#qwest talks

[w-ebstarr]

experiencing the horrors (ao3 is down)

[dante-sol]

So I was moving my Plushy Collection and had to reorganize it. I need another bookcase.

List of Plushies from top to bottom below.

Top Shelf

Derivakat

VRcat

Chickn Nuggit

Koko the Gryphon

Orca Pup (Shylily)

Buttercup the dog

SCP 096

Qwest (Swords Webcomic)

Turnip Boy w/ a gun

Big Ears (Goblins Webcomic)

Kobold (JoCat)

Silver Fox

Deadly Comics

Second Shelf

Penny (Penny and Hachimitsu)

ToonrificTariq

Cliccy Kitty

Grumpy Onetopic

Jamiedodger

Aylia (RageGamingVideos)

Cotton (RageGamingVideos)

Vash The Stampede

Ed (Cowboy Bebop)

Sewphie

ADHD Alien

Third Shelf

Natsu (Fairy Tale)

Zero (Megaman X)

Cosmic Wonders Cyana (P.M. Symour)

Slips (Fools Gold)

Sneeze (Fools Gold)

Baby Beanie (Webcomic)

Rogue Goblin (JoCat)

Pepper the Saltshaker (Salt Raiders)

Fourth Shelf

Navy Teddy Bear (From Childhood)

Teddy Bear (From Childhood)

Tubby Nugget

Koro-sensei (Assassination Classroom)

Space Engineers

Neil (Coffee Talk)

Mr. Riggs

Bottom Shelf

Pachimari (Overwatch)

Terroriser Horse

Technoblade

Camille (Webcomic)

Cyborg Chan (Scott Falco)

Beer (Travellers Rest)

[captorcorp]

idk if it’s just not working on this screen but my right ds trigger might be broken OTL

[darkwood-sleddog]

@groenendaze​ this is a question I get a lot, I agree she is really unique!

Zombie is registered as white. White in Alaskan Malamutes is ‘ee’ or ‘recessive red’. The recessive red masks other pigment beneath it, but the dog retains its normal pigment on its eye rims, pads, nose etc (she has black pigment on these areas, much like a Golden Retriever or a Samoyed).

Now Alaskan Malamutes do come in red like Mick-Shrock’s Akicita Qwest WTDX ROMWD below (a recent ancestor of all of my dogs):

but the red in Alaskan Malamutes is on the “brown” or Liver Locus which causes the pigment of ALL of the dog to be brown (like the nose for example or eye rims, much like a Chocolate Labrador).

So why does Zombie have such reddish coloring to her coat? Simply put, there are different intensity levels of the recessive red color (think of the difference between a pale almost white “english” golden vs a deep red american field line golden). There is a gene responsible for the intensity difference in malamutes...talked more about HERE, but it is basically how we get the difference between the Classic Gray and White:

vs a “Sable” Alaskan Malamute (the dogs are not genetically sable...it’s a breed term), 

Sigurd & Zombie’s Mom, Yoko Nordiclight of Indian Valley WPD WTA WTDA ROMWD is a sable dog and having met her in person I can attest to just how brownish these dogs are in person, the phaeomelanin (the red pigment) really shows through and you get an very different looking coat color than the completely washed out classic Gray & White.

Sable can occur on ANY color, like this Black & White boy, FI CH EE CH RU CH HeJW-15 SM-REK-4-18 KNIGHT ASLAK POLÀRNÌ ÙSVIT, seen here on the left next to a non sabled dog:

Slash’s mom, Nordiclight’s Salem WTD  (and Slash also!) displays this intense pigmented sableing. Typically dogs on the black and tan spectrum (like they are) display very washed out phaeomelanin, making them almost indistinguishable from seal & white (domino black & white in genetic terms), but for some reason this genetic line has very intense phaeomelanin. Slash’s mother’s father is the littermate of Sigurd & Zombie’s mother, Slash’s mom Salem below:

So based on what we know about coat color and sableing, as well as the placement of the phaeomelanin pigment in non-white dogs that have sableing, Zombie’s color can be explained as white, with sable. 

[swordscomic]

Have you considered making/offering plushies of your characters? Personally, I'd love a qwest sprout plushie.

Yes, I’m talking with 3 different companies about it at the moment.

[starsailorstories]

I feel like I don’t talk about Rin enough for them being a main POV character of the trilogy just bc they didn’t exist back when i was like a midsize fandom blog(TM) and nobody knows who they are

but that’s not fair so here’s some random things i love about rin

i’ve brought this up before but has this hilarious thing going with lux and mari where all three of them think they’re the grounded, responsible one

music taste inherited from their mom and oh does it show

freakishly athletic because lux figured out when they were 7 that they get a lot more homework done when she lets them do her intense martial artist training routine with her but absolutely antithetical to organized sports in every other aspect of their personality

“qwest?”

accommodating/flexible to a fault but still tries to relate to the various obsessives constantly surrounding them by being like “hey. i get it. i draw a very narratively ambitious webcomic.”

(also: lowkey sees their whole space adventure as research for their webcomic)

absolutely INCREDIBLE ability to Snap when they hit a limit like idk if this is a weird thing to say about an OC but rin stands out in the cast for me for having an exceptional capacity for satisfying anger

gender fluctuates between flannelshorts and sundresssneakers with an occasional detour into blatant Fantasy Protag And Knows It

either says nothing or exactly what they’re thinking

sometimes what they’re thinking is “When I look at that swoopy thing in your hair I imagine tossing a little ball in there”*

*direct vol. 2 quote (to Chivalry, who for her part responds by saying it’s actually good for storing pens)

[w-ebstarr]

hot take but i enjoy tav’s just a guy™️ backstory. while the dark urge origin is incredibly well written, sometimes i don’t wanna play as the chosen one. sometimes i don’t want fate or the gods to destine me to be the catalyst to change faerun as we know it. sometimes i just wanna be the idiot a handful of incredibly traumatised people have decided to follow around like lost cats.

[blogroof250]

Drivers Actiontec Gateway

Drivers Actiontec Gateway Router

Drivers Actiontec Gateway

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User Name Password

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Yellow Ethernet Cable Ethernet

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MapPort Start Port End

Drivers Actiontec Gateway Router

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To connect with a single port number then click next. 20 discuss, click next button. To connect to connect with an end user. Actiontec gt wg usb driver for windows mac. Please note we are carefully scanning all the content on our website for viruses and trojans. Fuji printer p225db. Windows 7 that number into my ps3. One person found this helpful 2 people found this helpful.

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About the Actiontec Wireless Network Extender

Log in to the Actiontec wireless extender to set up in-home Wi-Fi or to change your Wi-Fi password or wireless settings.

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Drivers Actiontec Gateway

For more information, see Setting up In-home Wi-Fi on your Actiontec wireless extender.

Drivers Actiontec Gateway Login

Actiontec is a registered trademark of Actiontec Electronics, Inc. Wi-Fi is a registered trademark of the Wi-Fi Alliance.

[blackkudos]

Carmen McRae

Carmen Mercedes McRae (April 8, 1922 – November 10, 1994) was an American jazz singer. She is considered one of the most influential jazz vocalists of the 20th century and is remembered for her behind-the-beat phrasing and ironic interpretation of lyrics. McRae was inspired by Billie Holiday, but she established her own voice. She recorded over sixty albums and performed worldwide.

Early life and education

McRae was born in Harlem, New York City, United States. Her father, Osmond, and mother, Evadne McRae, were immigrants from Jamaica. She began studying piano when she was eight, and the music of jazz greats such as Louis Armstrong and Duke Ellington filled her home. When she was 17 years old, she met singer Billie Holiday. As a teenager McRae came to the attention of Teddy Wilson and his wife, the composer Irene Kitchings. One of McRae's early songs, "Dream of Life", was, through their influence, recorded in 1939 by Wilson’s long-time collaborator Billie Holiday. McRae considered Holiday to be her primary influence. She was a lifelong active Democrat.

Early career

In her late teens and early twenties, McRae played piano at a New York City club called Minton's Playhouse, Harlem's most famous jazz club, sang as a chorus girl, and worked as a secretary. It was at Minton's where she met trumpeter Dizzy Gillespie, bassist Oscar Pettiford, and drummer Kenny Clarke, had her first important job as a pianist with Benny Carter's big band (1944), worked with Count Basie (1944) and under the name "Carmen Clarke" (having married Kenny Clarke) made her first recording as pianist with the Mercer Ellington Band (1946–47). But it was while working in Brooklyn that she came to the attention of Decca’s Milt Gabler. Her five-year association with Decca yielded 12 LPs.

Chicago interlude

In 1948, she moved to Chicago with comedian and impressionist George Kirby, with whom she had fallen in love. At the end of the relationship, she worked as a pianist and singer at the Archway Lounge. She played piano steadily for almost four years at a number of clubs in Chicago before returning to New York in 1952. In Chicago she developed her own specific style. Those years in Chicago, McRae told Jazz Forum, "gave me whatever it is that I have now. That's the most prominent schooling I ever had."

Return to New York

Back in New York in the early 1950s, McRae got the record contract that launched her career. She was voted best new female vocalist of 1954 by DownBeat magazine. MacRae married twice: to drummer Kenny Clarke from 1944 to 1956, though they separated in 1948; and to bassist Ike Isaacs in the late 1950s. Both marriages ended in divorce.

Among her most interesting recording projects were Mad About The Man (1957) with composer Noël Coward, Boy Meets Girl (1957) with Sammy Davis, Jr., participating in Dave Brubeck's The Real Ambassadors (1961) with Louis Armstrong, a tribute album You're Lookin' at Me (A Collection of Nat King Cole Songs) (1983), cutting an album of live duets with Betty Carter, The Carmen McRae-Betty Carter Duets (1987), being accompanied by Dave Brubeck and George Shearing, and closing her career with tributes to Thelonious Monk, Carmen Sings Monk (1990), and Sarah Vaughan, Sarah: Dedicated to You (1991).

As a result of her early friendship with Billie Holiday, she never performed without singing at least one song associated with "Lady Day", and she recorded an album in 1983 in her honor entitled For Lady Day, which was released in 1995, with songs including "Good Morning Heartache", "Them There Eyes", "Lover Man", "God Bless the Child" and "Don't Explain". McRae also recorded with some of the world's best jazz musicians in albums such as Take Five Live (1961) with Dave Brubeck, Two for the Road (1980) with George Shearing, and Heat Wave (1982) with Cal Tjader. The latter two albums were part of a notable eight-year relationship with Concord Jazz.

Performances

McRae sang in jazz clubs throughout the United States—and across the world—for more than fifty years. She was a popular performer at the Monterey Jazz Festival (1961–63, 1966, 1971, 1973, 1982), performing with Duke Ellington's orchestra at the North Sea Jazz Festival in 1980, singing "Don't Get Around Much Anymore", and at the Montreux Jazz Festival in 1989. She left New York for Southern California in the late 1960s, but appeared in New York regularly, usually at the Blue Note, where she performed two engagements a year through most of the 1980s. In May–June 1988, she collaborated with Harry Connick Jr. on the song "Please Don't Talk About Me When I'm Gone" (S. Clare & S. Stept) in New York City at the RCA Studios, for Connick's debut album, 20. She withdrew from public performance in May 1991 after an episode of respiratory failure only hours after she completed an engagement at the Blue Note jazz club in New York.

Death

On November 10, 1994, McRae died at her home in Beverly Hills, California, at the age of 72. She had fallen into a semi-coma four days earlier, a month after being hospitalized for a stroke.

On June 25, 2019, The New York Times Magazine listed Carmen McRae among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

Awards

Discography

A Foggy Day with Carmen McCrae (Stardust, 1953)

Torchy (Decca, 1955)

Carmen McRae (Bethlehem, 1955)

Blue Moon (Decca, 1956)

By Special Request (Decca, 1956)

After Glow (Decca, 1957)

Boy Meets Girl with Sammy Davis Jr. (Decca, 1957)

My Foolish Heart (Vocalion, 1958)

Carmen for Cool Ones (Decca, 1958)

Mad About the Man (Decca, 1958)

Birds of a Feather (Decca, 1958)

When You're Away (Kapp, 1959)

Porgy and Bess with Sammy Davis Jr. (Decca, 1959)

Book of Ballads (Kapp, 1959)

Performing Music from the Subterraneans with Gerry Mulligan, Andre Previn (MGM, 1960)

Something to Swing About (Kapp, 1960)

Play Dave Brubeck's Points On Jazz with Gold and Fizdale (Columbia, 1961)

Tonight Only! with Dave Brubeck (Columbia, 1961)

Carmen McRae at the Flamingo Jazz Club (Ember, 1961)

Take Five Live with Dave Brubeck (Columbia, 1962)

The Real Ambassadors (Columbia Masterworks 1962)

Carmen McRae Sings Lover Man and Other Billie Holiday Classics (Columbia, 1962)

Something Wonderful (Columbia, 1963)

Live at Sugar Hill San Francisco (Time, 1963)

Bittersweet (Focus, 1964)

Second to None (Mainstream, 1964)

Haven't We Met? (Mainstream, 1965)

Woman Talk (Mainstream, 1966)

Alfie (Mainstream, 1966)

For Once in My Life (Atlantic, 1967)

The Sound of Silence (Atlantic, 1968)

Live & Wailing (Mainstream, 1968)

Portrait of Carmen (Atlantic, 1968)

Just a Little Lovin' (Atlantic, 1970)

Carmen McRae (Mainstream, 1971)

Carmen's Gold (Mainstream, 1971)

The Great American Songbook (Atlantic, 1972)

Carmen (Temponic, 1972)

Alive! (Mainstream, 1973)

It Takes a Whole Lot of Human Feeling (Groove Merchant, 1973)

As Time Goes By/Carmen McRae Alone/Live at the Dug (Victor, 1974)

Ms. Jazz (Groove Merchant, 1974)

Live and Doin' It (Mainstream, 1974)

I Am Music (Blue Note, 1975)

Live at Century Plaza (Atlantic, 1975)

November Girl with Kenny Clarke Francy Boland Big Band (Black Lion, 1975)

Can't Hide Love (Blue Note, 1976)

At the Great American Music Hall (Blue Note, 1977)

Ronnie Scott's Presents Carmen McRae Live (Pye, 1977)

Jazz Gala 79 (Personal Choice, 1979)

Two for the Road with George Shearing (Concord Jazz, 1980)

I'm Coming Home Again (Buddha, 1980)

Recorded Live at Bubba's (Who's Who in Jazz, 1981)

Ms. Magic (Accord, 1982)

Heat Wave with Cal Tjader (Concord Jazz, 1982)

Love Songs (Accord, 1982)

I Hear Music with Chris Connor (Affinity, 1983)

You're Lookin' at Me (A Collection of Nat King Cole Songs) (Concord Jazz, 1984)

Any Old Time (Denon, 1986)

Ms. Magic (Del Rack, 1986)

Live at the Great American Hall San Francisco with Betty Carter (Great American Music Hall, 1987)

The Carmen McRae-Betty Carter Duets (Great American Music Hall, 1988)

Fine and Mellow: Live at Birdland West (Concord Jazz, 1988)

Carmen Sings Monk (Novus, 1990)

Sarah: Dedicated to You (Novus, 1991)

For Lady Day Volume 1 (Novus, 1995)

For Lady Day Volume 2 (Novus, 1995)

Dream of Life (Qwest, 1998)

Ella Fitzgerald and Billie Holiday at Newport (Verve, 2001)

Live at Midem with Thad Jones (TKO Magnum, 2000)

At Ratso's Volume 1 (Hitchcock Media, 2002)

At Ratso's Volume 2 (Hitchcock Media, 2002)

I'm Coming Home Again (Essential Media 2008)

FilmographyFilms

1955: The Square Jungle - Herself

1960: The Subterraneans - Herself

1967: Hotel

1986: Jo Jo Dancer, Your Life Is Calling

Television

1976: Soul

1976: Sammy and Company

1979: Carmen McRae in Concert

1979: Roots: The Next Generations

1980: From Jumpstreet

1981: At the Palace

1981: Billie Holiday. A Tribute

1982: L. A. Jazz

[whatsupsac]

What’s Up With Your Weekend, 7/19 - 7/21/19

Friday

Light.Wav Tech Art Showcase: Light.wav is an annual 2-day digital media art showcase fusing art and technology through light, space and sound. Both nights will have live performances, we’ll transform an empty space into what can be described as a “modern-day dreamscape” where attendees will find themselves immersed in a sensory experience. Also happening on Saturday, 18+ 7PM-midnight. $10+ 

Sacramento Japanese Film Festival at Crest Theatre: The 15th annual Sacramento Japanese Film Festival begins with Destiny, The Tale of Kamakura. Arrive early to browse the card and book boutiques in the lobby. Doors at 630PM. Film at 730PM. $10

Danai Gurira’s Eclipsed at Celebration Arts: (Yes, that Danai Gurira!) Tony-nominated, Danai Gurira’s Eclipsed follows the experiences of a group of captive “wives,” subject to the whims of a Liberian rebel officer in a rebel army camp in 2003. With the arrival of a new girl who can read, and the return of an old one who can kill, their possibilities are quickly changed. These defiant survivors wonder about a different destiny.  The play offers a chilling, humanizing and surprisingly funny portrait of transformation, and celebrates the women who navigate and survive their hostile circumstances. 8-10PM $20

Saturday

Oak Park Fix- It Cafe at 3600 Broadway: Get tools sharpened, clothing mended, bikes repaired and more at this community-driven effort to make do. 11AM-2PM

Lunafest 2019 at the Guild Theatre: Carrie’s TOUCH has partnered with Lunafest for an amazing, and inspiring twist on traditional fundraisers- a film festival For, By, and About Women. Help support, and create more African American Breast Cancer Survivors. Join the pre-screening mixer, and immediately following, will be the 2-hour screening of various films. 2-5PM $35

Impatiens Bloom Day Party at Flamingo House: Local DJs Karizma, Rich Soto, and Greg Albers spin disco, house and worldwide sounds, accompanied by designer Jackie Taylor showcasing her pieces and a special selection of vintage. 21+ 2-8PM Free. 

Lipstick Presents We Are Your Friends at Old Ironsides: The Lipstick crew and friends bring you a Blog House Revival featuring music by artists like Justice, The Twelves, MSTRKRFT, Chromeo, Vitalic, Soulwax, LCD Soundsystem, Breakbot, Peaches, Ladytron + more. 21+ 9PM-130AM $5

Sunday

Sacramento Audio Waffle at Red Museum: Norcal NoiseFest presents the loudest breakfast in town, featuring noise artists accompanied by free coffee and waffles. Ear plugs provided. All ages 12 - 3PM $8+

Sacramento Zine Symposium at Central Public Library: Learn about and participate in the production, history, and fun of zines at this event featuring panel discussions, lightning talks, and creation spaces for  exploring the world of zines. All ages. 12-4PM. Free. 

Funday Frolic at Faces: Enjoy some post-brunch drink specials & an evening of fancy frolics dressed in your Funday best. With music by K2, Pumatron, Jon E Qwest and Amy Roze and visual delights by Kitteh Klub and Branden Kern 21+ 3-10PM No cover. 

On Our Radar

We’re adding this segment to share events in advance or links we just think you would like. 

7/21: Sacramento Ballet is offering tickets to see The Nutcracker at discounted prices through July 21st. 

7/27: Garden the Grid, midtown’s summer garden tour supporting Alchemist CDC, will feature 15 gardens throughout midtown, Two Flew the Coop backyard chickens, Bee Love Beekeeper demonstrations, kitchen composting lessons from ReSoil Sac, and succulents from The Prickly Pear. $10.

8/2: Absorbed: Summer Edition is a collaborative multimedia art explosion at Beatnik Studios featuring art by Joshua Tremain, Felicia Gabaldon, and Erica Avila, music from Jon Bafus and Vox Musica, dance by Capital Dance Project, bites from Niche Events, and drinks by Jungle Bird, Boochcraft Kombucha and Urban Roots Brewing. $35. 

[admsneezeguards-blog]

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ADM Sneezeguards popular company for sneeze guards and they are popular because sneeze guards must be present in all self-service dining establishments. While they are still popular with self-service operations, COVID-19 has transformed them into something else entirely. Which are disbursed when coughing, sneezing even talking. ADM Sneezeguards manufactures sneeze guard and food guard. Our sneeze guards and Portable Barrier are based on the latest innovative designs.

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[w-ebstarr]

thinking about how shen jiu behaves like a cornered animal… having thoughts…

[otiss131]

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In order to solve the problem, you require state against eachother to a representative. When or even she gives instructions as necessary, you will need to stick to it. If the thing is is only minor, it's either you can wait or let them take action for predicament or issue. Just in case you have big problems on your cable internet connection, it needs you create an e-mail or talk with a client representative concerning it. It allows them to take action by broadcasting technicians to residence and repair the situation. This is one job that customer service employees to be able to do.

GetResponse currently provides unlimited use of its autoresponders with unlimited follow-up messages and number of subscribers. Which are critical 19 alternative domain names for sending messages.

Think upon the calls and also your your family need produce. Are they mostly to UK landlines? Do you regularly call other countries? Or are every bit of your calls to family and friends in the US and Canada, or in India? Make certain the VoIP provider features a call plan that suits your calling habits.

Can I stream music online?Some of your OD2-powered sites offer a choice of streaming a track (ie. playing it once) for 1p. You get a degree of credit, and utilize it for a mix of streaming and purchasing tracks.

They Lowest Price IPTV Provider earned a new CEO Dick Notebaert. He ran one of the other baby bells, Ameritech out of Chicago until it was acquired by SBC who changed its name eventually to AT&T. His job was conserve Qwest, which was in swimming pool is vital imploding.

You will always make free PC-to-PC calls seeking use a VoIP provider such as Skype. May possibly be just right for you, as long as you need to mind being tied  computer. The person you're calling must can provide broadband, also wants have listed to identical provider, and should also be at their computing. This set-up suits associated with people. You can also make calls from your laptop to other's phones, anyone will be charged for those people. And you will still have to be sitting for the computer, of course.

You may have to pay a monthly tariff. That is a good way to keep associated with all your calls and know training dvd . of each call. The service providers will calculate the number and will ask the users to want subscription program. In case you possess a Broadband, you are already a process of making an inexpensive international call.

[supersupersounds]

Vital Sound by Monkey Marc

Monkey Marc - Vital Sound LP

15 years ago Monkey Marc and his Combat Wombat crew dropped ‘Qwest’, a track that sounded like nothing else at the time, somehow welding the heaviest of reggae skanks onto their raw, P.E.-inspired hiphop sound. Ever since then Monkey has been concocting hiphop/reggae hybrids of ever increasing power and geez, Vital Sound has just blown everything before it right out of the water.

Monkey pairing up with some of the greatest Jamaican dancehall MCs of all time (Sizzla, Capleton, Ninjaman) was always going to be like pouring petrol straight onto a fire, and guess what... it is. Hearing Capleton spit over hiphop beats this good (on No Surrender) is nothing short of a revelation, this is just fresh as hell. Same again for Ninjaman (on Badness), that beat is Roots Manuva worthy it's that good. No shit, this is like watching all the stars in the sky suddenly aligning, it’s a hiphop head’s absolute dream come true.

The collabs with younger, next generation Jamaican MCs like Fyah Roiall are also killer.  ‘Willie Lynch’ especially is just gold, and when the bass drops down that octave to where it belongs, ohhh, that’s me in heaven.

Now, we seriously need to talk more about Monkey Marc and bass. This album is gonna destroy sound systems from Melbourne to Kingston and back, cause these are some of the lowest, warmest, most powerful subs you’ve ever heard. Check the weight of ‘Give Thanks’, fuck...

Vital Sound - 15 years in the making and totally worth the wait. Get on it. -Kris

[anonymous-hopeful]

Danganronpa: Quest For Hope!

Available on AO3!

Start from the beginning! : https://anonymous-hopeful.tumblr.com/post/168895738213/danganronpa-quest-for-hope

Chapter Four: The Love Chef

Welcome Back! Continue game?

*YES          NO

Let's go!

.........................

You are now Sonia Nevermind.

CONGRATULATIONS! The heir BYAKUYA TOGAMI and the librarian/psycho TOUKO FUKAWA/GENOCIDER SYO HAVE JOINED YOUR PARTY! Go ahead, sing it loud and proud!

NEW ITEM: Feather!

(One of the red feathers you found in the library. You can use it to change Touko into Genocider, and vice-versa.)

Feather can be found in your inventory!

NEW WEAPON: Iron Fist!

(As heir to the wealthiest company in Hoposelic, you must be able to climb the corporate ladder and strike down your opponents with an Iron Fist!)

NEW WEAPON: Geno-Scissors!

(Genocider Syo's famed weapon!)

NEW MINI-QUEST: Spellbook!

(Hidden within the depths of the library is a spellbook. Touko never really thought much of it, but it may be important now!)

Begin Mini-Quest?

YES           *NO

Alrighty then.

A rumbling sound fills everyone's ears!

BYAKUYA: Anyone have an explanation for that horrid noise?!

CHIHIRO: s...sorry...

TOUKO: What? T-that was you?

CHIHIRO: Heh, I'm hungry.

MONOMI: I could go fowr some fwood twoo!

"I agree! All of this questing makes you hungry!"

BYAKUYA: Okay, let's say we go to eat. Where would we...

Byakuya starts to sniff the air.

BYAKUYA: That smell is...captivating...

Touko sniffs the air.

TOUKO: I-it smells good...

Chihiro and Monomi sniff the air.

MONOMI: Mmm!

CHIHIRO: I'm getting even more hungry!

You sniff the air.

"Well what are we doing? Follow that scent!".

You and your party follow the scent trail in the air. Unfortunately, you encounter a group of TEN MONOBEARS!

"Uh Oh!"

Who should attack?

*Byakuya

 Touko

 Chihiro

  You

(Attack: Iron Fist)

USE IRON FIST?

*YES      NO

(Byakuya attacks with his Iron Fist! He does well! THREE MONOBEARS are crushed!)

The MONOBEARS want to retaliate! They scratch your party! Everyone loses ten H.P.!

Attack Time!

  Byakuya

  Touko

 *Chihiro

    You

(Attack: Hacker Program)

USE HACKER PROGRAM?

 *YES          NO

(Chihiro uses his Hacker Program! It does wonders! TWO MONOBEARS are fried!)

The MONOBEARS are too fazed to fight back!

Open Inventory?

  *YES        NO

INVENTORY: Scroll

                  *Feather

  Use the feather?

  *Yes        No

TOUKO: AAACHOO!

GENOCIDER: Guess who!

 It's fighting time!

    Byakuya

   *Genocider

     Chihiro

      You

(Attack: Geno-Scissors)

USE GENO-SCISSORS?

 *YES            NO

(Genocider uses her Geno-Scissors! What a slice! FOUR MONOBEARS are cut up!)

 The last MONOBEAR is angry! He kicks GENOCIDER's nose!

GENOCIDER: Ow! AACHOO!

TOUKO: Ugh, my nose...

Poor Touko! She's lost twenty H.P.!

   Let's strike back!

     Byakuya

     Touko

     Chihiro

     *You

(Attack: Everlasting Bow and Arrows)

 USE EVERLASTING BOW AND ARROWS?

   *YES                NO

(You use the Bow and Arrows! Show that Monobear who's boss! The LAST MONOBEAR was shot!)

Victory! You and your party have earned FORTY HOPE SHARDS!

"Now then, I think we've earned ourselves a nice meal!"

You and your party follow the scent trail. It leads you to a small restaurant in the woods.

Enter?

    *Yes              No

You and your party enter the restaurant. Inside sits a rather muscular teen.

???: I SEE YOU'VE FOUND THE HANAMURA DINER!!!!

BYAKUYA: No need to yell, you inconsiderate beast.

???: HA! Sorry, it's a force of habit. I'm Nekomaru Nidai. NICE TO MEET YOU!!!

"Hello, Nekomaru, my name is Sonia Nevermind!"

NEKOMARU: YOU MEAN THE PRINCESS ?!?!?!

"Well, Queen actually..."

NEKOMARU: I AM HONORED TO MEET YOUR ACQUAINTANCE!

TOUKO: It's obvious.

NEKOMARU: I'M SORRY!!!

CHIHIRO: Apology accepted! I am Chihiro Fujisaki.

TOUKO: I-I'm Touko Fukawa.

BYAKUYA: Byakuya Togami, heir to the Togami fortune.

MONOMI: I am Monomi!

NEKOMARU: Nice to meet you all! No one's really come here since...since...ugh...

"Nekomaru, what's wrong?"

NEKOMARU: I HAVE TO TAKE A MASSIVE SHIIIIIIIIIIIT!

Nekomaru runs into the nearest bathroom.

BYAKUYA: Thanks for letting everybody know.

As the party sits down at a table, a short cook, sorry, chef comes out of the kitchen.

CHEF: Oh, hello! I notice you've met Nekomaru?

"Yes, he's quite the character."

Chihiro's stomach growls.

CHEF: Where are my manners? You've come for a meal, hmm?

TOUKO: Yes...can we eat now?

CHEF: Patience, darling. It takes time to whip up a good meal.

"We're willing to wait all day!"

CHIHIRO: Don't say that so quickly...

An hour later...

CHEF: Here you go, sweethearts! It's a favorite; beef stew. Mama taught me how to perfect it.

He passes everyone a bowl.

BYAKUYA: Thank you, but I am not partial to commoners food.

CHEF: You haven't tasted it yet <3

At once, you and your party take a sip...then another...and another...it's as if the food has you in a spell...

CHIHIRO: It's so good!

MONOMI: I want mowr!

"So do I!"

BYAKUYA: I never thought I'd say this...this commoner's food...is the best I've ever had!

TOUKO: Y-you don't ch-charge for seconds, do you?

CHEF: Of course not! In my restaurant, everyone eats free<3

The chef returns to the kitchen.

MONOMI: Uwuu...uwuu...

BYAKUYA: What's with your mumbling?

MONOMI: I agweed to go to the westarant because I sense hope...uuuu, but it's too muwch...I down't think we're the onwy guests...

CHIHIRO: I don't understand, Monomi.

MONOMI: Use your twacker!

Chihiro pulls out his tablet. As soon as it turns on, it starts sounding off like an alarm.

CHIHIRO: Whoa, there's a lot of hope here! Three vessels!

TOUKO: But there's only two people here.

"Maybe the device is broken?"

BYAKUYA: Or maybe they're hidden inside the restaurant?

CHIHIRO: I'll go look!

You are now Chihiro Fujisaki.

You move around the restaurant. The place seems so small, how could anyone be hidden here?

The alarm has already gone off around the restroom, and near the kitchen. Where could the last person be?

BEEPBEEPBEEPBEEPBEEP!

"The alarm! Oh...I didn't notice this door...".

 Enter?

  *Yes            No

You enter the room. It's a bedroom, and someone's sleeping on the bed.

"Hello? I'm sorry to disturb your rest.".

They don't move, so you decide to get closer.

"Um...hello?"

Something's not right...you move beside the person, and take off the blanket.

He's not sleeping! He's enchanted! You can tell by the way his heart glows through his chest!

"Oh my..."

You are now Sonia Nevermind.

"Chihiro's been in that room for a while...you don't think-"

CHIHIRO: GUYS, COME QUICK!!!

BYAKUYA: That's our cue.

You and your party make way to the room. Chihiro's holding the enchanted teen.

CHIHIRO: I found him here! He's a knight! His armor's in the corner...

"Wait a minute! I recognize him!"

MONOMI: You do?

"Yes! That's KIYOTAKA ISHIMARU, the youngest member of the Royal Guard! One day, while on an errand, he disappeared, and no one was able to find him!"

TOUKO: I-I knew it...

"Knew what?"

TOUKO: The flirty attitude...his food...he's a LOVE WITCH...

BYAKUYA: That must've been why we loved his food so much...

MONOMI: And why no one has to pay!

CHIHIRO: Maybe Kiyotaka had too much...

TOUKO: T-that's how he became enchanted...

???: Hmm? Oh, you're all naughty, aren't you?

"That's not good..."

The chef enters the room, visibly upset.

CHEF: Didn't anyone ever tell you it was rude to invade other's privacy?

BYAKUYA: Didn't anyone ever tell you that you shouldn't enchant knights?

CHEF: Well played... it wasn't my intention...

"So why didn't you try to fix him?"

CHEF: Isn't it obvious? The fix to every Love Witch's spell is-

TOUKO: True love's kiss...

CHEF: Exactly. Without his true love to kiss him, he stays like this.

CHIHIRO: Be honest...were you trying to enchant us too?

CHEF:......

"I could have you imprisoned for this!"

CHEF: I have my motives...none of you would understand.

MONOMI: It's still not nice!

"How about this, we take Kiyotaka and attempt to find his true love, and we'll leave you and Nekomaru."

MONOMI: WE CAN'T DO THAT! ONWY TEWUTEWU KNOWS HIS TWUE LOVE! BESIDES, BOTH HE AND NEKOMAWU NEED TO JOWIN OUWR QWEST!

"Wait...Teruteru?"

TERUTERU: That's my name....TERUTERU HANAMURA...and none of ya ar' goin' ANYWHERE!!!

TERUTERU advances on your party!

Looks like it's battle time!

   *Byakuya

     Touko

     Chihiro

      You

(Attack: Iron Fist)

USE IRON FIST?

*YES            NO

(Byakuya packs a punch on Teruteru! His moan is suggestive...He lost 20 H.P.!)

TERUTERU: Oh, Byakuyaa~

BYAKUYA: What the?!

TERUTRU: Come here, sweetie<3

(Teruteru places a sweet kiss on Byakuya's lips...it's hard to watch...)

Byakuya lost 40 H.P.!

Byakuya's too dazed to fight!

Speaking of....

    Byakuya

    Touko

    Chihiro

    *You

(Attack: Evrelasting Bow and Arrows)

USE EVERLASTING BOW AND ARROWS?

   *YES          NO

(Pull, Aim, Fire! That's how to fight a witch! Teruteru lost 10 H.P.!)

Teruteru winks at your party...you all can't help but feel timid...everyone loses 10 H.P.!

Open Inventory?

   *Yes         No

INVENTORY:  Scroll

                    *Feather

 Use Feather?

    *Yes         No

TOUKO: AAACHOO!!

GENOCIDER: Guess who!

Teruteru looks into your eyes...

TERUTERU: You look hungry <3

"Nope, not really..."

TERUTERU: Not the answer I was expecting...

Teruteru spares you.

Back to battle!

 Byakuya

*Genocider

  Chihiro

  You

(Attack: Geno-Scissors)

USE GENO-SCISSORS?

  *YES        NO

(Genocider takes a stab at the chef! How is he not bleeding? Teruteru lost 50 H.P!)

TERUTERU: Say "aah"~

GENOCIDER: Wha?

Teruteru stuffs a rice ball in Genocider's mouth. She can't help but chew it! Genocider lost 30 H.P.!

Byakuya can now fight again!

Let's go!

     Byakuya

     Genocider

    *Chihiro

      You

(Attack: Hacker Program)

USE HACKER PROGRAM?

 *YES          NO

(Chihiro activates his program! Wait, that actually worked? Teruteru lost 20 H.P!)

Teruteru feels dizzy.

Teruteru whispers in your ear...Drat! A spell! You've lost 40 H.P.!

Now's our chance!

   Byakuya

  Genocider

   Chihiro

  *You

(Attack: Everlasting Bow and Arrows)

USE EVERLASTING BOW AND ARROWS?

  *YES        NO

(The shots have been fired! Teruteru loses the last 10 H.P.!)

TERUTERU: Oh....It seems like I've been completely dominated...

VICTORY!!! You and your party have earned 100 HOPE SHARDS!!

TERUTERU: Ugh...

BYAKUYA: Alright, talk.

TERUTERU: Huh? I don't understa-

BYAKUYA: You said you enchanted Kiyotaka for a reason. What's the reason?

GENOCIDER: Duh! Isn't it obvious?

CHIHIRO: Not really.

GENOCIDER: It's like, a common witch fact. When a new witch comes into power, it's usually controllable, the only case of not being able to control their powers being them loosing their birth mother.

"Wait....what?"

GENOCIDER: It may not seem like it, but witches are deeply connected to their birth mothers, no matter what they specialize in. If a witch becomes separated from their birth mother for a certain amount of time, or if the birth mother dies, the oldest child will receive an intense influx of power that can't be controlled.

CHIHIRO: Teruteru...is this true?

The chef turns away.

TERUTERU: My mama left with my little siblings months ago on a trip to another kingdom...I promised to stay here and run the shop...Nekomaru promised to stay with me so I'd be safe...

BYAKUYA: Now that you mention him, how come he wasn't affected by your magic?

GENOCIDER: Oh, Byakuya, my knight, a love witch's true love isn't affected by their magic.

TERUTERU: That's how Nekomaru was never enchanted. Believe it or not, the knight...Kiyotaka...was lost in the woods for quite some time before he came across this diner...I offered him a nice meal because he had been out on the wild for so long. He ate and ate...until he passed out...when I saw he was enchanted, I knew two things...one, my mama was in big trouble, and two, I was going to meet the same fate.

"I...I'm so sorry..."

TERUTERU: There's no need to be.

He turns to face the group.

TERUTERU: I guess I need to accept my powers and learn to use them for good...you said Nekomaru and I could be used for a quest?

MONOMI: Oh! I awlmost forgot!

BYAKUYA: Really? After he forcefully fought us?

MONOMI: I'm suwre he was newrvous. Pwease Tewu, we'd weally appweciate it!

TERUTERU: Well, there's nothing else I could possibly do.

CHIHIRO: Yay! Let's go find Nekomaru.

"I think I know where he is."

You and your party return to the dining area. Nekomaru stands outside of the bathroom panicked, but when he sees you and your group, he's relieved.

NEKOMARU: THERE YOU ARE! I THOUGHT YOU LEFT ME!!

Teruteru goes to hug Nekomaru.

TERUTERU: Oh, sweetheart, I'd never leave you!

GENOCIDER: Byakuya, why can't we be like that?

BYAKUYA: Here we go again.

TERUTERU: Say, Nekomaru?

NEKOMARU: hmm?

TERUTERU: Would you like to go on a quest? You and me~

"And me, Chihiro, Genocider slash Touko, Monomi and Byakuya."

BYAKUYA: I'm mentioned last?

MONOMI: Not impowrtant!

NEKOMARU: If it's with you and the Queen, then COUNT ME IN!

"Great! We'll be saving Hoposelic in no time!"

[readablenoise]

Joy In Repetition: A Conversation with Adam Bravin The co-founder of She Wants Revenge talks about the music industry, his new project ‘Love Ecstacy Terror’ and future to come (minus Replicants)

If you were a music fan in the mid 2000’s and were a purveyor of the newest in rock, you watched The Late Show with David Letterman, aptly following in his predecessor’s shoes, and if you could stay up long enough, you watched Carson Daly’s program which was, and continues to be, a savior to college radio dreams made real. However, there was a third option and one that was all too often overlooked. If you wanted really really good new rock, you watched Jimmy Kimmel’s program. And if you were watching one fateful night in the mid 00’s, you couldn’t help but be drawn, perplexed and fascinated by She Wants Revenge’s debut performance. Vocalist/instrumentalist Justin Warfield captivating with a vocal that was drawing and musician extrodinare Adam Bravin on keys, giving the camera a deadpan stare straight into it. It was something cool, something different and most importantly, something brilliant.

Which brings us to here: 10 odd years later where the performance led to The Late Show which led to numerous song appearances on major films and TV series, and opening for Depeche Mode and The Cure, an honor and twofer that doesn’t happen all that often. Then again, the pairing of two perfect influences doesn’t happen all that very often and it’s in this innate chemistry that Bravin and Warfield thrive, both sharing a love for 80’s culture, rap and most importantly, being deliciously strange. Amidst all this, are the equally impressive achievements both Warfield and Bravin have accomplished: the former making his 1993 debut with “My Field Trip to Planet Nine” on Qwest Records, Quincy Jones’ record label, as well as being produced by Jones’ son. If you recognize Warfield’s voice elsewhere, it may have been from his recent solo material being featured on the TV series “Sons of Anarchy” or a throwback to “Spite & Malice” by Placebo which remains a hidden gem by the band. Bravin hasn’t had any less impressive feats on his list, having a distinguished reputation as one of the top DJ’s, from the personal choice of President Barack Obama to the late Prince, production credits and making his first foray into the solo world with his passion project, Love Ecstasy Terror, which sees the multi-instrumentalist taking the mic for the first time. As if this wasn’t enough, Bravin is one of the masterminds behind numerous successful themed club nights in L.A. with Giorgio’s (a disco love letter to Moroder and his legacies), AFEX (a hip-hop parade of the classics and underdogs) and now Cloak & Dagger, which while reaching the same high bar of musical quality as the rest, maybe the most interesting. It’s the kind of club you heard about in the 80’s: neon and candle lit, held in a secret location accessible only to card carrying members given out by the members to the lucky few. If it sounds like a mixture of Eyes Wide Shut meets Fight Club minus the orgies and blood, you wouldn’t be too far off, as the club even has it’s own set of rules though they’re more about etiquette than anything else. The public will get a taste of the club’s offering when it celebrates it’s second year with an L.A. festival that would make any goth/synth lover’s ears salivate, with the Jesus and Mary Chain, Cold Cave, TRUST and of course She Wants Revenge.

With all these credits, it’s easy to picture the duo having big heads catering to rock royalty. And so it makes it all just that much more refreshing when you find it really could not be farther from the truth. Upon meeting the band before their show in West Palm Beach for the 30th anniversary of local venue Respectable Street, Warfield wearing a worn Siouxie and the Banshees tee and Bravin in A Tribe Called Quest tee that looks just as comfy as your own favorite band shirt, they are still the exact same humble and music loving kids from the Valley who set out to make good music and crush the standards. Bravin is more than kind, soft spoken and possessing a knowledge of the industry in all it’s facets, the good the bad and the ugly. With the Morricone line being played in synths. This is a candid look into that insight.

Readable Noise: 10 years on since the first debut you’ve you’ve toured with Depeche Mode and The Cure, did it feel special the first time you recorded it? Adam Bravin: You know, we don’t think about it in those terms. I think we were really just trying to do a few things at that time, one was to inspire each other to do something new; we both have a hip-hop background and accidentally locked into this sound. We did a song and then we did another one and then another, and we go way back, and I think we were just trying to make music that we liked, you know? I was just learning how to play bass, learning how to be in a band, learning how to collaborate with somebody. We weren’t really thinking about it in those terms, we were just like “Let’s make a cool song, okay? And then let’s make another cool song”, just trying to do our thing.

RN: You have a lot of musical background, from hip-hop as well as working with female musicians, so I have to ask is “City of Women” (Bravin’s teased side project consisting of female vocalists) ever going to come out? AB: That is what I started working on when I was sidetracked, once again. I was working on that before She Wants Revenge, for a long long time. She Wants Revenge sidetracked me for 10 years and then when that was done, I started working on it again. And then Justin convinced me to make a solo record which sidetracked me once again. So now that I’m done with my solo record, I'n going to go through the cycle that you go through, putting it out and hopefully touring? And then when that’s done, I’ll probably get going to recording City of Women and hopefully finish it one day… Before I retire. (laughs)

RN: And how’s the solo process been for you, since it’s your first foray into vocals? Which I have to say is really good. AB: Thank You. I still can’t wrap my head around hearing myself sing, although it gets a little bit easier every time I do a new song. It’s a fear of mine, and I’m in this mode in my life of conquering as many fears as possible. So when Justin first suggested to me that I do an album and sing on it, I was completely against it. But he helped me write a song, record it, and I wasn’t… I didn’t have a great time on that first one. And then we did another one and then another, and after we did like, two or three, I realized how amazing it is. Even though it still terrifies me, and even though I’m not where I want to be as a vocalist, I’m in love with the process of writing something on paper and then saying it out loud. There is something about that that I’ve never experienced as an artist. It’s just, to be at this point in my life and find a new way to express myself is a really special thing. And so I’m kind of taking the anxiety and fear that it gives me and redirecting that energy into a creative space and pushing forward, it’s really exciting. I’ll be doing my first show pretty soon and I’m terrified of doing that but again, I’ll take that energy and turn it into something else.

RN: What has been the most revealing thing to you, stepping into the lead vocalist shoes? AB: You know, I’ve always been able to hide behind the turntables as a DJ, and kind of hide behind Justin in She Wants Revenge, and hide behind other artists producing them. And it [Love Ecstasy Terror, Bravin’s solo moniker] really doesn’t allow me to hide behind anybody. I think the most revealing thing is revealing myself, to other people in that way. And again it’s terrifying but it’s really rewarding. I haven’t really gone up in front of anybody yet except a couple of my friends and even that alone.. Even if I never got up in front of anybody except a few of my friends, that’s been enough for me, really enjoying it. And again, I have one show planned and hopefully that goes well, we’ll see what happens.

RN: You come from a music background, has that always been a prominent part of your life? AB: Oh yeah, since I was a baby. Both of my parents are musicians and I’ve always been around music. I was raised basically in a recording studio, my Dad always had a studio when I was a kid. He always played keyboards and piano and was always in a band or jamming with somebody. So I’ve always been around music.

RN: In terms of DJ'ing you still stay to the traditional, you still spin actual records which is great, what was the first 12" that really kind of changed your life? AB: I remember… I always had records, but I remember when I first DJ'ed in my friend Travis’ bedroom, like, put two turntables and a mixer together. And he had a bunch of records and I brought over a bunch of records but none of them were really like, they were all kind of random? So I do remember going to the record store at that time and buying records specifically for playing them at our friends house party, which would have been my first party I ever DJ'ed. And I remember getting Pet Shop Boys “Opportunities”. That was probably my first record as a DJ that I ever bought. I had a whole bunch of stuff that I inherited from my parents but as a DJ, I remember that one, going back to my buddy Travis’ house and I remember going “Wow, let’s go get more!”, we ended building up a little bit of a collection and I just started DJ'ing all the parties at high school.

RN: Are you happy with the vinyl resurgence that’s coming back? AB: I mean, I love vinyl. I have probably close to 50,000 pieces of vinyl. You know… It’s difficult to get excited about what they call a resurgence because there’s been a number of vinyl resurgence. And… It just sometimes feels like people are buying records because it’s ‘cool’, you know? I see a lot of DJ’s saying ‘Come hear my old vinyl set!’. It doesn’t mean anything to me, you know. I don’t think it matters what format you’re on. I think records are cool, but I also think if you use an iPod, if you use CD’s, if you use vinyl, whatever you use, whatever’s coming out of the other end of the speakers to create a cool soundtrack for a party, I don’t think it matters what you use. So when people are using vinyl because they love vinyl, and they understand the difference in sound between playing a piece of vinyl and mp3 because there’s definitely a difference, people that appreciate that part of it, that really understand the sonics of it as well as get into like the artwork. Not just going ‘hey, come check out my vinyl collection’ but really buying the records for the linear notes, and to hold it, listen to one side of the album, turn it over and listen to other side. There��s something cool about that that younger people don’t really understand because they didn’t really grow up listening to records like I did. If somebody appreciates vinyl in the same- not even in the same way I do, if they appreciate the art that comes along with it, and the sonics that come along with it, and the fact that you can hold it, can’t hold an mp3, you know? Then that makes me excited about the resurgence. People that are like ‘check out my old vinyl set’ just because its cool? Doesn’t really mean much to me.

RN: You guys came from the 00’s where everyone had to work for their dollar with MySpace and other platforms. Do you feel that new bands don’t have to try as hard these days because there’s so many media platforms or does that make it harder? AB: Try so hard in what way?

RN: To promote themselves, insofar as get noticed because there’s Bandcamp and Soundcloud among others. AB: You know… There’s so much music on a daily basis that gets released, I am just happy for anybody that breaks through in any way to get their music noticed. It’s not like it used to be. There’s like, hundreds and thousands of songs and artists that come through on a daily basis. So to even… I wish I knew what the answer was, we don’t even know what the answer was. I don’t think anybody knows, unless you’re on a major label or you have somebudy funding you and have tons of money for advertisements or get sponsored. It’s really difficult to be noticed unless you get lucky or you get on some Spotifly playlist that gets popular or a big artist cosigns for you, retweets you, or reposts you on Instagram. So, I mean… I get excited when the underdog or some band- cause I’ve always been that way. I’m like “oh my God, no one knows about this, it’s amazing!” And then it blows up, sometimes you get a little…you know, you get a little jealous that the little secret gets out. I remember when I was younger, I knew about a couple of bands that no one else knew about and then when the whole world finds out about it, it doesn’t feel as special, even though the music is still as special. But I think these days, whatever you got to do to get noticed… It really comes down to the music. Like, if the music’s good, I feel like one way or another, it rises to the top somehow.

RN: Going back to all the band’s that influenced you, what is one lyric that would sums up your life? Like if someone asked you to describe yourself, what would it be? AB: From another band?

RN: From your band or another band. AB: One lyric that describes me? I’ll have to think about that one for a minute. Its probably a Depeche Mode or Prince lyric. Probably… (pauses) It’s a good question. (Another brief pause) Lets come back to that one. I’ll think about that one before we finish.

RN: Speaking about Prince, do you have as much b-sides at this point as Prince’s vault does? AB: Who, us?

RN: I remember you saying you has a b-sides album you were toying with? AB: Prince has hours, and days, and weeks of music that’s unreleased! I don’t think anybody has the amount of music that’s locked away in his vault. That guy worked- every day he wasn’t on stage, he was recording. For the entirety of his career, so there’s thousands of songs locked away in that guy’s vault, for sure. We probably have like, 30, not even close. Probably the same amount of songs that we’ve released, we have others on our computers somewhere, on a hard drive.

RN: As a personal question, you’ve worked with Prince a few times, what do you think of his work aestethic? Do you agree that he kept his music withheld from places like YouTube and off social media and released them on his own? AB: I mean I understand how he was really precious about everything, but up until a certain point- there came a certain time where I was like, c'mon dude. We all just want to hear your music, man. And I get where he’s coming from, I mean… He’s like the ultimate artist in my opinion, he’s the definition of an artist. So it doesn’t really matter how I feel about it even though it’s more of a selfish thing, like I want to hear all your music, put it out on YouTube or wherever. But I understand it, he kept it true, you know, until he passed away. And what I mean by that is like, he did that for a reason to protect all the artists. Artists don’t make money anymore. I think it was more, making a statement like… You’re only worth what you let the world know you’re worth, right? So if you say, I’m putting my own stuff out and you gotta pay for it, you’re creating a market for your art. We live in a world where you just don’t make money because people don’t buy music anymore, and its crazy. It’s crazy that people spend all this time and energy, blood, sweat and tears creating art for other people to connect with, creating a soundtrack for people’s lives. And they don’t get anything in return for it, except love, which is okay, you just have to figure out other ways to get paid as an artist. But I think, back to Prince, I think he was just trying to, you know, make a statement and say we’re artists: this is what we’re worth, if you want to hear what I create as an artist, you gotta pay for it.

RN: That’s why I wanted to ask you, because you’ve been in the music business for so long in so many different aspects of it. There’s so much consumption that I feel the only way for bands to make any money is to work their asses off in touring which is sad because it takes such a personal toll on them. Sometimes bands gets destroyed by touring being away from their families, that’s why I was curious. AB: It’s a tough call because if you’re Prince, you can do that. If you’re not Prince, and no one knows who you are, you have to put your music out, people have to hear it. So, again if you’re Prince, you can be precious about it, you can take it off the internet and you can get people to buy it because you had a career that spanned over 30 years. For a band no one knows, you have to do everything you can to get people to hear it. So if you have to put it out for free, if you have to put it on YouTube, stream it, give it away for free in order for people to hear it, that’s what you gotta do. So, I see both sides of it, but again, you have to be a huge band. If you’re U2, you can do that. For me, because people know She Wants Revenge I have a little bit of an advantage, but not much. The only reason I would charge anybody for my music… Like, I’m probably gonna do what Justin did with his new side band, Dream Club. You can download it for free, if you want, or, you can buy it for whatever amount you want to pay for it, and the money that he’s getting from people that buy his music, he’s gonna turn around and print vinyl with. So people are basically just funding, vinyl. I like that idea, of like, pay what you want and if you don’t want to pay, you know, take it. If you want to pay and you understand that what you’re giving me will either help support me doing shows or support me pressing vinyl, it just goes right back into it, I’m not putting it in my pocket. For us, when we tour- when people come to shows, it just supports us being able to do more shows. You know, we don’t make a ton of money off of touring. That money goes right back into what we do, and it helps support us going to other cities and continuing to share our music. Hopefully, someday we can go back in the studio and make more.

RN: It’s kind of funny that you bring up the pay what to plan because when Radiohead did it for In Rainbows, it’s hilarious that some people paid 9 cents or even 1 penny because like you said people put their blood, sweat and tears into this- AB: Well again, if you’re Radiohead, you can afford to do that.

RN: Even with newer bands though who put it through Spotify and get, one fraction of a penny. AB: It’s like- it’s a tough call. It’s just a very strange world where, because of the internet, all these different art mediums with the exception of painters, who still sell their artwork, if they’re not digitized. But music and film, it’s crazy how… At a certain point, you have to give it away. You know, for me, I worked 4 years on my record. I put more energy and heart into my solo record than I’ve ever put into anything. Do I think I’m gonna make money off of it, probably not. I don’t even know if anyone’s ever going hear it, honestly. Again, because we have a fan base, in She Wants Revenge, someone’s gonna hear it because people follow us on social media. I may not make any money off of it, and you know what, that’s cool. I don’t have any expectations. I think we live in a world where when people make music they don’t have any expectations either. They shouldn’t, they may never make a dime, and they have to be okay with that, it’s just how it is. You make money off licensing, you make money off merchandise, you make money off touring. if you’re lucky enough to tour. You kinda have to go into it knowing you may not make any money. And you know what, it’s discouraging and I know a lot of musicians that are turning away from music. I know a ton of musicians that, they write for film and TV. Or they direct. Or they take photos. Or they just stop making music. It’s very hard to have a life and be a musician; have a family, like, Justin has a family. We do this because we love it, we’re fortunate that people come to our shows, make a little bit of money. But it’s discouraging. I meet a lot of managers, lawyers, we all say the same thing. They discouraged people from entering the music industry, more times than encouraging them. Because there’s no money, you have to know what you’re getting yourself into, and it sucks, honestly. But I’m not here for that, I just love making music. Fortunately, I do other things that I make money from, and I love making music so much that I would do it for free, and I can afford to do it for free. I can’t imagine being an 18 year old kid, trying to do a band in my garage.. Knowing that the chances are I’ll never make a dime off of it. Unless I get lucky somehow and my song ends up on a TV show or a movie. I come up with a clever t-shirt that everybody buys, you know what I mean?

RN: I know what you’re saying. Even being in journalism, I’ve been told so many times to ‘get a job doing social media enterprising, you’re never going make a cent off doing journalism, and I tell them fuck them, because I like to do this. AB: As you should.

RN: It’s sad that its gotten to this point. What was supposed to help us just went off the rails. AB: It’s crazy. You know, a really kind of big publication interviewed me the other day… (Pauses) And It was an intern. They basically got rid of their entire staff with the exception of three people. And I know they used to have a staff, probably of 30 or 40 writers. Now it’s like, 2 or three? The guy that interviewed me, no offense, was an intern. No one’s left. They either all went off and started their own blog, or podcast. You know, why help somebody else’s brand when you can just go create your own, and put all your energy into blowing up your own podcast or whatever. Because publications just don’t make the money that they used to. So I understand journalists’ frustration in general, just one more down the line, one more occupation down the line that you have to figure a new way to approach it in order to make any money.

RN: It’s sad because when big magazines were forced to go online, they became snarky just to get the clickbait, and I saw that. It was heartbreaking because I saw them flip-flop artists and say “hey we dissed this band, buy our stuff.” AB: It’s crazy. …I think everyone’s just scrambling to figure how to do it, how to move forward. Who knows? It’s frustrating as someone who wants to breathe music journalism. Like, I want there to be amazing writers, the more I read shit online, not to say there’s not amazing journalists out there, but like-

RN: It’s very few. AB: The publications that like… …I don’t want to name any names but the things that I used to buy every week in a magazine, I don’t pay attention to anymore because they suck.

RN: It feels like you have to go overseas to kind of get satisfaction, but even then it’s iffy.. AB: Maybe. Maybe. Even then, I just search out, there’s people that just branch out on their own or never work for a magazine and just write, who I follow. I’d rather read some kid from Ohio, some 16 year old kid who’s well read and really digs in, and discovers new music in some unique way than read some jaded guy who works at wherever, who doesn’t give a fuck anymore and all he’s worried about his job because he’s one of the last four people who works there. But he’s doing- all these people are based in fear. All these industries: DJ’s, nightlife, everybody does their job based in fear. Because they don’t want to lose their jobs. Like in nightlife, it’s crazy. The owners hire promoters, the promoters hire DJ’s that suck because they’re afraid if they get somebody that’s actually an artist that the guys coming who are buying the bottles, aren’t going to come. The DJ’s are playing a bunch of bullshit because they’re afraid if they’re artists they’re going to get fired. It just trickles down, I think it’s almost in every industry. Listen to the state of music, it’s so hard for me to find anything I like, because everything sounds the same. We were just having this conversation today, how like, it wasn’t so much about music, it was about people and their personal style. Like, when we were growing up and there wasn’t the internet, you couldn’t just go online and see what everybody else was wearing all over the world. And then there are these girls that every girl follows on Instagram and however they do their make-up, or whatever they’re wearing, it trickles down to the world. So everybody, everywhere I go, looks the fucking same. And when we grew up, you couldn’t do that, you had to have your own style. You just went out and bought the clothes that turns you on, based on whatever music you were into, whatever the subculture you were living through. There are all these amazing people that had their own individual style and it’s so hard to find now, not just in fashion, but in music. No one plays guitar anymore because it’s all digital. Kids aren’t learning instruments, they just want to get a computer and make music like all the pop artists are making. Same way with writers. It’s just…

RN: It’s frustrating. AB: It’s frustrating, not only s a musician, or as a DJ, or an artist but as someone who appreciates good writers. Good photographers. Everybody’s a photographer, all you need is an iPhone.

RN: Or an Instagram account. AB: That’s it, a couple of filters and everything looks good. Everybody’s a model. No one looks like they do in real life. It’s crazy. I know all those girls on instagram. I know them in real life, they don’t look the same.

RN: No exactly. AB: You get a couple of apps, and a couple of filters-

RN: Photoshop. AB: Get some make-up tutorials online. And then turn into this thing that looks like all the rest of them, it’s crazy.

RN: I was reading Johnny Marr’s autobiography and like you were saying, fashion made him meet these types of people who made them meet their types of people, and you don’t- it’s so foreign to me because it doesn’t exist anymore. AB: You know, it’s crazy, I was having another conversation recently with a business partner of mine who I do a night with in Los Angeles, people used to go out to be inspired, in nightclubs, because you were around amazing people that came from all these different walks of life: real writers, real photographers, real musicians, everybody inspired each other to be creative, or to collaborate or to learn something new. I go out now, and I don’t learn anything, I don’t even want to go out, not to say that those places don’t exist.

RN: They’re harder to find. AB: They’re almost impossible to find. They exist, you just really have to go out of your way to discover them. So… Long answer to the first question, it’s frustrating.

RN: Going back to Cloak & Dagger festival, how did it come up? It is a really good line-up. AB: Thank You. The original idea was to do a two year anniversary party, which would include my band. There are members of other bands that are members of Cloak and Dagger, the original idea was to do like three bands for the two year anniversary but after doing a little research with my agent, we realized that there’s no festivals out there that mix genres in the way that we do at the club. So it really was my agent’s genius idea to try and do a festival that encompasses the different genres that you play at Cloak and Dagger. So, it just went from an idea to do a little show at the club into this sweet festival we’re having. And its really exciting because all I’m really doing is what I do in the club which is put together a bunch of songs and I play them for people, in a certain order. So doing a festival like this is kinda like doing the same thing, I made a list of artists and put them altogether and we had a festival.

RN: They’re a super stellar line-up, it’s tempting to make a trip to L.A. for. AB: It’s a pretty special line-up, I have a couple of partners and everybody worked really hard, because I don’t know the first thing about a festival, I just know the music I like. So fortunately, I have a couple of partners that worked really really hard to book all these bands. And it took 9 months of work, which is a long time to put together. So I’m really glad it happened, we were able to put it together and my first show as a solo artist will be at that festival. We’re already planning on doing it hopefully in other cities next year, we’re already starting to book 2018 and hopefully it’s the next chapter of my life, building up Cloak and Dagger as a brand and doing more Cloak and Dagger festivals.

RN: I always like to close it out with a lyric, you can either complete it with your own, or you can just complete it as it is. “Must be something in the water they drink” AB: That’s one of my favorites, I love that. When I think about Prince lyrics that relate to my life, I don’t if they really relate to me but I will say… ‘The beautiful ones always smash the picture’ is one of my favorite lyrics, or ‘what’s this strange relationship?’ You know there’s just… Lemme think of the perfect Prince lyric. This is actually probably my favorite Prince lyric, is.. ‘Holding someone is truly believing there’s joy in repetition.’

If music is a cycle of new innovation, then there is endless supply of joy found in between the waves. And it’s exciting to see what the next tide brings.

The Cloak & Dagger: Dusk Till Dawn festival featuring The Jesus Mary Chain, TR/ST, Love Ecstasy Terror, Cold Cave, She Wants Revenge and more will be held Oct 20th to 21st in L.A., information can be found at http://xcloakanddaggerx.com

-Jenelle DeGuzman