Arsenio Hall: Arsenio Hall of the Arsenio Hall Show!
Door Time: 6:30 PM
Show Type: Stand Up
Restrictions: 18 over
Two items minimum
Arsenio Hall: Arsenio Hall of the Arsenio Hall Show!
Door Time: 6:30 PM
Show Type: Stand Up
Restrictions: 18 over
Two items minimum
From Junior Marvin of Bob Marley The Wailers….
“Josh is one of those guys who comes along and fills his music with such an inspiration and with such energy that it translates so easily and positively to anyone hearing it. He is a rare talent in both his ability to craft a song with a certain timeless quality to it, and then, man, his voice, well, I mean, damn, the kid can sing as good as anyone out there; a bright future – that one.”
In September 2010, Josh Heinrichs released his highly anticipated, first full length, solo album since disbanding Jah Roots in early 2009. The album, ‘Josh Heinrichs Friends,’ debuted at #4 on iTunes Best Selling 200 Reggae Albums at #14 on Amazon.com’s Top 20 Best Selling Albums. It also debuted in the Top 200 in Norway, France Italy’s Best Selling iTunes Reggae Albums. The album features a diverse highly talented mix from today’s current, international, reggae scene. Some of the artists collaborating in the studio with Josh are Aston “Familyman” Barrett of Bob Marley The Wailers, Hani Totorewa of Katchafire, Koko of Inna Vision, Caleb Keolanui of The Green, Clear Conscience, Cas Haley, 77 Jefferson, BW and more…
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Allan Holdsworth is widely regarded by fans and contemporary musicians as one of the 20th century’s most prominent guitarists. He is one of a handful of musicians who has consistently proven himself as an innovator in between and within the worlds of rock and jazz music. Many of music’s best-known instrumental masters cite Holdsworth as that rare and shining voice—a legendary player who continues to push the outer limits of instrumental technique and the electric guitar’s range of tonal and textural possibilities. Particularly during the 90s, Holdsworth has enjoyed the recognition so many musicians strongly feel he deserves, given that he has developed his career outside the big label mainstream and has consistently produced his own recordings with complete creative control since the mid-80s. Despite the uncompromising nature of Holdsworth’s predominantly genre-defying solo projects, he’s no stranger to all-star jazz festival line-ups or large venue rock audiences. Musician Magazine placed Holdsworth near the top of their “100 greatest guitarists of all time.” There’s never been a shortage of media attention or acclaim for Holdsworth’s accomplishments and originality. An inductee of Guitar Player Magazine’s Hall of Fame, Holdsworth is a five-time winner in their readers’ poll.
Beyond his ability in improvising mercurial solos and sculpting the guitar’s voice into an ever-expanding range of textures and colors, Holdsworth has dedicated his energies to develop many different aspects of guitar technology. This has included new “baritone” variations of the instrument, his own custom 6-string designs (one most recently manufactured by Carvin), the invention of electronic components for the recording studio, and exploring the possibilities of guitar-based synthesizer controllers. Holdworth’s ability to improvise over complex and challenging chord voicings always reveals a deep emotional base and a strong, imaginative personality that is as instantly identifiable as any among Holdsworth’s generation of guitar and jazz masters.
The sounds of Django Reinhardt, Jimmy Rainey, Charlie Christian, Joe Pass , Eric Clapton, and John Coltrane were among this English musician’s early inspirations when he began to work professionally as a musician in his early twenties. Born in the city of Bradford , England , Holdsworth had been extensively tutored in aspects of musical theory and jazz appreciation by his father, an accomplished amateur musician. Holdsworth paid his musician’s dues early on working the dance-club circuit, where he began to meet fellow musicians who hailed from the south. One of England ‘s best jazz tenor saxophonists, Ray Warleigh, heard amazing potential in Holdsworth’s playing and brought him along to participate in jazz sets at the onset of the 70s, including sessions with Ray at Ronnie Scotts in London.
Holdsworth’s career brought him to international audiences suddenly in the early 1970s, when he joined drummer John Hiseman’s short-lived but much acclaimed “progressive” rock band, Tempest. A decade later, Tempest vocalist Paul Williams would team up with Holdsworth again to form Holdsworth’s IOU band and create their independently-released debut recording, which prompted Holdsworth to move his home from London to Southern California . Holdsworth’s career throughout the 70s saw a series of feast-or-famine periods all too familiar to many of the most talented musicians. By 1975 Holdsworth had developed a reputation as one of England ‘s best, underrated guitarists in what was then the avant-garde of English instrumental music ensembles, the legendary group, Soft Machine. Holdsworth’s trademark sound is evident with a technique that routinely soars with supersonic intensity, and one of its earliest available samplings can be heard on the 1974 Soft Machine studio release, Bundles . While his reputation in Soft Machine attracted international audiences, he also gained the attention of one of jazz’s greatest drummers, the late Tony Williams, known for his pivotal role in bringing Miles Davis to explore rock-based riffs and motifs in an improvisational context. Holdsworth recorded on one of the most celebrated fusion albums from the mid-70s, Believe It , (Epic), as a member of the Tony Williams’ New Lifetime. This marked the beginning of Holdsworth’s career as a legendary journeyman, but one rarely performing before U.S. audiences.
Between 1976 and 1978 Holdsworth’s guitar sounds and solos emerged as a mesmerizing tour de force and he participated in many of that era’s landmark jazz-fusion and instrumental rock recordings by Jean Luc Ponty ( Enigmatic Ocean ), Gong ( Gazeuse! ), and Bill Bruford ( Feels Good To Me , One of A Kind ). Late in the 70s, the once dominant genre of classic British “prog rock” stumbled on unsure footing as the punk and new wave bands rose in commercial prominence. Drummer Bill Bruford, a founding member of Yes who later joined King Crimson, suggested Holdsworth participate in a new project featuring the formidable rhythm section of King Crimson and a brilliant young violinist/keyboardist Eddie Jobson, who had worked with both Frank Zappa and Roxy Music. The resulting debut album, U.K . , became what was later considered the last and greatest milestones of 70s progressive rock. The band’s sound was at the time both technically and artistically at the cutting edge of rock music, given the coupling of Jobson’s innovative use of synthesizers and electric violins, coupled with Holdsworth’s unconventional chord voicings, searing solos, and passionate melodic phrases. The U.K. “supergroup” setting was as brilliant as it was short-lived, and egos and questions of creative direction led to a split between Bruford and Holdsworth on one side, and Jobson and bassist John Wetton on the other. In 1996 Guitar World cited Holdsworth’s contribution to U.K . as the factor in naming it one of the top 10 rock guitar albums “of all time.”
In 1978, Holdsworth decided he wanted to pursue a different, more live-based direction as opposed to his recent participation in lush, studio-crafted masterpieces. He sought out a more immediate, less intricately arranged band context than what had been established with Bruford, in order to explore a rock-oriented musical context that also explored extended instrumental ensemble improvisations. Holdsworth wanted to rediscover some of the energy and dynamics that had been so memorable in his live performances working with Tony Williams, and reluctantly parted company with Bruford’s band. Holdsworth began to develop his own trio with two other Northern English musicians, drummer Gary Husband, and bassist Paul Carmichael, which begun Holdsworth’s first touring band as a leader, the now-celebrated IOU band. Their first recording IOU sold exceptionally well for an independent release, and Holdsworth’s friend and admirer, guitarist Eddie Van Halen, proved instrumental in securing IOU a recording contract with Warner Bros. Executive Producer Ted Templeman wanted to experiment with a “mini-album” concept, which resulted in the 1984 Grammy-nominated release, Road Games , which featured vocal cameos from long-time Holdsworth collaborator, the legendary Jack Bruce. It also featured a new American line-up, with Jeff Berlin and Chad Wackerman comprising the rhythm section. However tensions with the label over creative control led to a split between Holdsworth and Warner Bros. In 1985 Holdsworth signed with the Enigma label, enjoying creative control, and Jimmy Johnson joined the group after Jeff Berlin’s departure to pursue his solo career. Holdsworth then recruited one of the most respected L.A. session bassists, Jimmy Johnson, leader of Flim and the BBs. The last version of the IOU band went back in the studio and with some notable guest appearances (among them bassist Gary Willis and original IOU drummer Gary Husband) contributed to tracks for the highly successful release, Metal Fatigue (1985).
In 1986 the release of Atavachron demonstrated Holdsworth’s focus on instrumental music, continuing his core band with Johnson and Wackerman. Atavachron also featured stellar guest appearances by two of Southern California ‘s most sought after jazz keyboardists, Alan Pasqua and Billy Childs. Like other Holdsworth recordings to follow, it proved to be a summit for great drummers, with guest contributions from Tony Williams and Gary Husband. Husband’s increasingly successful career eventually led to Holdsworth’s appearance as a studio musician and band member with Level 42 for their 1993 release, Guaranteed . The follow-up to Atavachron , Sand (1988), marked a new period with Holdsworth concentrating on his exploration of the Synthaxe, a revolutionary guitar-like synth-controller. Holdsworth received the winning award in Guitar Player Magazine’s poll as “best guitar synthesist,” for many consecutive years afterward. With Secrets (1990) Holdsworth returned to his association with Enigma records, (which became the Restless label) featuring an album recorded mostly with the great session drummer Vinnie Collaiuta, who later joined Sting’s band and had previously worked with Frank Zappa and Jeff Berlin. Secrets further revealed Holdsworth’s rich harmonic vision and unleashed more distinctively “Holdsworthian” music, an enigmatic style that continues to invert, push, and transform the boundaries of more conventional rock, fusion, and jazz forms.
During this period the keyboardist from Stanley Clarke’s touring band, Steve Hunt, joined Holdsworth’s band. In the early 90s, Holdsworth also appeared in a jazz “supergroup” and at festivals with other great jazz and fusion legends, including Stanley Clarke, Billy Cobham, and Michael and Randy Brecker among others. 1992′s Wardenclyffe Tower furthered an exploration of Holdsworth’s own designs for baritone electric guitars (built by luthier Bill DeLap) and broadened the use of his chordal orchestrations and solo phrasings via the SynthAxe. In 1994, Hard Hat Area was released on Restless with the latest version of Holdsworth’s band, including Icelandic bassist Skull Sverrisson, Gary Husband, and Steve Hunt, providing one of his most satisfying projects from the quality of group interplay and capturing the band closer to its live performance context. The release of Holdsworth’s next album project, None Too Soon (1996) marked a departure in style from this impressive string of previous group projects. It provided Holdsworth the opportunity to showcase his interpretation of some classic jazz standards and several originals by one of England ‘s best-known jazz pianists, Gordon Beck.
Holdsworth recorded some of his favorite, lesser-known jazz standards, along with several Gordon Beck originals, in a “straight-ahead” jazz vein, drawing upon Beck’s talents as an arranger. The rhythm section teamed for the project included bass prodigy Gary Willis and drummer Kirk Covington, both members of the West Coast based fusion powerhouse, Tribal Tech. None Too Soon built upon the same chemistry established in a brief recording session of the same musicians featured on a Beatles guitar tribute titled “Come Together,” (1994, NYC Records) in which this same group covered Beck’s arrangement of the Beatles’ “Michelle.” In None Too Soon , Holdsworth produced a refreshing jazz recording that realized a different perspective on his playing, while demonstrating his appreciation of standards as penned by John Coltrane, Bill Evans, Django Reinhardt and Joe Henderson. None Too Soon offers listeners a compelling and swinging musical journey, including a riveting, updated interpretation of Irving Berlin’s “How Deep Is The Ocean” and a blistering twist on the Lennon/McCartney classic, “Norwegian Wood.”
Building on the supreme sonic craftsmanship Holdsworth realizes in his home studio in Southern California , The Brewery, Holdsworth’s latest solo recording is certain to be singled out as one of his greatest musical masterpieces. The Sixteen Men Of Tain marks a further exploration of traditional jazz motifs, and, as a first on his solo projects, an acoustic rhythm section. Holdsworth’s tenth solo album marked the debut of a new band formed with bassist Dave Carpenter and drummer Gary Novak, both West Coast session men. First released in 2000, a special edition with two additional tracks was released via Eddie Jobson’s label, Globe Music, in summer of 2003. Tain marked a new direction in a forward-looking jazz vein and blended together a new vision explored to a degree in the more traditional jazz arrangements found in None Too Soon .
One frequent topic of discussion among Holdsworth devotees was the fact that after well over a decade of touring with stellar players, Holdsworth had never approved the release of any live recordings by his bands, or any of those with him as a guest performer for that matter. In Fall 2002, Sony Japan released Holdsworth’s first ever live recording, featuring Jimmy Johnson and Chad Wakerman in which Sony featured the trio’s performance show as a showpiece for their next generation of state-of-the-art five-channel sound technology. In late 2003, Alternity Records will release a second landmark Holdsworth live recording, Then! featuring a quartet performance from 1990 with keyboardist Steve Hunt, along with original IOU drummer Gary Husband, and Jimmy Johnson. Recorded originally in digital 24-track, Then! covers material from a broad swath of Holdsworth’s recording career, from his days with Tony Williams’ Lifetime up through Hard Hat Area and includes three never-released group improvisation tracks, not to mention some of Holdsworth’s most powerful and ferocious solo flights ever captured on tape. Holdsworth spent time later in 2002 completing production duties for the recently released Softworks album Abracadabra , which featured alumnus from different eras of the legendary English experimental band, Soft Machine. Holdsworth toured with the band in Japan in the summer of 2003, which included saxophonist Elton Dean, bassist Hugh Hopper, and drummer John Marshall.
In the past decade Holdsworth has varied his music career, engineering and inventing electronic sound-processing tools, including The Harness. He has several unique electric guitar designs now produced by Carvin, and has worked with luthier DeLap in conceiving custom baritone and piccolo guitars. In fact one of the larger and longer baritones is featured on all three improvised pieces in the new live album, Then! In his expanded and improved home studio, Holdsworth is already writing material for a new album of original pieces, and is planning to participate as a guest musician in several other projects as an engineer/producer. Whether he is playing instruments with the latest electric guitar innovations, piccolo, baritone guitars, or the Synthaxe, Holdsworth remains never quite satisfied in his eternal “quest for the perfect tone.”
Dear EarthTalk: How is it that antibiotics are being “overused,” as I’ve read, and what are the potential consequences? – M.C.
The development and widespread adoption of so-called “antibiotics”—drugs that kill bacteria and thereby reduce infection—has helped billions of people live longer, healthier lives. But all this tinkering with nature hasn’t come without a cost. The more we rely on antibiotics, the more bacteria develop resistance to them, which makes treating infections that much more challenging.
According to the U.S. Centers for Disease Control and Prevention (CDC), overuse of antibiotics by humans—such as for the mistreatment of viral infections—means these important drugs are less effective for all of us. Besides the toll on our health, researchers estimate that antibiotic resistance causes Americans upwards of $20 billion in additional healthcare costs every year stemming from the treatment of otherwise preventable infections.
A bigger issue, though, is our growing reliance on feeding antibiotics to livestock for growth promotion, weight gain and to treat, control and prevent disease. This increasingly common practice is a significant factor in the emergence of antibiotic-resistant bacteria, which the U.S. Food Drug Administration (FDA) acknowledges can get passed onto humans who eat food from treated animals. The non-profit Environmental Working Group (EWG) reports that the majority of the ground beef and ground turkey sold in the typical American grocery store contains antibiotic-resistant bacteria.
Last year, 26 animal pharmaceutical companies voluntarily complied with an FDA request to re-label medically important antibiotics used in food-producing animals to warn against using them for growth promotion and weight gain. FDA also recommended that medically important antibiotics be prescribed by licensed veterinarians and only to treat, control and prevent disease. “We need to be selective about the drugs we use in animals and when we use them,” says William Flynn of the FDA’s Center for Veterinary Medicine. “Antimicrobial resistance may not be completely preventable, but we need to do what we can to slow it down.”
Still some worry that the FDA’s action doesn’t go far enough, given that farmers will still be able to administer antibiotics to their livestock for disease prevention. The fact that more and more livestock operations are switching over to Animal Feeding Operations (AFOs) whereby animals are confined in crowded enclosures (instead of allowed to graze at pasture) means that antibiotics will play an increasingly important role in disease prevention.
For its part, the FDA argues that since veterinarians need to authorize antibiotic use for disease prevention, farmers and ranchers are less likely to overuse antibiotics for their livestock populations. The same can be said about doctors’ limiting the prescription of antibiotics for their human patients, but only time will tell whether such newfound restraint is enough in the fast evolving arms race between bacteria and our antibiotics.
Of course, consumers can do their part by avoiding antibiotic medications unless absolutely necessary and eating less meat (or giving it up entirely) to help reduce demand.
EarthTalk® is written and edited by Roddy Scheer and Doug Moss and is a registered trademark of E – The Environmental Magazine (www.emagazine.com). Send questions to: .
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Maybe it’s because both Jamaica and Hawai‘i lie close to 20 degrees latitude north. Maybe it’s just the island thing. Whatever…reggae, the native music of Jamaica, has always reverberated in the 50th State, influencing a number of artists and bands. None have achieved the level of popularity and acclaim of Natural Vibrations, who incorporate this sound along with the pop, rock, and rap music of today to create their own unique sound. Formed in 1993 as a group of friends getting together at backyard parties in Kahalu‘u on O‘ahu’s Windward side, before they knew it they were performing locally, recording, and touring on a regular basis. Today, they are one of the most popular bands in Hawai‘i, with a growing fan base on the Mainland and beyond.
Natural Vibrations, also known as Natural Vibes, Natty Vibes or simply Da Vibes by their countless fans, describe themselves as a “wild, sexually explicit, three-ring circus-like, hard-partying, fun-loving, pop/rock/reggae band.”
Critics have praised their straight-ahead, no-holds-barred pop/rock/reggae style, blended with their sweet treatment of classic, timeless love and relationship themes.
So it’s no wonder that when you ask music fans in Hawai‘i, from their teens on up, who their favorite band is, the answer is invariably “Natural Vibrations!” Indeed, their live shows are social/cultural must-see events unto themselves.
Although Natural Vibrations is comprised of six very different personalities, the synergy between them is extraordinary and comes together on stage, creating a dynamic visual/musical experience. Their fans pack the front of the stage, dancing and singing along with every song. Their musical backgrounds are varied…citing influences from Prince and Michael McDonald to “old school” Bob Marley and UB 40. Each member of the Vibes plays multiple musical instruments as well as contributes to the band’s songwriting, and five of the guys trade off on lead vocals, adding to the strength and diversification of the show. When you see them in concert, you’ll become an instant fan! That’s why some refer to them as “the Grateful Dead” of Hawai‘i. Their show is the place to go!
“If you’re always up and you’re always willing to go out there to make things happen, you’re glory bound,” says Revolution Mother vocalist and pro skater Mike Vallely. “It’s a general statement about the life that I’ve lived and that I’ve chosen for myself. And it’s very direct about where we are with the band.”
The aforementioned positive philosophy Mike V. speaks of also happens to be the story behind the title of the Long Beach, Calif.-based rock act’s striking Cement Shoes debut full-length, Glory Bound. With an array of tracks produced by Mudrock (Avenged Sevenfold, Eighteen Visions) and Andy Johns (Godsmack, Led Zeppelin), Glory Bound is the most accurate musical snapshot of Revolution Mother today — and one that has been constantly evolving since the act’s inception.
Formed in late 2005 by original members Vallely and guitarist Jason Hampton, Revolution Mother immediately picked up where the pair’s former project — Mike V and The Rats — had ended. With Hampton holding a penchant for blues-based overdriven riffs and Vallely’s proven vocal delivery, the act slowly eased away from its former all-hardcore foundation, first evidenced by the 2006 release of its debut five-song EP, Enjoy The Ride.
Revolution Mother retooled its line-up later that year, adding bassist Colin Buis (Twilight Transmission, Mean Season) and drummer Brendan Murphy (also from Twilight Transmission). After forging an alliance with a reputable management team, the band quickly began to write and record tracks for Glory Bound.
But Revolution Mother simply couldn’t lean on its hardcore-based roots. Hampton, the band’s primary songwriter, moved forward and continued to write additional material, eventually penning and recording one of its most pivotal, poignant tracks, “Above The Crawl.” The doomsday buzzsaw guitar leads and slamming snare intro instantaneously signaled the band’s transition into its current, straightforward rock ‘n’ roll course.
“I was just thinking, this is it,” says Hampton. “Fast songs are great. Slow songs are great. But there is something that grabs a hold of you when you can tap your foot and bob your head to it. For me, that is what draws me to a band.”
After recording nearly 20 tracks from which the band chose for its album, Glory Bound is a fine-tuned, carefully selected set, highlighting all facets of the incredibly diverse Revolution Mother songbook.
Revolution Mother also tightened its live set for the Vans Warped Tour, performing on its own stage — and garnering a few main stage opportunities — courtesy of the tour’s founder and longtime skateboarding advocate Kevin Lyman. The act supported the release of Glory Bound on the entire 2007 installment, performing two sets each day for 45 cities.
The tour brought about another significant change in the band, by further refining its direction. “I think the evolution of the band, the sound and what we’re about as a band, that evolution definitely happened over the summer,” says Vallely. “And it really came into focus what we’re trying to accomplish. It’s very simple. It’s dropping all the previous ideas of what we’re about and where we’re coming from, getting past the genres and realizing that there’s good music and there’s bad music. There’s genuine, heartfelt, real deal stuff and there’s corporate, churned-out garbage. And it’s as simple as that.”
“I think as far as the Warped Tour was concerned, it’s mission accomplished,” says Mike V. “I think we accomplished everything we set out to accomplish, which was to keep our heads down, play as hard as we could every day and have the most intense, aggressive sets of the day, no matter what.”
“I think we all kind of realized subconsciously — it wasn’t something we dialogued too much about as a band — all summer, as I let the iPod play on shuffle, that you know bands like the Sex Pistols, aren’t just punk rock. The Ramones, they’re not just punk rock. Danzig is not metal. Metallica is not simply thrash and Bob Marley is not just Reggae. The good stuff rises above the genre and just becomes good music, straight up rock and roll. If you have to categorize it, fine. But the good stuff just becomes rock ‘n’ roll in the end. From Elvis to Dylan, The Beatles, Sabbath, The Clash, Fugazi, Nirvana — to me it’s all just rock ‘n’ roll. For us to have tapped into that and shaken off the influence and narrowness of the punk or hardcore genre has been very liberating. We’re still a punk band in spirit but at the end of the day, we just really want to rock and roll.”
The straightforward rock ‘n’ roll theme had to be signposted for Warped attendees. “For some reason, it seems like a lot of audiences need to be told what they’re watching. So after the third song on our sets, I’d say, ‘By the way, this is called rock ‘n’ roll,’” says Mike V. “It’s crazy, but in the Warped Tour environment, there’s a lot going on. It’s so hard to know what you’re supposed to like anymore because there’s so much out there.”
For example, Vallely would wear his denim jacket on stage in one hundred degree heat, simply because he felt like he needed to do anything to make his band stand out and be seen. “And then it just started feeling right — I couldn’t go to the stage without it.”
The thing about us and our so-called ‘gimmick’ is that we can back it up,” Vallely says. “Try us. We were given this golden opportunity to do the Warped Tour and you better believe we’re going to use every resource available to us. It’s a war out there.”
“At the end of the day, you want to put on a show,” he continues. “People want to see a show. We realized that there were certain factors that had to go down. It’s showtime, it’s gimmicky, but it’s the real fucking deal. We’re genuinely serious about what we’re doing. We believe in it. It’s the love of music, the love of making music and the love of sharing it with the audience. It’s really simple.”
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Imagine Billie Holiday playing ukulele under a palm-thatched hut in 1930′s Waikiki and you’ll get a taste of the soothing sound of Leftover Cuties. A delicate mix of sultry crooning, tender melodies, and bittersweet lyrics, Leftover Cuties harkens back to a simpler age when music was as likely to come from a soup-line or a smoke filled speakeasy as it was from a recording studio.
Shirli McAllen (singer/songwriter) and Austin Nicholsen (bassist/songwriter) began their lives together as Leftover Cuties in 2008. It was, in fact, an impromptu jam session with Austin’s ukulele that led to the creation of the Cuties first song and the title track of their debut EP. Seizing that creative seed, Austin and Shirli began working on Leftover Cuties in earnest; writing songs, recording, and assembling band members. After long months of hard work, the Cuties played their first show at The Hotel Cafe in late 2008 to a packed house, followed by the release of their debut EP “Game Called Life” in early 2009. The EP was co- produced with well-known producer/mixer/engineer Ryan Hewitt (John Frusiante, Cat Power, the Avett Brothers).
Since, the cuties have filmed their first music video for the title track “Game Called Life”, have played over 100 shows in the L.A area, recorded a cover for pop song “Poker Face” which had recently gotten over 20,000 views on You Tube due to a mention by Perez Hilton and Lady Gaga on twitter, and are already hard at work on their forthcoming full length album with well known producer Tony Berg (Peter Gabriel, Pete Yorn, Jesca Hoop). The album is due out in 2010.
The Cuties EP title track “Game Called Life” was very recently placed as the theme song for a new Showtime series called “The Big C” staring Laura Linney.