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THE Custom Lifestyle Magazine for Car, Motorcycle, and Music Enthusiasts

In This Issue: Spokane Night Out SM Photography News U Can Use! Jordan Allena Metal Exiles Toksix the CV DVa‘s!

Jordan Allena CV NW spends time with this talented Nashville beauty on her musical journey and being a solo artist in the Music City. Page 26

The Adarna… CV NorthWest Magazines talks to the gang from the Adarna, makes of “Jet City Rock-n-Roll”; with a name from ancient Phillipino legend, it is bound to be a mystical & informative conversation. Page 4

Contents One Hot ‘36: October’s NW Car of the Month News You Can Use, Motorcycle Edition...How to Drive in City Traffic Gear the Pros Use...featuring drummer Saul Ashley Gear the Pros Use...featuring Mischa Kianne of WITCHBURN CV NorthWest BREW CREW NEW! CV DVa Column...Polishing Your Headlights News You Can Use, Car Edition...Why Tire Blowouts Happen Tattoo Gallery...readers send in pics of favorite tattoos

Jeffrey Easton, doing some of his best work yet, spends time with the authors of his “hand down choice” for album of the year...the Winery Dogs. Page 34 CV Northwest Magazine

Jamie Paullus & Kathleen Clarkson take in the sights and sounds of the Carnival of Madness; Jamie provides the sights, Kathleen talks about the sounds. Page 18

Locally Owned / Nationally Known

11 14 16 17 33 37 46 48

Lani Linton takes her partner in crime, Molly Larpenteur, to the 2013 Oyster Run to talk seafood, beer, music, motorcycles, and of course, cold & wet NW weather! Page 12

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CV NORTHWEST MAGAZINE © 2012-13 is published monthly and NO reproduction of content is permitted without Publisher’s prior approval. Publisher assumes no financial responsibility for the errors in ads beyond the cost of space occupied by error; a correction will be printed. Publisher is not liable for: any slandering of an individual, or group as we mean no malice or individual criticism at any time; nor are we responsible for the opinions or comments of our columnists; and promises, coupons, or lack of fulfillment from advertisers who are solely responsible for the content of their ads. Publisher is also to be held harmless from: failure to produce any issue as scheduled due to reasons beyond control; all suits, claims or loss of expenses; this includes but is not limited to, suits for libel, plagiarism, copyright infringement and unauthorized use of a persons name or photograph.

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Jordan Allena Strawberry Roan Jordan Allena One Gun Shy Strawberry Roan Jordan Allena Jordan Allena Strawberry Roan the Adarna Witchburn the Sindicate Witchburn Strawberry Roan Witchburn December in Red the Adarna Whiskey River Witchburn Witchburn Jordan Allena Jordan Allena Strawberry Roan Whiskey River December in Red One Gun Shy Strawberry Roan the Sindicate She's Not Dead the Sindicate

Delta Country Jam Mad Greek Deli Delta Country Jam Issaquah Salmon Days Dr Feelgood's Back Alley Diner Bunganut Pig Wild Hare Saloon Der Hinterhof Jazzbones WSU the Center Primrose & Tumbleweeds Capitol Theatre the 4th Ave Tavern the Horseshoe Saloon Little Creek Casino Flight's Pub Flight's Pub Tin Roof Revival GA State Fair Ballad Town Billiards Shrine Auditorium Louie G's the Central Saloon Silverstar Saloon Jazzbones Merlin's Bar & Grill Brickhouse Bar & Grill

Tunica, MS Portland, OR Tunica, MS Issaquah, WA Aloha, OR Nashville, TN Franklin, TN Canby, OR Leavenworth, WA Tacoma, WA Vancouver, WA Spokane, WA Hillsboro, OR Olympia, WA Olympia, WA Woodinville, WA Shelton, WA Everett, WA Everett, WA Nashville, TN Atlanta, GA Forest Grove, OR Billings, MT Fife, WA Seattle, WA Vancouver, WA Tacoma, WA Lebanon, OR Vancouver, WA

Taking their name from a mythical phoenix-like songbird in Filipino folklore, this fiery, dynamic, and high-energy sound comes from a concoction of influences from old school rock-n-roll such as The Cult and Guns N Roses to modern rock such as Foo Fighters and 30 Seconds to Mars. The Adarna is set out to make fist-pumping rock and roll music that honors their fans and the musicians that inspired them. The Adarna are here, they’re hungry, and they’re just getting started. CV NorthWest sits down with the band, at the start of something great….we can say “we knew them when…”

<CV NW> We do this all the time, Adarna‟s sound begin to form. let’s talk about the construction of the band…who is in the band, and <CV NW> What is it about this quartet that you think works so what is their role? well? WILLIAM MOORE:

Lead Vox, Rhythm Guitar ANDREA JASEK: Lead Guitarist JEREMIAH HAZEL: Bassist MURDOCK: Drummer <CV NW> Is this the original lineup? How has the lineup changed over time to THIS group? Tell us about the journey of finding the right mix, I hear finding a drummer was a bit … stressful & arduous.

JEREMIAH: We went through a few lineup changes in the early stages, lots of auditions & interviews trying to find the right members. It was very important to us to find people who could not only play, but that we enjoyed as people & individuals also. WILL: As with any band first starting out, the first few months of The Adarna were a struggle to find our sound, idea and members. There were auditions, shows, and recordings but it wasn‟t until our current lineup which came to be on March 2012 that we actually saw The

WILL: This quartet is unique because it was founded off ideas, goals and personalities versus JUST the music. I don‟t know about anyone else, but if you‟re in a band with the greatest guitarist in the world but you still want to ring their my opinion, that‟s not a band worth being in. I‟d much rather be in a band with people I respect and love. JEREMIAH: I think the respect level is a key thing. I really appreciate everyone here quite a bit. I think it‟s where we are so uniquely different people but where we can

come together with this level of respect & appreciation to work on a common goal that really makes things rad. ANDREA: We all come from such different backgrounds. Not just in music, but in life. It works really well because there is so much that is consistently being learned from one another. MURDOCK: It‟s simple, no one is afraid to tell anyone anything. If you smell, you‟ll hear about it but it‟s not in a hateful way. <CV NW> CV NorthWest has featured some hard rock acts with female guitar leads (Witchburn, Halestorm), do you think that women are breaking the mold these days with hard rock, or are we

WILL: The name “The Adarna” was chosen by myself and Andrea. The story of The Adarna is about a mythical bird that was sought out to heal ailments and pains. Those who listened to the songbird's 7 songs would be cured of these pains. We use the Adarna as a metaphor for what we aim to accomplish with our music. In some cathartic way...maybe we can help our listeners deal with pain in their lives. <CV NW> Tell us about the EP in 2012 – how did that process go? When it’s all done, you’re holding the EP in your hands, how satisfying is that?

JEREMIAH: It was a pretty lofty

just beginning to notice, at least as goal to go and record 5 songs at guitarists?

ANDREA: I think that women guitarists have always been noticed. However, I feel that now we are looked at as musicians and not just “the chick in the band.” MURDOCK: This is nothing new, women have been in bands forever and what I don‟t like is everyone treats it as a gimmick. All of the good female musicians should have a spartan battle with the shitty ones who only do it as a gimmick as reparation for soiling their sex. WILL: Janis Joplin, Nancy Wilson, Joan Jett, Lita Ford, or even newer artists like Orianthi have been defining rock n roll for us for ages. Our lead guitarist, Andrea, was chosen for the band not because she was a female guitarist... but because she IS rock n roll. Plus she plays guitar way better than me! <CV NW> “The Adarna” comes from Filipino folklore – how did the band settle on that motif for the name?

that early stage really, but I think situations like that make things interesting, it‟s good to be thrown into situations where you have to push yourself. WILL: The process of recording the 2012 EP was grueling but we‟re very proud of what we accomplished. It was recorded in a way that pushed us to record in the same way artists did before the miracle of pro tools and digital engineering. It‟s not technically perfect but it was a perfect beginning

to The Adarna. <CV NW> You actually funded that EP using Kickstarter…how was that process? Was there a time when you thought you might not get the donations?

JEREMIAH: Yes! I definitely thought there was a time we might not get the donations! WILL: The Kickstarter donations were amazing! We had supporters and followers from our previous bands that were anxious to see what we could accomplish with a little help. The final donations came in the nick of time and the timing nearly gave us a heart attack. We‟re grateful to each and every one of them for giving us the leg up! <CV NW> We’ve heard good and bad about using crowd funding like Kickstarter…obviously it worked for you, would you use it again? Have those types of opportunities changed the recording

game for bands? MURDOCK: There is a sense of pride when you help fund something, especially grassroots, and you see it become successful. You hear former generations say time and time again “I remember when

to keep up with the cost of recording and push us to find the core of a song faster. <CV NW> Let’s be honest, it’s a hard life, being in a band – what keeps you going, how do you keep the fire & motivation?

SRV was playing little LA clubs, I bought a bunch of CD‟s from him to help him out.” JEREMIAH: It‟s awesome. I‟d totally love how it works. I wouldn't want to push it though & burn people out on the thing. WILL: Crowd funding websites work based on how much work you put into it. If your band is willing to ask every single person on the street they meet for one dollar one person at a time for 30 days… you‟re going to get funded. Think about a homeless person, they wouldn't keep begging on the same street corner if asking every person wasn't working. (Pardon the metaphor of a beggar.) If you send a couple of Facebook messages and assume your fans will cover your recording‟re not going to succeed in your goal. I‟m grateful micro transaction websites like this exist but the opportunity lies with the band. <CV NW> On FB, you say you have “a new focus on releasing individual singles” – meaning single songs? Is that how you want to slowly bring your music to people?

ANDREA: Band nights! MURDOCK: I‟ve got no other place to go…. WILL: I see a lot of bands putter out all the time but what really keeps a band together (in my opinion) is communication. We call it “band night.” Once a week we all go out and just shoot the shit. It really offers a chance for us to How did you decide on that road? blow off steam and keep the lines MURDOCK: Again simple. As open and just enjoy hanging out time goes on or attention span de- with your band. creases. I can‟t remember the last time someone told me about sitting <CV NW> Ok, you claim you are “jet down and listening to an “album”. city rock n roll” – what IS “jet city As a side note, this is probably the rock n roll” in your minds? WILL: Music with high energy downfall of prog. hooks, rhythmic patterns, power<CV NW> Prog? house vocals coming out MURDOCK: Prog (Progressive of Seattle. Rock) takes a lot of attention and usually concepts an entire album, Jet City Rock-n-Roll is contrary to current society‟s ADD “music you listen to epidemic. JEREMIAH: We‟ve all kind of decided to go the route of single songs because it seems like that‟s what‟s going on in the market right now. WILL: Yeah, we‟re seeing more and more that this is becoming a singles market. JEREMIAH: I personally love it. It reminds me of stories of the old days & record shopping... where you would go to the store and pick up a single with a b-side and play the shit out of it. WILL: Bands are less known for their albums and more known for a song. This does afford the chance

while playing the arcade version of After-Burner or flying an F-14 Tomcat!”

<CV NW> What are your musical influences? Growing up, what else were you interested in other than music?

MURDOCK: I only did two things besides school: music and dirt bikes. I lived with my grandparents and they had an 8 track player. I found an old 8 track collection and started playing along with

For some reason the entire crowd was cheering at the same pitch. Very ear piercing but it kept us smiling the whole show and set the pace for a terrific tour. JEREMIAH: Each one is memorable. I just really love to play. (What Will said) <CV NW> “The backdrop of The Adarna is a puzzle of cities, bands, craigslist ads, and finally, their debut EP” – tell us what you mean.

Three Dog Night, Black Sabbath, Led Zeppelin, Rush, etc… I quickly moved on to more up to date artists like Megadeth, Metallica, King‟s X, Entombed, Guns n Roses, Living Colour, RHCP, Pearl Jam. If I heard a song I liked the rhythm and groove I learned it. JEREMIAH: A lot of metal & country. I got really excited about punk rock in my late teens & really kind of settled into that mindset for a long time. And yes, Prince is the best. WILL: Growing up I was really drawn to artists like Prince, Muse, Queen, Aerosmith, Placebo, Lostprophets, and Linkin Park. They really opened my mind up to how rock n roll could be perceived. Now-a-days I prefer listening to Opera & Jazz music. I very rarely listen to rock n roll anymore. <CV NW> Any memorable shows? Why were they memorable?

MURDOCK: Eugene, OR: Cosmic Pizza. Will was so into the show he completely took out Andrea‟s half-stack. I was laughing

so hard but trying to keep a straight face and beat. WILL: There are number of memorable shows but what really stands out for me is when we (the band) finish a show... sweat is pouring off of us, lights are shining on us and we just kicked the crap out of that stage. I get a bigger high off of us being connected with our music than a size of a crowd. Specifically though, our Hard Rock Cafe tour send-off was quite a memorable show that happened recently.

WILL: This description is to describe what it‟s like being a band made up from various cities and past bands. Some of us met through Craigslist but what really began to make The Adarna‟s sound come to be was when we finished our EP. We recorded this in a more affordable way that stretched out the recording process over months and gave the songs and band time to grow. JEREMIAH: We‟re all from pretty different backgrounds. I met Andrea & Will the first month I lived here, fresh from the Chicago area. We‟ve all traveled a lot & moved around a lot.

Trevor Gibson

timeout. JEREMIAH: It was a lot of fun & we got to play some really rad venues. We go on a lot of 3-4 day trips (mostly through a weekend) as it is…so this was just an extended version of that…and we got to see some new places which is always fun. WILL: The Adarna are on the road often however that was our first West Coast Tour to last that long. I couldn't be more proud of how our band handled ourselves for our first long tour and we can‟t get wait to get back out there.

<CV NW> Tell us what you think How do you think it’s changed the <CV NW> “Honestly” got a bunch of airplay on video screens from Harabout the Seattle music scene. music industry? WILL: I love the Seattle music MURDOCK: It makes everyone ley Davidson dealerships to major scene! I know many people get approachable. Think about when fitness clubs – is it weird seeing jaded and say the scene is gone but Alice In Chains hit it, they only yourself on the big screen? Has anas a touring musician, you get to thing you could do was write to yone ever looked at the screen, see a lot of other cities. Seattle their fan club and hope for a re- looked at you, then made the constands out. The musicianship here sponse. We relied on MTV news nection?

is excellent and there couldn't be a better place to look for competition in the US (in my humble opinion). JEREMIAH: Seattle has a great scene. There are a lot of really talented people here; tons of amazing players & a lot of infrastructure, recording &rehearsal studios etc. I don‟t know why it took me so long to get here. MURDOCK: It can, however, be fickle like the weather. You have to turn over a lot of stones to find the good people. I spent my first month living here sifting through a pile of flakes. I chose my first band because they returned phone calls and had rehearsals. Once you weed out the BS, there is a real cool scene

(if you had cable), posters, and music stores to keep you apprised. WILL: Social media is just another way to help us connect with fans. We‟re very easy to talk to and get in touch with. We‟re willing to go those extra steps to help someone who can‟t be at show feel connected to us. But I still see that people value the handshake more than a social network blast.

<CV NW> You recently finished a West Coast tour – was that your first official tour? Tell us what you thought about the experience, what you learned, what you took away from <CV NW> I see that you are very the trip. active on FB & social media, do you MURDOCK: It was a sucsee significant benefits from that? cess: no one needed a

JEREMIAH: I‟m always stoked to get our stuff out in the public in any format. Whether people love you or not, at least it gives them the chance to find out about you &

make a decision from there. It‟s always been our goal to connect with people, & hopefully they can take something positive away from it the connection. WILL: Not to date but that would be awesome! <CV NW> CVNW did a radio ad for our Cinco de Mayo party in 2012, and it was just crazy to hear our ad play – what kind of satisfaction do you feel hearing your songs being played on radio?

WILL: It‟s not really crazy, I don‟t think I‟d use that word, but we do get a little giddy when we hear our songs on the radio. <CV NW> Rachel Hansen said “the Adarna is known for radio rock” – how do you define “radio rock”, and do you take that as a compliment? WILL: I personally take it as a compliment but I can see how other bands wouldn't be happy with this description. To be fair, that was the goal :) To make music people would listen to on their favorite stations. MURDOCK: It means it can relate to a broader audience. Some in the scene have spun a bad connotation to it, but there‟s nothing wrong with many people liking your music, it is what most bands go for. JEREMIAH: I think we all knew going into this that hopefully all of our different influences would „reach across the table‟ so to speak & create something that was a little more universally understood. If you get together with a bunch of folks who are really into to Thrash Metal & form a band, it‟s probably not going to sound like Hank Williams…just sayin‟. I think the fact that all of us have such diverse mu-

sical interests helps bridge those music. gaps a little bit. WILL: I would agree in some senses that the two are similar but <CV NW> Do you see “radio rock” not completely. I personally love the same as “commercial mu- “Jump On Top Of Me,” just as I sic”? Case in point…many think “Kiss Me, Kill Me, Thrill Me” is U2‟s best song. I like when years ago the Rolling Stones put artists try to branch out and do out a single “Jump On Top Of something different to what is exMe” which got a lot of airplay pected. I think it helps the artist but was panned by critics as really know their fan base and see “not even remotely a song that what the “Radio World” wants to should have been put out by hear...versus the “Commercial Mick Jagger”. What are your World” wants to push. thoughts about that? <CV NW> Will, you said “our JEREMIAH: The radio is a commercial medium. I can understand music is not over processed, it’s why people get confused when you not something that’s perfect… switch things up on them though. even though it’s polished, there’s It brings to mind the band MGMT, this rawness” – tell us what who, for their second LP chose to you mean by that statement. make the „most non-commercial WILL: What I meant by this is to record‟ they could. I don‟t think say we still believe that musicians I've heard any of that one on the need to be musicians. There are radio, so I guess they did a good programs, computers, and even job. hardware out now-a-days that can MURDOCK: Apples and oranges. help musicians stay in key, pitch A band reaching outside of their correct, put you in time, and even typical sound does not correlate. play your instrument for Radio rock means it would fare you...some of them can be done well on the radio, commercial mu- live on the fly! Sonically this era sic could mean all sorts of things; that we‟re entering into with HD to me it means jingles and backing systems is making it harder for

Shane Eubank someone with an 8 track to really wow people. I feel this is what is creating this crave for indie genre artists. People still want to see real musicians live. Nothing beats seeing a dazzling musician live who can play the shit out of their instrument and get a crowd going. That can‟t be faked with computers and that is the goal. How do we cap- sion & emotion. ture that and recreate it over and MURDOCK: I think it‟s a couple over... of factors, all of those artists have sex appeal, were in the right place <CV NW> Do you think that at the right time, and were willing many of the “mainstream” mu- to turn their life off for the sake of sicians (for example, Bieber & fame. Cyrus obviously already had Cyrus, or Spears having been a connection. Artists cannot make it on talent alone anymore. There panned for this) are “made” is also a small percentage who get more because of all this tech- lucky. For every band that makes nical ability rather than actual it there are numerous that were doability to sing? ing the same thing just as well, WILL: All of the examples you sometimes better. gave are talented. Anyone who says otherwise is kidding them- <CV NW> Gibson & Epiphone enselves. I‟d agree that not all main- dorse you – what does somestream artists are known for their thing like that do to validate vocal prowess but it‟s just like any your efforts in your minds? other job. Most jobs will hire off of likability, marketability, skill ANDREA: The day I started playsets, and most ing a Gibson changed my life. This well you get along with a person. is amazing! A company invests in a person be- JEREMIAH: My favorite basses cause they see long term growth have always been Epi‟s and Gib-

potential. They don‟t just pick up bums off the street like in Trading Places. JEREMIAH: There are a lot of extremely talented people who work in the channels of bigger commercial music and they have it down to a science pretty much. I think all those artists you mentioned are talented. I‟ve always been somewhat weary of these types in general, though, and favored a more impassioned and organic sound. My opinion, I never think that formula or technology should supersede real human pas-

son‟s. It‟s a good feeling to know they don‟t hate us too much neither. WILL: Absolutely! This was a huge honor to be supported by them. Especially since we loved them even before their support. MURDOCK: Maybe they will get Slingerland running soon?? <CV NW> Let’s give props to Shana, tell us about her contributions. Would you feel lost without her? MURDOCK: I need a certain amount of profanity in my day to day, she helps fill that. <CV NW> Yeah, we’re pretty sure it’s well-deserved in your case… Anyway, it’s late 2013…tell us about this year’s accomplishments, and what’s in store for the rest of the year and 2014 for The Adarna?” WILL: Our goal in 2013 was to become a well-oiled touring machine. We've accomplished that goal. In 2014 The Adarna has their sights set on festivals, conventions, and college tours as well as recording another record.

Merle Huddleston’s ‚One Hot ‘36‛ The automobile was built way back in 1936, and was one of the first cars built as a "hot rod". When restoring the automobile, Merle decided to keep the original body style to remain true to the initial focus on being a "hot rod". When he first purchased the car for Charlene, it was drivable but nothing special to see...and it sat in the garage until Merle tore it apart, taking it down in the late 80's to the bare metal. Set aside again in the garage, all lonely while Merle restored a few other automobiles, the car was finally completed in 2006. It is worth the wait...

1936 Ford Convertible             

All steel body, 2-door coupe with rumble seat Original style Auburn dash Original style Carson top, black Original style upholstery, black with rolls and pleats ‘American Racing’ chrome wheels Running gear – 350 automatic, V-8 motor with a Ford Fairlane rear end Custom frenched electric antenna and frenched tail lights Color/paint – GM Bright Teal (base coat/clear coat) Custom power windows Custom remote door handle/locks Disc brake conversion Professionally lowered 5 inches Dual exhaust

2013 Oyster Run (with Molly & Lani) The fourth Sunday of September 2013 was also the first day of Autumn. In the early morning hours, the residents of Western Washington could tell it was going to be a typical dark and dreary day. Weather forecasters were calling for rain (surprise!). The air had a chill and the wind was gusting up to 30 mph at 8 o'clock in the morning. Being a first time visitor to the Oyster Run, I had no idea what to expect. A few motorcycles? Some people getting a little rowdy and rambunctious outside of a local bar? A bunch of bikers digging for oysters? When I arrived in Anacortes, WA, and walked to the edge of a street restricted from 4-wheeled automobiles, I was met with a jaw-dropping sight. Rows of parked motorcycles 4 deep lined numerous blocks through town. People lined the sidewalks, strolling, talking, or huddling under the awnings of buildings, hoping to avoid the impending storm. As the rain began to pour, and more and more Oyster Runners were pulling in, I made my way into a local bar called The Wheel House, and at 11 a.m. it was close to empty. As I was sitting and enjoying a fabulously made vodka tonic, the rain outside began to pummel down even harder while the wind picked and blew in faces. Before I knew it, the bar was full, and patrons were sharing tables with others they didn't know, just for a chance at a seat. Making my way outside, it was immediately apparent that weather played no factor with the hard-core motorcycle enthusiasts. And when I say hard-core, I am not necessarily referring to 300 pound, leather clad behemoths that ride ONLY American bikes. I am talking about men, women, children, pets, old, young, thin, fat, friendly, and fierce people that live to ride and ride to live. These are the folks that support the lifestyle, rain or shine. Motorcycles of every make and customization were present. Trikes, scooters and the hilariously confident motorized bicycles rode past honking and waving, nodding at people who pointed and waved in return. The atmosphere was one of passion and one of community. Multiple vendors were present. From beef jerky, to leathers, to clubs promoting everything and anything motorcycle was there, and then some. Bent Bike Motorcycle Salvage from Lynnwood and Auburn, WA, and the

family friendly Conway Pub and Eatery out of Vancouver, BC. Enemy Tattoo from Everett, WA was on scene with a company owned ambulance, providing clean, sterile, and professional tattoos. Soldiers for Jesus MC had a booth with a vibrant yellow sign boldly stating "Jesus Loves Bikers Too". Psycho Wear from Silverdale, WA states "We are crazy about leather so let us put your rear in our gear." And CyclePath out of Kirkland, WA did an awesome job advertising with condoms toting company stickers stating "Thank You & Come Again" and matchbooks that read "Instant Crime Scene Clean Up Kit! -Strike, -Drop, -Run!" After beating the pavement for some time, I found myself outside of the beer garden, strategically placed in a grassy area between two buildings which blocked the wind. Customers were somewhat sheltered from the elements because of this and tents over the area. Tables were set up with plenty of chairs and space. A small stage was set to the side, but still close under the tents, and a truck selling Bud Light and Pabst Blue Ribbon was available for a shockingly low price of $4 a cup. My time in this area was spent dancing, smiling and partaking in peach flavored jello shots. The Triple Shot Band played a great set with hits that everyone knew. And it was at this point in the afternoon that sun began to shine. Back in the street, I found that many Oyster Run Attendees had decided to head back home, or embarked on whatever endeavor the open road took them on. As the blocks cleared and the sound of engines roared away in the distance, steam rose from the pavement in wisps, as if the rally itself had caused an uproar in Mother Nature. I later learned that Oyster Run began many years ago with a group of guys that decided to ride their motorcycles to go eat some oysters at a restaurant. They had such a great time, that they decided to make it a tradition. Each following year, more and more people joined, until the Oyster Run became what it is today. Thousands of motorcycle fanatics, supporting one another in their love for two-wheeled joy-rides on any given day, without the confines of metal stifling the excitement of the open road.

Lani Linton & Molly Larpenteur Our On the Spot Team

Taking on the rush-hour traffic in some of the busiest cities in the world is quite a challenge, with a lot to watch out for and even after doing it for years people are still learning but here are some things to be aware of when you are navigating the concrete jungle. It would be impossible to calculate the number of cars youâ&#x20AC;&#x;ve passed and minutes you've saved by commuting to work. Sure it's more risky than taking public transport but despite what people may say, commuting on two wheels is a safe way to travel, but there are risks and - like with all riding you have to minimize them. If you've bought a motorcycle or scooter to cut down your commuting time, just passed your test or are riding in cities and town centers for the first time, this article is aimed at you. We hope it helps you out. STAY OUT OF THE GUTTER Whatever the situation, don't be tempted to head for the gutter. It might look like a good place to nip up the inside of a car when the traffic's at a standstill but it's a bad habit to get into. In London, for example, most of the roads are marked up with cycle lanes, so heading to the gutter means you'll encounter cyclists who are a prickly bunch at best but even if there aren't cycle lanes, it's still a bad habit. You'll also be where drivers aren't expecting you, so if another motorcycle comes along to the right of a car you're on the left of, the car might mover over and squeeze you out. And finally, if you're right by the curb, you'll more likely to tangle up with a pedestrian who steps out into the road without looking.

RED LIGHT JUMPERS DON'T VALUE THEIR LIVES If your name's Valentino Rossi, it's crucial to be first away when the red light goes out but in the real world if you fire off from the lights with Rossi-beating pace, you could get tangled up with a red light jumper, be they an arrogant cyclist or a moron in a car. A red light jumper clearly doesn't value their own life, so what regard have they got for yours? Always check for traffic coming across your path when you pull away from the lights and don't be too hasty, there are no trophies to be won.

CAR DOORS PROBABLY HURT There's no knowing when a car door is going to open or when a car's going to do a U-turn in front of you, so make sure you create a good gap between you and the cars you're passing. If you ever see a police motorcyclist riding past a line of solid traffic with nothing coming the other way, you'll see they're halfway into the oncoming traffic's lane. Give a decent look to the front right tire of the cars you're passing. If it's pointing left, there's a higher chance it's about to shoot out into your path. The more space you give yourself, the more chance you have to avoid an accident.

DON'T PUSH IT PAST STATIONARY TRAFFIC If the traffic's at a standstill, it might seem like a good idea to wind open the throttle and push on or get to the front of a queue but think carefully: people crossing the road tend to use queuing cars as a cove and don't expect bikes or bicycles to appear in the gaps. If they spring out what are you going to do? Anchor on the brakes? Swerve? Be careful to not carry too much speed through town. As a rule try not to go more than 20 mph faster than the traffic, that way youâ&#x20AC;&#x;re not going past traffic much faster than you can ride a push bike and therefore you give myself the best chance of seeing a hazard or avoiding it if you really don't see it.

WHEN INDICATORS PUT YOU IN DANGER You always see so many motorcycles and scooters rolling around with their indicator flashing away. You might have a nervous tick in your thumb that makes it reach for the indicator switch to cancel it, even if it's not on or even if you haven't indicated for ages. If you're cruising along with your indicator flashing and you're happen to not be paying 100% attention then you're inviting an eager car driver to pull out in front of you.

NEVER GET BETWEEN A VEHICLE AND A TURNING This is obvious and one of the first things you're taught when learning to ride, but in town it's easy to get blasĂŠ as there are so many turnings. There are also so many cars that sporadically use indicators. When you're filtering past traffic as it's moving, keep an eye out for any junctions ahead and when the traffic's at a standstill, it's not unusual for a car to jut out if the oncoming lane is clear, so they can shoot down the road and get to their turning. Larger vehicles tend to make turns without much regard to other traffic and often with less visibility. Never try and nip up the inside of a longer vehicle, especially when there's a left-hand turning ahead. RELAX These days you should be much more relaxed in town, try and let gaps open up in front rather than try and force them open. Don't put yourself into tight spots and if you get blocked in, well, just wait for things to get moving again. Almost every day you'll come across a commuter on a scooter, buzzing like an angry wasp, trying to wedge themselves in everywhere and for the majority of the time, they end up boxing themselves in because they're not relaxing and taking in everything that's going on around them. Remember, there is art to commuting; knowing when to press on and when to take a step back.

Gear the Pros Use! I generally perform with my DWCustom drum kit, maple/mahogany. The Collector's Series is the original American made custom drum set. I've had this one since 2000 and I love the sound of it.

My approach to drumming definitely vaires depending on the style of music that I"m playing. I couldn't express enough how important it is to record yourself every time you play, especially when you're playing with other musicians. A lot of times what you end up hearing while you're playing ends up sounding different on the playback. If you're a drummer just starting out, you can find music recorded wihtout the drums so you can play with it...this is very helpful because it gets you listening to all the instruments involved and gives you a better understanding of what to accent and when. Plus, they usually have the option of listening to the original drums recorded with the music and/or a metronome.

I'll go with the basic setup for most straight ahead rock music. For different styles like funk or latin, I'll usually just have my 8" & 10" rack toms up front Playing different styles of music... and put my 12" on the lft of my hi-hats, One-dimensional or multiwhich is also accompanied by percussion instruments (cowbells, concert Toms, dimensional playing - it's your choice. I think the multichimes, etc). dimensional players tend to stand Rack Toms - 8" x 8", 10" x 8", 12" x 10" out and go further in their careers. Floor Toms - 14", 16" Try to play with as many Bass Drum - 22" x 16" musicians as you can. Your learning curve will go up exponentially as you broaden your horizons and by having many guitarists, bassists, singers, or whatever in your life. DON'T listen too much to high praise, or the harshest of criticism. Listening to too much of either can be quite detrimental to your psyche. If you know you're good, be the last to proclaim it with words, express it with ability...if you let your talents do the talking, they will speak vol-

Gear the Pros Use! I started playing around with guitars when I was about 10 years old, but didn't have one of my own. So, after asking my older brother to show me a thing or two on his guitar, only to have him tell me that there was no way I'd be able to learn it, I would regularly sneak into his room and play his guitar. I was absolutely in love with the heavy guitar tones I heard on records from Black Sabbath and Deep Purple, then in awe of the tones I later heard from Randy Rhoads and Jake E. Lee on Ozzy records, as well as from and Slash and Billy Duffy of GN'R and The Cult, then... Pantera happened. I was absolutely floored by the heaviness of Dime's guitar sound. At that point, I became obsessed with heavy guitar tones. So began my quest to incorporate the elements of the guitar tones that I had loved since the first time I heard electric guitars with the heaviest guitar sounds I'd ever heard. Mischa

Guitars: A 2006 Gibson Les Paul Standard with a 50's neck and BurstBucker 3 pickups. All black with white binding. It was a gift from a dear friend who used to work at Gibson and is not around anymore, it's a very special guitar, the one I play most. It has such a smooth, heavy, creamy tone... I love it. It's very much the perfect guitar for the deep, dark, heavy tones I'm going for with the riffs I write in Witchburn. A Gibson Les Paul BFG P90 pickup in the neck, and a "Zebra" Burstbucker 3 at the bridge with a raw wood snakeskin looking finish. This is usually my back up guitar that I reach for if I break a string in the middle of a song. I also like to use it more when I'm playing stuff that's not quite as heavy as Witchburn, like the dirtier, more punk-rock roots type stuff and faster, gritty rock n' roll... like what I'll be doing with my new all-female project. Effects: I use a BOSS MegaDistortion pedal, a Morley switchless wah, a BOSS noise gate and a BOSS DD-3 delay pedal. The dis-

tortion pedal is always on unless I switch to a clean tone, which is an extreme rarity. The noise gate is only used when the feedback is an issue at whatever venue I'm playing, I like to turn it off for solos for maximum sustain. I use the delay pedal mainly for melodic lead parts and solos as well, just to add a little ambience, sweetness and sustain. The wah pedal is something I often use almost more for a flange type of sound, nice and slow with the foot, and also generally on melodic lead stuff.

Amps: I run a 150 Watt Mesa/Boogie Mark III with the "red stripe" revision mark. It has the graphic EQ, reverb, and the very rare "Coliseum" option, (six power tubes for higher output) to two Marshall 4X12" cabinets and a Marshall JCM 2000 to two 1X18" Peavey sub-woofer cabinets. I had been experimenting with different heads and cabs while Witchburn was on a month long tour with Prong and Crowbar. My Marshall head died at a show in Louisville with about a week left to go on the tour. After that, I tried different combinations of cabinets and heads from the rigs Tommy Victor (Prong), Kirk Windstein and Matt Brunson (Crowbar) had on the road with them...when we got home, my goal was to put together a rig that sounded bigger and heavier than both of Crowbar's guitar rigs put together. I think I at least got close with this. Strings: I use Ernie Ball Skinny Top Heavy Bottom, they seem the best for the downtuning Witchburn does. Picks: I use Dunlop Max-Gripâ&#x201E;˘ Nylon Standard, black, 1mm thick picks. Cables: I use Monster and Mogami cables

The Carnival of Madness graced Spokane, WA with their presence on September 12, 2013. This was a much anticipated show for Spokane. They played at Spokane County Fair and Expo Center as part of Spokane‟s annual fair. They brought along their Carnival of Madness entertainers, Eric Scott Baker, Jade Ashekerra, Jennabelle Hogue, Scott VanSice, and Aimee Funk. They each had their own majestic characteristics as they kept all of us entertained, before, during, and after the show. The Carnival of Madness lineup consisted of, We As Humans, In This Moment, Papa Roach, Skillet, and Shinedown.

First on was We As Human. They are considered here in Spokane, WA as a local band, originally being from Sandpoint, Idaho and now based in Tennessee. They lit up the crowd and for us it was a great way to start off the show. We As Human is a Christian alternative metal band, with a hard rock kick. Members are Justin Cordle-Vocals, Adam Osborne-Drums, Jake Jones-Guitar, Justin Forshaw – Guitar, Dave DraggooBass. They came out full force, never once letting us down. They played like true metal heroes standing on stage with the hot afternoon sun beating down on them. Their set only lasted 20 minutes but it was a great 20 minutes as we enjoyed rocking out to their songs. They left us with “Strike Back”. Full metal heart pounding sound that echoed through the fairgrounds, making us all want more.

Next in line was In This Moment, a band with the true metal goddess as their lead singer, Maria Brink. Two dancers came out first wearing the famous white mask, white outfits, and stocking with blood smeared all over entire costumes. Tom HaneDrums; came out and got the crowd going. Joining him was Chris Howorth – Guitar, Travis Johnson – Bass, Randy Weitzel – Guitar. Maria was in a white outfit with a red top hat on, carrying a smoke shooting gun. As she blasted smoke into the air the crowd went crazy. They started the set off hard and heavy with their heart pumping hit “Adrenalize”; this song certainly got the adrenaline running in everyone’s veins. At no moment did anyone want to take their eyes off the stage as we had no idea what to expect next. Maria and the dancers were well synchronized in every move. Maria had a new look for each song. She sang every song with brilliance and amazement. Their set consisted of 30 minutes and 5 songs ending the set with “Blood”. The crowd sang each and every word right along with her. In This Moment left us feeling adrenalized.

Papa Roach was next on the bill. One thing for certain about Papa Roach is they are all about their fans. They never let down and certainly kept up their standard as they have for the last 20 years. Papa Roach consist of Jacoby ShaddixVocals, Jerry Horton-Guitar, Tobin EsperanceBass, and Tony Palermo-Drums. Jacoby has had some difficulties with his voice lately, but for this show it was strong and didn’t give out, absolutely solid. They came out strong with “Burn”. One thing that everyone loves about Jacoby is that he gets out in the crowd with his fans and he certainly did not let us down. He jumped off stage singing to the us, making his way around the side of the crowd and noticed some empty chairs as this was a seated show. He picked up one of the chairs yells into the mic “I hate chairs” and smashed it repeatedly to the ground. This got the crowd all riled up. He had people follow him back to the front of the stage and instructed them to stay there. He stated to the crowd “This is a rock show not television”. Papa Roach continued on playing “Where Did The Angels Go”, “Forever” and their latest hit “Leader of Broken Hearts” which is currently on the top of the rock charts. By this time security is trying to usher people back to their seats, of course Jacoby wasn’t going to have this he yelled out “Mr. security guy you’re fucking up the rock show” the crowd did not move they remained up front rocking out with Papa Roach. The sun finally set by the 9th song “Still Swinging” and the stage lights were shining on the stage. The lighting was amazing only using white lights, 2 colors in sequence or occasional strobe light effect. It made it so there had great clarity of all the members on stage. The most amount of energy from the crowd was during “Getting Away with Murder” they sang every word of it right along with Jacoby. They ended the set with “Last Resort” which for many is an all time favorite. As they left the stage the crowd started chanting “Papa Roach Papa Roach” as I believe the crowd was not ready for them to be done. Papa Roach came on fast, heavy, with some serious electricity and that’s exactly how they left us.

As the sun was fully set the stage was dark, two men come out one a violinist the other a cellist, they were dark images under blue lights. Skillet proceeded onto stage; members are John Cooper-Vocals-Bass, Korey CooperRhythm guitar, Keyboards, Backing Vocals, Seth Morrison-Guitar, and Jen Ledger-Drums, Backing Vocals. Skillet started their set with “Whispers In The Dark” The violin and cello added a degree of intensity to it. As they broke into their second song “Hero” smoked streamed up from the front of the stage. Jen pounded on the drums while doing backup vocals. They kept their set going with great enthusiasm with “Sick Of It” as the crowd got into the song. Korey sang backup vocals, played guitar and the keyboards for “Comatose”. The stage was set with risers Korey and Seth would go up and down on the risers playing intensely. For the beginning of “Awake and Alive” John and Jen did a duet as the violinist and cellist went up and down on the risers. The next four songs were “Last Night”, “Not Going to Die”, and “Circus for a Psycho” and “Monster” all was hard, heavy and well played. “Rebirthing” was the last song of the set. Skillet played non-stop with great intensity.

We As Human, In This Moment, Papa Roach and Skillet, got us all pumped up for what was about to come next Shinedown, Brent Smith-Vocals, Barry Kerch-Drums, Zach Myers-Guitar, Keyboards and Eric Bass-Bass ; however I don‟t think many of us knew what we were in for. The stage had the Shinedown screen covering it as the stage hands set it up. At 9:30 they dropped the screen and the Carnival of Madness entertainers were on stage with fire sticks. They gave the impression that this would be a show we would never forget. There was a large LED screen in back of stage, flames from back of stage and exploding flames off the sides of the stage. “Enemies” was first with the LED screen depicting the band as animated characters acting out the lyrics of the song. Brent Smith‟s voice was mesmerizing. They next busted into “Devour” then straight into “Crow and the Butterfly”. There was a 10 year old boy sitting next to me belting out every word to that song. They continued on playing “Adrenaline” and “I‟ll Follow You” with Zach Meyers on keyboard and then guitar. “Diamond Eyes” and “Amaryllis” were both played with such passion from Brent. After “Amaryllis” the stage went black and as minutes passed the crowd became restless stopping their feet on the bleachers, they were not ready for Shinedown to be done. After a short break a video of Charlie Chan played on the LED screen and the Carnival of Madness entertainers came back out. Shinedown appeared and went right into “Sound of Madness”. Again, the 10 year old boy next to me was rocking out singing right along. They slowed it down a bit with “Second Chance” with Zach playing the acoustic guitar. Zack continued playing the acoustic guitar for “45” as Brent handed out roses to the crowd. They went right into “Simple Man”. By the reaction of the crowd this was a favorite. Brent took this cover song to an entirely new level. The last song they played “Bully” was in honor of all people being bullied and especially Amanda Todd, 11/27/1996-10/10/12. Her personal video played on the LCD screen behind them; it was very moving and emotional. It really was nice of Shinedown to honor such a beautiful girl who had a very tragic story so she will never be forgotten. Even though they ended the show with a surreal song they never let the audience down. The performance was solid right from the start, making everyone craving more. Vancouver, WA

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Name: Melanie Shiba Inu Australian Cattle Dog Mix 1 year old male 23 pounds F AM ILY DO G S N EW L IF E SH E L TE R 9 1 01 S E S t a nl ey A ven u e P o rt l a n d, O re go n 9 72 0 6 5 0 3- 7 7 1- 5 5 9 6 w w w .f a m i l y do gs n ew l if e .o rg THIS SPACE DONATED BY CV NORTHWEST MAGAZINE

F AM ILY DO G S N EW L IF E SH E L TE R 9 1 01 S E S t a nl ey A ven u e P o rt l a n d, O re go n 9 72 0 6

D o n at i n g t o F am i l y D o g s F a m i l y Do g s New L i f e i s a 5 0 1 c 3 n on pr of i t o r ga ni za t i on su p p ort e d so l el y by ou r ad o pt i o n f e es a n d by d on a t i on s f r om t h e pub l i c. W e re ce i v e n o t a x do l l ar s a nd ar e n ot af f i l i a t e d w i t h a n y ot h er c ou nt y sh el t er or h u m a ne so ci e t y . It â&#x20AC;&#x2122; s c os t s j u st o ve r $ 1 0, 00 0 p e r m o nt h t o o pe ra t e o ur s h el t er a n d w e rel y on y o ur do n at i o ns t o m a ke t hi s po ssi bl e . Y ou r d o n at i o n t o F am i l y D o gs N ew Li f e S he l t e r g o es di re ct l y t o h el pi n g u s s av e as m an y l i v es a s po ssi bl e . THIS SPACE DONATED BY CV NORTHWEST MAGAZINE

Jordan Allena was born in Memphis, TN and realized her identity as a singer and dancer at the young age of three. Moving from Memphis to the entertainment mecca of Las Vegas, cutting her teeth in the extremely fast-paced performance world of Vegas, she began reinforcing her desire to be on stage through technical training. Moving from Vegas to LA put her in the thick of show biz and offered her top notch opportunities to hone her craft. She finally decided to head to Nashville to realize her dream of stardom, and sheâ&#x20AC;&#x2122;s a runaway freight train of success there. CV WorldWide slowed her down just long enough to talk about her journey, both past & future...

<CV WW> Growing up, did you al- the cars as they would drive by during afternoon rush hour. I was ways want to play music?


rowing up, I'm not sure I knew immediately that I wanted to be a "musician" per se, but I know I always HAD to be "front and center." Mom says I was "dancing in the womb" and Dad had me on a set of drums at age two learning musicality. My brother, however, had me on his dirt I was always dressing in tutu's, ballet shoes, heels and costumes and at 3, we were still living in MS at the time, I would sit up in the lifted fishing seat of our family's bass/ski boat, hold my Fisher Price Mr. Microphone and sing to

giving my own concerts at 3 :) When we moved to Las Vegas (I had just turned 5), I would go door to door, dressed as Josie (of the Pussycats) dragging my best friend Alicen around (she was the pussycat, of course) and give front door concerts....OMG, I was crazy. In elementary school, I would do whatever it took to be able to sing the National Anthem at events or get the "featured role" in plays, etc. <CV WW> Did anything else catch your fancy beforehand? I think at age seven, I was Mom worked at a major strip casino and was involved in such a way that she could "allow" me access to some events taking place for the casinos. I found myself onstage with Earl Turner this way and eventually did an off-site event with Clint Holmes as well. I heard Mom talking about this particular event, asked if I could be in it, and she said she would ask. Her official reply was: "They said "yes", but I don't have time to help you put something together." So, I did it myself. I found the song that matched the event, I found my cos-

tume, I asked my brother to put my song on cd, and I rehearsed it myself. I performed it and got a standing ovation. Like I said...I was hooked! This is also when I was drawn to dance, as well. I enrolled with a local hip-hop team, known as the Starletts, and also made captain of a young local cheer team. I loved both, but dance had me hooked. You know my family are ALL musicians and love ALL genres, so I naturally fell in love with all types of dance and the music associated with it. I just immersed myself in training. I was

at the studio every day of the week and in 11 competition numbers in one year. I couldn't get enough and I loved being able to express myself through the art of dance and through music. The excellent training I received and tough schedule prepared me in a lot of ways for what I am doing now in my music career.

<CV WW> It’s been quite a physical road for you…talk about that moment when you said “yeah, I wanna rock, I wanna be up on stage”… and talk about your journey…born in Memphis, spent your elementary school years in Vegas, jumped into the LA scene, then made a decision to relocate to Nashville. That’s quite a road to travel… and now, you’re actually based on Nashville, but still fly to Vegas & LA to perform. How do you get any “me time” in all that?

Well during the seven years of intense dance training, I added voice training to my schedule. My brother was playing in a gigging band and I think that lit my singing fire again. Then I auditioned for Las Vegas Performing Arts Academy and joined the dance program and took choir. I was introduced to

learning harmonies and really started moving back into my love of singing. It was during my first year there (I was fourteen), I asked my parents to move me to LA and let me take acting, more vocal training, and see about getting me an agent. It was that year that EVERYTHING changed! My Dad and brother moved my Mom and me to LA into an apartment and I joined an Entertainment Training Complex. This particular studio's student roster was filled with "working industry talent"...every kid there was working in Hollywood and staying "booked." It was there that I learned to perform or entertain to the audience and camera versus within myself. I was booked in a Miley commercial within two weeks of moving there. While there, I was part of a pop girl group and a booking agent from Memphis/Nashville area saw me. After meeting with her, I was convinced that I needed to be in Nashville pursuing my singing career. I just had to convince my Mom and Dad. Within 5 months, my Dad drove Mom and me to Memphis and we eventually moved on to Nashville, where I am now. My parents deserve the Parents Sacrificial Award for the amount of support they've shown me. Because I have the building blocks of Vegas & LA entertainment scene in my soul, it bleeds into my performance style and the music I currently gravitate towards; I like things edgy and full-out :) I now travel between the West Coast and Memphis/North MS/Nashville area because that's the hub of my fan base and I enjoy being with and around them, and I have to be honest - this is when I'm happy...when I'm busy performing and growing. It's a challenge to fit "me"

time in, but it just means a little less "sleep" time and very careful planning...thanks go to good management again. <CV WW> You are a solo artist, did you ever thing of playing in a band? Do you think it’s easier for a solo artist in country as opposed to rock music?

You know I tried the "group" thing, but I like the feeling of being the "front man"'s where I thrive and am comfortable. But I don't think it is easier for a "solo" artist in any genre. I think it is hard - no matter the genre and even harder for a female. I read an article a few days ago where the author feels that Nashville are greater supporters of male artists and might still be considered a "good old boys club". I'm not sure I agree with that completely, but I do know that statistics prove that male artists usually have an easier go of it because the females tend to be better at supporting their favorite artists. A solo artist also has to promote solely versus having the camaraderie of a group of folks

Motley Crue because they were straight up bad-asses! Reba McEntire because she is the perfect example of how to manage your career to last. Trey Bruce, my producer, because of his amazing songwriting skill and his keen ear; he's a wordsmith! Dallas of Dirty Pairadice because of his amazing voice and showmanship. Robert Contreras, my dance instructor, because of the life lessons he taught through the art of dance. And certainly my grandparents because of their faith in me and support of my dreams. <CV WW> What is the state of music in Nashville â&#x20AC;&#x201C; how hard is it for a young artist to make it big?

promoting themselves; it often makes a difference. Statistics or opinion, I'm know I'm doing what I am destined for; entertaining. <CV WW> You have musicians behind you, what did you look for in picking them? On the other hand, for an aspiring artist, how did you convince them to play with/for you?

Nashville is a bit of a different animal when it comes to musicians, session musicians, or players for hire. Many play for lots of different artists continuously. Over the last two years, I have had quite a few different players, some by choice and some not. First, our personalities have to be compatible so there is shared respect, trust, and goals. It's important that my players enjoy my style and appreciate my music so they will give to the show what I give. Good music is VERY important in Nashville because the area is saturated with amazing talent and songwriters. I'm blessed that the artists that are currently a part of my show all

want to be with me on my music journey and bring 100% to the table all the time. But, excellency can be a double-edged sword in Nashville; it's understood that a great player may be hired at any time to work with touring artists making greater pay. It's a point of unwritten respect to wish them the best and look for a replacement asap. It makes me a better artist because I have to adjust "on the fly". I also have a strong manager who can see immediately if the fit isn't good and is focused enough to move on if it isn't working. Kudos to her.

Nashville is a powerful quotient in the music industry right now; it's like the flood gates have been opened for artists, producers, musicians, songwriters, etc. and as the entire music industry is changing in many ways, Nashville is feeling the changes. But I will say, that moving to Nashville and immersing yourself in it can teach a "small fish" how to "swim" very quickly.

Wow - loaded question...This is a HUGE list because of all of the different styles of music and artists I have been exposed to. I have to first say Elvis Presley because of the way he commanded a stage and the way he was able to deliver his music and hold his audience. Guns n Roses, Van Halen &

definition of oneself and I separate myself by bringing a full package to the table; I sing, I dance, I play guitar, I write songs, I act, I model, I choreograph, and I have been in several music videos, television & film series. So I bring all my talents/skills to the table and package myself that way.

<CV WW> I donâ&#x20AC;&#x2122;t mean to sound bad, but there are a lot of young beautiful women in music, what do you think separates you from other singers? How do you sepa<CV WW> Who are your musical rate yourself from the crowd? influences (or influences in genYou have to be extremely eral)? confident in your artistry and in the

<CV WW> For an aspiring singer, early in your career, how hard is it to make ends meet until you start to earn a solid living?

Being an independent artist is one of the most costly careers there is because it definitely costs you everything and requires you to have to give up a tremendous amount: energy, talents, relationships, dollars, habits/hobbies - the list goes on. You have to be committed to your craft and your dream regardless of the time it takes to accomplish it or even come close...time will pass anyway...I choose the entertainment field because I love it; it's part of my being...

it's critical; my management team keeps 8-10 sites updated daily/weekly. It's a huge challenge but yes - a necessary evil...I think it will grow even more important. <CV WW> When you write a song, where do you get ideas for the lyrics? What inspires you?

I get inspiration from life experiences - you know - good or bad - you gotta walk it out through your music and put it in your lyrics and melodies. I do a lot of co-writes every week and draw inspiration from working with other talented writers. I love writing.

fell onto the stage, knocking over equipment, including my guitarist's microphone stand, sending the mic straight into his mouth, busting his <CV WW> What do you think are lip and bruising him. I also had a your biggest challenges right now? fan leave roses with a nice "you are My biggest challenge is supawesome" note once...that was reporting my career as an independally nice, a little touch like that ent; it requires a tremendous makes a big difference. amount of money to continue to <CV WW> What are you thinking when you are on stage, and the move forward.

fans are screaming and cheering, <CV WW> What about your music <CV WW> Talk about social media do you ever get caught up in the do you think appeals to people? I think my music is a driv– how critical do you think it is moment, get distracted? ing blend of aggressive country today as a marketing tool? Or do When I'm on stage, I'm solyou think it is a “necessary evil”? id. That's kind of the way I've al- and rock and it brings out the

"rowdiness" in folks. People like to be able to let loose and my <CV WW> Tell us about one of your shows are definitely far from "stuffy" :) most memorable shows. I would have to say the first show I did at the PBR Rock <CV WW> Where do you think you Bar in Vegas...because it was fall in the evolution of Jordan Allethe first full band show my na, the stage of growth as an artfriends & family saw and the ist? In my own mind, I stay first time my brother had seen me perform at all since I moved "behind" because I know that for every goal I meet, I have 5 others to Nashville. that I haven't. I like the feeling of <CV WW> What’s the craziest "the push" to get to the next thing one of your fans has done evolvement of Jordan Allena.

Social media is a vital part ways been described; solid... of any business; as an independent

during a show?

I had a fan approach our <CV WW> Have you ever stood on low platform stage to give up a stage and said to yourself “yeah, high five when he tripped and I’ve made it”, do you have that

feeling yet?

I want my music and talent to afford me a life-long career and to afford others a "YES" moment when they listen, watch or share in it some way.

Every time I perform, I come away from the experience with the need to re-live it under my own criticisms and those of the people I trust. So, truthfully...I don't get the "I've made it" feel- <CV WW> I see you’ve done cheering. I do get a satisfied feeling leading, but “dirt bike stunts”?! when I know I gave 110 percent. You’ve got to explain that… I wanted to also be a moto-x racer when I was younger because my brother was such a powerful force in the moto-x world; so I was on a "PW50" as soon as I could be, racing at the speedway, bound and determined to copy my brother. One day, I was racing a boy in the neighborhood on a bet and was winning when we came around a corner at a high rate of speed, I slid out in the gravel, nailed a curb and was seriously "road rash wounded" and injured in a few other ways...while I was on all of those competitive dance teams; I was forced to pick one or the I quit riding as much.

Dance is and will always be a part of my music career. I take class still, teach class and choreography, attend as many dance auditions I can possible make and sometimes have choreographed dance/dancers in my shows. I was in a duo once for a short bit and they asked me to give up dance and focus solely on the duo; I quickly let them know...I have for YEARS multi-tasked my time well and to date, I've been able to fit it all in. <CV WW> Having done competitive dance, tell us about the Platinum/ Diamond/First Place/Technical Skill/Dancer of the Year Finalist Awards (2003-2010).

Those are all awards that I am super proud of; some of them were solo numbers, some were team wins but all were won with hours upon hours of hard work, determination and excellent instruction. Dance taught me more than how to move; it taught me discipline, camaraderie, excellence, de< C V W W > S e r i o u s l y … H u l a termination, and gracious winning/ Hoop? Really? losing. Oh yeah, I can hula hoop...I've got the rhythm in me. <CV WW> You’ve done work with

<CV WW> The song “Tomboy”, is that a personal anthem? You are young, blond, beautiful, and can sing lights out, but also tough, do Tim McGraw, Taylor Swift, Blake you look in the mirror when you <CV WW> I’m a computer gamer think of that song? Tomboy is a representation too, so I’m particularly interested of me in some ways; I am a girlie in your experience hosting the Xgirl and love my heels but I also box Halo Tournament, tell us about love to ride dirt bikes, hunt, and that.

fish - you know, I'm very comfortable hangin‟ with the boys; I spent a lot of time hangin‟ with my Dad and brother as a kid and doing crazy guy things and I do see myself as a strong, tough girl.

My best friend's husband is huge gamer and enters the major tournaments often, so because of the connection, I was asked to host a tournament in Knoxville. I followed the script and met a lot of really nice people.

<CV WW> What do you hope to accomplish with your music, how do <CV WW> You’re also a dancer… you want people to react to your how much do you focus on dancing as a career option? music?

Shelton and other country stars on their videos, did you have any chance to interact with them about music? What did they tell you if you did?

Tim McGraw and Taylor Swift were not at all willing to hang out with the cast but Blake Shelton, he's dope. He was so much fun and was just easy to be around during all the shooting. As far as music advice, I've gotten that from other sources :) <CV WW> You have been on TV & in the movies too…what were those experiences like? What do you take away from being in something like “Scary Movie 5” that might help you in your singing career?

The most important thing I learned is the MANY hours that actors and the cast work to get things perfect. Plus I learned a lot about the back of the scenes process; so much happens on a set behind the filming. And learning a script is not easy and learning it last minute, is even harder. The roles I land are just good for my career as a whole, not specifically oriented towards furthering my singing career.

I'm signed with an agency that actually sends me on auditions, but if I hear of something among my peers that I might be interested in, you can bet I'm going after it.

took them with me to Nashville and the south. It's my way of incorporating my dancer & rocker side into my edgy country style. I'm also a HUGE supporter of our military and I wear them out <CV WW> You’ve even done thea- of respect. tre! How different is theatre from singing, to you? Are there different <CV WW> What are the big plans for the rest of 2013 and beyond for things you need to focus on? I tried theatre, and I had Jordan Allena?

"fun" with it, but truthfully...I just

I have opened for some fair-

<CV WW> Tell us about the “So You never could get into the plays and ly big names within the last year, Wanna be a Star” pilot…you were the music that went along with and I have a couple of really big lead there? them. But I have huge respect for shows coming up. I'm opening for

That pilot was oriented towards young people who were all working towards the goal of becoming a star; several of the kids have actually pushed pretty far in their careers - once completed, the pilot was presented to several networks but it never attached to one. I liked having the camera follow me around

the artists that are happy with that Josh Thompson at the GA State Fair and I've also been added to the style of performing. line-up of artists that get to play at <CV WW> I noticed something else the Delta Country Jam, which inas I was looking through your pro- clude Tim McGraw, Brantley Gilmo pics & youtube vids…are those bert & Kellie Pickler. My second biker/combat boots? The black EP should be out this fall along ones? Definitely not “Nashville”, with a video to support my song, are they? Tomboy, off the first one. I may So - I get asked about my even have a big show in Vegas this combat boots a lot. While I was in fall. <wink> <CV WW> Do you seek out video LA, I picked up a few industry eleopportunities? ments to the way I dressed, and I <CV WW> Let’s show our support,

tell us who has got your back onstage, letâ&#x20AC;&#x2122;s give props to the band too!

My guitarist & background vocalist is Mark Thomas from Texas but moved here after a 13 year stint in LA; he was an instructor at Musicians Institute. His wife is Charissa and she's also a backup vocalist; she also attended MI for vocal production. She's most recently been on tour with Englebert Humperdinck, which is super impressive considering his stature in the industry. My other guitarist, Alex, also just moved here from LA, also an MI student and can wear it out. My drummer, Dylan, is from Johnson City, TN but attended MI too. I think I got the cream of MI to be with me on stage. My bass player and back ground vocalist is from Florida and he and his wife have a newborn that is precious. He's trained in many music related fields also and my fiddle player is a former Martina McBride tour player. All of my players are producers, engineers, etc; they are all AMAZING and I am super grateful to share the stage with them. <CV WW> Any final thoughts to our readers?

I'm in this for the long haul so I hope my family, friends, and fans hang in there with me and I am really very grateful for everyone who supports me! And - thank you - for the interview and letting me share with y'all.

We are happy to announce the newest addition account for only about five percent of the beer we to our CV Northwest team, the CVNW Brew Crew. drink, but that percent is growing every year. The maStarting this month our new team of young and enthu- jor brewers are taking notice. siastic beer lovers are gearing up to explore the vast It is said the best place to sample the Northand always expanding microbrew industry, pubs, and west's handcrafted ale is in a well-run brewpub, bars with local micro brews and even some imports. where friends can get together and enjoy the pleasant With more than 100 microbreweries opening warmth, intelligent conversation, the scent of malt, each year and many of them in the Northwest, it is barley and hearty aromas. While combatting our reapparent that just while having a beer or two on a Fri- gion's chilly, damp climate, brewpubs become places day night after work is ok, but it does get old. These of refuge where you can shake the rain off from your days the beer lover umbrella, order a has so many oppint, and savor a Zack Tracy Vincent tions. Who are the complex substance Merryfield Cadwell Carnera microbrew fans? that caresses the They are generally senses. Ok, so long people who are story short, people middle class, more want a good tasting men than women, beer. but recently the Beginning in younger generation our November iswants good beer, sue we will have a even the ladies are list of places the getting in on the CVNW Brew Crew act. Many are diswill be and hope all covering that there of our beer enthusiis more to beer asts will come out than Coors Light for an exciting and and Budweiser; not fun experience. that there is anyOur DVaâ&#x20AC;&#x;s will althing wrong with those beers, but they are mass pro- so be on hand at many of these events. duced and can be purchased at the local grocery store The CVNW Brew Crew is looking for places or convenience market. The 40-something set has de- to go and taste what the great northwest has to offer veloped a taste for craft beers. Craft beers are most in the way of microbrews. We are asking you, our popular in the Pacific Northwest, Colorado, the Great readers to send in your favorite places to enjoy a good Lakes, and New England. Some observers have lik- pint, or two! ened the growing popularity of craft beer to the Starbucks craze. Microbreweries and brew pubs are like Please send us your suggestions to little coffee shops, theyâ&#x20AC;&#x;ve got the same type of mosphere, only it's with beer. People like that. They're looking for something different. Craft beers

With the Winery Dogs, the music fans had no idea what they were getting but when it dropped it was discovered to be a dark bluesy masterstroke. This is what hard rock is supposed to be like and these three guys do it so well. Richie Kotzen, the purveyor of all things guitar, took the time out of the crazy schedule to give his fans insights into what made this record work.

An interview with Richie Kotzen By Jeffrey Easton

Metal Exiles: The three guys that make up The Winery Dogs is an amazing musician in his own right. How did you make room in the songs for each one of you to stretch out? Richie Kotzen: That is the interesting thing with this record is that nobody lost their identity. It could have been really easy to get into the studio and everybody starts fighting for space and there is a few reasons why it worked out the way it did. One, it is a three piece and I am comfortable in a three piece, its all I ever do when I play with my band. I think Mike wanted to try something new so let the cards fall where they may so to speak. He is being Mike Portnoy but he realizes that it’s a three piece so he is listening and understands we are playing off of each other and playing on a smaller kit as well. Billy and I have played with each other for years so we knew how to play together. Also I think it had a lot to do with the way the material was written. We have songs on there that were written out of jams, just sitting in a room together and all of the parts just locked together. There were a few songs that I had written previously that I thought would be good for the Winery Dogs but even on those songs it was pretty well mapped out what was going to happen. The third thing that tied it together is that we have been musicians for so long that you learn how to work with other people.

gree on but then there are those that we can connect on like Cream, Led Zep, The Who and the list goes on. So with me being the guitarist, singer and primary song writer, in the end I am going to push us in that direction.

Metal Exiles: As musicians you have had very diverse careers from each other. How did you make all of this diversity come together in the writing process? Richie: For the blues based thing you have to find a common ground and for anybody that knows me knows I am not a blues guy by any stretch but my influences, even though they were rooted in rock, were heavily blues influenced. For me this record was not a stretch stylistically, but when you compare the other guys and their influences, they all have the same influences, they are just getting it from another place. We can sit down and talk about 20 bands and their might be 10 that we completely disa-

Metal Exiles: Desire is one of the best tracks on the record. Richie: Desire is a song I had never demoed but I had demoed the rest and the other songs were written together as a band. I ended a solo cycle of releasing a record and touring and I was approached by Eddie Trunk about doing this record so I put the Winery Dogs record in front of what would have been my next solo album so I decided to not do that record and I am glad I saw this through. So far we have gotten a great response and the other guys contributed so much to the outcome of the record.

Metal Exiles: So you’re steering the ship in the direction that you want but with their help? Richie: More or less but we do have common ground. I am not trying to take credit, it’s not that but when you’re the singer in this kind of music, this music is built around the vocal. When you compound it with the fact that you are playing the main instrument, the guitar, your painting with a wide brush so that is why the record leans in the direction it does. Metal Exiles: I have a lot of your solo records so to me the Winery Dogs record sounds like one of your records but on the steroids that are Sheehan and Portnoy. Was some of this material destined for one of your solo records? Richie: The stuff that would have ended up on a solo record would have been Elevate, Regret, Damaged; I’m No Angel and We Are One. Those were songs that I brought in and Desire as well.

Metal Exiles: I know you have worked with Billy many times in the past but this was your first time with Mike Portnoy. Were there

any growing pains in the studio while doing this record? Richie: It went surprisingly smooth and I honestly thought there would have been some hiccups here and there but there weren’t. There were a few times where one of the guys was excited and trying to convey an idea and one of the other guys was trying to get his idea through but that shit is normal in that environment. There were no problems, everybody gave the right amount of space. Those guys trust that I am the singer and guitar player and although the door is open for ideas eventually you have to let someone do their job. If I write a song I am going to suggest a certain drumbeat because a song is written around a drumbeat but it’s your job and I am not going to tell you how to do your job. I dont want to do that, I don’t want to tell you how to play because I do not want someone to dictate how I play.

way it was written about. Its comical to me because if I was a screen writer and I wrote a movie about a serial killer it does not necessarily mean I am a serial killer. That is a serious kind of silly. The reality is is that you do write from personal experiences but you also write from other people’s experiences.

Metal Exiles: What did you go into the studio with to record the album? Richie: I took mostly Fender amps in, three different ones as well as a few Marshall amps. Sometimes I would tie them together. I also have this Marshall head that’s 20 Watts with two knobs and when you turn it all the way up you get a great tone. I was plugging my signature Artist Series Fender Model into them. It is now available to the world market after only previously being available in Japan. It’s a brown telecaster with a tobacco sunburst Metal Exiles: It seems as if your lyrics, especially on this record, finish. It has custom Dimarzio pickups and the wood choices are are so dark and personal. Where do you go mentally to come up very specific. It’s a great instrument and if someone goes to the with this material? store they are buying my guitar, not some substitute instrument. Richie: There are multiple formulas, and I hate the word formula We did not make entry level guitars for this line. because its ridiculous and I Metal Exiles: You put together a always talk against formulas, massive tone together for Debut for lack of a better word, sire. the best writing is the writing Richie: For Desire it is interestthat happens naturally so there ing because we start out with is no real formula. You can sit one guitar and one amp for the down at a piano, hear the muintro but as the song builds the sic or the lyric and within 15 guitar layers build. By the time minutes you have a song. That the chorus hits there are multihas happened to me a few ple amps and it just makes it times and some of my favorite sound bigger. songs are the ones that wrote themselves because I sit down Metal Exiles: The album is out at the piano and suddenly I and it did really well the first have a song. Damaged was week. Do you think it did well written that way but then you because of the names on the have songs that require more work, like I’m No Angel. I wrote album or the music itself or a combo? that before this project existed but that song did not have a cho- Richie: I think it was combinations of that but remember they rus. The chorus that lived there now resides in Elevate. I realized had plenty of time to hear the music because the record was out that the song went from half time to double time and it sounded a month and a half in advance in Japan. People have followed ridiculous to me so I abandoned it but a few months later I came the band on YouTube because we have three videos out and then up with the chorus so then I had the Elevate chorus looming so you have the elements of the names because they know who we Portnoy suggested I take that chorus and merge it with another are and they are curious. They want to know what we are going verse I had and suddenly you had another song. So you see to do, are we going to make a record where I can listen to the there are a few different ways to write a song. To address the songs or is it going to be chaos. Let’s be honest, people were lyrics they sometimes come at the same time like the song Dam- wondering what it was going to be like. In the end, when you aged or you have a riff that has such an energy to it that it will hear the record you say “cool, these guys made a musical record dictate the kind of lyrics you write. If you listen to the song One where you can hear some crazy playing but then you have songs More Time, its happy and bouncy so I did not want to write some you can listen to and remember. creepy End Of Days kind of lyrics so I took the “trying getting back together” approach to it. Metal Exiles: Billy Sheehan is all over the place but he is not doing anything to destroy the track, its all within the context of the Metal Exiles: Do you ever put yourself through any of this or is it song. All of you guys were phenomenal on the record but again something you pull out of thin air? in the context of the structured song. Richie: It’s both but it’s funny because if someone writes about Richie: Somehow it worked and it was cool with what we were something sometimes somebody will think it happened just the doing. I personally have nothing to prove anymore like I did

when I was 18. It’s not that I am great or special, it’s more of an attitude of this is how I play, I hope you like it. With that relaxed mentality, we are able to play in a more musical way. Like you said, Billy is playing like a madman and I have my insane solos but we are not stepping on each other. People have responded well to the record and where as I thought the record was cool I did not expect it to get the attention that it has so I am pleasantly surprised. Metal Exiles: You guys are going out on tour in some fairly small places. Did you not expect the record to do well? Richie: When we planned the tour we were being conservative. In certain markets we knew we would do well like New York and then in places like Lancaster, PA we thought we would do ok but the place was packed. We have done well all over the world and we thought it had to end sometime but it hasn’t. I will tell you this about small places, I have done every scenario with touring from arenas to farmhouses and the smaller places are usually the better gigs.

Rock Album of the year?

The Winery Dogs, hands down. You will not find a more passionate rock release out right now.

Official Winery Dogs Site BUY THE WINERY DOGS!

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CV Northwest enthusiasts, it is with great excitement that I announce to you the first DVa column ever! And without further adieu... Now that fall has arrived and the nights are getting colder and longer you're going to want to be sure that you're safe on the road. That is why this month yours truly learned a thing or two about polishing headlights...hey now, get your mind out of the gutter and focus your attention on your vehicle. If you have an older ride chances are you may not be getting the clarity you deserve at night, there are few options to help you get that visibility back. First option, if your ride has replaceable headlamp covers it will usually cost less than $50 to replace them. If you have a newer car most headlights come in a one piece unit that can run you upwards of $200 or more, or of course you can take it to a detail shop and have that baby shined up along with the headlight polishing, it will only cost about $195. If those sound a little spendy to you then the last option is for the handy girl or guy of the modern ageto handle the chore, not to mention it doubles as an arm and shoulder workout; I've chosen a do it yourself headlight polishing kit that attaches to a handheld drill. There are lots of brands on the market, I chose a kit from 3M called Headlight Restoration Kit, that cost $23 and depending on how dull your headlight covers are, at the most a couple hours of your time. You can also purchase a second kit depending on how many cars you have. You can get refills from from as low as $14. This is a 5 step process that restores the clarity of yellowed, hazy, or dull headlight lenses. Kit contains sanding discs, polishing pad with compound and protectant. You will also need green or blue painters tape; a soft cloth, a spray bottle of water, and a handheld drill. To get started using some blue or green painters tape, tape off the edges around the headlight covers to protect your paint from being taken off while buffing out the covers. Next, with some water and a cloth spray each cover and remove any dirt and left over critters to prep the headlamp cover for buffing. Remember to avoid needing to take a trip to the detail shop for a paint touch up; this kit consists of different grades of sanding pads to help you put some clarity back into the light cover. You should have a high and low setting on your drill; I started out low until I felt comfortable with it and then switched to the higher speed to be more efficient. Important tip when working around the edges; make sure the drill spins out away from the lip or edge closest to the taped areas so you aren’t over sanding them. The key to each step is a consistency and evenness. After reading the directions, I started in the center and in a smooth and controlled fashion working steadily across the headlamp slightly overlapping each pass until it had a nice foggy appearance, you will do this about 3 1/3 times. As my dad says, “the more time you spend on each step the better the results.” You will also want to wipe or tap off the pad every 30-45 seconds to rid it of the fine plastic you will be removing , this is important because this powder can heat up quickly from the friction of the drill and cause it to melt and steak across the plate, resulting in more work for you. You can do one headlight completely at a time as I did, or you can do each step on each headlight until both are complete. In the first step I began with a course sandpaper, in the second step I used a higher grained/grade sandpaper for refinement. Again, start out slow and controlled not taking too much time on any one area. Work across the lens until it is smooth and consistent; you want to avoid streaks and shiny spots on the lens. Be careful around the edges not to sand them down more than the rest of the covers this will also help in preventing paint-loss! I started in the middle and did half at a time so I could be sure the drill was rotating in an outward fashion over the edges. Once you’ve reached the foggy consistency you desire, reverse the direction of the drill (switch commonly found behind the trigger) and work to the other side. All in all it was not too difficult a process and worth the time, also was great money saving project for the do- it- yourselfer. The directions in the kit I bought were easy to follow and I would recommend the 3M kit as it is a great value and did do what the package said it would do. Look at our DVa column in our next issue to find out what other things we have been doing!

Making a good pair of sticks begins by selecting the best wood possible. We manufacture many different models of sticks using Canadian maple and American hickory. Our maple is considered to be the best in the business and our hickory from the southern USA is known the world over as the top choice for stick manufacturing. We also use red hickory which comes from the heart of the tree, making it stronger and more durable for those who need a bit "more" from their sticks. We use only the finest grades of wood. Every dowel is hand inspected to ensure that the grain is straight and free from any defects. Only then does it go to our lathes to be turned into a LOS CABOS DRUMSTICK. When you purchase a pair of our sticks, you are investing in quality craftsmanship. With nearly two dozen models to choose from, Los Cabos Drumsticks offers something for every drummer. Contacts â&#x20AC;˘ Website:

ForeverGirl Designs Not only is she the ass-kickinâ&#x20AC;&#x2122; frontwoman for WITCHBURN, sheâ&#x20AC;&#x2122;s also a talented picture ARTIST! Jamie Nova allowed us to talk to her about her personal art pieces and showcase some of her incredible work! We also got to delve a bit into her artistic mind... CVNW: Why do you paint, what is your inspiration? I have always loved painting. getting lost in the colors and the feel of my brush against a canvas. It is an extension of my soul, like my music. My inspiration is life, the vitality of existence. CVNW: Do you sell them personally, or as an official company? I sell them personally, through my Etsy site ( ForevergirlDesigns) and also on my website ( CVNW: How do you decide what to paint? Most of the time it is whatever inspires me that day or whatever my mood is. There are a lot of times that I have pieces commissioned and then I work with the buyer as to what inspires them and then I incorporate their ideas into my style. CVNW: Are they usuable drums or display pieces? The drumheads are for display only but I have been commissioned to paint some Kick Drum front pieces that will display my art without taking a beating from the drumsticks CVNW: Do you do special commissions? Absolutely! Canvas, drumheads, wall murals, t-shirt designs, tattoo designs.... you name it I will do it!

We are MUSIC We are CHANGE We ARE...

that, it's always bittersweet. I think it is very important to really know how much you want to do Cleber (vocal) something. It's the first time I've been away from my Thiago (guitar) family and friends for so long. But at the same time, Marko (bass) they are very present in my life. Everyday I Skype or Leandro (drums) message them, so I don't really feel that I have left <CV WW> You are a guitar player from Brazil, what them behind.

TOKSIX is...

brought you to the USA, and how has your experience <CV WW> Why did you choose Vegas? living abroad been?

<Thiago Straioto> Hi Chris, first off, thank you so <Thiago> I've always preferred the West coast. I like much for the opportunity to be in this great magazine. the vibe here, and the presence of rock and roll is strong. It's perfect for me right now. And thankfully <CV WW> The pleasure and honor is all ours my Vegas doesn't have the kind of traffic L.A. does friend. (laughs). <Thiago> The U.S. has the greatest musicians, bands and music genres that have directly influenced me <CV WW> Tell us about the Rock/Metal scene in Curisince I was a little kid. Living here in the U.S. is a tiba, Brazil. new challenge in my career. It's been exactly one year <Thiago> Curitiba used to be the Brazilian â&#x20AC;&#x153;City of since I moved here from Brazil. I spent last winter in Rockâ&#x20AC;? back in the day. Nowadays, unfortunately, fans Chicago, and had the opportunity to perform at some would rather pay a hundred bucks to watch an intergreat blues bars, such as Buddy Guy's Legends and national concert instead of paying 15 and supporting Kingston Mines, so for me it was very special, and local bands. And that pretty much includes the entire also because it was the first time I had ever seen snow Brazilian metal scene as well. Local bands have been in my life! (laughs) Most of my lead guitar is influ- getting minimal exposure. That also explains why so enced by the blues, so it was an incredible experience. many musicians from these bands are playing cover For someone like me, who always saw these venues music now. I have nothing against cover bands, but if as very far away, it's amazing to now be called and you stop supporting the original music, there's no way hear, "Hey Thi, we have couple of gigs booked in to develop events with quality and structure. Hollywood this month at The House of Blues and The <CV WW> How's the music writing process been with Roxy'', you know? Toksix since you moved to the US? Are you planning <CV WW> How did you feel, moving to the US, leaving to record a new album? <Thiago> I don't know if it's a coincidence, but we others behind?

<Thiago> When you make an important decision like always record during even numbered years. We rec-


<Thiago> The biggest crowd I ever played for was with Toksix and AOK, it was around 5,000 indoor, 10,000 open-air. The little shows have a great vibe too. In general, those were always our favorite ones. We had a great concert in Vienna. We played for, like, seven or eight people in this bar. Let me tell you something, Chris, it was one of the coolest shows ever. <CV WW> So many people dream about being a musician and do this for a living, what would you say about the difficulties that people find in this tough orded our very first EP, New Tomorrow, in 2010, and industry?

the second, Hell is Blue, in 2012. In 2014, we are planning to release the third EP, which is currently untitled. We will bring all the equipment into the jungle and try to get the harmony from nature into our music, but it won't be meditation music or some kind of mantra stuff, trust me. It will be heavier than ever. From the moment we started Toksix, we decided to do everything without pressure. We are very close friends that like to play instruments, during breaks we barbecue and have some beers. <CV WW> Barbecue & Beer sounds GREAT to us!

<Thiago> It's very relaxed, that's why we are still together, the rules are that you can do whatever you want. They are the best musicians I've ever played with in my life. When I told them that I was moving to U.S., they supported me and respected my decision. These guys are great dudes. <CV WW> Do you have a favorite concert that you played? When and where was this show? Why was this show so special?

<Thiago> I've been on the road many times over the years, and there is always something new and each concert is special. I really loved the tour in Europe with AOK. In 2006, we spent twenty-four out of thirty days performing after we recorded the album Samurai. It was crazy man. The very first one was in a bar in Amsterdam called The Cave. That was a great show. With Toksix, we had an awesome concert for 10,000 people in the middle of the forest last year. It was raining and people were jumping in the mud. It was a 24-hour party with free beer, you know what I'm saying? (laughs) <CV WW> What are some of the big shows youâ&#x20AC;&#x2122;ve

<Thiago> Playing guitar should not be something that's tiring, it's an eternal quest for what we do not know is yet to be. Many musicians seek out something that is upfront and end up wasting precious time that music can bring you in the present moment. <CV WW> Although you are primarily a hard rock and metal guitarist, you also mentioned a strong influences in the blues. How do you define yourself musically and how has the blues influenced you?

<Thiago> Well, with the exception of classical musicians, everyone has been influenced by the blues, even if you don't listen to the genre. My very first influence was back in the day watching this blues guitar player Nuno Mindelis. I still remember it as if it happened today. He just started his solo, and then left the stage, walked through the audience, and left the bar with the band performing on stage. I was like, what? So I asked my friend, did you see that? Then he crossed the street, and continued playing his solo nonstop. He sat at a bus stop across the street with the entire band still on stage and was there for like 7 minutes. For me, that was a big moment in my life. Then I thought, is that what it means to be a musician? You can do what you want but also have a lot

licks but do not forget to try to find strong melodies that please. <CV WW> Besides being on stage, you have done some work in recording studios. Tell me more about these new projects.

<Thiago> Yes, my big passion is writing guitar lines and composing new stuff. There's a lot of recording going on now, I'm recording at Steak House Studio North Hollywood for an L.A. band. I'm also composing for Zombie Shaker Box's second album in Vegas. of discipline to play like that? Awesome! I define my- I'm also starting to do some writing and recordings self as a non-stop guitar player, my wife calls me a with Systemec guitar player True Lamaun. This guy mad scientist sometimes. is great, it's been a long time since I played with a great guitarist like that. I am releasing an instrumental <CV WW> It HAS been said that there is a fine line single, so make sure you go check out my webbetween genius and madness. site! <Thiago> Yes, that is true. <CV WW> What do you think is the best part about <CV WW> What tip would you give to guitarists who this line up, why does this work so well? want to become virtuosos and shred their guitars?

<Thiago> In music less is more too. As in a fight to punch the air does not earn points. In a guitar solo, it is the same thing; it is more valid to have the precision of movement associated with the moment, with a blow from a combination of kicks and punches to the wind. It is important to have great technique. It's also like painting. You need techniques, but are you using any ''colors'' in this painting? It's all in your ears and in your heart more than in your fingers. Interpretation is what really matters in improvisation, at least that's how it works for me.

<Thiago> We are experienced musicians with similar influences but we are friends more than everything else and our music just reflects in our friendship. <CV WW> Who are your musical influences?

<Marko Leo> All kinds of good music. Specially heavy music...I listen funk music, jazz, metal...and bands like Suicidal Tendencies, Metallica, Sevendust were my school...I try to put this together in my own style!

<CV WW> When did you finally feel that music was <CV WW> Do you have any system of study for prac- what you were going to do with your life? What led to that decision? ticing guitar? How does it work?

<Thiago> Besides writing my own guitar lines, I like to write sentences to read myself, I have ideas and thoughts of my musical vision, it helps me understand what I can do to improve and get the sound I'm looking for. Understand the accent of each style, learn the

<Marko> Since the day I started with my first band ever...I knew music would be forever! <Thiago> Since I was 6 years old holding a broom and pretending I was playing guitar while my uncle was listening to the bad ass guitar riff Money for Nothing from Dire Straits and Satisfaction from the Rolling Stones What a great place to start, eh?

<CV WW> You say “Toksix is music, but above all, believes in change”; what does that mean? What type of “change” do you believe in?

<Thiago> The changes that only originates from ourselves. The best way to change the world is everybody tries to change their own world; more respect, more love.

are any differences between fans on the different continents (North America, South America, & Europe)?

<CV WW> In your press bio, you talk about your “characteristic sound” – how would you describe that?

<Thiago> We always try to put the bass lines with drums in a solid groove. That gives me a lot of options to work with my guitar riffs and melodies. That's our formula, there's no secret, and it's very natural to us to figure out how we would put our ideas together. <CV WW> Also, you say “each era of the band directly influenced in the compositions” – talk about the “eras of the band”, tell us about that.

<Marko> We had two drummers...the first one has his own style, and the second one was completely different. So, this influenced us directly, especially through their personalities.

<Thiago> Yes, that's what makes the tours really interesting to me. For example, when we played in Berlin, most of the guys came to the concerts with their dogs, and they weren't little puppies, they were big Dobermans! When we played in Amsterdam, our bus driver had a few too many beers, so couldn't travel that night. We had to find a place to stay and our fans were so friendly and receptive. They invited us to stay at their house and the next day they made us a great breakfast. That was really cool. Brazil is really friendly too. For example, if I play in some cities like Sao Paulo, we don't stay in a hotel. The concert managers would be disappointed if we didn't hang out and stay at their house. I remember being at this manager's house while touring with a German band in Brazil...there were 14 of us and we all were in this guy's house sleeping there for days! (laughs) It's really hospitable down there. But my favorite place to play guitar is in the U.S., especially in the West, the vibe of the area is just amazing, and the shows are the best. People here know very well that Rock n Roll is more than a genre of music, it's a way of life.

<CV WW> What do you think your greatest accom<CV WW> What inspires you when you write a song? plishment is so far? Where do the lyrics come from? <Thiago> Still being able to listen to this kid that I

<Thiago> The way to learn how to develop your was 20 years ago, and let this child follow his dreams. style, I believe is similar to preparing a food. Mixing different ingredients combined with your personal <CV WW> How does the band use Social Media like FB taste can bring you a unique way of playing music. Everything around you is energy and changes how do you feel, what you write about, and how you play. <CV WW> Any interesting story about the name “Toksix”? How did you choose that name?

<Thiago> Making music with Toksix is the way we found to breath a fresh air in this toxic world, we recycle the pollution of the world with our music. <CV WW> Having played in Europe, do you find there

<Thiago> In a world full of nuclear threats coming from several directions, what should we expect? Peace, divine intervention to world leaders...regardless of who hit the red button first, it will be incomparably the greatest mistake made by mankind throughout its existence. There is a small problem when the word nuclear is contained in the same sentence. No nation will prevail. In the third world war we will all lose. We may be the last generation that precedes it, have you ever stopped to think about it? or ReverbNation? Are you active? Do you think it’s <CV WW> Can you tell us the big plans for Toksix for changed the music industry? the rest of 2013 and into 2014?

<Thiago> We don't have this idea about being all the time entertainment with tweets and posts on Facebook. We still prefer to be focused on the music, we always updated everything that is going on with the band. Internet helps you to reach people from all over the world so why don't use these tools! But we‟re not dominated by it.

<Thiago> Recording session for one week in the Brazilian forest called Serra Da Graciosa to finish our third EP, to have some beers around the bonfire and see what happens from there. We all know that things we never expected can happen and some other things that we expected so much never happen. We give our best to the music and try to be honest with our <CV WW> How do you expect to make your mark, to art. Everything else is consequence. Of course would be great to have an American tour in 2014! If you are set yourself apart from other bands? <Thiago> There is no way to go if you define your reading this magazine and want to bring Toksix to band as a hard rock or nu metal band, or grunge or USA, don't hesitate contact us. heavy metal. But if you are all these styles in the same time then maybe you can take a step to the next level.

<CV WW> Your last statement on your FB bio says “turn a blind eye and you are cattle” – is the band trying to put out a political message?

<Thiago> I think the world in general is in a control freak era, not only in politics, but in life, in the music industry, you know…there's always some kind of manipulation that affects the art of music or any other industry you are in. <CV WW> You chose to name your EP “Hell is Blue” Explain that to us.

Mötley Crüe Invites You to an Intimate Evening in Hell Mötley Crüe, comprised of vocalist Vince Neil, bassist Nikki Sixx, drummer Tommy Lee and guitarist Mick Mars, stayed true to their word by pushing their own envelope once again with an exclusive, all-new, never-seen-before production that can only be seen now through Sunday, Oct. 6. The notorious band kicked off the first night of their 12 show residency in front of a sold out house. In true Las Vegas and Mötley Crüe fashion and following last year‟s sold out three week run, the band creates the ultimate rock „n‟ roll experience with an elaborate stage design, flashy costumes and adrenaline-pumping surprises. The residency showcases one of the biggest lighting and sound presentations ever hosted in the award-winning concert venue, massive LED screens placed above and around the stage as well as the band‟s signature over-the-top pyrotechnics. From hell-themed costumes, which includes Neil‟s elaborate black and red, floorlength, leather coat and the venue‟s ushers, bartenders and box office staff clad as the gatekeepers of the underworld, to devil-inspired magicians and stilt walkers at the entrance to the venue, no detail has been forgotten. During one of the highest-energy moments of the night, Sixx shoots fireballs from his bass that rise more than 30 feet above the stage while Neil belts out vocals

for “Shout at the Devil.” In addition to the extravagant theatrics, Mötley Crüe delivers a setlist full of hits including high-octane numbers such as “Wild Side,” “Kickstart My Heart,” “Saints Of Los Angeles,” “Dr. Feelgood,” “Girls, Girls, Girls” and their signature ballad “Home Sweet Home,” featuring Lee playing a flaming piano. Celebrities and rockstars alike were in attendance on opening night to get a glimpse of the band‟s famous antics. Brian May of legendary rock band Queen and Academy Awardwinning actor Nicolas Cage were spotted in the crowd, amongst others.

CV NorthWest...bringing the goods!

Why Blowouts Happen—and How to Avoid Them (Reprinted from

In the heat of summer vacation season, tires are more prone to fail. We explain the main factors that lead to a blowout. (Coming soon: Part Two, what to do when a blowout happens to you.)

Did you enjoy tire-blowout season? That's a rhetorical question, kind of like the infuriating, "Hot enough for ya?" But those who have suffered a tire failure since the mid-May start of the season will likely answer, "No, I did not have fun." Even if you've avoided tire problems, you probably have noticed road gators—the treads of failed tires—lining the shoulders of interstate highways. Tire-blowout season runs from roughly the middle of May through early October. (Tire companies closely track such information but guard it carefully.) The reason more tires fail from late spring to early fall is simple: That's when the outside temperature is the hottest, and when motorists are driving farther, and faster, in more heavily loaded vehicles. The combination can push a neglected or injured tire beyond its breaking point. However, tire failures can happen any time of year, especially in the warmest parts of the United States. Besides heat and over weighted cars, other

major bad guys for tires include lack of proper air pressure and, of course, impacts with obstacles.

Underinflation Underinflation is the easiest way to kill a tire. After all, air is what allows a tire to carry the weight of a vehicle and its cargo. Without proper air pressure, the internal components of the tire— fabric, steel, rubber, and composites—flex beyond their designed limits. What happens is much like bending a length of wire: manipulate the metal long and far enough and it will overheat and snap. Try it with an old-style wire clothes hanger. (Warning: The failure point will be skin-burning hot.) Without proper air pressure, the tire's internal pieces will overflex, weaken, and, eventually, fail. Proper pressure for tires on recently produced cars can be found on the driver's side door jamb. It's true that the Tire Pressure Monitoring System (TPMS) has been mandatory on all cars, pickups, and sport-utility vehicles since 2007, but that system does not issue an alert until a tire is significantly underinflated. A responsible driver still has to check tire pressure by hand or have someone such as a tire dealer do it for him. If you drive any distance with a radically underinflated tire, have a professional demount the tire from the wheel and inspect its inside for any damage the low pressure might have caused. The definition of "radically underinflated" for your tire and vehicle combination can be found on your tiremaker's website: if the pressure drops much below 20 psi, the extra-cautious will want to have their tire inspected by a pro.

Overloading Overloading a vehicle can also fatally damage a tire. Just because your pickup's bed will accept a full load of free mulch from the recycling center doesn't mean your tires can carry the weight, especially if they're underinflated. When pulling a heavy-laden trailer with your SUV, your 350-pound brother-in-law might have to find another ride. To be sure about all this, you'll have to find your vehicle's Gross Vehicular Weight Rating (it's on the same placard as the recommended tire pressure) and do the math. Those who haul extraheavy loads can increase a tire's weight-carrying capacity by raising pressure to the "maximum load," indicated by the "maximum pressure" number found on a tire sidewall. The number molded into the tire tells the maximum weight the tire can carry if the tire is inflated to that maximum pressure.

Potholes Another way to fatally injure a tire, especially with today's ultralow-profile rubber, is to slam into pothole, driveway lip, or other road hazard. The impact pinches the tire's internals between wheel and obstacle. If the hit is hard enough, it can cut or fray the internals. Sometimes the pothole will cut all the way through fabric and rubber, and the tire will die right there. Other times the dam-

age won't show up for months. Which brings us to: The Slow Death Commonly a tire suffers the damage that will cause its death long before it fails. Sometime people forget to check their tire pressureâ&#x20AC;&#x201D;maybe the minivan was hovering just above the TPMS warning threshold when the high school football team's offensive linemen hopped in. Perhaps a driver doesn't realize he or she has a slow leak (or procrastinates about it) and motors 20 miles before getting a repair. Every now and then, a teen driver forgets to mention that encounter with the pothole. Any of these can accelerate a tire's death. Perhaps months later, when the vehicle is loaded with the entire family and rolling toward a vacation destination, the combination of the heavy load, ambient temperatures in the 90s F, and highway speed limits stresses the tire beyond its limits. The previously damaged tire can take no more and fails. To many, there are few more frightening thoughts than a tire failure at highway speeds. In a follow up piece, we'll explain how to handle this situation safely. Until then, be careful out there.

CVNW October 2013  
CVNW October 2013