Bryan's List of Local Music Happenings 11/26/12

Additions and corrections welcome. Thanks Bryan!

Monday 11/26/12

Findley Family Fun Fest at the Greenwood 7:00

Tuesday 11/27/12

Josh Davis at the el Bait Shop 8:00
Dan Jones at the Greenwood 8:00
Reckless Ones w' Rumble Seat Riot and El Dorado at the Gas Lamp 9:00

Wednesday 11/28/12

Reeferseed Express at the Hull Avenue Tap 6:00 ($1 beers too!)
Jason Walsmith at Songwriter's Night at the Raccoon River Brewery 7:00
Chad Elliott at Fire Creek in WDM 6:30
Bob Pace Band at Zimm's 7:00
David Zollo at the el Bait Shop 8:00
Stu Ramsey at the Greenwood 8:00

Thursday 11/29/12

Rob Lumbard at the Standard 5:00
Patresa Hartman, Tom Edwards, Mary McAdams, Miguel Ramirez and Jon Rudisill at Songwriter's Night at the House of Bricks 8:00
Open Jam featuring Scott Long Band at the Gas Lamp 9:00
Soul Searchers at the Greenwood 9:00

Friday 11/30/12

Work Release Party w' Bob Pace Band at the Gas Lamp 4:30
Redemption Within, w' Kick, Black Star Alliance and Lost Star of Icarus at the House of Bricks 5:00 (All Ages)
Jim Seem at the Ritual Cafe 7:00
Heath Alan at the Fire Creek WDM 7:00
James Biehn and Seth Hedquist at the Grapevine, Clive 7:00 (RSVP Only)
Dakota Park at the New Morning Coffee House and Wine Tavern, Grimes 8:30
Bonnie Finken and the Collective w' Peace Love and Stuff and Rae and the Honeybees at the Gas Lamp 9:00
The High Crest at the Greenwood 9:00
Meganaut w' Handlebar and Hath No Fury at Bombay Bicycle Club 9:00
Dead Larry at the Underground 9:00
Joe and Vicki Price at Mother's Pub, Ames 9:00

Featured Show: King of the Tramps at the House of Bricks 8:00
(With the Young Funk)

Saturday 12/1/12

South Dallas County Crewcut Cowboys at the Gas Lamp 4:00
Joe and Vicki Price at Peace Tree Brewery, Knoxville 8:00
Moreland and Arbuckle at the Gas Lamp 8:00
King of the Tramps with the Young Funk at the House of Bricks 8:00
Holy White Hounds w' Diamonds For Eyes at Wooly's 8:00
Jeffery Scott Band at the New Morning Coffee House and Wine Tavern, Grimes 8:30
Can O' Worms at the Greenwood 9:00
The End (Beatles tribute band) at the Raccoon River Brewery 9:00
Fancy Pants at the Underground 9:00
Nada Silent Night at Hoyt Sherman Place 8:00

Sunday 12/2/12

Studebaker John at Byron's, Pomeroy 5:00
No One w' Another Lost Year and Screaming For Silence at the House of Bricks 5:00 (All Ages)
Bella Soul (Brandon and Tina Haase Findley w' Scot Sutherland) at the Grapevine, Clive 7:00 (RSVP Only)
Joe and Vicki Price at el Bait Shop 8:00

 

Punk in Africa: Samantha Introduces Keith Jones

It has been a while since I have had the pleasure of gracing all of my incredible readers with an article and now I believe it is time. First and foremost, I apologize; a mental vacation and a chance to dance among neon lights with Chilean men and friends of Dorothy was desperately needed-so I set the laptop aside and went out on a few adventures.  Rest assured, I have returned to write even more interesting tales on counter culture, music and travel-cheers, salute, kompei, nazdravi!



PUNK IN AFRICA: Director Keith Jones and producer Jefe Brown
at the International Film Festiva in Innsbruck

I began my writing crusade on the South African underground music scene and I will continue now with a conversation that could easily go on for hours and days over wine and what not in Letna Park or for now Skype.  Keith Jones is one of the brilliant minds behind the documentary Punk in Africa and he is also a very good friend of mine, as I was his intern nearly 3 years ago and needless to say just as Prague opened my mind to music art and counterculture; Keith Jones opened my mind to South Africa and all that it is and all that it was. I refuse to call this piece an “interview” because the term “interview” implies some type of formality. Keith and I have been formal only once in our speaking and that was the day we first met in Prague at an Art Nouveau café downtown where we smoked French cigarettes and drank tiny coffees from demitasse cups.

Deon Maas
(Photo by Rob Weedman)

Punk In Africa was envisioned by Keith Jones and Deon Maas after they finished their earlier documentary Durban Poison.  Keith and Deon took a road trip and started discussing the South African punk movement, and just after the conversation a piece on the Matsuli Music blog led them to discover the band National Wake, which had been formed in 1978 by guitarist Ivan Kadey and the Khoza brothers from Soweto.  The majority of the members of National Wake were at the time living illegally together in a group house despite the rule of apartheid and were often subjected to petty charges and regular harassment by local authorities.  It was the story of National Wake among many other stories that helped to mold and sculpt Punk in Africa as an essentially political story, but one told first and foremost through music. Music is at the root of the soul of African Culture, music shapes the understanding of African culture and society through its sounds and stories.

Punk In Africa has been an invaluable tool for connecting musicians from different generations. As Hog Hogg Hoggidy Hog hadn’t heard the music of National Wake or Wild Youth, Wild Youth may not have known that the Hogs existed. Through Punk in Africa, people became more connected across generations, meaning that more stories were shared, ideas understood and new friendships made.  This film helps musicians transcend and understand different generations as well as generation gaps in music.

This film also examines the situation under apartheid and what this meant to musicians and artists living under those absurd rules within Africa. Knowing the accounts of several individuals whom lived in South Africa shortly after the rule of apartheid ended I can only fathom what it was like to live with such rules while trying to create art in a society which laws refused to allow to homogenize.  Confronting apartheid is an issue that artists from around the world should take a lesson from. Art is a labour of love and courage, artists and musicians have to rebel against the norm and break the rules to create something truly inspiring.  Musicians and artists growing up under apartheid not only understood the consequences of making unique and powerful music, they also understood that this was about making something original.

Punk in Africa shows the world that drive, courage, determination and the desire to break down common rules for creativity’s sake can prove to be an exceptional combination, also when it comes down to gaining notoriety in the international film festival scene. Punk In Africa first gained press at South By Southwest 2011, and has since been at 30 different International Film Festivals including the recent New York Film Festival.  It was never about money or prestige for Jones or his co-conspirator Deon Maas, rather about telling a unique diverse and original story of the underground countercultural scenes that they not only witnessed but inhabited regularly. Jones and Maas were very careful not to fall into any cliché traps with Punk In Africa; the film is 100% for Africa by Africa-keeping this mantra makes the film even more international, you do not see studded jackets and Mohawks in Punk in Africa, you hear music and understand the struggle that African culture dealt with in the times of Apartheid.



National Wake (Photo by Robin Muir)

As Keith moves forward with a new project, he will be focusing on the alternative music and culture of the '80s generation in Prague.  As Punk in Africa broke molds and challenged thoughts, opened doors and defied common societal nomenclatures, I know we can expect nothing less with Keith’s new film. 

When it comes down to art and artistic endeavors Keith and I both agree that artists must do things independently by yourself without compromise: try to experiment and never walk away from an idea. Don Letts (one of Keith’s mentors) stated “A good idea attempted is better than a bad Idea perfected” People should live without regret.  Artists don’t need structures, money or institutions to do things in independent or unique ways, it is imperative that artists find ways to make something out of nothing.

Creating great art is bound in struggle, courage and a vision-I think of apartheid, I dream of North Korea and I think of every person who stood up for their beliefs.  I contemplate the mass genocides that have plagued our global society-we who have never felt that kind of oppression may never truly grasp what guerrilla art is all about. Paying homage to every artist around the world for their ability to stand up and condemn the man is essential for any true understanding of great revolutionary art.

DVD (Czech Republic) front cover, April 2012 release

**Jones says I need to summarize this article to end it and because he is a journalism instructor through NYU in Prague he is obligated and required to tell me this nevertheless as an artist it is my job to remind him to go “fuck himself and have a nice day” which is exactly what I did. I cannot think of a better way to end this article then on that note-sort of summarizes everything now doesn’t it?

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Pertinent Links:

Punk in Africa Official

Punk in Africa on Facebook

National Wake on Facebook
 

Three 5 Star Records: Des Moines Local Music

King of the Tramps: Good People
(2011 Old School Records)

Vocalist Todd Partridge tells me that King of the Tramps is working on a new CD (presumed to be titled Wicked Mountain) that will be released sometime after the first of the year. He says that it will be much bluesier and rootsy than their previous venture, Good People.

With all respect to Partridge's song writing talents, Good People is gonna be tough to beat. Recorded in 2011 at Old School Records, it is one of those releases that grabs you instantly, and doesn't let go until the final note is played. It's raw and blemished, with not-so-subtle glimpses from the hey-day of the Rolling Stones. (Think of the Jamming with Edward sessions which the Stones recorded with Ry Cooder and Nicky Hopkins.) This album should be labeled with a warning sticker, because it's sonic heroin. It's been in my car's rotation for about 5 months now and I still haven't gotten sick of it.

Good People, despite it's name would make the perfect soundtrack to a bar room brawl, as it has that honky tonk quality to it that one would imagine exists on back alley and side street jukeboxes. If Partridge is indeed correct in that the Tramps' next release will be bluesier and more rootsy, then God bless 'em. I'm certainly looking forward to hearing it. Until then, do yourself a favor and find Good People.

It's unjust that it's one of the least talked about albums from the local scene, because it's definitely one of the best.

Lesson Seven: self-titled
(2012 SonicFactory Studios)

When Bryan York passed me an advanced copy of Lesson Seven's latest release several months ago, I was expecting to hear something completely different than the product I actually received. For reasons that are probably unfair to the band, I was under the impression that Lesson Seven was a metal act. It probably had more to do with the band's name than anything else, but my hunch was way off. The album is a delightful mixture of soul, rap, hard rock and R&B, with carefully inserted elements of jazz. Though I was expecting something different, the album (which remains untitled) instantly struck me as being something special. First of all the sound engineering is incredible, and the music is as unique and complex as anything I have heard in a long time.

I can only surmise that these fellas are institutionally trained musicians because it seems that they have whittled this album down to the finest details, whether it's the vocal tracks, the guitar work, or the drum components. Each segment is carefully engineered to the finest point, and worked out to the most minute details. This album is as much a tutorial in sound engineering as it is a brilliant musical release. While it was mixed by York and Jon Locker, kudos also go out to SonicFactory Studios, Focus Mastering, and also Kyle Sherod Mastering for their collective work in building this excellent recording. The fourth track, "Memory" is especially pleasing to the ears and deserves mention.

"Memory" and the other songs on this album are a good example of what makes the Des Moines scene so vibrant and diverse. If one was to play this album for somebody who was unaware of it's origin, they might be surprised that this wasn't a national touring band with all the pieces in place to be a major player. It's incredible to me that Des Moines is capable of delivering such compounded works of musical art, and I have to admit that based off this record's musical quality, I'm astounded that Lesson Seven is still planted in Iowa. Having a band of this caliber playing for bar-room cover is a huge compliment to the Des Moines scene. I've been told by more than a few people that I need to see this band live. If their performance onstage is as polished and pure as it is in the studio, then it will be something to be reckoned with.

North of Grand: A Farewell to Rockets
(2012 Brolester Records)

One of my favorite albums of the year is North of Grand's latest release, A Farewell to Rockets.

Seriously. I fucking LOVE this record.

It's that perfect mixture of teenage angst, sensible guitar, and warehouse foot stomp that I so shamelessly crave to feed my musical jones. Note for note this recording delivers as much satisfaction as anything I've listened to in the past five years. That's saying something because while I normally shy away from radio-friendly rock and roll, this album begs to be played on the airwaves. It's as good or better than anything I've actually heard on FM dial, but without the hyperbolic, over-produced, repetitive bullshit that usually accompanies the trash that Clear Channel and Cumulus feed us on a daily basis. It's just pure and simple bubblegum flavored post-punk rock and roll.

The opening track, "Hey Man" is as good an introduction to an album that exists in modern music. Catchy and full of punch, it says "Hello" in a way that exceeds anything other than perhaps meeting your long lost uncle Larry in a foreign airport. This album has Andy Shernoff's style of production written all over it, although I'm guessing that it's not intentional. It is however, a testament to the character of this record, musically and production-wise.

North of Grand are veterans on the scene, and are finally getting the mass respect that they deserve. This is their first record on the Brolester label, and it's also their first as a four piece, with Matt Wellendorf  joining along on guitar. He brings a new ingredient to the band's sound, and his contribution is noticed in comparison to North of Grand's earlier releases. There's an cloud of maturity that  settles around this latest recording, that might have been absent in the previous efforts. This band has always been a tight outfit but with the addition of Wellendorf, they are truly locked in.

A Farewell to Rockets is must have for anyone who likes House of Large Sizes, the Dictators, or anything Mike Watt. And while the entire North of Grand catalog deserves respect, this latest release will be the one that catapults them to national prominence. I suggest that you call your local radio station immediately and demand to hear "Hey Man" or "No Way Down." When they tell you that they don't have it, ask them to get it. Then do this every single day until they oblige.

The world will be a much better place with this new standard of radio rock. North of Grand is capable of carrying that torch.

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Pertinent Links:

King of the Tamps Official

King of the Tramps on Facebook

Lesson Seven on Facebook

North of Grand Official

North of Grand on Facebook

 

Bigfoot Diaries Exclusive Conversation: Talking Music and Movies with Des Moines' Rich Cantrell

Almost every local scene has it: That one musician who's versatility stretches beyond the ability of playing multiple instruments.

This person is also adept at creating songs from a theoretical standpoint, whether it's from writing profound lyrics or catchy melodies. This person is multifarious in his ability to write music of virtually any genre, and is held in high regard within the city's musical community.

In Des Moines, one of these people is Rich Cantrell. As a veteran of the local music scene, he has done it all. In the late '80s he formed Redwing, a noteworthy band that was known for it's Led Zeppelin style arrangements and it's dynamic live performances. In this band, Rich enjoyed being at the pinnacle of the Des Moines rock and roll scene, sharing the stage with the likes of other local favorites including Drasbury, Stone Sour and later, Slipknot.

"We had been around for three or four years before Corey (Taylor) formed Stone Sour," Rich told me in a telephone conversation. "We were always playing with those guys at places like Hairy Mary's. After Stone Sour broke up, it seemed that we were always playing with Slipknot..."



Rich performing with Cirrus Minor
(This photo and all others by Sherri Irons)

The rock and roll scene in Des Moines during the early '90s was a hodge podge of talented musicians. Redwing was a front runner at the time, captivating audiences with unshackled tenacity. It was they whom many thought might go on to gain national aclaim, but just about the time they started to slow down, Slipknot started to gain momentum in the national spotlight. Slipknot went on to play Ozzfest in '99 and the rest is history.

Redwing does occasionally perform and play on a rare occurence, and when they do, it is always a giant event that is met with hyper enthusiasm. They played a concert to commemorate their 20th anniversary on November 29th, 2008 at the House of Bricks, and it was completely sold out.

These days Rich is probably best known for playing keyboards with Cirrus Minor, a band that defies genre and is considered THE party band in the Des Moines area. They'll hit an audience with a variety of different styles, be it psychedelia, heavy metal, reggae or jam band, and they'll often mix it up in the same set just to keep the party fresh.

He's also in the hard rocking band Alchemist, a Pink Floyd tribute band called From the Darkside of the Wall, a Doors tribute band called No One Here Gets Out Alive, a punk outfit called Dumfux, another project called The Family which is a conglomerate of musicians from several different local bands, an acoustic duo with Mike Ruby called Ruby/Cantrell, and two other bands, Drop Dead Last and  Crown King Revival.

And as if that wasn't enough to keep him completely busy, he still manages to find the time to create musical scores for local film maker, Thor Moreno. Moreno has made several films in California and Des Moines, and each one he makes seems to get granted a bigger budget than the one before it, and the filming seem to get more technical with each venture. Of course with higher technology there comes higher expectations, and the need for an elaborate soundtrack intensifies. To Thor Moreno, hiring Rich Cantrell for this job was a no-brainer.

"I have known Rich since I was about 18 and have always regarded him as one of the most creative and talented musicians around." Thor told me, when contacted by email.

"I was honored when he accepted my invitation." He continued. "I have always felt that Rich goes out of his way to help me realize my vision. He is a true professional."

The latest film Rich will be working on is called Murder Incorporated. It comes on the heels of another project that Rich worked on, a film called IOWA, which will debut on December 15th at the Varsity Theater. (Tickets are on sale now... Get them while they are still available.)

Because writing a musical score for a movie seems like such a mind consuming venture, I thought it would be fun to pick Rich's brain about it, and see where his inspiration comes from. I learned a lot from talking with him, and I was impressed how congenial he was in accepting my questions, and how gracious he was in giving his answers. I have always found him to be nothing but extremely friendly when I've seen him out, so it shouldn't come as any surprise that he was so patient with me and willing to engage me in conversation. I have always respected Rich as a person and a musician and his time with me is very appreciated.

Rich creating music in his studio.
(Click to enlarge)

So How did it come to be that you are writing the score for Murder Incorporated?

I've always been interested in writing movie scores....a lot of what I write in the past has been geared more towards mood music....kind of a journey of emotions and imagination....and when I watch a movie, I do make a point to pay attention to the score...or the music behind the scene....so my long time friend...Thor Moreno...who had been living out in Cali...and doing short films and such...moved back to town and had a vision and a goal to produce a full feature film...and set out to do it....he had contacted me about acting in a scene for the movie "I Think I just Saw the Devil"....so I brought up wanting to write some music for the movie...and he agreed....that's pretty much how it all came about....so he gave me a few scenes...and I got to work on it....and the response was great...ya know?,....people were talking about the music of the film, and I think it was then that we decided to partner up on any future endeavors in film making....after the success of "Devil"...Thor immediately started working his Movie "IOWA"...which I'm currently working on....and which will be released mid December of this year....and a couple months ago he got a call to direct the upcoming movie "Murder Incorporated"....which has a budget of 300k behind it....so he called me and told me the news, and signed the contract....and when we get through the release of "IOWA"....we will get to work on "Murder Incorporated".

How is writing music for a movie different than say... writing a song, or an instrumental piece?

I try to watch....and capture the emotion of the scene...or interpret it in music, vs. writing what's in your head.

So, do you provide all the music yourself, or are you working with others?

I always write and perform the music... So, I will go in and record the piece as I want it ..and then, If I have something written that requires a more skilled player on an instrument, like a fiddle for example, then I bring someone in to record the track for me....I also scout for local bands original material to possibly use in the film, if its fitting to the scene.

Who are some of the local bands that you have solicited?

In the latest film "IOWA"...I have chosen to use a couple tracks from the band ISAAC JAMES.....in the first film "I Think I Just Saw the Devil"...we used a couple tracks from CIRRUS MINOR.....and I will start scouting around some more here soon for the upcoming Project/Movie "MURDER INCORPORATED"

How do you handle "writer's block" or those moments when there is nothing clicking upstairs that seems relevant to the piece you are trying to create?

Man....I have been very fortunate to have my wife and kids beside me in all that I do....and they help me to keep the inspiration box full.....and doing sooo many different projects musically, keeps me well rounded....so its pretty rare that I have a writers block moment.



Rich being interviewd by Sonya D. Doswell  at the
Iowa Motion Picture Association Awards ceremony.
He was nominated for best original score for his work
in "I Think I Just Saw the Devil."

Cool... Are there any challenges involved, or does it seem to come very easy to you?

Really, the only challenge is trying to convey the emotion of the scene into music....so I'll sit and watch the scene and observe how it makes me feel, and go from there...but it generally comes quickly....and finding time in between everything else I have going on with show dates, and rehearsing, and family stuff.

Ok you mentioned that the latest film you will be working on (Murder Incorporated) has a budget of 300 thousand dollars. What does that mean for you?

Maybe the opportunity to hire a small ensemble/orchestra to perform/record the material I have written, to give the music a more acoustic and overall better quality sound..some of the violin and brass patches that I use, can't quite capture the way a real orchestra moves with dynamics and such...I mean, I've done pretty good so far, but working with a real ensemble would just be a more professional approach..which would be an incredible experience for me also, to direct an orchestra performing my music...but we shall see.

Is there any chance that the score of each of these films, or any one of them will be released on CD?

I'm thinking about compiling a disc of the first two movies and releasing it....but still undecided.

What factors are involved with that decision?

Some of the score that I have written fits certain moments of each scene...so I would have to go in and re-track or re-work the pieces to a more structured listening experience.

In an ideal situation, where do you see yourself in 10 years?

In ten years I see myself on an oxygen tank and a wheelchair....haha....but seriously....I just hope to be able to sustain myself and my family by doing what I love to do...writing, creating, performing, touring, and recording music man....whether it be with Cirrus Minor..or a band situation....or movie scores....or whatever.

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Pertinent Links:

Cirrus Minor on Facebook

Murder Incorporated on Facebook

IOWA (The Movie) on Facebook

I Think I Just Saw the Devil on IMDb

 

Bryan's List of Local Music Happenings 11/19/12

My apologies to those who played Monday night as this is a day late. Additions and corrections appreciated. Thanks Bryan!

Monday 11/19/12

Findley Family Fun Fest with Scot Sutherland at the Greenwood 7:00
Michelle McGuire with the Foxholes, Ryne Doughty at Vaudeville Mews 9:30

Tuesday 11/20/12

Andy Fleming at el Bait Shop 8:00
Glovebox Whiskey (Darren Mathews and Ryne Doughty) at the Greenwood 9:30

Wednesday 11/21/12

Reeferseed Express at Hull Avenue Tap 6:00 (With $1 beers!)
Thankful Dirt at Songwriter's Night at Raccoon River Brewery 7:00
William Elliott Whitmore with Derek Lambert 8:00
Andy Fleming at Fire Creek in WDM 6:30
Bob Pace Band at Zimm's 7:00

Brian Holtz Band at el Bait Shop 8:00

Bill Matykowski at the Greenwood 7:30

Dan Tedesco at the Gas Lamp 9:00

Damon Dotson at New Morning Coffee House and Wine Tavern (Grimes) 6:00

 

Thursday 11/22/12

Open Jam featuring Scott Long ay the Gas Lamp 9:00
Soul Searchers at the Greenwood 9:00

Friday 11/23/12

 

Work Release Party with Bob Pace at the Gas Lamp 4:30

Steve Kowbel at Fire Creek in WDM 7:00

Jeff Banks with Scot Sutherland at the Greenwood 9:00

Harper at the Gas Lamp 9:00
Josh Davis and Will Locker at New Morning Coffee House and Wine Tavern 8:30

Final Mix featuring Del "Saxman" Jones at Wooly's 9:30

The Big Tuxedos with Ben Wantland at House of Bricks 9:30

 

This week's featured show
Saturday night at the House of Bricks
(Click to enlarge)

 

 

Saturday 11/24/12

 

The Steepwater Band at the Gas Lamp 9:00
Crooked Mile at the Greenwood 9:00
Jason Walsmith at the New Morning Coffee House and Wine Tavern 8:00
Bonnie Finken at the Peace Tree Brewery in Knoxville 8:00
Randy Burke and the Prisoners at the Raccoon River Brewery 9:00
Chad Elliott and Steve Parry at the Grape Vine in Clive 7:00 (RSVP only)
Benefit for Kingston: Mars on Fire, As For You, Hath No Fury, Aren't We All, Ashes Armada, 12 Days Silent, This Sudden Darkness, Nest of Snakes at the House of Bricks 9:00
Rock Island Rollers at the Star Bar 9:00

Sunday 11/25/12

Harper at Byron's in Pomeroy at 5:00
Howling Buddha at el Bait Shop 8:00
Josh Davis at the Grape Vine in Clive 7:00 (RSVP only)

 

Napalm Death/Municipal Waste/The Dwarves: House Of Blues, Hollywood, California 11/14/12

I've been stoked about this tour since the first rumors started coming out. Napalm Death, unarguably the first Grindcore band, were going to do their first American tour in over 3 years. They were co-headlining with crossover thrash revivalist Municipal Waste (the band that opened my mind to metal) with Exhumed also on the bill. As this tour swept across the country they had other great bands playing with them on certain dates: prog/thrash Vektor, speed thrashers  Speedwolf, hardcore legends Dayglo Abortions, etc. The date that I attended happened to have '80s Crossover legends, Attitude Adjustment (whom I was super stoked for). Some dates had a special opener just for one night, Weekend Nachos, Impaled, Wehrmacht, and Repulsion, to name a few.

Well it was just my luck that The Dwarves, who are one of my favorite punk bands, (who just like Napalm, I've been wanting to see forever) were playing on the bill I had tickets for. And just when it looked like I would be forced to buy tickets, I won some. Sometimes I think I'm the luckiest mofo in the world.

Thanks to my friend's boss, LA traffic, the fat parking guy, and the dude who couldn't find my tickets at will call (I was on Municipal Waste's guest list) I missed the first 2 bands. I was hoping to at least catch some of AA who never freakin' come here, and I missed Exhumed too. UGH! I was pretty bummed. Though I missed em, I do recommend EVERYBODY that's into punk, thrash, hardcore,  metal, etc to check out Attitude Adjustment. They're old skool and its a fact that they highly influenced both Napalm and Waste. I heard that the crowd reaction to them was lame (Blasphemy!) and that even Napalm Death's front man did a song with them. I'm really bummed I missed 'em and hopefully they come back soon to do a headlining show that's All Ages/18+. 

I highly recommend "The Collection" compilation which has both their first albums and an EP. Its seriously some of the best Crossover you'll ever hear and you'll freakin' dig if you're into DRI, Suicidal,COC,etc.

Attitude Adjustment

 
As I mentioned, I missed Exhumed as well. Not so bummed I missed them since I saw 'em do a great headlining set in February, but I heard they did a Siege cover so for that I'm bummed. I probably would've caught them if that damn ticket guy would've just made phone calls right away. That mofo. Anyway, If you haven't seen 'em, go do it and listen to their latest album, "All Guts, No Glory" for your Death/Grind needs. Here's The set list that I missed:

1. All Guts, No Glory
2. Decrepit Crescendo
3. As Hammer to Anvil
4. Slaughtercult
5. Torso
6. Limb from Limb
7. Distorted and Twisted to Form
8. Necromaniac
9. The Matter of Splatter
10. Drop Dead (Siege cover)

Exhumed, shortly after earning their namesake.

As soon as I got inside I talked to Barney Greenway (Napalm's frontman ), took a pic with him, and hit the floor. Though I was bummed I missed the first two bands, I instantly got excited as I was about to see Chicago's scummy Hardcore Punk legends,The Dwarves.

I got as close to the front as I could and waited.The band came out to some silly music and they began playing and I started jumping around next to some metal heads. Front man Blag Dahlia was doing silly dances and singing his stuff. He would throw the microphone to the crowd for them to sing a long. I caught it twice (and only messed up one song!). He didn't do it to often cause as I expected, not many people there were familiar with their music.They did manage to play music from most of their catalog. To my surprise the thrashers who were there did get into 'em and Blag kept saying stuff like "The Dwarves are you're new favorite hardcore punk band, BITCH!" You know, typical Blag. And though they didn't play my four favorite songs, they did play one amazing lengthy set and I need to catch 'em headlining soon. My only real complaint was that their guitar player, "He Who Cannot Be Named" (The naked dude with the tiny thong and Lucha mask) was not playing with them. ARGHHH!  If you haven't listened to it before, get Blood, Guts, and Pussy now. (I also highly recommend Come Clean and The Dwarves Must Die). Here's some of the set as I remember it, and it's not in order.

The Dwarves are still, as they say, the best band ever.

Accelerator
Act Like You Know
I Will Deny
Runaway NO.2
Let's Fuck
FEFU
You Gotta Burn
We Only Came To get High
I Masterbate Me
Astro Boy
We Must Have Blood

The freakin' Dwarves!

And then the place got packed. I moved up as much as I could to the front to see grindcore pioneers,UK's Napalm Death. Me and the dudes around me were beyond stoked as balls. They came out and gave us the loudest, craziest grind to our faces. Front man Barney Greenway was a complete madman punching air, jumping around, and screaming those brutal vocals as if he was just whistling. Mitch Harris was giving that grinding guitar with those high pitched screams that I oh so love. Danny Herrera blast beated the living fuck out of those drums like there was no tomorrow, and of course Shane Embury, the closest dude to being an original member, played his bass heavy 'n fast.

They are on tour supporting their new album,Utilitarian, so most of the set consisted of that. I wasn't a big fan at first. But holy crap they sounded so fucking good live I'll give it another spin. Of course they played some of their other stuff ("Silence Is Deafening," "Fatalist") and even real old jams that we really wanted to hear ("Dead", "Practice What You Preach").

As a special treat exclusively for our show they did a Cryptic Slaughter song with CS' old drummer Scott Peterson. They played "Lowlife" and the place erupted while us dudes in the front sang our lungs off. Being front row up center never felt so good. After a few more songs Barney said they were gonna do songs off the first album, Scum (which none of the current members were in, and is one of the best Metal albums of all freakin' time). That's when I went ape-shit and sang a long to all of it. Including "You Suffer" (which is the shortest song ever recorded, check the record books). After ending with "Instinct Of Survival" they left, and we were way more than pleased. I walked off with bruises and a big smile. Napalm Death was the highlight of my night and one of the best bands I've ever seen live. If you have never listened, well shame on you. Go out and buy Scum, From Enslavement To Obliteration, Harmony Corruption, and/or the new album Utilitarian.

Grind or Die.

Set:

Circumspect
Errors in the Signals
Everyday Pox
Can't Play, Won't Pay
Protection Racket
Silence Is Deafening
The Wolf I Feed
Fatalist
Practice What You Preach
Quarantined
Dead
Deceiver
When All Is Said and Done
Unchallenged Hate
Nom de Guerre
Lowlife(Cryptic Slaughter cover with Scott Peterson)
Suffer the Children
Breed to Breathe
Nazi Punks Fuck Off (Dead Kennedys cover)
Scum
Human Garbage
You Suffer
Instinct of Survival

Napalm Death

Virginia thrashers Municipal Waste ended the night. I've seen 'em a a few times but their show in '09 is hands down one of the best shows I've ever been to in my life and opened the world of heavy metal to me. As with ND they are also promoting their new album, The Fatal Feast, which I wasn't to fond of, but who cares! Most of the set was old stuff and no matter what they play their shows are more fun than a Chuck E. Cheese party. They started off the 3 classics that everyone had fun to("Headbanger Face Rip," "Mind Eraser,"and "Terror Shark") which had everyone pushing about, moshing, and crowed surfing - an example of how all shows should be. Waste shows are seriously one big ass party where no matter what you're into, who you are, you WILL have fun. I was being pushed all over while singing their songs. After a bunch of failed crowd surfs I finally did it and almost got booted out by a fat bouncer. I went back to the madness of the crowd and continued having fun.

Front man, Tony Foresta still has his punky fast vocals with those sing a long lyrics. Bass player, Land Phil (also of Cannabis Corpse) did a sick-ass solo (and I find solos lame) and it freakin' ruled.

They said how they were unworthy of playing with all the legendary openers and mentioned since Napalm and Exhumed did covers they'd do one too. It broke out Stormtroopers Of Death's "United Forces." Soon after, they ended the set with their anthem "Born To Party" and when the first part of the chorus was sung by everyone ("Municipal Waste is Gonna Fuck You Up!") a bunch of confetti fell from the ceiling and it went crazier than ever and I somehow ended in the front row.

After that the crowd wanted more and they officially ended the night with "The Art Of Partying".

The Waste always throws the best live show and this was the best time Ive seen 'em since '09. It was so good I forgave 'em for headlining over Napalm and for making the new album. Anyway, if you haven't heard 'em listen to the first 3 albums (which are my three favorite thrash albums ever). My personal favorite is "Art Of Partying". Crossover revival at its best.

Set:

1. Headbanger Face Rip
2. Mind Eraser
3. Terror Shark
4. You're Cut Off
5. Chemically Altered
6. Beer Pressure
7. Idiot Check
8. Thrashing's My Business... And Business Is Good
9. Wolves of Chernobyl
10. Intro/Deathripper
11. The Fatal Feast
12. Black Ice / The Monster With 21 Faces / The Inebriator
13. Wrong Answer
14. Bass Solo
15. Sadistic Magician
16. United Forces (SOD cover)
17. Unleash the Bastards
18. Born to Party
Encore19. The Art of Partying

   

Municipal Waste

As I mentioned, I talked to Barney and took a pic with him (while some chick was hitting on him) and he told me for sure they'll back. So if you missed 'em no worries, they'll return. I got a shirt and left. This show is one for the books and seriously one of the best shows I've seen this year. I won't soon forget this one.

And this is a bad pic of me but oh well... Im not really that fat.

Barney Greenway with Turtle Boy

 

Bryan's List of Local Music Happenings 11/12/12

List compiled by Bryan Farland. (Thank you!)

 

Monday 11/12/12

 

Findley Family Fun Fest at the Greenwood 7:00
Hollis Brown at the Gas Lamp 8:00

 

Tuesday 11/13/12

 

Unwritten Law w/Versus the World and North of Grand at Gas Lamp 7:00
Ryne Doughty and Darren Matthews (his birthday) at El Bait 8:00

Collie Buddz w/New Kingdom, Los Rakas at Wooly's 8:00
The Red Elvises w/Monkey Monkey Monkey at House of Bricks 8:00
Open Irish Jam featuring Ed Fallon at Java Joes 8:30
Acousti-Beast (Kevin Best) at the Greenwood 9:00

 

Wednesday 11/14/12 

 

Reeferseed Express at the Hull Avenue Tavern 6 ($1 cans of beer!)
Brian Joens at Fire Creek, WDM 6:30
Bob Pace Band Zimm's 7:00
Patrick Tape Fleming at Songwriter's Night at Raccoon River Brewery 7:00
Thankful Dirt at El Bait 8:00
Ben Wantland at Greenwood 8:00
Jackson Taylor and the Sinners at Gas Lamp 9:00

 

Thursday 11/15/12 

 

Open Jam: Featuring the Scott Long Band at Gas Lamp 9:00
Soul Searchers at the Greenwood 9:00
Chad Elliott at the Peace Tree Brewery, Knoxville 7:00
Leradee and The Positives at the Underground 9:00

 

 

Featured Show: The High Crest at the Greenwood Friday 9:00
(Photo taken at Byron's in Pomeroy by Roger Feldhans)

 

Friday 11/16/12

 

Work Release Party w/Bob Pace Band at Gas Lamp 4:30
Ron Burchett at Fire Creek, WDM 7:00
James Biehn at the Ritual Cafe 7:00
The High Crest at the Greenwood 9:00
Bright Giant w/John Lefler at Gas Lamp 9:00
Jeffery Scott Band at New Morning Coffee House & Wine Tavern, Grimes 9:30
Mighty Shady at the Underground 9:00
Junk Poet w/Superchief, On A Pale Horse at Wooly's 9:30
Brother Trucker w/Monday Mourners at House of Bricks 9:30
Matt Woods and the Thunderbolts at The Continental 9:00

 

Saturday 11/17/12

 

Little Big Fest: Family Groove Co., Mr. Baber's Neighbors, Peace Love & Stuff, SUBliminal Chaos, Mary McAdams, The Host Country at Wooly's 5:30

Little Big Fest: Cirrus Minor, Chronicles, Best of Fools, Rebel Creek, Randy Burk & the Prisoners, Har-di-har at House of Bricks 5:00

Little Big Fest: Aquamarine Dream Machine, The Colt Walkers, Obsidian's Dream at the Underground 8:00

Richard Spierenburg at the Ritual Cafe 7:00

Kris Lager band CD Release Party at Gas Lamp 9:00
Scot Sutherland, Rob Ankum, Paul Thompson at the Greenwood 9:00
Josh Lefler at New Morning Coffee House & Wine Tavern, Grimes 8:30
Josh Davis at the Raccoon River Brewery 9:00

 

Sunday 11/18/12

 

Kevin Gordon Trio at Byron's, Pomeroy 5:00

Fruition at El Bait 8:00

Sonny Landreth, James Biehn Band at Wooly's at 7:00

 

Additions/corrections always appreciated.

 

 

Mark Knopfler and Bob Dylan in Omaha 11/3/12

After seeing him three times within the last 16 months, I finally feel like I am getting this Bob Dylan concert thing down. The first thing you do when he starts playing a song is, spend two or three minutes trying to figure out exactly what song he is playing.

It's not always an easy task.

Because his set list is commonly full of songs he wants to play and not necessarily songs that are on your immediate radar, and because his song list spans almost 50 years, and because he is constantly changing his songs there's a great divide between what's being played on the stage and what your mind is searching for. For instance, about a quarter of the way through "Every Grain of Sand," I was pretty sure I was hearing "Visions of Johanna."

However, I was confused because Bob never seemed to get around to the refrain on each verse in which he mention "Johanna" by name. The tempo was very similar to the original recording on Blonde on Blonde, and I am not real familiar with "Every Grain of Sand." So I leaned over and asked John, who had accompanied Sarah and me to the concert, if he recognized the song. He did, and he corrected me... but admitted that with the constant tempo changes of the music and the distinct cadence of Dylan's voice, it was certainly hard to tell the difference.

And so it goes at a Bob Dylan concert. As I've said before that's the beauty of Bob Dylan's music, at least from a live standpoint: His music, like life, is constantly in evolution.



Bob Dylan and his band, The Neverending Tour, in Omaha Nebraska
(Click to enlarge)

Dylan seemed to enjoy himself very much as he sat behind his piano. In Maine last August he was accompanied by his Wurlitzer organ. In Des Moines several weeks ago, it was mostly guitar and very little piano. Last weekend in Omaha, he was ALL about the piano.

He played the keys with fervor and audacity and at times, he seemed to take personal liberty with the solos. Mark Knopfler joined Dylan onstage for the first four numbers and it seemed almost as if Bob had him on lockdown. Just when you thought Knopf was about to go crazy on a guitar solo, Dylan would take the solo himself, either pounding it out on the piano or blowing it through his harmonica.

It's sad to say, but Mark Knopfler was kind of a non-factor in the Dylan set, except for the occasional (and unmistakable) utterances that he draws out of his Stratocaster.

Song highlights from Dylan's set were "The Levee's Gonna Break" and "Thunder on the Mountain," from the Modern Times LP, "Blind Willie McTell," from his Bootleg Series, and the always great "Ballad of a Thin Man" from Highway 61 Revisited. When he did actually get around to playing "Visions of Johanna," (coincidence I'm sure)  I recognized it right away. But being the master of fools that he is, Bob had me second guessing myself again...

Mark Knopfler and his band opened the show which made this concert that much more enticing.

We probably wouldn't have made the three hour drive to see Dylan had he played on his own, but because it was a rare opportunity to see a two legends on the same stage, we deemed it a must-see. Knopfler played with a group of musicians that came from all over the world, many of  whom had played on his solo recordings. There was all kinds of instrumental monkeyshine on display, most of which I had never seen before, or knowingly heard. The music was very different than what you would hear at a Dire Straits concert, but oddly enough, extremely similar.

One cannot mistake the sound that Mark Knopfler brings out of his guitars. It's almost primal.

Not being real familiar with his solo career, I didn't recognize many of the songs that Knopfler played. The only two that were familiar to me were both Dire Straits songs - the title track to Brothers in Arms - and off the same album, the self-loathing "So Far Away." The rest of the set was made up of songs he recorded on his own from such albums as Shangri-La, Sailing to Philadelphia, and his latest release, Privateering. Each song had a very mellow quality, like they were being played in slow motion. In all of them, Knopfler's guitar work was incredibly fascinating. I especially enjoyed "Song for Sonny Liston," and "Marbletown." I also enjoyed the two Dire Straits songs, mostly because they came late in the set and by then I really wasn't expecting to hear songs I recognized.

Mark Knopfler in Omaha with his band.
(Click to enlarge)

It was a unique and fun night of music with great friends. The Century Link Center is a great venue, with incredible acoustics and very few obstructions to the stage. One downfall, and it might have just been because it was a Bob Dylan concert, was security. There was a no camera rule in effect, and they were very serious about enforcing it. Other than that small factor, it was a concert for the ages.

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Mark Knopfler's Setlist:

What It Is

Corned Beef City

Privateering

Kingdom of Gold

I Used to Could Play

Song for Sonny Liston

Done with Bonaparte

Hill Farmer's Blues

Brothers in Arms (Dire Straits)

Marbletown

Encore

So Far Away (Dire Straits)

The Band:

 
Mark Knopfler - vocals, electric, slide, and acoustic guitars

Richard Bennett - guitars bouzouki, and tiple
Guy Fletcher - keyboards, vocals, string arrangements
Glenn Worf - bass guitar, string bass
Ian Thomas - drums
John McCusker - violin cittern, whistle
Jim Cox - piano, organ, accordian
Paul Franklin - pedal steel guitar
Michael McGoldrick - flute, whistle, uilleann pipes

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Bob Dylan's Setlist:

 

I'll Be Your Baby Tonight*

To Ramona*

Things Have Changed*

Tangled Up in Blue*

Beyond Here Lies Nothing

Every Grain of Sand

The Levee's Gonna Break

Blind Willie McTell

Highway 61 Revisited

Visions of Johannah

Thunder on the Mountain

Ballad of a Thin Man

Like a Rolling Stone

All Along the Watchtower

 

Encore

Blowing in the Wind

The Band:

Bob Dylan - Vocals, piano, harmonica
Stu Kimball - Guitar
Charlie Sexton - Lead guitar
Donnie Herron -Pedal steel, lap steel, electric mandolin, banjo, violin
Tony Garnier - Bass
George Receli - Drums
*Mark Knopfler - Guitar

 

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The Incredible Story of Justin Smeja

October 8th, 2010 started out as just another day for Justin Smeja.

He and a friend (whom to this day remains anonymous) were bear hunting in the Sierra Mountains of California. They were off the beaten path in his friend's truck, driving along the twisted roads near Gold Lake. Suddenly they came across a clearing in the forest and standing in the road right in front of them was a giant "bear" waving it's arms frantically. It was very strange. What an odd thing for a bear to be doing...

The incident took place near Gold Lake in the California Sierras.
(Click to enlarge)

Justin's friend stopped the truck and grabbed his binoculars. They were set for scanning mountain passages so at first everything was fuzzy. He was able to clear them, and when he did, his heart sank. This wasn't a bear... It was a giant creature, almost human-like, covered with fur.

 "I would say I took a double take but I couldn't take my eyes off of it," the driver would later say in an internet Bigfoot forum.

At that moment, a shot fired off. Justin had shot the creature and it fell over into the brush on the side of the road. Then and just as suddenly, two smaller creatures emerged from the forest onto the road. Unlike the larger beast, the  smaller ones ran on all fours. Out of a strange mixture of adrenaline and instinct, Justin fired off another shot. He hit one of the smaller animals, killing it instantly. The other escaped into the woods. 

At that moment, Justin's life changed forever.

He and his friend ran to the spot where the animals lay. He picked up the little one which was barely alive. It died in his arms. Everything happened very fast.

A million questions entered Justin's brain. Everything was foggy and this reality seemed impossible. He understood that what he had just killed wasn't a couple of bears, but what they hell were they? Nothing made sense. He and his friend hightailed it back to the truck. They turned it around and hastily drove back down the mountain. A million questions remained. Ultimately there was only one explanation. Justin had killed a Bigfoot and one of her offspring. Nothing else made sense. Until that day, Justin had never thought twice about the mythical beast that supposedly inhabits the forests of the world.

They didn't return to the site for several weeks. One has to understand that this incident occurred up in the Sierra Mountains, a long way away from the iron jaws of Sacramento where Justin lives. It wasn't like Justin could just jump in a vehicle and drive there quickly. Nor did he necessarily want to. He was going through several different emotions regarding the incident, and he described the days afterwards as experiencing Post Traumatic Stress Syndrome. He couldn't stop thinking about the animals he had shot. He was overcome with feelings of guilt and confusion. Life was a blur. He knew had vivid memories, but nothing made sense.

Justin Smeja in the Sierras
(Click to enlarge)

A few weeks later he felt that he could return to the site of the killing. With his friend and a bloodhound, they returned to the Sierras to inspect the area. Justin hoped that at least some parts of the animal would still be there, maybe perhaps a tuft of hair and/or bones.

Some people have argued that he was wrong to think that there still might be fragments of his kill remaining on the mountain. Surely scavengers would have cleaned the area up leaving no trace of the incident.

Justin disagrees.

As an avid outdoorsman he has spent much of his life in the woods. He knows nature's quirks and patterns. He figured it was possible that fragments remained on the mountain. The elevation was high enough that there was snow on the ground, and despite what an amateur might think, Justin knew that it wasn't always the case that scavengers and nature will quickly dispose of the carcass and bones. From his experiences, he knew that sometimes particles remained several weeks after a kill.

Now, depending on what story you find on the internet, it's likely that you'll read that Justin and his friend carved into the animal and cut off a piece of "steak." But according to Justin, that's not how it went down.

"I did not cut anything off a carcass." Justin told me in an email. "I found circumstantial evidence a few weeks after the shooting, and based on time, place, smell, color and texture I believe it most likely is from the subject I shot. So far, none of the labs have me thinking otherwise."

The circumstantial evidence he is referring to is a sample of flesh tissue he found on the ground upon his return to the site. There was also bone fragments and the clothing he wore on the day of the shooting.

"We are working with labs and researchers committed to getting to the bottom of this through the evidence we have," he added.

After breaking the news, the internet rumors began to swirl. The Bigfoot community can be a strange place as one can imagine, and there are those who are deemed credible and those who are not. Many in the "credible crowd" are backing Justin's story.

One such person is Tyler Bounds. He is a production associate with the hit TV show, Finding Bigfoot. He is also an associate for the Bigfoot Research Organization (BFRO), which is perhaps the most credible Bigfoot organization in the world. He told me this about Justin:

"People I know and trust, and privy to information I don't have, believe him, and I have to take that into account. He claims to have killed multiple creatures, but I don't know what those creatures may be. Bigfoots? Bears? The Sierras have a record of activity, both historical and contemporary, so I don't have a reason to dismiss his claims out-of-hand, but, as someone who is both cynical and skeptical of people's observations and interpretations, I need the same thing to believe that others do - proof."

The vast and mysterious Sierra Mountains of California
(Photo by Bart Cutino, click to enlarge.)

Jason and his friend gathered what they could at the kill site and brought it home. He contacted Dr. Melba Ketchum, a DNA specialist in Timpson, Texas, and handed the flesh tissue to her. Her company, DNA Diagnostics specializes in forensics, genetics, and administering animal and human DNA testing. It's important to note that one can't test a subject for Bigfoot, since clearly there is no definitive proof that the creature exists. One can only compare the DNA to samples of known subjects, such as bear, elk, coyote, etc. and begin the process of elimination. This of course takes time... It's not something that can be processed quickly, and here it is over a year later and we still don't have the final determination of the species.

Meanwhile Justin has undergone an intense screening process, by both the Bigfoot community and scientists. Twice now he has taken lie detector tests to prove his credibility. Both times he passed, without showing any signs of deception. His life has changed dramatically, and he is sought after daily from people in the Bigfoot community, both amateur and professional. His story has been ripped to shreds in online Bigfoot forums, and many have called him a killer, saying that killing a Bigfoot creature is akin to murder. Through necessity of survival, he has now embraced his place in Bigfoot lore, at least to some extent. He has become friends and associates with many in the Bigfoot community including folks at the BFRO and Dr. Jeffrey Meldrum, renown author and professor of Anatomy and Anthropology at Idaho State University. Dr. Meldrum is considered by many to be the leading scientist involved with the study of Bigfoot' existence. He is just one of many who have accompanied Justin to the site where the incident took place.

Bart Cutino is also highly respected in the Bigfoot community and has quickly become one of Justin's good friends. He has become the lead investigator in the case and is currently processing the "circumstantial" evidence collected several weeks after the shooting in two prominent independent NA labs.

When asked, Bart told me this about results: "Through our newly formed Sierras Evidence Initiative, results including lab determinations and all communications through the processing period, will be transparent and shared publicly when completed. No timetable and no guarantee on results, only findings and final determinations."

Justin Smeja and Bart Cutino in the Sierras
(Click to enlarge)

It's safe to say that since the incident in the Sierras, Justin's life has changed dramatically. Remember, he says he never gave two thoughts about Bigfoot prior to this encounter in the Sierras. Despite being bombarded on a daily basis by people from all over the world, he took the time to sit down and answer some questions from me through email. For this I am very grateful. The conversation is as follows:

What was your life like before the Bigfoot encounter? Were you a believer and did you give his existence much thought?

Never gave it a second thought. Wouldn't consider myself to have been a skeptic. I never heard anyone talk about Bigfoot in a real manner. Anymore then people that talk about ghosts or aliens or any of that other shit.

Briefly tell me about the events that led up to you shooting a Bigfoot.

We were legally bear hunting. Saw one a bipedal primate and shot it.

Did you feel threatened by the creature?

The situation seems surreal and like a dream. Hard to pin-point my feelings other then that.

What was going through your mind as you pulled the trigger?

It was like that feeling when your watching two of your drunk best friends take it outside to fight over some drunk drama. You know you should stop it but its fucking awesome and you can't wait to see it happen. I was a different person then when it comes to Bigfoot.

If presented with the situation again, would you do anything differently?

I would do everything different. Start with getting a camera instead of a gun.

Any word yet on DNA results from the piece you found?

Yes. So far so good... work in progress. The DNA results will be made public when the labs are done testing them. We are not on a time schedule but I sure wish we had the answers a long time ago. Soon, I hope, but I can not say for sure. DNA works nothing like Bigfooters think it does. "Three days. Tops. Right?" No. It most certainly has not been that easy.

Tell me about the lie-detector test. Were you nervous going in, and what was the reaction(s) of the person/people who administered the test?

I've taken two on this subject. Passed both obviously. Both administrators seemed surprised and taken back. I was nervous taking the test. I felt like I had a lot to lose and nothing to gain.

Are you enjoying the "fame" that this episode has brought to you?

If you call fame being constantly bashed on Shawn's site (In the forums on the Bigfoot Evidence Blog) or having a bunch of strangers on my Facebook page, then sure, it's the shit! You don't make any money, your constantly spending money on gas to go Sqautchin' and everybody thinks in the back of your mind you're lying. Its great!

What do you think the world can learn from this experience?

Hopefully through DNA that these things are real.


--------------------------------------------------------------------------

Pertinent Links:

The Sierra Site Project

Shawn's Site: The Bigfoot Evidence Blog

The Bigfoot Researchers Organization