TUESDAY

makes it all happen.

Ear training just doesn’t sound all that fun. It’s fun to

shoot a basketball but shooting the ball at basketball

practice is not how you win games. Running wind

sprints is how you win games. So does the hard work

in feeding your ear. Get a book, find a teacher. Go the

extra mile and avoid shortcuts. It is clearly a lifetime’s

work and, like a sharp knife, the honing never stops.

Listen to as much music as possible, preferably live

music. Listen to the music and language of other

cultures. Let your well-fed ear be your guide and then

play what you feel. You may find yourself exhausted

but when you summon your strength again, your

understanding will be more profound. The next time

you make music you may like what you hear.

It’s a big bonus if a local scene also

has an alternative weekly or a music

monthly like Static Live, in which

chroniclers of the music have a freer

forum that can get closer to the sleazy,

nasty, truer essence of the music we all

love and-or loathe – where a guy can

quote Zep’s Jimmy Page saying “Rock

’n’ roll is fuck-you music, really,” and

we all nod our heads in agreement.

Who knows that the

impending death of local

music scenes will have

nothing to do with the

music and musicians?

Well, I know.

As the entertainment writer years ago at the daily

newspaper in Daytona Beach, Florida, I wrote that

Frank Sinatra sucked during his performance at

the Ocean Center. I had wanted to write “Sinatra

sounded like he was chewing yak turds infused with

sunflower seeds” in my review. But, being a critic for

a “family newspaper,” I knew I couldn’t get away with

using a phrase such as “sunflower seeds.”

The local radio station that played Sinatra-era music

had received a lot of phone calls about my review,

and the manager called me to ask, “Would you come

on-air to talk about being a music critic?” Why sure.


“What gives you the right to say what’s

good and bad?” one of the many irate

callers sneered, sounding like he wanted to

stuff a yak shit sandwich down my throat.

My answer caught him off guard: “Sheer volume,” I

said. “I don’t have any special expertise or authority

granted to me by the gods of music. I just happen

to spend a lot of time listening to music, attending

concerts and reading about music. You could do my

job, too, if you did the same.”

That “you too” part threw the caller off-guard.

So, when I say that a local music writer – which was

the largest chunk of my job as an entertainment writer

-- is essential for any local music scene to thrive, keep

in mind I am not some pompous ass proclaiming I

was the Kingmaker-God of Local Music. I am saying

the position of music writer is essential.

Just like a bluesman needs devil vagina voodoo to

spur him into song, a local music scene needs all

sorts of hoodoo swirling around the creators of the

music: namely, some cool live music venues, some

music aficionados who love Led Lynyrd but want to

hear something besides “Stairway to Sweet Home

Alabama” for the gazillionth time, and at least one

chronicler of the local scene who works the beat

because it irks the shit out of him to think that good

music is happening somewhere and he hasn’t heard


I used to be the music guy at the

local paper. I guestimate I attended

more than 3,000 music performances

during my 30-year career at daily

newspapers and spent five to 10 offthe-clock

hours each week listening

to and reviewing music recordings by

both the Olympians and the locals.

Unpaid overtime, some would call that,

but I was following my bliss. I wrote

approximately 22,000 articles during

that time – certainly not all about music,

mind you.

But I said “Fuck this” and walked away

when continuing downsizing meant I

had to spend more time proofreading,

web-posting and doing the other

menial but essential tasks that the

laid-off editors once did. It became

untenable for me to fulfill the “sheer

volume” aspect of being the local music

guy. That’s happened to local music

writers across the nation as perpetually

downsizing newspapers continue their

dinosaur-like trudge to extinction.

Without some sort of chronicler to

let local music fans know what’s

happening, what’s buzz-worthy and

what’s yak shit, local music scenes are

heading to extinction, too. Oh, there

will be local music makers who soldier

on and create good music and play at

local venues and record, but it won’t

be the same. That intangible beastie

known as a thriving “scene” will soon

wither like the pope in the front row of a

Slipknot concert.

Some bluesman will write a miseryinfested

song about the demise of local

music. But, without a music writer to

help get the word out that he did so,

few people will ever know.



My Granddaddy’s BBQ Hash

Many stories in our family were told, sitting around,

eating this old South Carolina recipe. This time I put

a little goat meat on the grill to honor my namesake,

William Watts Wharton, Sr. A few departures from his

recipe: I smoke the meat first, and also I use Liquid

Summer Hot Sauce.

First, smoke the meat

1 lb beef chuck roast

2 lb goat shoulder


3 lb pork boneless

Boston butt

1 bottle of Heinz Chili


¼ cup vinegar

3 Tbs. honey

Liquid Summer Hot

Sauce to taste

Trim excess fat from meat and smoke it in a charcoal

smoker for 3 hours. Cut it up in one inch cubes, and

cover with water in a large cast iron pot. Boil the meat

until tender. Take the

meat out and shred it,

discarding any bones

or fat.


Put the meat back

into the water. Add

vinegar, chili sauce,

and honey. Cook it

down till the juice is

almost all gone. Add

the Liquid Summer

Hot Sauce. Serve on a

bun with a big slice of

onion and a splash of

Liquid Summer.

January of 1971, Phil Collins released “In the Air Tonight” and it took on a life of its own. In addition to generating buzz about

at is probably the most iconic drum break of all time, the song spawned a variety of urban legends with the common themes of

owning, revenge and loss. Nobody knew for sure whether the meaning was literal and people discussed it and theorized and lisned

and wondered. Today, we can Google “In the Air Tonight meaning” and learn in less time than it takes to listen to the iconic

um break itself – even Phil Collins doesn’t know what it means. In an interview with Rolling Stone Magazine in 2016, Collins said,

wrote the lyrics spontaneously. I’m not quite sure what the song is about, but there’s a lot of anger, a lot of despair and a lot of

stration.” He had written the song in the wake of divorcing his first wife. Phil Collins didn’t have to watch somebody drown to

ite “In the Air Tonight” but it made people take notice and wonder and experience the process of not knowing.

ere is a comedian named Pete Holmes who does a bit about how, in the past, if you didn’t know something, you just didn’t know.

d there was a certain feeling of longing to know and then a certain feeling of accomplishment once you did know. But now,

owing feels exactly the same as not knowing because the information is available almost instantly, so you don’t feel what it’s like

t to know something for any significant amount of time. The example he uses is that in the past if you wondered where Tom Petwas

from, you would ask actual people, who also didn’t know (and then they would be curious). Then, one fateful day, you would

me across a girl wearing a Heartbreakers t-shirt and ask her - and she would tell you that Tom Petty is from Florida. And you

uld feel a wash of endorphins and meaning and pleasure. The joke is even funnier with the ending, “...and that’s how you met

ur wife ...and your wedding song was Refugee”.

In January of 1971, Phil Collins released “In the Air

Tonight” and it took on a life of its own. In addition to

generating buzz about what is probably the most iconic

drum break of all time, the song spawned a variety of urban

legends with the common themes of drowning, revenge

and loss. Nobody knew for sure whether the meaning was

literal and people discussed it and theorized and listened

and wondered. Today, we can Google “In the Air Tonight

meaning” and learn in less time than it takes to listen to the

iconic drum break itself – even Phil Collins doesn’t know

what it means. In an interview with Rolling Stone Magazine

in 2016, Collins said, “I wrote the lyrics spontaneously.

I’m not quite sure what the song is about, but there’s a lot

of anger, a lot of despair and a lot of frustration.” He had

written the song in the wake of divorcing his first wife. Phil

Collins didn’t have to watch somebody drown to write “In

the Air Tonight” but it made people take notice and wonder

and experience the process of not knowing.

There is a comedian named Pete Holmes who does a bit

about how, in the past, if you didn’t know something, you

just didn’t know. And there was a certain feeling of longing

to know and then a certain feeling of accomplishment

once you did know. But now, knowing feels exactly the

same as not knowing because the information is available

almost instantly, so you don’t feel what it’s like not to

know something for any significant amount of time. The

example he uses is that in the past if you wondered where

Tom Petty was from, you would ask actual people, who

also didn’t know (and then they would be curious). Then,

one fateful day, you would come across a girl wearing a

Heartbreakers t-shirt and ask her - and she would tell you

that Tom Petty is from Florida. And you would feel a wash

of endorphins and meaning and pleasure. The

joke is even funnier with the ending, “...and that’s

how you met your wife ...and your wedding song

was Refugee”.


Think about it; instant gratification isn’t really gratifying

because there is no time to feel any void. There is an

attitude of entitlement to know everything in a matter of

seconds. This has created a generation of impatience

because they will never know that wash of endorphins and

meaning and pleasure in Pete Holmes’ story so they don’t

understand that the frustration of not knowing something

is worth that feeling you get once you have the answer.

There is no anticipation of or satisfaction in knowing. The

argument can be made that this instant access to all the

answers has affected today’s music. Give them a beat

and some catchy phrases repeated over and over; they

don’t have to wonder whether there is a message because,

literally, it is what it is. The analytics are the focus. It has

become more about instant fame, going viral and being

popular and less about expressing yourself through your

music. This has created some wildly popular karaoke

singers and YouTube stars - not artists or musicians.

Who can remember sitting in their poster-plastered

bedroom with headphones that weren’t wireless, tethered

to a record player and listening to an album while devouring

every bit of information printed on the cover, without

interruption or distraction? Would most millennials actually

sit and listen to an entire Pink Floyd album? It would take

more patience than they have managed to develop. Would

they even appreciate the experience if they could? Can

you imagine how your life would be different if you didn’t

have that experience somewhere in your soul?

As comedian Pete Holmes says in his story, “We didn’t

learn anything; we just know everything. And it’s ruining

our lives.”

Dining. Drinks. Music.


Our outstanding views are only surpassed by our exceptional menu. Enjoy very fresh

seafood, southern cuisine with a marina flair, craft beers and signature cocktails.

Happy Hour: Monday thru Friday 3-6pm. Weekend specials and live music 6-10pm.

On the North Causeway | 300 Boatyard Street NSB | Reservations 386.428.6888

The Decade of Eternity The Decade of Eternity

By The Reluctant Genius

Led by primary songwriters Lennon and

McCartney, the Beatles built their reputation

playing clubs in Liverpool and Hamburg over

a three-year period from 1960, initially with

Stuart Sutcliffe playing bass. The core trio

of Lennon, McCartney and Harrison, who

had been together since 1958, went through

a succession of drummers, including Pete

Best, before asking Starr to join them in

1962. Manager Brian Epstein molded

them into a professional act, and producer

George Martin guided and developed their

recordings, greatly expanding their domestic

success after their first hit, “Love Me Do”, in

late 1962. As their popularity grew into the

intense fan frenzy dubbed “Beatlemania”,

the band acquired the nickname “the

Fab Four”, with Epstein, Martin and

other members of the band’s entourage

sometimes given the informal title of “fifth



This upcoming year marks the 60th anniversary of the

beginning of perhaps the greatest rock band; maybe even

the greatest band ever. It seems even today, no matter

where you are - an elevator, a shopping mall, a sporting

event - you’re going to hear a song by the Beatles. In fact,

it’s almost hard to imagine life without their music.

There’s a movie coming out (Yesterday) that explores that

exact premise - What if there were no Beatles band and

what if someone had the songs in their head and decided

to make the music that nobody ever heard before? In last

month’s issue, we explored the idea of memories and

where you were when you heard a certain song. If you think

Elton John had a lot of hits and memories that went along

with them, you don’t even know the half of it.

Even though The Beatles started in 1960 it wasn’t until

1963 that they actually broke through musically and

became an instant phenomenon over in Europe and soon

to be as well in the United States and then around the

world. In fact, take this into consideration: From 1963 to

1970 The Beatles created one of the largest collections of

chart-topping hits ever known to man. To this day, they still

hold many records when it comes to releasing

songs/EPs and it’s almost unimaginable to think

that anyone could ever compete with what the

Beatles did in just seven short years.


Decade of Eternity The Decade of Eternity

One can only guess how many movies, books, and social

media sites are out there about Liverpool’s Fab Four but

one thing’s for sure - they will be in the history books

forever and most likely nobody will ever be able to match

their level of success in such a short amount of time

Here’s a quick rundown of what the band accomplished

in the same time as most of us spent in high school and


The Beatles formed in Liverpool in 1960 and were one

of the first English rock & roll bands. The line-up of John

Lennon, Paul McCartney, George Harrison (Pete Best) and

later Ringo Starr had to be regarded as the most influential

band of all time. With a sound rooted in skiffle, beat and

1950s rock and roll, the group were integral to the evolution

of pop music into an artform, and to the development of the

counterculture of the 1960s.

The Beatles started off as a simple cover band. They

incorporated elements of classical music, older pop, and

unconventional recording techniques in innovative ways,

and they experimented with a number of musical styles

in later years, ranging from pop ballads and Indian music

to psychedelia and hard rock. As they continued to draw

influences from a variety of cultural sources, their musical

and lyrical sophistication grew, and they came to be seen

as embodying the era’s socio-cultural movements.

The rest is history, as they continued

to grow musically until 1970 when

they broke the hearts of millions

by spitting up. If all of that wasn’t

enough to impress the toughest of

critics here’s the list of their number

one hits!!! This can be disputed as it

depends on where you do your fact


Hey Jude

Come Together/Something

I Want to Hold Your Hand

She Loves You

Let it Be

Love Me Do


A Hard Day’s Night

We Can Work it Out

Get Back

All You Need is Love


Ticket to Ride

Hello Goodbye

I Feel Fine

The Long and Winding Road/For You Blue

Penny Lane

Paperback Writer

Eight Days a Week

Can’t Buy Me Love


cut our set down a few songs” I whispered to

Christie but she shushed me. She was trying to be

professional but I sensed her fear. “You think we should

still go on?” I said. No response. Just the frozen fake

smiles of my sisters staring back at me with uncertainty in

their eyes. I say it again to nobody in particular “we don’t

HAVE to go on do we?” Oh, but we do and we did and it was

not pretty. We were not exactly this crowd’s cup of tea and

they let us know so the moment we grabbed our mics. Four

little Disney Pop Princesses were the only things standing

between them and their Lil Romeo experience.

“Booooooooooo! Boooooooooooo!

Get off the stage! You-off-now! Get off the $&@#%ing stage!

We don’t want you. We want Romeo! ROMEO ROMEO


I’m like, “Say no more...Thank you and goodnight!” But the

track starts anyway and even though I’m having a vomitack

(family word), my muscle memory kicks in and we robotically

begin our set on cue. I look over at my sisters who are

nervously laughing and looking back at me like “let’s just get

this over with I guess”

be the protective father, supporting his son through his set

and had mad respect for the man. In retrospect, that was

actually a really sweet moment on a really sweet day, in

spite of all the insanity. It was such a bonding experience

for us as a group as well as a rite of passage of sorts, and

we couldn’t help but laugh at ourselves. We had survived.

We survived our first booing and in front of celebrities. We

did what we came to do, we held it together and we got

the job done. We even did well enough that we got booked

to sing the national anthem at a Jets game the following

season. So, whereas we thought we totally bombed, we

actually hadn’t. If nothing else, we had proven to ourselves

that we were more than capable of holding our own, even

in precarious conditions, and that same sentiment was

impressed upon some VIP’s we didn’t even know were

watching our show.


“Romeo Romeo Romeo.”


Everybody bombs at some point. Everyone gets

heckled. Everyone gets booed. Sometimes it’s you but

most of the time its circumstances outside of your control.

It may be the crowd, the venue, the sound, the weather,

or sometimes it’s just an inconvenient time slot and a

mismatch of acts on a bill. For us Disney sisters, our first

time being booed off stage was a combination of most of

the above. I will say, however, it wasn’t the venue. The

venue was amazing! It was 2003 during the Super Bowl

Experience in San Diego California (which for those who’ve

never been... it’s an amazing all day, interactive, NFL

theme park). This particular business trip out West, up until

this point, had been a complete success for us Beu Sisters.

We recently shot a guest spot in Nickle Creek’s “Speak”

video and did our first red carpet premiere in LA for “How to

Lose a Guy in 10 Days”, meeting Kate Hudson and Mathew

McConaughey at the after party. We were kind of feeling

like a big deal. We were walking tall, feeling ourselves,

and feeling like somebodies all of a sudden. So

when we got hired by the NFL to do their football

family fun day, we felt like a million bucks. No

doubt we were gonna kill it. We were on the bill

with only one other artist for the morning’s


By Candice Beu

lineup... Lil Romeo, who was still really lil’ at the time.

Our slot was right before his and we shared a massively

swagged out, white tented green room by the stage with

him and his famous rapper father, Master P. At this point

in the day, having received our complimentary Super Bowl

XXXVII t-shirts and white Nike sneakers, we were flying

high and ready to rock it. Soundcheck went swimmingly

and we had no reason to suspect that we were about to

have one of the most excruciating stage experiences of our

career, right in front of our new buddies Romeo and Master

P. As it got closer to call time, I started to suspect we may

not be the best fit for this crowd. Ten minutes before we

hit the stage I peeked outside the tent to see the audience

filling up with busloads of teens of varying ages from an

inner city children’s camp program. That’s when I heard

the contagious chanting begin to mount through the venue:

“ROME-EO-ROME-EO-ROME-EO”. This couldn’t be good

for us. When they announced “The Beu Sisters” to the less

than enthused Romeo fans, I was suddenly struck by the

worst bout of stage fright, all confidence and color draining

into my new sneakers as I realized what we were

walking into. I wondered out loud if he should just

take the stage first. “Let’s cut our losses....let’s

I wanted to stage dive out of there but we couldn’t and we

knew it. The show must go on. We were getting paid to do

our full time slot and our “people” were using this showcase

as an opportunity for us to get in with the NFL. We had no

choice but to open our mouths and burn with humiliations

galore for the next 20 minutes, which felt like 2 hours. The

songs owed like molasses. Our choreography seemed

pointless. We were 4 tin men on a mission to just finish the

show, while the first few rows threw things at the stage and

stared us down, daring us to keep going. We tried placating

the crowd between songs with a few good words about our

pal Romeo. The only reprieve from the booing came at the

mere mention of his name so we milked it, countdown to

Romeo style:

“Don’t worry guys, lil Romeo will be out here in 15 minutes...”

“10 more minutes til Romeo.”

“We swear we only have 1 more song folks, then it’s Romeo


Christie was like Nadia Comaneci, trying to win them

overdoing her best vocal gymnastics, while I was doing

everything in my power not to shit, vomit, cry and run off the

stage. After our a capella number we finally got a few front

row faces saying “well at least they can sing”. We exited

the stage in a cold sweat and a dejected blur, as Romeo

mounted the stairs alongside us, looking as terrified as we

felt when we went out there. The ferocious crowd was now

rushing the stage upon his entrance. Master P looked at

us and said “Rough crowd. Good job” and proceeded to

take the stage with his son, performing his first song with

him (which was not the original plan, but the safest plan at

present). We stood backstage watching him

As a performer, someday, you too may get booed by

somebody, or by lots of somebodies. Don’t feel bad. It

happens to the best of us. Consider yourself in good

company. It’s nothing to be ashamed of, in fact, it IS a rite

of passage. You haven’t made it til you’ve been booed

off the stage. Even tho it sucks, it’s not always your fault.

Audiences can be fickle and haters are gonna hate so

you gotta toughen up, be brave enough to go out there

in spite of it and do your thing anyway. You never know

who’s watching. To our surprise when we were walking

around the NFL experience after our “bombed show”, we

met more people than not who came up to us and told us

how much they enjoyed our music. When I think back, it

was really only those first couple of rowdy rows who were

brash enough to make their displeasure known. What we

were perceiving from the stage was not the whole picture.

Unbeknownst to us, our show was being pumped all over

the entire festival. Half the people we touched with our

voices that morning weren’t even at our main stage but

dispersed across the fairgrounds. If we would have let a

handful of people who happened to be right up in our faces

intimidate us off the stage, we’d have missed the broader

perspective we were given soon thereafter. Blessings often

come in disguise and getting booed is now one of our

favorite memories to date. You may not be everyone’s cup

of tea every time you take the stage, but you might be able

to win over some new fans and influence people without

even realizing it. You won’t know till you get out there, so

BE-U no matter the audience’s preference, no matter the

circumstances, no matter the fear. In the end,

there is no applause greater won than your own

hand clapping yourself on the back for a job well

done under difficult conditions.


Don’t miss the opportunity to be part of our next issue

Call Sean at 386-847-2716 for availability and pricing


1. What is the title of the Beatles’ first album that made the UK

charts in 1963?

2. Which member of the Grateful Dead lost the majority of his

middle finger due to an wood-chopping incident?

3. Name of the street where the iconic album cover featuring all

four members of the Beatles walking in a street was taken?

4. What is the name of the supergroup that both John Lennon

and Keith Richards were apart of?

5. This blues singer-songwriter inspired Jimi Hendrix into playing

the guitar?

6. What is the name of the superduo that includes both Kanye

West and Kid Cudi?

7. What is the meaning of LL Cool J’s name?

8. What is the title of Jason Mraz’s popular 2008 pop song?

9. What year did Madonna’s hit song “Like a Virgin” come out?

10. What is Childish Gambino’s real name? 19


Monday, July 1

Bounty Bar - The Transfers 7pm

Grind/Kona - Mark Moore 6pm

Tuesday, July 2

Bounty Bar – Jeff Whitfield 7pm

Grind/Kona - The Transfers 6pm

Wednesday, July 3

Bounty Bar - Jay Paski 7pm

Grind/Kona – 5 Time Shag 6pm

Outriggers - Splash 6pm

Traders - Jeff Risinger 7pm

Thursday, July 4

31 Supper Club - Christie Beu 6pm

Bounty Bar - TBA 7pm

Flagler Tavern - The Cyclones

Unplugged 5pm

Flagler Tavern - Reed Foley 9pm

Grind/Kona - Faith Hannon 6pm

Grind/Kona - Bradford Buckley Band


Outriggers – Cyclones Duo 12pm

Outriggers - Jay Paski 5pm

Outriggers - Band TBA 6pm

Yellow Dog Eats - Seth Pause 6pm

Friday, July 5

31 Supper Club - Warren Beck 7pm

Beacon – Casey Picou 5pm

Bounty Bar - Splash 7pm

Delta Marriott - Jessie Abbey 5pm

Grind/Kona - Jay Paski 7pm

NSB Brewing - Eddy Davis 6pm

NSB Brewing - Drew Halverson 6pm

Oceanside - Marty McCarrick 5:30pm

Outriggers - Bradford Buckley 6pm

Traders - Etc 6pm

Traders - Cain 9pm

Yellow Dog Eats - The Evening Muze


Saturday, July 6

31 Supper Club - Dana Kamide Band 7pm

Bounty Bar - Music Matt 7pm

Delta Marriott - The Transfers 5pm

Flagler Tavern - The Transfers 12pm

Flagler Tavern - Reed Foley 5pm

Grind/Kona - Bradford Buckley 7pm

NSB Brewing - Brent Clowers 6pm

Oceanside - Jay Paski 5:30pm

Outriggers - Mark Moore 6pm

Tayton O’Brians - Strumstick 9pm

Tortugas - The Cyclones 6pm

Traders - Randy Williams 6pm

Traders - Cain 9pm

Yellow Dog Eats - Dustin Stock 6pm

Sunday, July 7

Bounty Bar - Thom Blasberg 7pm

Flagler Tavern - The Vibe 5pm

Oceanside - Splash 10am

Outriggers - Joe Caruso 2pm

Traders - Warren Beck 3pm

Monday, July 8

Bounty Bar - The Evening Muze 7pm

Grind/Kona - Brent Clowers 6pm

Tuesday, July 9

Bounty Bar – Warren Beck 7pm

Grind/Kona - The Evening Muze 6pm

Wednesday, July 10

Bounty Bar - Brent Clowers 7pm

Grind/Kona - Chuck Morel 6pm

Outriggers - Laree App 6pm

Traders - Stephanie Schaffer 7pm

Thursday, July 11

31 Supper Club - Brent Clowers 6pm

Bounty Bar - Chuck Morel 7pm

Flagler Tavern - The Cyclones Unplugged


Flagler Tavern - Reed Foley 9pm

Grind/Kona - Luvu 7:30pm

Outriggers - Corey Shenk 6pm

Yellow Dog Eats - Jay Paski 6pm

Friday, July 12

31 Supper Club - The Transfers 7pm

Beacon - TBA 5pm

Bounty Bar - Matt Burke 7pm

Delta Marriott - Joe Santana Duo 5pm

Grind/Kona - Dustin Stock 7pm

NSB Brewing - The Evening Muze 6pm

Oceanside - Nate Utley 5:30pm

Outriggers - Relief 6pm

Traders - Jay Paski 6pm

Traders - Pop Culture Poets 9pm

Yellow Dog Eats - Stephanie Schaffer


Saturday, July 13

31 Supper Club - Cesar Romero 7pm

Bounty Bar - Music Matt 7pm

Delta Marriott - Jim Lowman 5pm

Flagler Tavern - The Transfers 12pm

Flagler Tavern - Reed Foley 5pm

Grind/Kona - The Cyclones 7pm

NSB Brewing - Matt Burke 6pm

Oceanside - Thom Blasberg 5:30pm

Outriggers - Bradford Buckley 6pm

Tayton O’Brians - James Ryan 9pm

Traders - Acoustic Inferno 6pm

Traders - Pop Culture Poets 9pm

Yellow Dog Eats - Joe Santana Duo 6pm

Sunday, July 14

31 Supper Club - Marilyn Monroe Tribute


Bounty Bar - Stephanie Schaffer 7pm

Flagler Tavern - Brandon Twitch Wilson


Flagler Tavern - Jay Paski 9pm

Oceanside - Cesar Romero 10am

Outriggers - Warren Beck 6pm

Traders - Mark Moore 3pm

Monday, July 15

Bounty Bar - The Transfers 7pm

Grind/Kona - Mark Moore 6pm

Tuesday, July 16

Bounty Bar – Jeff Whitfield 7pm

Grind/Kona - The Transfers 6pm

Wednesday, July 17

31 Supper Club - Mark Raisch 6pm

Bounty Bar - Jeff Risinger 7pm

Grind/Kona - Relief 6pm

Outriggers - Laree App 6pm

Traders - Thom Blasberg 7pm

Thursday, July 18

31 Supper Club - Comedy Night 6pm

Bounty Bar - Jay Paski 7pm

Flagler Tavern - The Cyclones Unplugged


Flagler Tavern - Reed Foley 9pm

Grind/Kona - Joe Santana 7:30pm

Outriggers – Casey Picou 6pm

Yellow Dog Eats - Chuck Morel 6pm

Friday, July 19

31 Supper Club - Ricky Silvia 7pm

Beacon - TBA 5pm

Bounty Bar - Warren Beck 7pm

Delta Marriott - Matt Burke 5pm

Grind/Kona - Cesar Romero 7pm

NSB Brewing - Bradford Buckley 6pm

Oceanside - Mark Moore 5:30pm

Outriggers - Jason Longoria 6pm

Traders - Matt Burke 6pm

Traders - Boomers 9pm

Yellow Dog Eats - Gina Cuchetti 6pm

Saturday, July 20

31 Supper Club - Dana Kamide Band


Bounty Bar - Gina Cuchetti 7pm

Delta Marriott - Eddy Davis 5pm

Flagler Tavern - Reed Foley 5pm

Grind/Kona - Davis III 7pm

NSB Brewing - The Cyclones 6pm

Oceanside - Jason Longoria 5:30pm

Outriggers - Brent Clowers Duo 6pm

Tayton O’Brians - Strumstick 9pm

Tortugas - 5 Time Shag 6pm

Traders - Love Bomb 6pm

Traders - Boomers 9pm

Yellow Dog Eats - Thompson Browne


Sunday, July 21

Bounty Bar - Jason Longoria 7pm

Flagler Tavern - Psycoustic 5pm

Oceanside - Splash 10am

Outriggers - Joe Santana 2pm

Traders - Drew Halverson 3pm

Monday, July 22

Bounty Bar - The Evening Muze 7pm

Grind/Kona - Brent Clowers 6pm

Tuesday, July 23

Bounty Bar – Drew Halverson 7pm

Grind/Kona - The Evening Muze 6pm

Wednesday, July 24

Bounty Bar - Brent Clowers 7pm

Grind/Kona - Chuck Morel 6pm

Outriggers - Laree App 6pm

Traders - Larry Tomei 7pm

Thursday, July 25

31 Supper Club - Mary Beth Koplin 6pm

Bounty Bar - Chuck Morel 7pm

Flagler Tavern - The Cyclones

Unplugged 5pm

Flagler Tavern - Reed Foley 9pm

Grind/Kona - The Click 7:30pm

Outriggers - Corey Shenk 6pm

Yellow Dog Eats - Bradford Buckley 6pm

Friday, July 26

31 Supper Club - Shannon Rae 7pm

Beacon - TBA 5pm

Bounty Bar - Nate Utley 7pm

Delta Marriott - Eddy Davis 5pm

Grind/Kona - 5 Time Shag 7pm

NSB Brewing - Mark Moore 6pm

Oceanside - Shaker Jones 5:30pm

Outriggers - The Transfers 6pm

Traders - Jay Paski 6pm

Traders - The Accuzed 9pm

Yellow Dog Eats – Stealing Vanity 6pm

Saturday, July 27

31 Supper Club - Christie Beu 7pm

Bounty Bar - Music Matt 7pm

Delta Marriott - Mark Moore 5pm

Flagler Tavern - The Transfers 12pm

Flagler Tavern - Reed Foley 5pm

Grind/Kona - Bradford Buckley 7pm

Oceanside - Davey Leatherwood 5:30pm

Outriggers - The Evening Muze 6pm

Tayton O’Brians - James Ryan 9pm

Tortugas - Cesar Romero 6pm

Traders - TBA 2:30pm

Traders - Etc 6:30pm

Traders - The Accuzed 9pm

Yellow Dog Eats – The Transfers 6pm

Sunday, July 28

Bounty Bar - Bradford Buckley 7pm

Flagler Tavern - The Vibe 5pm

Flagler Tavern - Brandon Twitch Wilson


Oceanside - Warren Beck 10am

Outriggers - Mud Rooster 2pm

Traders - Stephanie Schaffer 3pm

Monday, July 29

Bounty Bar - Matt Burke 7pm

Grind/Kona - Jason Longoria 6pm

Tuesday, July 30

Bounty Bar - Jay Paski 7pm

Grind/Kona - The Transfers 6pm

Wednesday, July 31

Bounty Bar - Jason Longoria 7pm

Grind/Kona - The Transfers 6pm

Outriggers - Laree App 6pm

Traders - Donnie Lee 7pm





The constant beating of our mother’s heartbeat introduced us

to the comforting rhythm of music in its simplest form. It’s the

reason that the love of music is the one thing that all humans

have in common from the time of birth. In reality, there are

no social, racial or political agendas when it comes to sharing

the love of a great new original song; it happens every day.

No matter the genre or style, a great arrangement of sound

in its purest form is a constant elixir and will continue to prove

that a future with greater harmony is still very attainable. This

month’s artist creates his works on that constant beat. Dan

Gunderson shows us the beauty of repetition in his art.

Dan Gunderson, Personal Statement:

I am drawn to bright primary and secondary colors for my

palette. Plastic toys (such as McDonald’s Happy Meal

figures) are the foundation of my installations. This past year

I have been using 3D printed pieces to supplement the toys in

order to achieve different scale in my work. Perfect balance is

achieved by placing objects in symmetrical arrangements. A

camera mounted directly above the installation then captures

rhythmic perspective and diminishing scale imagery leading to

a central focal point.


















2 FOR 1






8 to 10







8 to 10

Weekly Drink Specials subject to change.






The advent of the phonograph and the camera

within a relatively short time of each other, have

seen musicians and photography go hand in

hand now for over a century. Think of all the

iconic photographs of artists and bands through

the decades: Robert Johnson, Elvis Presley,

The Beatles, Jim Morrison, The Grateful Dead;

hundreds really, enough to fill volumes of books.

By C. August Wenger

In the modern era, it’s not just the big names that

should be capable of professional photography.

There are literally over 1 million band profiles

on social media, I’ve probably perused over

20,000 of these in my years, and those that have

professional photography really total less than one

percent. Some of these profiles I remember strictly

because of the professional look to their pages. At

the very least, I stay on their pages considerably

longer than I do others.

In this day and age of social media numbers,

where most booking agents, talent buyers, scouts,

and venue owners aren’t even “wasting their time”

on bands with less than 10,000 followers, anything

you can do to stand out from the horde will greatly

benefit your band that may not have met their

quota. With professional photography, you might

just get that first look, that longer look, over even

that second look, and be given consideration over

other acts with more followers that don’t have the

professional look.

Of course, anyone with a smartphone can take

decent pictures, but there is still a noticeable

difference in the shots of an amateur and those of

a professional. Also, in today’s social media world,

photography not only gives you that professional

look, but also gives you content for your followers,

keeps your profiles fresh and up to date, and gives

you material for digital show posters and flyers.

Music photography takes on many forms,

the core being headshots, on location

shots, studio shots, artistic shots coupled

with graphic design, and of course,

live performance shots. While some

photographers are capable of executing all

these modes, most photographers specialize

in one or two of these. They each will have

their own style, so I recommend collaborating

with several different photographers for

your project. Their work will help to present

your project as innovative and multi-faceted

while also allowing for a variety of marketing


In each article of the Original Music Manifesto

I have tried to make points universal to any

music scene while showcasing someone

local to my music scene that embodies

the subject matter. There are over a dozen

really good professional photographers

in the Daytona music scene. All of them

certainly deserve credit and spotlight,

but one young man comes to mind as I

have seen him or his work capturing more

local shows than really anyone else. He

goes by the name MonstroM; his work is

MonstroM Photography. In addition to being

a photographer, Monstrom is also a hiphop

artist and promoter through GutterBorn

Productions, which he co-founded. He’s been

capturing images of the local music scene for

3 ½ years now, having built on his work out

of the skate scene, which always involved


I asked Monstrom why he thought music

and photography are so symbiotic. He

answered, “Capturing the essence of a

performance and an artist’s emotions are

what music photography is all about; it allows

the artist and the fans to relive a moment

that happened in the blink of an eye.” Please

check out MonstroM Photography on social

media and be on the lookout for his new


I’ve mentioned a lot about social media in this

article and that will lead us into next month’s

article, where I will discuss how to operate

successful, engaging social media, and most

importantly how to get those social media

numbers up. As always, thanks for reading.


© By Hank Harrison

Rodney Albin was one of the smartest

people I ever met, and I’ve met a lot of

smart people. But he had a dark side.

the “holding company”. Pig Pen from

the Grateful Dead eventually started

hanging out. The rest is not well

documented. Are you getting that this

was a crazy time?

As the years whizzed by, and as

we all matriculated in one way or

another, LSD entered the scene

somewhere in this social admixture…

and since Rod was a genius with

loose social bonds, he fell in with

the right or wrong chemistry crowd,

depending on what Bible you read.

Rod got married, moved out of 1090

and had a son who grew up to be

really good-looking, and then Rod

opened a music store known as

Acoustic Music on Haight Street. I

couldn’t stay in touch with all of the

details because I moved a lot, but I

knew Rod ate a lot of junk food. I also

knew from his second wife, Marlene

Molle, that he never really worked

out or did anything that would raise a

sweat, and eventually, he got sick, I

mean really sick.

Rodney. I assumed that toward the

end, Rodney was one of the loneliest

people on the planet. It was as if

he knew I would understand, I was

honored to be the only person he

confided in about this whack-a-doodle

theory, but I’m still not sure what he


One day in late July 1984, when Rod

was in hospice at UC Parnassus, he

thanked me for inventing therapeutic

techniques for bringing people

down from bad drug trips. He knew

I was the first person to ever bring

anybody down on the telephone, and

that I would drive to their location

if necessary. I thanked him for the

recognition and his friendship, but

I was still deeply saddened. That’s

when he told me he knew he was

going to die; he even said he knew

exactly what day he would die. I didn’t

believe him. I nodded and held his

hand, he didn’t seem to be afraid at

all, but I was…what the Fxxx was I

going to do without Rod Albin?


Rod was the go-to guy if you needed

your guitar fixed or if you needed

advice about where to fish for salmon

or what was wrong with your air

conditioner or if you needed to buy an

old Buick. He knew a lot about stage

magic and chemistry too. But you just

never wanted to ask him about girls,

or dating or the stock market. He

didn’t know much about that stuff.

In the pre-summer of love days in

the Haight-Ashbury, around 1964,

Rod started one of the first boarding

house communes located at 1090

Page Street. He rented it from his

uncle who bought it for speculation.

Built about 1888, it was a real original

“Painted Lady,” but came into use

as a boarding house during World

War II and had seen better days. It

was a big wide gingerbread Victorian

with the insides straight out of M.C.

Escher, a three-story mansion with a

small redwood lined ballroom and a

band stage in the basement.

Rod’s first tenant was his brother

Peter and his second tenant was

Janis Joplin. After that, the place

filled up quick, several San Francisco

State students, like Mr. Sito, a native

San Fran Japanese dude who

studied Anthropology and Biology,

but minored in French literature with

an emphasis on Baudelaire, took


One of Rod’s old pals, known only

as Edmond the Magician-from the

Russian Embassy, put on shows

there…these included a bed of nails

act, which he left behind when he

moved out because it was too heavy

to move and a disappearing cape,

which Rod and Peter occasionally

wore to parties. Pretty soon bands

started to form and one of them

calling themselves Big Brother and

the Holding Company set up practice

sessions in the ballroom. Janis sat in.

Rod was the Big Brother and since

everybody owed him rent he was also

When I got back from one of my

teaching gigs in Europe I was

saddened to find Rod in bad shape.

His band, Road Hog, did well. He

made electronic instruments for David

Laflamme, who recorded White Bird

on one of Rod’s violins; he built a

harpsichord from scratch, but all that

time he never ate a yogurt or chewed

a raw carrot. The eventual result was

intestinal cancer.

He had a theory that cancer is really

a mental breakdown of the epithelial

cells, the cells that help lubricate most

bodily functions, a kind of microscopic

psychosis that blocks the cells from

covering all sorts of surface tension

under stress and it sometimes can’t

be fixed. It didn’t take me long to

realize he was telling me something

far more confidential… he had

cancer, and he gave it to himself,

sort of an OOOPS moment. I figured

it was an idea from the ether he was

inhaling with all that cocaine he was

snorting in the form of Freebase,

which we now call Crack. Jerry

Garcia was getting most of his crap

from Rod back in those days, but that

wasn’t the only thing that killed

At the time I was the Senior Editor

of Doctor Dobb’s Computer Journal,

formally known as Doctor Dobbs

Journal of Computer Orthodontia

located in Menlo Park down the El

Camino Real from Kepler’s Bookstore

and about a block away from Magoo’s

Pizza where the Warlocks first played.

I heard through the grapevine that

Rodney passed away that week

in August. I was also working as a

tech writer for a pioneering company

called IMSAI across the Bay in San

Leandro and had to commute, plus I

was interviewing the late Gary Kildall

about his new operating system

MP/M-86, but Kildall insisted we chat

in his Piper Comanche on the way

to the Microcomputer convention the

first week of August. In any case, I

wasn’t able to keep up with Rodney’s

details and I missed the news about

his funeral. I got back to Menlo Park

just in time to get a phone call from

Peter Albin, Rod’s Brother, it went

something like this:

(Continued on page 30)


“Hank can we talk?”

“Sure Peter what’s up?”

“Rod died, you know.”

“Yes I heard.”

“Well, I need your help. Rod played a dirty trick on all of


“What? What kind of dirty trick?”

“Well he left a bunch of fried chicken in the fridge with a

note on it, and we took it on the boat in the picnic basket.”

“I thought you were going to scatter his ashes at sea?”

“That’s right, we did that, but we took a picnic lunch for

all twelve people as we went out under the Golden Gate

Bridge, just like Rod wanted.”

“Yes. That was cool.”

“No not cool.” Peter was nervous.

I detected a lot of stress in Peter’s speech, “Oh why?”

“… Because Rod put a massive dose of LSD in the chicken

in the breading I guess, then put it in the freezer

and we all ate it.”

“Oh shoot!” I was going to laugh but that would

have been rude, “So, When did this happen? “ I


“Today, just today… I just got back.”

“Hey are you alright?”

“Well, everybody got completely dosed on very

potent LSD, except Marlene and Dad, they didn’t

eat any chicken.”

“Oh crap, that’s awful, so where are you now?”

“OK, Well here’s what to do … most rough reactions to LSD

are based on insulin insufficiency or bad glucose uptake

issues, pre-diabetes and so forth. It’s a blood/serotonin

balance issue, not a psychotic reaction, although I‘ve seen

serotonin depletion react badly to low blood-sugar in prepsychotic


Peter didn’t want a lecture. “OK so what can I do?”

he asked.

“Just get some glucose into you immediately, you’ll

be alright… a candy bar, orange juice, a milkshake,

anything that will bring up your blood sugar… wait

a few minutes then call me back.” I’ll drive up and

hang out if that doesn’t work.

“Are you sure?” Peter seemed doubtful.

“It won’t stop the acid but it will calm the negative

reaction. Trust me. The LSD left your system the

last time you took a pee. “

“Ok, I trust you Hank.”

“Thanks Peter, you know I wouldn’t make this up.

I’m sorry Rod felt he had to do something like that,

really if you can dial a phone your OK, you did dial the

phone yourself right?” I chuckled reassuringly.

Peter assured me he was able to dial the phone, “Right,


Peter did not call back that night. I assumed the glucose

cure worked. I was sad though. I didn’t know Rodney

was ‘that’ hostile. I guess he just wanted us all to get the


And yes, I do miss him. I still have the solid oak table he

built for me and I still have those Liberty Hill Aristocrat reel

to reels in my files… and the memories, I’ll always have the


with Chez Rocker

Josh Homme is the lead guitarist and frontman of Queens

of the Stone Age. The Coachella Valley desert rock icon

was born in Joshua Tree, California and still returns regularly

to record with the likes of Trent Reznor (Nine Inch

Nails), Cory Taylor (SLIPKNOT) and Dave Grohl (Foo

Fighters), to name a few.

Married to Brody Dolle of The Distillers and father of three,

Homme has impacted the rock and roll world putting out

one great album after another and also created band’s

Eagles of Death Metal and Them Crooked Vultures. The

46 year old Homme has played with Sir Elton John and

now has plans to collaborate with Billy Gibbons of ZZ Top .

Queens of the Stone Age plans to have a new album in the

upcoming year.

Homme has produced a musical improv series called The

Desert Sessions since 1997. With Queens of the Stone

Age he has made eight albums; it’s hard to choose which

of them I enjoy the most. They all have a sound of their

own and each one shows how they have evolved as a

band over time. They tour frequently and I recently had the

pleasure of seeing them in Jacksonville, FL at the Rockville


Homme’s liquor of choice tequila, preferably

añejo, a classification that denotes it

has been aged at least a year. Made from

the agave plant, tequila dates back to the

Aztecs but wasn’t distilled until the 1500s

by the Spanish. Typically añejo is served

on the rocks or sipped in a snifter but I’ve

come up with something different and fun

you can make with any tequila.


2oz tequila

1/2 oz blue curacao

1/4 oz agave nectar

Squeeze 1 fresh lime

Splash soda

Shake and serve over ice


“I’m in the city, at Rod’s house with




Hello again, friends! This time around I bring you

a special interview with Paul Stanley … The

ultimate front man; the reason KISS has been a

part of the rock and roll landscape since the early

‘70s. Singer, songwriter, strutting, dancing,

guitar flailing ringleader of the KISS circus. I wanted to be

like Paul from the minute I snagged a vinyl copy of Alive II.

I have gone as Paul for Halloween 6 times, screeched his

songs in front of thirsty karaoke audiences, and even made

an attempt at a legit performance of “Love Gun” in front of

a crowded music venue with my best friend’s band. I love

his voice, the harmonies, his swagger, and his attention to

fans. I managed to weasel my way backstage on the “Asylum”

tour and Paul kindly signed the 7 albums I brought

with me to the show. He chatted with me and made me

feel like I wasn’t a star-fucker freak. And when I later got

to interview him on the “Hot In The Shade” tour, he was

equally as cool. So as KISS rolls through their “End of The

Road” world tour (including an August 6th date in Sunrise,

FL), it was certainly a great treat to get an opportunity to

chat with him again as he releases his new book, Backstage


RIGGS - Tell me about writing this new book, Backstage

Pass, at this point in your career when you’re very busy on

the road on the KISS Farewell Tour.

PAUL - Well, interestingly I never really thought about

writing a book and then initially the first book I wrote was

“Face The Music” which is now in 6 languages, and it

dealt a lot with my personal life which I’ve always felt it’s

important to realize that the people they look up to and the

people who inspire them aren’t perfect. It’s too easy to get

caught up in thinking that you are in some sort of deficient

situation and the people you look up to are on a pedestal. I

don’t want to be on that pedestal. I want people to realize

that we’re all kind of in this together and everybody has

the same issues and I’d love to inspire people. I’d love to

be the person to tell people what you CAN do. Nothing is

impossible if you’re willing to work hard for it. For me, I’m

deaf in one ear, always deaf in one ear, and was born with

something they called a facial deformity. And my home life

wasn’t great. But then it’s up to you. You either wallow

in self-pity and you’re a victim or you get your life together

and enjoy it. You only get one shot at this as far as I know,

so I’m here to tell you what you can accomplish. And I

don’t want to tell anybody how to live your life, I want to tell

you how I’ve lived mine.

RIGGS - Well it’s pretty remarkable that, with that kind of

back story, you have achieved what you have achieved.

And not just as a songwriter and musician, but you do

so much for the troops and your fans…. I have had the

opportunity to meet you and interview you and you seem

like a very grounded, normal person. Is that difficult to keep

intact or is it a product of what you have been through and

overcome that made you this person?

PAUL - I think that at the end of the day it’s real simple…

take a moment and look in the mirror. Do you like who you

see? It’s just that easy. I sleep real well. And I’ve found

that as life has gone on that giving to others and helping

people is a reward to me. It changes other people’s

situations. It’s easy to be a dick, especially when you’re

famous. But it’s actually easier to be nice. That may seem

corny but truth be told, I get a lot of satisfaction out of helping

other people. It makes the world better and it makes

me better. So, pretty simple.

RIGGS - It’s impressive in your music career how you have

been able to reinvent yourself through all the eras that

KISS has been through. Give me a brief synopsis of that

moment in the ‘80s when you decide to take the makeup

off. Was that freeing or frightening?

PAUL - I pushed to make it happen. I don’t believe in living

a woulda, shoulda, maybe we would have been better off

kind of life. I think there are things that are worth doing

and sometimes it really comes down to No Guts, No Glory.

I thought the band had reached a point where it needed

to take the makeup off and if we couldn’t succeed without

the makeup, then we didn’t deserve to continue. It was a

resounding success and took us through the ‘80s and Lick

It Up was a big album as was Animalize with “Heaven’s On

Fire”. So, there are no guarantees, but if you aren’t willing

to take risks, you’ll never know. I never wanted to live with

“well maybe if we had done this or that”, so we took it off

and it stayed off until we did a reunion tour with the original

lineup. Once that was over and we realized we wanted

to continue, we just stayed the course and here we are in

2019… let’s see, what is it, 45 years? It’s amazing and

if somebody had told me I’d still be doing this I’d tell you

you’re out of your mind. That’s what makes life so amazing.

RIGGS - It truly is an incredible success story.

PAUL - That’s what I try to say in Backstage Pass, to show

how my life has evolved even since the last book. I have

this great relationship with my dad who is 99 and I never

could have imagined that. So, we have to be open to

change but we also have to work for change.

RIGGS - KISS has sold over 100 million records worldwide.

I worked at a record store for years and it always gave me

great pleasure to expose some of those old school KISS

fans to some of the post-makeup music. Is it

truly the strength of the songs that hooks people

or is it the combination of the live show and the



PAUL - I think it’s parts of each and it would be hard to separate

the two. But as far as the music goes, you can’t put a

smoke bomb in an album, ya know? You’re buying music,

and when people are singing “Heaven’s On Fire” or “Rock

& Roll All Night” or “Love Gun”, you’re singing a song. And

I think we hit a whole lot of home runs not with just the

music but with attitude because we’ve always believed the

audience deserves the best show possible. And we have

never been self-indulgent and changed the arrangements

of songs to the way we want to do it. People want to hear

those songs the way they love them so we’ve always been

keenly aware of the people who have given us this opportunity.

You can’t always follow what some want you to do

and we are going to disappoint some people along the way,

but that’s what makes us who we are.

Last Electric Rodeo

Photo credit Meggan Harper

Lita Ford

Photo credit Tim Tuech

Last Electric Rodeo

Photo credit Meggan Harper

RIGGS - What is your Mount Rushmore of KISS songs?

The ultimate four songs that you sing.

PAUL - Hmmmm… “Love Gun”, “Detroit Rock City”, “Rock

& Roll All Night” and …. Hmmmm…. “Heaven’s On Fire”.

RIGGS - So for those who want an introduction to KISS,

those are your 4?

Brad Buckley Band

Photo credit Reluctant Genius

Lee Siler - Skin Deep

Photo credit Tim Teuch

PAUL - There ya go, that’s the primer!

RIGGS - I really enjoy your artwork. Is painting an escape

for you from music or has it become such a passion that

the music is the break from everyday life?

PAUL - I originally started painting as a way of letting off

steam. But it became so successful that it became just

another successful outlet that came with deadlines and

responsibilities which it didn’t start with. But I’m incredibly

grateful and humbled, not just with the sales, but the people

who have artists that I respect hanging on their wall that

have one of my pieces hanging next to it. It started one

way but again, I want to define myself by the challenges I

take on. Whether it’s art, writing books, theater, I never go

“Why?”; I just say, “Why not?”. “Why not do it?”.

Last Electric Rodeo

Photo credit Meggan Harper

Bubba Sparxxx

Photo credit Reluctant Genius

Last Electric Rodeo

Photo credit Meggan Harper

RIGGS – Love it. Thank you very much for your time!

PAUL – My pleasure!

And not that anyone asked, but here are my OTHER 4

Mount Rushmore / Paul Stanley-fronted KISS songs…

- Shandi

- Take Me

- Thrills In The Night

- I Still Love You

Last Electric Rodeo

Photo credit Meggan Harper

Last Electric Rodeo

Photo credit Meggan Harper




The Morning HOG / 95.7 The HOG

Weekdays 5-10am

Last Electric Rodeo

Photo credit Meggan Harper

Demun Jones

Photo credit Reluctant Genius

Last Electric Rodeo

Photo credit Meggan Harper

I wish I knew who suggested that we visit our “Phantom

Foodie” restaurant this month, because I would like to

thank them personally. Millie’s Restaurant and Catering is

located at 3218 South Atlantic Avenue in Daytona Beach

Shores; you can find them at www.milliesrestaurant.com.

The restaurant isn’t “rustic” like many others in such close

proximity to the ocean.

There are tablecloths,

goblets and real silverware.

The tables are beautifully

set and the atmosphere

comfortable, clean and

professional. The service on

both visits was impeccable;

friendly, helpful staff who

offer amazing service

without being intrusive.

My first visit to Millie’s was

between lunch and dinner

on a Tuesday afternoon, so

I opted for lunch. I had the

most moist, flavorful burger

I have ever tasted. The

burger is a blend of chuck,

brisket and short rib and,

because why not, I ordered

it with cheese and bacon. A side of homemade chips

and pickle spear rounded out the plate and, although the

chips were good, my friend had fries and I would definitely

order those next time instead of the chips. He also had a

pressed Cuban sandwich, which he said was



The second visit was on a Sunday for dinner. We stopped

by kind of early for dinner; it wasn’t crowded at the time, but

they told us it would fill up on a Sunday evening. We went

elsewhere for a couple of drinks and when we came back,

there were indeed several people there, although it was

easy seating at the bar. I had been excited on my previous

visit to see shrimp and grits on the menu so I already knew

what I would be ordering. I had a different friend with me

that evening and, after considering the many delicioussounding

options, he ordered the grouper entree that was

featured. The shrimp and grits were probably the best I

have ever tasted. This dish can have many variations,

mostly in the “gravy” and this was delicious. Even my

friend who, like so many people, claims not to be a “shrimp

and grits guy” finished my entree for me. This was, of

course, after he devoured all of his grouper dinner.

There are some intriguing items on the menu at Millie’s -

BBQ Smoked


Ribs, BBQ

Pork Nachos,


Rubbed Steak

Salad, Filet

and Shrimp

Fondue. They

also offer a


menu. This

will have to be

a special occasion place for me - it was on the higher price

point (around $92 including drinks for the two of us - in

fairness, we may drink more than some people). But well

worth the price because the portions are generous. I will

make it a point to treat myself again soon!

new school album of the month

VLTMUS Something Wicked Marches In

Ex vocalist and bass player of Morbid Angel David Vincent, ex Mayhem

guitarist Blasphemer, and Cryptopsy drummer Flo Mounier have

come together to deliver Something Wicked Marches In, an album of

progressive at times, yet brutal death metal. A must own for fans of the

members’ other music endeavors. Top tracks for me are “Total Destroy”,

“Everlasting”, and “Last Ones Alive Win Nothing”. Out now on Seasons

of Mist Records.

Photo Credit: Metalbox Facebook page

Photo Credit: TVT

The Metalhead Box

A few years ago, while scrolling through a couple of groups that I am a

part of I stumbled across something that I thought was an excellent idea,

a monthly subscription called “The Metalhead Box”. The subscription

is basically a very well put together box that includes a t-shirt, 3 CDs,

and other miscellaneous items such as stickers, patches, pins and other

goodies and costs about $40.00 a month with shipping. I of course had

to check it out for myself and each box I have received is extremely

impressive. I have gotten not only t-shirts and CDs but also beer cozies,

satanic candles, posters, signed pictures and so much other really cool

Metal merchandise. Their service has several formats to choose from

including the regular box, the mini box, and even a vinyl box option. You

can also choose your favorite genre of metal for your box (Death, Black,

or Thrash) which is a plus. I feel this box is for the Metalhead who wants a

new surprise every month because you never know what you’re going to

get out of this one-of-a-kind subscription but it is a blast to find out and you

will certainly look forward to unboxing each month so check it out.


Photo Credit: Season of the Mists Records

old school album of the month

G/Z/R Plastic Planet

During his hiatus from metal legends Black Sabbath, Geezer Butler (the

godfather of all heavy metal bassists) decided to embark on a solo career

and then voila G/Z/R’s “Plastic Planet “, released in 1995 on TVT Records.

This aggro groove metal album featuring Fear Factory’s Burton C Bell on

vocals, was nothing typical Sabbath fans were expecting especially with the

dissing of a certain Sabbath guitarist on the song “Giving Up the Ghost”. The

tunes seemed to be more aggressive and heavier than what was expected

out of Butler and change is good on this album. “Catatonic Eclipse” and

“Drive by Shooting” give this outing the 1-2 punch needed to

raise those metal eyebrows. Songs “Plastic Planet”, “House of

Clouds” and “X13” are worthy of avoiding the recycle bin. A pat

on the back from the prince of darkness was well deserved.




1. What is the title of the Beatles’ first album that

made the UK charts in 1963?

Please Please Me

2. Which member of the Grateful Dead lost

the majority of his middle finger due to an

wood-chopping incident?

Jerry Garcia

3. Name of the street where the iconic album

cover featuring all four members of the Beatles

walking in a street was taken?

Abbey Road

4. What is the name of the supergroup that both

John Lennon and Keith Richards were apart of?

The Dirty Mac

5. This blues singer-songwriter inspired Jimi

Hendrix into playing the guitar?

Muddy Waters

6. What is the name of the superduo that includes

both Kanye West and Kid Cudi?

Kids See Ghosts

7. What is the meaning of LL Cool J’s name?

Ladies Love Cool James

8. What is the title of Jason Mraz’s popular 2008

pop song?

I’m Yours

9. What year did Madonna’s hit song “Like a

Virgin” come out?


10. What is Childish Gambino’s real name?

Donald Glover

Gotha Location

July 5 - Tanner Johnson

July 6 - Madison Shae Trio

July 11 - Brandon Twitch Wilson

July 12 - Swamp Donkeys

July 13 - Yesterday’s Future

July 18 - Bobby Koelbe

July 19 - Mud Rooster

July 20 - Dave and the Waverlys

July 25 - Rafael Rodriguez

July 26 - Crenshaw

1236 Hempel Ave.

Windermere 34786

(407) 296-0609


Open every day at 11am



New Smyrna Location

July 4 - Seth Pause

July 5 - The Evening Muze

July 6 - Dustin Stock

July 11 - Jay Paski

July 12 - Stephanie Schaffer

July 13 - Joe Santana Duo

July 18 - Chuck Morel

July 19 - Gina Cuchetti

July 20 - Thompson Browne

July 25 - Bradford Buckley

July 26 - The Transfers

July 27 - Stealing Vanity

147 Canal St.

New Smyrna Beach 32168

(386) 410-4824

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