July 2026 Issue

July 2026

The Magazine Dedicated To Music, Artistry And The Custom Lifestyle

Sherry Keith of CV Worldwide Magazine sat down with drummer extraordinaire Kyle Cunningham for an in-depth conversation about the journey that shaped him. From the early days that sparked his passion for drumming, to the defining moments of his career, and the exciting road that lies ahead, Kyle reflects on the past, embraces the present, and shares his vision for the future. Join us for an exclusive interview with one of rock's most dynamic and respected drummers as he opens up about the music, the memories, and what's next.

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Contents...

Gear The Pro’s Use Featuring: Jason Caine Of The Lion Within

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Ozzy: Legacy Of A Legend A Look Back A Year After The Passing Of The GodFather Of Metal

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Sitting Down With Kyle Cunningham

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Sherry Keith; Mystic Photography continues her up close and personal view into the Vegas music scene..

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Mystic Photography Concert Series Cyborg Assassins/LA Story Order In The Chaos

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In Loving Memory of Tiger Bob A Friend. A Champion. A Seattle Music Legend.

Wicked D Photography Covering The Seattle Scene

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IK Multimedia Introduces ReSing Doubling CV WorldWide Magazine

Locally Owned / Nationally Known

Wicked DD Photo Covering Everything Seattle With Photography, Interviews And Articles P.32

Contact Us: Info@CVWorldWideMagazine.com

CV WORLDWIDE MAGAZINE © 2012-26 is published monthly and NO reproduction of content is permitted without Publisher‟s prior ap-

proval. Publisher assumes no financial responsibility for the errors in ads beyond the cost of space occupied by error. 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 person‟s name or photograph.

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Hi, my name is Jason Caine and I‘m the singer, songwriter, guitarist for The Lion Within. To give a brief history and story of myself and the band, we‘re a national touring band based out of Detroit, Michigan with a sound that falls somewhere between Post Grunge, Gothic Metal and Heavy Rock. The Lion Within has been active since 2021 and I‘ve been playing music seriously for some 20+ years. I‘ve been a lead guitarist in every band I‘ve been in, and truly love all that is guitar, having taken years of private lessons, formal classical lessons and been a music major at WSU in Detroit, MI. Today I‘m going to give a breakdown of some of my favorite guitar gear and explain why it works for me. First, let‘s start with guitars. Each guitar is an individual. Each guitar has a different feel, sound, and core vibration that the wood naturally produces.

As a guitar collector, this is difficult, but I‘m going to narrow it down to the 3 guitars I use most when playing live. The guitars I use in the studio is an entirely different conversation with entirely different reasoning than live guitars. The guitar I‘ve used the most consistently live is a 2021 Lava Burst BC Rich Shredzilla Prophecy Archtop. Not only does this guitar have a striking appearance with a beautiful walnut burl top with a red lava burst finish, matching headstock and a palemoon ebony fretboard, but it‘s equipped with an Evertune bridge, Dimarzio pickups (a Super Distortion in the bridge position and Deactivator in the neck) and Grover locking tuners. The reason that this guitar has seen the most shows is because I can always rely on it 200%. It sounds amazing, it plays flawlessly and it never goes out of tune. From show to show, the only time I have to tune this guitar is when I change strings.

Otherwise, the Evertune bridge and 5 piece maple/ wenge neck keep the tuning immaculate from 1st fret to 24th. I‘ve had to readjust the neck 1 time in the 5 years that I‘ve owned it. As a singer and guitarist in a 3 piece band, this makes live performances that much more stress free, not having to worry about tuning, switching guitars, etc.

The second guitar that‘s seen the most shows would be my Kononykheen Breed 32 guitar. This guitar is one of the most unique that I‘ve owned, but that‘s a huge part of why I appreciate this guitar so much. The Breed 32 has a traditional basswood telecaster style body, a maple neck with maple fretboard and black block inlays, a Strat style headstock, an interesting pickup configuration of a humbucker in the bridge and middle positions with a single coil pickup in the neck, and a double locking Floyd Rose tremolo system I installed for crazy whammy bar pyrotechnics and tuning stability. To top it off, this guitar is a color that Kononykheen calls ―Crazy Pear‖. It‘s a neon color somewhere between neon green and highlighter yellow. I replaced the bridge pickup with a 50th anniversary Dimarzio Super Distortion and this guitar‘s tone, playability and tuning stability are top tier. Its looks are unique and original and it provides tones not normally found in electric guitars. It takes the traditional and crosses it with completely over the top modern aesthetics.

The third guitar I‘m choosing to showcase is a relatively new guitar in my collection but it‘s become one of my favorites quickly. It‘s a BC Rich Mockingbird in transparent purple finish. The body is mahogany with a quilted maple top, a neck through design of maple with an ebony fretboard adorned with diamond inlays.

I recently installed an all brass Kahler quad bridge for extra tone, sustain and tuning stability as well as Fishman Fluence Modern 3 Humbuckers which can cover a multitude of tone options from active, passive and single coil tones. I also installed locking Grover tuners for additional tuning stability and ease of string changes. What‘s quickly made this one of my favorite live guitars is that not only does it look beautiful under stage lights, but it is in the top 3 best playing guitars in my collection.

It also has massive tone that is so full, vibrant and captures that exact sound that I‘ve heard in my head and have always wanted.

Moving on to my amp choice, I‘m honored to be endorsed by Revv Amplification based out of Canada. My choice and main workhorse is the Generator 120 MKIII 4 channel amp head.

This amp is a 120 watt all tube head with a built in, adjustable noise gate & reverb. It features Two notes Torpedo-embedded DynIR Virtual Cabinet technology for going direct to FOH, studio monitors, or headphones. No cabinet required. Between the 4 channels and very intuitive tone shaping options, you can capture any tone imaginable with this amp with real, authentic tube amp tone. This brought me back to real tube amps from the digital modeling world and I haven‘t looked back. Once again, it does it all, and does it for real. As far as pedals and all that, I keep it very basic live, and due to the Revv Generator 120 amp being what it is, I don‘t need much else. I use a Digitech Drop pedal for a song that we play in a lower tuning and for leads I use an MXR 10 band EQ to boost the mids, take out unnecessary frequencies and boost the gain and volume a tad to hit the amp tubes a bit harder for a more tasty lead sound.

The often overlooked, but very important piece of gear, in my opinion, is your guitar strap. I‘m honored to be endorsed by Get‟m Get‟m straps based out of California. I‘ve been using and collecting their guitar straps since I started playing guitar, and working with them as one of their artists has been an amazing experience. They truly make the best straps I‘ve run across, in all manner of designs. The thing about them is that they are true quality. The craftsmanship is second to none and I know that not only are they going to look great, but I‘ll never have to

worry about them breaking or slipping during a show. If you play, I highly encourage you to check them out.

They‘re used by so many legendary musicians. You can‘t go wrong with them.

As far as strings, I use SIT strings based out of Ohio. I‘ve used all manner of strings in my career but they simply just feel ―right‖ for my hands, and truly live up to their name ―stay in tune‖ strings. For guitar picks I use InTune guitar picks. They make a super sized jazz style pick that I love, the material is non-slip and the thickness is just right. Not to mention they do amazing custom graphics on their picks as well. I‘m also endorsed by both companies and very thankful for the opportunity.

Last but definitely not least, I‘d like to mention Quantum Industries whom I started working with last year. They produce amazing, quality guitar vaults and cases for musical equipment. I use their GTX Triple guitar vault extensively for every show. It securely holds my guitars in place for travel, has plenty of space and pockets for extras like strings, picks, guitar straps, etc, is made of high quality, durable, lightweight plastic that helps keep things manageable in terms of shipping your guitars when flying as well as enhanced TSA locks to keep things secure. The design also makes it convenient for not needing guitar stands. The entire front of the case unlatches and your guitars are completely accessible without worrying about pulling it out of a constricted space with guitar damaging edges like some guitar vaults.

In terms of playing live, these are my favorite, core items that see the most consistent use and have seen the most of the road. I‘m very thankful for what these companies do and they make playing music that much more enjoyable.

Thanks for reading and I‘m looking forward to seeing you out at a show!

Cheers!

www.facebook.com/TheLionWithinMusic www.youtube.com/@thelionwithinmusic www.thelionwithinmusic.com

Among the millions of moments that we experience in our lifetime, most are forgotten over time. Most are forgotten pretty quickly.

Some moments we remember for awhile but the memory fades after a while. Some moments however, stay as vivid in our memories as the day those memories were made for as long as we live. For me and so many countless others throughout multiple generations, the name Ozzy Osbourne is attached to many of those enduring and unfadable memories. A man that many times found himself deeply entrenched in controversy, also brought immeasurable joy to millions of people; myself included.

Born John Michael Osbourne, ―Ozzy‖ started pursuing music seriously in 1968 with Black Sabbath and would release their first self-titled album in early 1970. The release of ―Black Sabbath‖ is now widely considered the birth of Heavy Metal. This means that the first voice heard by the first generation of the first Heavy Metal fans, was Ozzy. His voice was unique and authentic. Unlike many other singers, Ozzy never tried to sound like anyone else.

Whatever you heard on the albums or in a live performance was organic and uniquely Ozzy. Nobody sounded like he did and to this day nobody sounds like Ozzy. Ozzy‘s voice led the charge on an album that birthed an entire genre that is not just a style of music, but a lifestyle to millions of Metal fans all over the world that have found their identity within Metal music.

One of the things that made Ozzy a worldwide phenomenon, was his ability to reinvent himself, endure and persevere throughout changing popular music

styles and pop culture for over half a century; not by conforming to it but, by always creating something new and always being the innovator. Ozzy survived being fired from Black Sabbath in the late 70s by starting a solo career that was not only successful but, arguably surpassed the success of his former band. This brings me to around the time I discovered Ozzy. As a young teenager in the awkward and uncomfortable years of Jr. High School, I was at a cross roads of buckling under the intense pressure of either caving in and conforming to what my schoolmates and adults around me were trying to mold me into or, the pressure I felt from inside myself to be the person I wanted to be. Watching Ozzy succeed by simply not being like everyone else made this decision much easier for me. This lesson was a gift Ozzy gave me and countless others that has had incalculable value to my life to this very day.

Ozzy survived so many moments in history that shoved most others to the wayside. Whether it was the sudden shift of the Grunge era that ended the careers of so many others or, the shift in pop culture in the early 2000s, Ozzy was not only unaffected by the current zeitgeist but in many ways was himself the zeitgeist. Although “reality TV” had been around for a while, it was Ozzy that brought it to heights it had never seen. True to fashion, Ozzy did what he always did and became successful by simply being himself. It’s now common knowledge that almost all reality TV is scripted but, has been widely reported that with “The Osbournes” they simply followed the family around with cameras. Real life in Ozzy’s house was better, more entertaining TV than anything the best writers in Hollywood could have scripted. Ozzy would go on to do multiple other shows that would also feature his family which always made a point to show how much he loved them and how much they loved him. This of course is something that is sadly lacking in today‘s reality TV which seems to focus on the dysfunction as where with Ozzy it was always about resolving the dysfunction and ending with hugs and ―I love you‖. There‘s a now obvious irony that many of the people we were told were ―role models‖ back when I was growing up, either ended up in prison for sexual assault or murder or got caught at a cheap hotel with a hooker. The person we were told was the Devil, was the guy hugging his kids at the end of the day telling them ―I love you‖.

After an ATV accident, some subsequent botched surger- David Bowie etc. This one hit different though. I had a ies and a Parkinson‘s diagnosis, Ozzy was finally forced goal as a professional I wouldn‘t shed tears writing this. I to slow way down in his final years. Throughout those failed. Ozzy meant the world to me and I wouldn‘t be seemingly insurmountable odds he still refused to quit who I am today without him. completely and vowed he would get on the stage at least Thank you so much Ozzy for everything. one more time. After many cancelled performances, most thought that was it. However, true to form, on July 5th 2025, Ozzy finally got back on the stage for a final farewell performance. It was attended by over 40,000 people and live streamed to approximately an additional 6 million people worldwide. It was a fulfilled promise for Ozzy to see us, his fans, one last time and truly yet another gift from him to us to see him one last time. I myself can‘t imagine, as bad as his health was, what he must have put himself through to make that happen. It truly shows beyond any doubt that Ozzy truly loved his fans and if you‘re an Ozzy fan you know how much we all love him still even to this day. I have no doubt my life would have been far less interesting, far less happy and fulfilling had it not been for Ozzy Osbourne as well as his truly wonderful family.

On July 22nd 2025, the godfather of modern Metal, the singer, TV star, movie star, artist, father, husband, grandfather and inspiration to millions of people and multiple generations of fans, John Michael ―Ozzy‖ Osbourne passed away. He left us a blueprint of a great way to live our lives. Always live it your way even when others think you‘re crazy. Be the person you were meant to be.

Who knows what you might accomplish? You may not reach the heights of Ozzy, but you‘ll certainly make it much farther being true to yourself than you will trying to be like someone else. That‘s the lesson Ozzy left the world and the world is so much better for it.

In my time as a writer, I‘ve had the honor of writing pieces for many of my heroes like Iron Maiden and

Timothy Cheney Contributing Writer CV World Wide Magazine Celebrating Music, Culture & the Stories Behind the Legends

<CV>When did you first realize that drums were going to be more than just a hobby for you? <KC > I got lucky and absolutely knew at age 8 that I was going to do this forever. <CV> Who were the drummers that influenced your style when you were first learning? <KC >My parents had me listen to all styles of music, which meant playing what they were listening to, as well as what I was listening to. So it was Ringo Starr, Peter Criss, Buddy Rich, and Don Henley. <CV>Do you remember the first full song you ever learned to play on drums? <KC >I'm gonna guess "I wanna hold your hand" from the Beatles. <CV>What was the first band you ever played in, and what do you remember most about those early days? <KC >I joined my first band at 16. For me it was about learning to play with other people, besides just the comaraderie of it all. And then playing the local club, which would explode. I started writing chords, then melodies, meant the world to us. and creating my own loops. Lyrics is something I can't <CV>What kept you motivated to keep playing dur- do, but wish I could. ing the difficult early years? <CV>Looking back over the last decade, what moments stand out as turning points in your career? <KC>Well I've always been on the optimist. So even during the struggling years, I always knew that bad times will pass, and I will reach my musical goals. There was <KC >It's all been small steps, but they were always a step forward in my career. So to the person reading this, never a doubt. there was never a huge moment, but more about me getting calls from people that I've played with that would <CV> We‟ve known each other since 2014 — how recommend me for different gigs or recording sessions. would you say your playing has evolved since then?

I'm lucky to say that I've played the long game and won. <KC > My writing #1. I was fine with just being the <CV> What was one performance from those years drummer and laying down parts. But then when I got that you will never forget?

Logic Pro, I had a million ideas that I had to get out or my brain <KC >The one that jumps out is actually recent. I joined

an artist named Charlie Reece a few months ago, and our <CV> What is the most physically challenging part of first show as a band was a festival with Nickelback and drumming that fans might not realize?

Brantley Gilbert in front of about 30,000 people. It's a <KC> Most people don't realize how physically depretty unforgettable way to start! manding drumming really is. It's not just your arms- your legs, core, posture, and even your breathing are all in<CV>How has the music scene changed since you started performing? volved. Playing a high energy set for hours is basically like running a marathon while juggling. <KC > Where do I start? Technology changed everything. When I began, it was all about Studios, record la- <CV> How do you prepare mentally before going on bels, and radio. Now artists can record at home, release stage? music instantly, and connect directly with fans through social media. It's a completely different landscape. Also, <KC >Mentally, I'm pretty relaxed before a show. I alstreaming changed the whole business. Years ago artists ways stretch, warm up, get my body ready. But once the could actually make money selling records. Now every- lights go out, I go full beast mode. one streams music, which is great for fans, but the in<CV> Do you prefer studio recording or playing live come from it is a lot smaller. So the real living comes shows? Why? from getting out there in touring. <CV>What lessons did touring and performing teach <KC> Studio and live shows are totally different beats, and I love both. Live, it's all about energy, audience conyou that you couldn‟t learn anywhere else? nection, and letting my demons out on the Kit. Studio is <KC > Touring teaches you about people more than any- about creation, precision, and exploring every sound I thing. You learn how to navigate different personalities, can get out of the drums. Both challenge me in their own align yourself with good people, and stay away from the way. shitty ones. And you learn to give the same performance for 10 people as you would for 10,000 because you never <CV> What is your personal philosophy when it comes to groove and rhythm? know who's watching. <KC >Make it move. If it doesn't make people nod their heads or bounce in their seats, you're doing it wrong.

And you can't play over the song – play for the song, let <KC >I am the backbone. I am the glue. I'm the one that it breathe, let it swing. The groove isn't about showing shapes the song. And when I hit the drum, you shake the off, it's about making everyone feel it. booty. <CV>What is your favorite part about being the drummer in a band?

<CV> How much freedom do you like to have when creating drum parts for a song? <KC> 100% control over everything!! Just kidding – kind of. I love having creative freedom but really, it's about balance. Songwriters, sometimes think they know drums, but they miss the little details that only a drummer here's. That's where you can add the magic that makes the song feel alive. <CV >Have you ever had to completely change your drumming style to fit a band? <KC >Never. My approach and style are part of why I get hired. Bands want what I bring, so I don't try to fit myself into something I'm not – I just add my voice to the song. <CV >What makes a band truly click together on stage? <KC>A band really clicks when you can almost read each other's minds. Everyone's listening, responding and moving together. And the crowd can tell when you are in the zone. <CV >What do you think separates a good drummer from a great drummer? <KC >A good drummer can play the song. A great drummer makes the song better. It's about taste, dynamics, and adding the little touches – ghost notes, accents, space – that you might not even notice, but that makes a huge difference in how the song breathes. <CV> What has been the craziest moment you‟ve experienced on stage? <KC > The craziest moment I've had on stage wasn't necessarily crazy, but just a lot of fun. It was actually last year with The Nocturnal Affair. We were touring with a Drowning Pool in Europe, and it happened to be my birthday. We were playing in Poland, and the whole crowd started singing happy birthday to me… In Polish! That alone was amazing, and then I got to jump on stage with DP and sing "Bodies". I'll never forget that night – it was pure chaos and pure fun! <CV >What‟s the funniest thing that has happened during a show? <KC >Honestly, nothing has jumped out as truly funny, but live shows are full of little chaos moments – like gear falling over, the audience doing something unexpected, or someone forgetting a part.

I guess the funny part is that when it happens, you just have to roll with it and make it part of the show.

<CV >If you could jam with any drummer in history, who would it be? <KC >Animal from the Muppets! <CV >What music do you listen to when you‟re not playing rock or metal? <KC>I listen to everything. I love industrial, EDM, 80s and 90s stuff. <CV >If you weren‟t a drummer, what do you think you‟d be doing instead? <KC> Probably napping around the world…professionally. I really can't imagine doing anything else. Drumming is the one thing I'm obsessed with. <CV >Since we‟ve worked together for years with photography and interviews, what do you think photography adds to a musician‟s story? <KC >I've toured a lot and played many of the places you see in photos of other musicians. Sometimes you can almost smell the scene! Great photography, captures energy, personality, and moments that make the music feel alive.

<CV> What‟s your favorite photo that was taken of you during a performance?

this and he's going to be doing a huge things. I'm very fortunate to be a part of it!

<KC >That would be my man Janson Bulpin from the UK! Beyondthenoisephotography.com if you want to see how bad ass he is. It was the perfect timing of lighting, and how I looked. It's an epic shot!

<CV>Is there a dream venue or festival you still want to play?

<KC> Oh totally! I want to play Red Rocks in Denver. <CV> How important is it to have friends around you Madison Square Garden of course. Stage coach festival. who believe in your music career?

That's all that come to mind right now. <KC>It's great to have friends who believe in you, but that's not what makes a career. You have to show up, practice, tour, and make the music happen yourself. Support is nice, but the drive has to come from within. <CV> When you look back on your journey so far, what are you most proud of?

<CV>What keeps you inspired to keep playing after all these years? <KC >Other musicians keep me inspired – they remind me what is possible. But touring, seeing new places, and connecting with fans around the world – that's the real fuel. Every night on stage is a reminder of why I started playing in the first place.

<KC> I think what I'm most proud of is that I'm still here doing it! Longevity in this business is tough, and the fact <CV>What message would you like to leave for the that I've been able to make a living, playing music and fans who have supported you? doing what I love – that's a huge win in my book. <KC> "Fans" has always felt like a weird word to me. I <CV>What advice would you give young drummers think of you more as friends who've been with me who are just starting out? through this journey. Your support and energy mean the world, and I hope the music keeps connecting us. <KC>First, practice, everything – learn all styles of music. Even the ones you hate. Second, learn your basics, www.facebook.com/kyle.cunningham.165 and always pay attention to your timing. Third, make contacts – networking is everything in this business. And https://www.youtube.com/@kcslam finally… Just be nice. People remember how you treat them, it can open more doors than anything else. https://www.facebook.com/charliereecemusic <CV> What projects are you currently working on?

Little Taste Of Kyle Cunningham live! <KC >Lately, I've done a few tracks for RENZO and Kyle Schuesler (The Voice), Abi Carter (American https://www.facebook.com/reel/2334388446910343 Idol), Charlie Reece (debut album), Neon Coven (single), Latham & Kid Rock (Poor Mans Tale), and L.A.P.D. (Los Angeles Power Disco) to name a few. <KC>I just had my studio completed last week and it's everything I've dreamed of. My wife has named it the 69 Beat Lab ha! I joke that she's never gonna see me anymore now that it's up and running. <CV>Alright, what‟s your latest „I didn‟t need this but I love it‟ purchase? <KC> Definitely more tattoos and my new Corvette.

One's permanent, one goes 0 to 60 in 2.9 seconds… I highly recommend both! <CV>What are your goals for the next few years as a musician? <KC >Besides my studio work. This year is going to be fully with Charlie Reece. There's a lot of backing behind

Order in the Chaos I often write about a whole slew of topics regarding music, the writing of, or even the production of music. That being said, I often find myself having the same conversation over and over with people I end up working with on a musical venture. And that conversation usually is based on PROCEDURE. Not expected outcome of the recorded product.

What I wish to do in this article is to show how focusing on PROCEDURE as a WRITER can definitely hinder, or at the worst, kill your product entirely. While focusing entirely on OUTCOME can confuse, deter, or even make the CONTRIBUTORS you are working with attempt to derail your speeding juggernaught before it ever gets on the track.

You see, it is the desire of almost every WRITER to record their songs. If they write original music, that is. And yes, sadly, some WRITERS actually do spend the time and money working on OTHER people’s songs, but I don’t care about those types, other than that they can afford to read this column too. Because recording music, is recording music, regardless of the content. Which brings us to PROCEDURE.

and Outcome of putting your money where your mouth is; it can be more of a hinder than a help.

I think every mixing engineer, recording engineer, producer, or songwriting collaborator will agree that WRITING the music is the easy part.

Putting it down on tape is a different story. And with all the instant access training available all over the World Wide Web, I wouldn’t waste my words trying to tell you one more way of tracking at home or in the studio, or why MY way is the right way. Because that would all be a lie.

You’ve heard the adage, “There’s more than one way to skin a cat.” Well, it’s true. Recording your music can be done in any number of ways.

Capturing it can be done with a single mic in a crowded garage to a 4 Track and sell MILLIONS of copies world-wide. Or it can be eloquently and professionally hemmed and hawed over by the best minds in the industry according to THEIR formula, and STILL have it fail the label’s expectations and break your bank account back to the stone age for the next 10 years (referencing two particular stories from two of Rock Music’s biggest names in history, Van Halen and Boston).

Focusing on PROCEDURE instead of OUTCOME: What I am talking about is PROCEDURE for Look, it’s easy to get wrapped up in the how’s recording your material in a manner in which you and the how not’s of tracking your material. And might not piss off everyone in the band when you it’s even easier for somebody else to come along DO decide to track. Cool? and tell you you aren’t doing it correctly. That is Okay. Rule One is simple... the guy writing the not my desire with this topic, but rather to show music?... he’s the guy with the say-so. Period. Unyou that if you focus too much on the Procedure less he/she is willing to electively concede those

duties to someone else, just take for granted that will depress you faster than anything and they will that writer knows EXACTLY what they want. So, possibly rob you of your creative spirit. And DEFif you have a question, ASK. Don’t form opinions, INITELY get new folks to work with if your band or jump to conclusions, or act like you know more is not productive and YOU want to be (even if than them, or like the whole thing is a waste of they constantly go on about wanting you to write your time, get discouraged or tell that writer or the MORE material if they haven’t finished the earlier other members why you can’t do your job. Or you stuff first.... There are plenty of other folks out may find yourself wondering why that WRITER there with way more talent than even you, who decided he no longer wants to work with you. are professional enough to bring good, clean, perIf you are in the studio with your band, awesome! formance to your product.

Now, just be cool. Don’t pace, don’t mouth off, don’t try to direct your other members, and don’t And there are a multitude of personalities, styles, try to act like you know more than the people and genres out there. Maybe you have a performHIRED to capture your performance. Especially if ing band locally, but a recording band made up of YOU aren’t the one pulling everything together or members not even in the same state that only PAYING for it. Your WRITER(S) are the DI- churns out product. (That’s MY outlook these RECTORS, and they WRITE because they know days as the BEST way to get good, strong, subwhat they are doing, in most cases. And if you stantial product that is not stuck to the “sound” of cannot write, your opinion is null and void. Please your band). Or, maybe you want ONE band that be responsible and respectful enough to recognize can do it all. Good luck... but it IS possible--if not the talent and support it rather than deride or un- RARE. Either way, build your PROCEDURE dermine it with your own ignorance, immaturity, and outline it to your guys/gals. If they are willing and lack of professionalism. And Dude! If you to move forward, great. If not, move on with other cannot play a scale or tell the other band members folks. what KEY you are in... you have no right to be there with expectations in the first place. Shut up, Why should YOU care about PROCEDURE? and LEARN! Or get out. Otherwise, you are the PROCEDURE is something that is up to the orweak link. And you need to respect yourself and chestrator of the project or product... NOT the your bandmates enough to realize that YOU don’t contributors. And if the contributors don’t agree have what it takes to hang and step down admira- with the WRITER’S procedure, then they have no bly and respectfully. Don’t act like a jerk and point business being there unless they are DAMNED fingers or try to turn the other band members GOOD musicians with way more experience than against the WRITER... that’s just stupid and hate- everyone else in the room. Then that person ful. Just leave. There really is no reason for imma- should PROBABLY be helping with your proceturity in the band room or in the studio. dure anyway.

Now, if you are the WRITER... Write. Period. Do Now, on to focusing on OUTCOME over PROyour job.

CEDURE: If the band doesn’t want to agree with you, get a If you are a WRITER who feeds off others, you new band -- they are holding you back, because if will probably do fairly easily turning out product music means anything at all to you, those folks in a band situation in so far as they respect you

Okay. Rule One is simple... the guy writing the Now, if you are the WRITER... Write. Period. music?... he’s the guy with the say-so. Period. Un- Do your job. less he/she is willing to electively concede those If the band doesn’t want to agree with you, get a duties to someone else, just take for granted that new band -- they are holding you back, because if that writer knows EXACTLY what they want. music means anything at all to you, those folks So, if you have a question, ASK. Don’t form will depress you faster than anything and they opinions, or jump to conclusions, or act like you will possibly rob you of your creative spirit. And know more than them, or like the whole thing is a DEFINITELY get new folks to work with if your waste of your time, get discouraged or tell that band is not productive and YOU want to be writer or the other members why you can’t do (even if they constantly go on about wanting you your job. Or you may find yourself wondering to write MORE material if they haven’t finished why that WRITER decided he no longer wants to the earlier stuff first.... There are plenty of other work with you. folks out there with way more talent than even If you are in the studio with your band, awesome! you, who are professional enough to bring good, Now, just be cool. Don’t pace, don’t mouth off, clean, performance to your product. don’t try to direct your other members, and don’t And there are a multitude of personalities, styles, try to act like you know more than the people and genres out there. Maybe you have a performHIRED to capture your performance. Especially ing band locally, but a recording band made up of if YOU aren’t the one pulling everything together members not even in the same state that only or PAYING for it. Your WRITER(S) are the DI- churns out product. (That’s MY outlook these RECTORS, and they WRITE because they know days as the BEST way to get good, strong, subwhat they are doing, in most cases. And if you stantial product that is not stuck to the “sound” of cannot write, your opinion is null and void. your band). Or, maybe you want ONE band that Please be responsible and respectful enough to can do it all. Good luck... but it IS possible--if not recognize the talent and support it rather than de- RARE. Either way, build your PROCEDURE ride or undermine it with your own ignorance, and outline it to your guys/gals. If they are willimmaturity, and lack of professionalism. And ing to move forward, great. If not, move on with Dude! If you cannot play a scale or tell the other other folks. band members what KEY you are in... you have no right to be there with expectations in the first Why should YOU care about PROCEDURE? place. Shut up, and LEARN! Or get out. Other- PROCEDURE is something that is up to the orwise, you are the weak link. And you need to re- chestrator of the project or product... NOT the spect yourself and your bandmates enough to re- contributors. And if the contributors don’t agree alize that YOU don’t have what it takes to hang with the WRITER’S procedure, then they have and step down admirably and respectfully. Don’t no business being there unless they are act like a jerk and point fingers or try to turn the DAMNED GOOD musicians with way more exother band members against the WRITER... perience than everyone else in the room. Then that’s just stupid and hateful. Just leave. There that person should PROBABLY be helping with really is no reason for immaturity in the band your procedure anyway. room or in the studio.

Now, on to focusing on OUTCOME over PRO-

CEDURE: If you are a WRITER who feeds off others, you will probably do fairly easily turning out product in a band situation in so far as they respect you and your contribution to the band.

But if you work better on your own... HIRE YOUR TALENT AND DO NOT GIVE THEM A SLICE OF THE PIE! Unless, of course, you hire a Grammy Award Winning artist to work with, then share the love, man... they often return the favor.

However, if you are the type that writes every lick, every stanza, every hook, and work with three or four other folks who do not recognize just what YOU are bringing to the table... again, FIRE THEM! You will never get anything done if you fill your woodshed with deadwood. Same goes with members who won’t practice, cancel practices on a regular basis, gripe about everything, or change the direction of the band continually with threats of quitting or any other childish behavior. Just get rid of them. Trust me. I know.

Back to focusing on OUTCOME. I do this a LOT!!! I do it as a SONGWRITER and I do it as a GUITARIST. I hear every note, every instrument, and most often times, every tone. I hear what the Bass is doing in relation to the Drums, in relation to the Guitar, in relation to the Vocal... and USUALLY in that order.

When I bring a rhythmic pattern into the room or the recording session, I already know or have a pretty good idea of what I want to hear coming from the other tones being utilized in the track.

So, if I suggest the Bassist play a specific picking pattern, or the Drums lay back, or punch, or dynamically LIFT the song, it is because I know it is not only POSSIBLE to do those things with those instruments, but it’s more than beneficial to do

those things whenever possible in a song. It keeps the listener LISTENING. And it makes your music more entertaining to have dynamics and expressionistic movement present in your song... In EVERY song.

The problem with THIS mindset if it is your MAIN focus; is that nobody else will ever live up to your expectations. Let’s face it if you are too harsh about it, then you take away the free choice the other musicians have in their parts.

Like a dick-tator, you rob them of the glory they can bring to the song by introducing themselves into it through their performances, styles, and unique decision making processes they bring to the table via their own experiences as musicians.

Personally, I like to work with other musicians who BLEED their craft. Who KNOW their instruments at least HALF as well as I know mine, and who PRACTICE to constantly better themselves just like I do on an almost DAILY basis whether with a band or not.

You need an equal balance of focus on PRO CEDURE and OUTCOME to be an effective WRITER/PRODUCER of any product. To

Wearable Art

focus too much on either may not cause your product to fail, but it will cause others to not want to work with you. Whereas, to focus on neither is already what your band HAS been doing, and look where you are... playing the same clubs every Summer, in the same city, in the same state, and wondering why nobody cares about you, your band, or your music... Because you DIDN’T care enough yourself... and the audience can ALWAYS see right through it.

So, kids...What’s the recap? Know your craft, practice your craft, write your material, rehearse said material, know your parts, record your parts.

All the rest is for the WRITERS to worry about.

But if you do YOUR due diligence, and are okay with NOT trying to control every situation, outcome, and procedure, you just might make it! Yes, COLLABORATORS, by riding that WRITER’S coat-tails. Be cool with being on the bus without having to try to STEER IT!

Brien DeChristopher ~

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On April 12, friends, family, and many musicians gathered at Tony V‘s Garage in Everett, Washington, to celebrate the life of Robert Schmidtz (December 28, 1958 – March 2, 2026), known to many as ―Tiger Bob.‖ The celebration of life was hosted by Katrina King and Tiger Bob‘s son, Leo Maus. Tony V‘s Garage was filled with energy and emotion as the community gathered to remember Tiger Bob.

friend. They honored Tiger Bob in the way he loved most—by experiencing live local music and being surrounded by his people. A passionate supporter of the local Seattle music scene.

Tiger Bob was instantly recognizable by his tigerlike beard, his sharp sense of humor, and, above all, his generous spirit and heart of gold. His presence was a constant at shows throughout the area, where his enthusiasm and encouragement left a lasting impression on countless people.

The celebration of life drew a full house, with more than 150 people packing the venue—a testament to the deep impact he had on those around him. The sounds of music, the exchange of stories, and the visible camaraderie among attendees spoke volumes about the connections he helped ―He rarely missed a show of mine or Sin Circus,‖ said build. The celebration of life began with a powerful and un- Steve Unger. Unger spoke not only about Tiger Bob‘s forgettable moment. At the threshold of the club stood loyalty, but also about the friendship they shared.

Johnny McBride, bagpipes in hand. As the first notes rang ―Tiger Bob. The man, the myth, and now the legend,‖ out, the sound cut through the room—clear, haunting, and Unger said. ―He was a good friend of mine. We did a impossible to ignore. Conversations stopped, and the energy lot together. MC‘ing shows and just being part of the shifted instantly. scene. I knew he was going through a hard time, and one day he called me and said, ‗I‘m coming down to Slowly, he stepped forward, moving into the venue as the see your Elvis show at Muckleshoot Casino.‘ I told sound of the pipes carried throughout the room. The crowd him, ‗Man, you‘re all messed up right now…‘ but he instinctively parted, creating a path for him. Offering space said, ‗It‘s alright. I‘m coming down.‘‖ ―I didn‘t exand silent respect. A hush fell over everyone in attendance, pect to see him, but he showed up. That was about six replaced by a profound stillness that settled deep into the weeks before he passed, and it was the last time I saw moment. As Johnny made his way through the crowd, the him.‖ ―I had to be here today,‖ Unger continued. ―I melody of ―Amazing Grace‖ began to take shape. Familiar was in California, in Vegas yesterday, Los Angeles last night. This morning I flew into Seattle. I and deeply moving. In that instant, it all became real. would‘ve felt like I let him down if I wasn‘t there, because that guy would go to the end of the world to The music carried the weight of the loss, filling the be at any show I did—and all the shows Sin Circus room with reflection and emotion. Tiger Bob, a friend did. He always made a point to show up.‖ ―He always to so many, was gone. And yet, in that space, surput his own problems aside to help people. Putting rounded by his community, he felt present. I saw Totogether fundraisers and doing what he could. He ny V quietly turn away during the performance, overprobably should‘ve done more of that for himself, but come with emotion. It was a moment shared by many. he never did. Motorcycles, rock and roll, family, One that spoke to the depth of connection, respect, friends, and community. That‘s what he lived for.‖ and love people held for Tiger Bob. Many talented artists then took to the stage to celebrate Tiger Bob‘s Others echoed that same sentiment, remembering not life through music. Friends spent time together, rejust his presence, but his personality. ―Tiger Bob was connecting and sharing memories. The community a fun but complicated man,‖ said Jaymz Kennedy. came together in both joy and sadness, united in sup―You could disagree with him, but the next time you port of one another and in remembrance of their

saw him, he‘d look at you, smile, and somehow everything was good. The next thing you know, he‘s taking a selfie with you and ‗Tiger Bobbing‘ you with that beard—and it would end up on social media the next day.‖ Kennedy added that Tiger Bob brought something intangible to the community. ―He had a kind of weird cosmic glue. There are only a few people in this scene who bring it all together and he was one of them.‖ When speaking with his son, Leo Maus, it was clear how emotional the day had been. Rather than reflect in detail, Leo spoke about the overwhelming support that made the celebration possible. ―I couldn‘t have done this alone,‖ Leo said. ―I reached out on social media, and it was Katrina who connected with me and offered to help put together Tiger Bob‘s celebration of life, along with Kate. Tony V also offered his venue to host the celebration.‖ ―I feel incredibly honored that so many people have come out to celebrate him,‖ he continued. ―All of these people. This was his community. We really appreciate everyone coming together like this. It‘s obvious that everyone here meant a lot to him.‖ ―We‘re thankful. We feel blessed for all the people who reached out to us. We appreciate everyone who helped put this together, who played music, and who showed up for Tiger Bob.‖ Leo‘s words reflected what was felt throughout the entire evening. This was more than a celebration of life. It was a gathering of a community brought together by one man who had a way of connecting people, lifting them up, and making everyone feel like they belonged. In every conver sation, every embrace, and every song played that night, Tiger Bob‘s presence could still be felt. Not just in memory, but in the spirit of those who came together to honor him. As the final notes faded and the night carried on, it became clear that Tiger Bob‘s legacy lived on in the very heartbeat of the community he helped build. In every crowded show, every shared laugh, and every song played on a local stage, his spirit continues to ride alongside them.

Through music and the people, he brought together, Tiger Bob remains exactly where he always belonged—at the center of it all, surrounded by the community he loved.

“The party doesn‟t stop. The midnight laughter, the ultimate guest— a radiant soul who couldn‟t stay, yet lit up the world in his own way. No, shed no tears—I need them not, just live it up with the life you‟ve got. For I‟m still riding, wild and free— with a smile, remember me.”

Article written by: By Dena Cowlishaw / Seattle WA

.

A heartfelt thank you to Dena Cowlisha and Don Bossart, our incredible Seattle team, for covering the memorial service for Tiger Bob. Your kindness and willingness to be there on behalf of CV Worldwide Magazine meant more than words can express.

Tiger Bob was a true champion of the Seattle music scene—a friend to so many and someone who would quite literally give you the shirt off his back.

I was deeply saddened that I couldn't be there in person, as he was one of my closest friends. He was always supportive of my photography, the magazine, and everything I was trying to build.

Tiger Bob, thank you for over 20 years of friendship, the laughter, the memories, and the unwavering support. My life was truly better because you were a part of it. I was honored to call you my friend and will always be grateful and blessed that our paths crossed.

I've included my favorite photo of us together, taken the very first time we met at the Hard Rock in Seattle more than 20 years ago. It's a memory I'll always treasure.

Rest in peace, my friend. Until we meet again.

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