Earth Talk: Dogs, Cats and Climate Change

Dear EarthTalk: Is it really true that our dogs and cats are major contributors to climate change, and if so what can we do about it? — C.S.

 

Unfortunately, our beloved dogs and cats do produce shockingly high amounts of greenhouse gases that contribute to climate change. According to a recent study by UCLA Professor Gregory Okin, American dogs and cats generate the equivalent of almost 64 million tons of greenhouse gas emissions (primarily in the form of methane and nitrous oxide) per year, an amount equivalent to driving 13.6 million cars for a year.

 

 

Besides all of this off-gassing, our cats and dogs are also big meat eaters, which doesn’t help their carbon footprints. Cats and dogs consume about 20 percent as many calories as people do in the U.S.—or about as much as 62 million Americans. And because our pets are mainly meat eaters, they account for some 30 percent of the animal-derived calories compared to what you and I consume.

 

 

So what’s the big deal? In short, raising livestock requires significantly more land, water and energy than growing plants. A recent report by the Worldwatch Institute goes so far as to say that some 51 percent or more of greenhouse gas emissions are caused by animal agriculture. Since we like to feed our pets meat-based dog and cat food, Fido and Buttons are guilty by the ripple effect. Meat used in dog and cat food generally comes from the scraps of meat that humans eat.

 

 

Another reason why dogs and cats are contributors to climate change besides their diets is by virtue of all that…feces. The U.S. Environmental Protection Agency (EPA) even categorizes dog waste as a non-point source pollutant, which places it alongside harmful chemicals such as herbicides and insecticides.

 

 

Meanwhile, cat litter can contain toxins that are harmful to the environment and even human health. Clay, a common ingredient in most cat litters, must be “strip mined,” a process that has already destroyed millions of acres of land across Appalachia and beyond. Many kitty litter companies also use silica gel in their formulations to absorb and deodorize smells—despite the fact that the International Agency for Research on Cancer classified it as a known human carcinogen back in 1997. And those cats that just go outside aren’t doing the environment any favors either, as cat feces can be toxic to ground soil.

 

 

There is no clear or easy solution to this ongoing problem. But little changes can help. For example, try switching your pet over to a plant-based diet — perhaps after a discussion about the options with your veterinarian. After all, you want to make sure your pet is getting enough protein in its vegetarian diet to live an active, happy and healthy life.

 

 

If you’re not willing to turn your pet to outright vegetarianism, you can work in more and more vegetarian food over time. Also, you can still be part of the solution by at least buying organic pet food and compostable cat litter. These few changes might not automatically solve the worldwide problem, but at least you—and Fido and Buttons—will be taking a few steps, er, paw prints, in the right direction.

 

CONTACTS: EPA’s Pet Car Fact Sheet, https://goo.gl/JX2UXt; “Environmental impacts of food consumption by dogs and cats,” https://goo.gl/4Zykhr.

 

EarthTalk® is produced by Roddy Scheer Doug Moss and is a registered trademark of the nonprofit Earth Action Network. To donate, visit www.earthtalk.org. Send questions to: question@earthtalk.org.

 

 

 



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Feb 15,2018: Ottmar Liebert & Luna Negra


Although La Semana is the first Ottmar Liebert + Luna Negra album with all-new songs in five years, the multi-faceted, Grammy-nominated, platinum-selling guitarist has been his usual prolific self, writing, drawing, touring and exploring, his myriad experiences informing the 13 evocative instrumental compositions on La Semana.

Like his music, Liebert is respectful, creative and open-minded; a thoughtful artist who likes to begin albums with a concept and structure, even if it’s an untraditional one. But he’s also intuitive and open enough to let the music decide what it wants to become. Thus, the more than an hours worth of songs on La Semana began with a firm direction, though ultimately the record found a different path to completion. “I usually start with a title before I start an album,” Liebert explains. “The title decides what the palette will be; what sounds I’m going to use. It’s very important for me to set certain limits. Will it be a color album or black and white? To me, La Semana is a drawing. As such, musically the record is back to basics with the wooden box drum used in flamenco, the clapping, and the palmas. It’s all one acoustic guitar, no electric, no lutes, no steel string guitars.”

Conceptually, he says, “La Semana began with the idea of a diary, perhaps in a leather-bound package, and each song would be titled after a different day of the week. I was going to write a diary entry for each day/song.” However, as a renowned instrumentalist, Liebert decided he didn’t want too many words to potentially interfere with La Semana’s pure musicality. So a few months before completion, the concept of La Semana shifted. “For me, the beautiful thing about instrumental music is it allows each person to have their own interpretation of what the music is about. The eyes rule over the ears; that’s the way the human body works,” he observes. “And if you’re being told something, the music takes a second seat. In the end this idea seemed too confining; I want music to be free of that specific a context.” So the diary concept segued into one of discovering a box of photos in your grandparents’ attic, La Semana’s songs invoking mental pictures and aural-inspired mental memories.

Furthering that idea, La Semana, on Liebert’s own SSRI label, is released in two formats. The first is a less-expensive, simple CD package, letting the music do the talking. For the collector who wants, as Liebert laughs, “the whole enchilada,” a collectible CD box is designed to look well loved and worn, and includes 27 pages of photos plus drawings and notes on each song, in a limited edition of 2,000 copies. The Santa Fe resident has also created a font from his handwriting to further personalize the elaborate but organic package. The drawings will be his own, a “loose collection” of his art. “I had guitar lessons since I was 12, but then I went to an art school, so for a long time I knew more about paintings, drawings and art history than I did about music,” explains Liebert. “A few years ago I started seriously drawing again.”

One of La Semana’s most alluring songs is inspired by one of Liebert’s favorite artists, painter/filmmaker Jean Cocteau. (Pablo Picasso is another beloved influence.) Like Cocteau himself, the song is somewhat mysterious and idiosyncratic. (Liebert’s song even inspired author Lawrence Russel to pen a story, “OboCocteau.”) “On ‘Cocteau,’ on the guitar in the background, the arpeggio is in 3/4 and the rhythm over it is in 4/4, so there’s an interesting tension, a tug there,” Liebert explains. “I’ve written songs in 12/8 and 5/4 in the past,” he furthers. “In ‘Longing,’ the whole verse, the guitar and bass are in 3/4 and the drums are in 4/4, but the chorus, everything is in 4/4. When some musicians do odd time signatures, it’s too obvious. To me, it only works if you like it, not because it’s an odd time signature just to be intentionally clever or different.”

What is different about La Semana was Liebert’s recording process. In keeping with the innovative, flamenco-based world music that has marked his career, the multi-talented artist recorded the songs for La Semana in his home studio, Sprial Subwave, by himself, sans an engineer, for the first time ever. Liebert found the process freeing and delightful, as he explains: “I can’t be in two rooms at once, so I’d set the microphone and computer up to record. I’d use a delay function that goes back 16 bars, which was enough time for me to go into the other room and get my headphones on.” Liebert played to his heart’s content, no time constraints and no outside judgments. “It’s a great moment and it’s more personal because of it.” Besides bass and percussion, all of the sounds were made on the flamenco guitar, and Liebert’s longtime partner in Luna Negra, Jon Gagan, came in when it was time to lay down bass. Gagan will also be on the 2004 tour in support of La Semana, together with Ron Wagner on tablas, dumbek and percussion and Robbie Rothchild on Cajon, Congas and Djembe.

Each of the 13 compositions on La Semana has a fascinating back-story to match the beautiful musicality, although the songs are easily enjoyed in and of themselves. “AlhambraJackson” has old roots, back to 1987, when Liebert, a funk virtuoso, got more seriously into flamenco. “Someone suggested I incorporate some funk elements into my flamenco playing, and this song is a delayed reaction to that suggestion!” he laughs. “The Alhambra is the palace of the Moorish king in Granada, Spain, and Paul Jackson Jr., the number one RB session guitarist, has been a hero of mine for many years.” Hence a song that combines both: “AlhambraJackson.” Other songs have a more recent genesis. Of “La Luna (Lunatic Love Letter),” Liebert recalls, “This melody just flowed out of my guitar one afternoon–all at once and in one take. It’s one of my favorite tracks on this album. I imagine this song is a love letter…there is a hesitation in the first note of the melody and then the ink flows freely…seldom have musical notes seemed more like words to me, full of meaning.” On the evocative “Cave In My Heart,” recollections are buried beneath the surface, yet, Liebert says, “you can hear memories bubble up to the surface like lava in the middle of the song.” The end of the song features Gagan’s slithering fretless bass work through a virtual amp, which is set to overdrive and distort to create a gorgeous sound.

Although in the years since Liebert began his career, much has changed with the music business, the guitarist has changed with it—and perhaps even ahead of it, La Semana being the first-internet only release via the guitarist’s own Spiral Subwave Records International label. With SSRI, formed in 2001, Liebert is in control of all aspects of his art and career: “We’ll be touring, reaching out to people; I’ll be doing TV appearances and staying in touch with my fans via my online diary, and other internet postings.” He’s also musing on the idea of Internet subscriptions, allowing his fans unprecedented access and immediacy to his new music and art. In 2004 alone, Liebert will have three releases. Transit came out in March, La Semana in June, and a Christmas record, with a special festive packaging of colored CDs, will hit in time for the holidays.

Since 1990, Liebert has released a total of 22 albums, including live releases, Christmas CDs, 10 CDs of original music, a DVD and remixes. His debut album, 1990’s Nouveau Flamenco, featuring the stunning “Barcelona Nights,” sold double-platinum and has become the biggest-selling guitar album of all time, redefining Flamenco music and marking Liebert as one of the most talented, influential and creative guitarists and performers to surface in years. His fans–hardcore guitarists and guitar fans, instrumental music aficionados and numerous lovers of his often poignant, always inspired sound–are ardent in their appreciation of Liebert. Critical acclaim has been equally fervent, Billboard magazine honoring him twice New Age Artist of the Year. From rumba to Bossa Nova to classical to Christmas tunes to lullabies, Liebert has explored and expanded them all, putting his unique stamp and intellectual yet visceral spin to music.

As with everything Liebert does, there are many facets to be explored and angles to traverse. Prior to La Semana’s release, 2003’s Nouveaumatic record marked the completion of a trilogy that began with 2002’s In The Arms of Love: Lullabies 4 Children + Adults (which was followed by number two in the trilogy, February 2003’s The Santa Fe Sessions). This concept was first explained on the 2001 CD Little Wing, his album of stellar covers. Going forward, Liebert decided, his CDs would be color-coded in conjunction with the musical formation contained within. Blue would be solo material along the lines of In The Arms of Love. Red would be Luna Negra music, such as the acclaimed Nouveau Flamenco, and would be mostly acoustic; and gray would be remixes of earlier albums, as 2002’s Euphoria was a remix of 1993’s Grammy-nominated Hours Between Night and Day. “This way there are three distinct directions. I need to split myself into parts because I think I’ve taken some of the mixing as far as I can take it,” explains Liebert. “I like these three different elements of my music too much to not take them each into a separate direction and let them grow. I think by splitting into three entities, the people who like all of my music will have more music from me, and those who like one style more than the other will be able to pick just that.” Thus, La Semana is a “red” album, and will likely be followed by blue and gray releases.

Liebert has always been a creative thinker and doer. Born in Cologne, Germany to a Chinese-German father and Hungarian mother, he traveled extensively through Europe and Asia intent on fully absorbing each musical tradition he encountered. Liebert was, and remains, influenced by everything around him, from museums to nature to books. “I read very early on,” he reveals. “We didn’t have a TV. We didn’t get one until my grandparents moved up to a color one, and I was 12 years old. And we didn’t have a phone until then either!”

La Semana is a stellar release from a singular artist, a Renaissance man who nurtures his songwriting, guitar playing and albums like the children they are. And he invites everyone along for the journey through life. “Music is about seducing someone to what you’re feeling, your vision. As a guitarist, I’m enjoying discovering, how, really, a melody is an associative process. It’s a Rorschach test. You have a bunch of chords and what do you associate with that?” he muses of the myriad emotional avenues. “As you get older, more possibilities emerge, as you have more experience.” Liebert is also interested in collaborations, leaving the door wide open. “I enjoy it the more twisted it is. I’d love to do something with a really hard rock band, because you think, ‘how the hell is this going to work?’ It leaves room for finding something new,” says the guitarist. And with the universe as his palette, Liebert has indeed created something new with La Semana, as he concludes; “Music is a discovery for myself first, and second for my listeners. My soul is my antenna, I am the instrument + the guitar is my amplifier.”



Manhattan Beach California Area Articles

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Dec 23,2017: Cubensis


Since 1987, Los Angeles-based band Cubensis has carried the torch in celebration of one of America’s most beloved touring bands, the Grateful Dead. Cubensis sets out to re-create the Grateful Dead experience by emulating the sounds of Jerry Garcia, Bob Weir, Phil Lesh, and the rest of the legendary San Francisco jam band. Cubensis plays completely spontaneous shows covering all eras of the Grateful Dead, and no night is ever the same. Cubensis is far more than just your standard cover band as they bring the magic and sounds to those longing for the live vibe that only the Grateful Dead was able to deliver. The group has been acclaimed for giving new life to the Grateful Dead’s material, bringing in new styles, new innovations, and new jam band fans, while at the same time remaining loyal to the original music and the original fans.

CUBENSIS brings the Grateful Dead concert experience back to life. Drawing from all eras of the Dead, the band performs a three-hour set of Grateful Dead and JGB classics that retains all the spontaneous exploratory jamming for which the bands were renown. However, the music produced is uniquely Cubensis.

Here, you won’t find the band wearing wigs and fake beards to re-create the Dead experience, unlike Beatlemania. “We don’t strive to play Dead tunes note-for-note,” explains Cubensis guitarist Craig Marshall. “We use the music as a skeleton, and then we flesh it out with our own improvisations. The Dead did that every time they played, and we find it to be a perfect model for our shows. The fans agree. They love hearing Cubensis-flavored Dead.”

The group is drawing national attention with their true-to-life performances. LA Weekly recently raved, “Cubensis plays with the same laid-back mastery as the real McCoy.” The LA Times declared “As the tribute to one of the ultimate jam bands, their set lists are as free and frollicky as the crowd.” Big Brother skateboard magazine says Cubensis is “the nation’s premiere Dead tribute” and the OC Weekly declared them “the hottest Grateful Dead tribute act going.” OC Register affirmed Cubensis was “the best place to channel Jerry Garcia” and AOL Citybeat stated, “Cubensis is renown for whipping its faithful crowd into a swirling, psychedelic mass for three hours straight.”

Cubensis has been pleased to find their most enthusiastic supporters are those who never got a chance to see the Grateful Dead in person, and wonder what they missed. Seasoned “Deadheads” come out to relive the great shows gone by, and as a result, the band is in great demand, performing over 150 shows a year throughout the Southwest. Cubensis was given specific permission by Jerry Garcia to perform the Dead’s music. Garcia’s only request was “do a good job of it.” Ever since, CUBENSIS has promised authenticity and delivers pure Grateful Dead-inspired music like it was meant to be heard, keeping the Dead alive and re-creating the magic one show at a time. Don’t miss it!



Manhattan Beach California Area Articles

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Dec 09,2017: Conquer Our Run

Schedule:

7:00am Conquest Launch
6:30am Check in to get your bibs tshirts, stretch and hangout!

Course Description:

Welcome to Conquer Our Run’s Holiday Questat the awesome Hermosa Beach Strand. Invite your girlfriend, partner, mom, boyfriend, dad, or foe or pal to join us at the beautiful beachfront and conquest friendly running environment. Maybe even take a break from holiday shopping…Forgot about your work or whatever irks you and RUN! This is the perfect place to conquer your limits 1 run at a time. We dare you to join us and run further than you have before! Accept the Challenge!

Participation Limit: 50

Time Limit: 1.5 hours

Total Track Length: 5K – $28, 10K (2 Loops) – $32 (NON-REFUNDABLE)

Click Here For Registration



Manhattan Beach California Area Articles

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Nov 22,2017: Stepping Feet

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Nov 18,2017: Conquer Our Run

Schedule:

7:00am: Conquest Launch
6:30am: Check in to get your bibs tshirts, stretch and hangout

Course Description:

Welcome to Conquer Our Run’s Summer’s Turkey Quest at the awesome Manhattan Beach Strand. Get ready to run and burn some calories pre-Thanksgiving. Invite your girlfriend, partner, mom, boyfriend, dad, or foe or pal to join us at the beautiful beachfront and conquest friendly running environment. Forgot about the holidays and join us for Fun and RUN! This is the perfect place to conquer your limits 1 run at a time. We dare you to join us and run further than you have before! Accept the Challenge!

Participation Limit: 50

Time Limit: 2 hours

Total Track Length: 5K – $29, 10K (2 Loops) – $32 (NON-REFUNDABLE)

Click Here For Registration



Manhattan Beach California Area Articles

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Nov 08,2017: Donna The Buffalo


Donna the Buffalo’s eclectic and often socially conscious music has it’s base in traditional mountain music and is infused with elements of Cajun/ zydeco, rock, folk, reggae, and country. The group’s core are vocalists Tara Nevins, who plays fiddle, guitar, accordion, and scrubboard, and guitarist Jeb Puryear. Keyboardist Dave McCracken, bassist Kyle Spark, and drummer Vic Stafford complete the ensemble.

Donna the Buffalo represents one of the most respected brands in the world of touring roots acts.
For 21 years DTB has performed feel good, infectious music that often moves listeners physically and spiritually. In the words of a longtime fan, “Their songs are well known to contain lyrics offering poetry and sage commentary on the attractions and struggles with love and politics in this life. Their magnetic musical mix has often been described as dance music and for sure there is everything from foot tapping to get up and feel ecstatic moving in their sound, but there is also some deeply satisfying solace in what DTB has to say and how they say it. The dynamic songwriting tandem of Jeb Puryear and Tara Nevins have penned over 140 songs in their collaboration with DTB.”

Their fervent fan base, self named The Herd, follows the band with zeal and has created a unique and supportive community online and at DTB shows across the nation. As an extension of this community and the band’s own dedication to live roots music, Donna started, and are still the driving force behind, the Finger Lakes Grass Roots Festival of Music and Dance in Trumansburg, NY. 2010 marks the festivals 20th year. Stemming from it’s success, a second Grass Roots Festival was started in Silk Hope North Carolina in 2002, the now bi-annual Shakori Hills Grass Roots Festival.

Over the years Donna the Buffalo has had the opportunity to collaborate and/or record with musicians such as Jim Lauderdale, Preston and Keith Frank, Bela Fleck, Mamadou Diabate, Claire Lynch, David Hidalgo, The Duhks, Amy Helm, just to name a few. This past year, Nevins also toured with former Grateful Dead drummer Bill Kreutzmann’s band BK3.

The band’s 2008 release SILVERLINED, on Sugar Hill Records, rose to #8 on the Americana Music Chart. With a twentyone year tenure to celebrate, hundreds of gigs ahead of them, and an ever-evolving grass-roots sound; it looks like Donna the Buffalo is riding a cloud that is truly SILVERLINED.



Manhattan Beach California Area Articles

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Nov 04,2017: Cubensis


Since 1987, Los Angeles-based band Cubensis has carried the torch in celebration of one of America’s most beloved touring bands, the Grateful Dead. Cubensis sets out to re-create the Grateful Dead experience by emulating the sounds of Jerry Garcia, Bob Weir, Phil Lesh, and the rest of the legendary San Francisco jam band. Cubensis plays completely spontaneous shows covering all eras of the Grateful Dead, and no night is ever the same. Cubensis is far more than just your standard cover band as they bring the magic and sounds to those longing for the live vibe that only the Grateful Dead was able to deliver. The group has been acclaimed for giving new life to the Grateful Dead’s material, bringing in new styles, new innovations, and new jam band fans, while at the same time remaining loyal to the original music and the original fans.

CUBENSIS brings the Grateful Dead concert experience back to life. Drawing from all eras of the Dead, the band performs a three-hour set of Grateful Dead and JGB classics that retains all the spontaneous exploratory jamming for which the bands were renown. However, the music produced is uniquely Cubensis.

Here, you won’t find the band wearing wigs and fake beards to re-create the Dead experience, unlike Beatlemania. “We don’t strive to play Dead tunes note-for-note,” explains Cubensis guitarist Craig Marshall. “We use the music as a skeleton, and then we flesh it out with our own improvisations. The Dead did that every time they played, and we find it to be a perfect model for our shows. The fans agree. They love hearing Cubensis-flavored Dead.”

The group is drawing national attention with their true-to-life performances. LA Weekly recently raved, “Cubensis plays with the same laid-back mastery as the real McCoy.” The LA Times declared “As the tribute to one of the ultimate jam bands, their set lists are as free and frollicky as the crowd.” Big Brother skateboard magazine says Cubensis is “the nation’s premiere Dead tribute” and the OC Weekly declared them “the hottest Grateful Dead tribute act going.” OC Register affirmed Cubensis was “the best place to channel Jerry Garcia” and AOL Citybeat stated, “Cubensis is renown for whipping its faithful crowd into a swirling, psychedelic mass for three hours straight.”

Cubensis has been pleased to find their most enthusiastic supporters are those who never got a chance to see the Grateful Dead in person, and wonder what they missed. Seasoned “Deadheads” come out to relive the great shows gone by, and as a result, the band is in great demand, performing over 150 shows a year throughout the Southwest. Cubensis was given specific permission by Jerry Garcia to perform the Dead’s music. Garcia’s only request was “do a good job of it.” Ever since, CUBENSIS has promised authenticity and delivers pure Grateful Dead-inspired music like it was meant to be heard, keeping the Dead alive and re-creating the magic one show at a time. Don’t miss it!



Manhattan Beach California Area Articles

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Nov 01,2017: Secondhand Serenade, He Is We and more


Nearly a year after the release of his debut album, Awake, Secondhand Serenade is back with his much-anticipated follow-up, A Twist In My Story. Rightfully titled, the album finds Secondhand Serenade; real name John Vesely, adding onto his signature raw vocals and guitar with the use of orchestration and a full band.

Carrying the momentum of a carefully crafted career, support from his label Glassnote Records, along with the adoration of millions of fans, A Twist In My Story is slated to be released on February 19th of 2008. The album finds John coming off of one of the most hectic years of his life after appearances on MTV, Yahoo! Music, AOL, Music Choice, in Rolling Stone, and more. Rigorous, national tours followed with other notable artists including the Plain White T’s, All American Rejects, and Hawthorne Heights before deciding to take some time to focus on recording. With the tracks completed a sold out show in support of Good Charlotte helped to ease John back into the life of a touring musician as he played to a crowd of over 1,000 people in Anaheim before the start of his own 24 date, headlining tour that Fall.

The album finds John collaborating with two industry heavyweight producers, Danny Lohner (Nine Inch Nails, Angels Airwaves) and Butch Walker (Fall Out Boy, All American Rejects), as well as venturing into “a whole bunch of different styles of songs.” He knew that crafting these songs in a new environment was essential in terms of his growth as an artist, but Vesely remained mindful to never allow his surroundings change his artistry at it’s core.

“I kept a lot of those same things from the first album because the way I write didn’t change. It just became more complex. Some changes were necessary this time around because of the developments I’ve had as a person and as a performer,” Vesely remarked. “I just wanted to be creative and make the songs I wanted to make. I only used what I thought each song needed and that meant adding some new layers to the cake.”

The layers are evident right from the start of the album. Leading off with “Like A Knife”, the tone is immediately set for what is a heartfelt body of work complete with strings, signature harmonies, and lyrics conveyed with honest emotion. The Butch Walker produced ballad “Fall For You” follows, which is one of many tracks featuring John on the piano. The remaining tracks are of mixed sort, with tracks like “Stranger,” “Maybe,” and the up-tempo “Suppose” benefiting from the sounds of a full band, while others like “Why,” “Goodbye” and the album’s title track, all prove to be just as effective in their stripped down form.

Overall, Secondhand Serenade is out to please his supporters, whom he admits have helped him to reach this point in his life. He claims, “Nothing in my career would be possible without my fans backing me. They are the most important people in terms of any success I have or will ever have.” It is for this reason that he prides himself on keeping a personal connection with fans both on-line and at performances. Additionally, he looks to invite even more listeners into this community he has created.

A Twist In My Story is a new chapter for Secondhand Serenade, taking you through the highs and lows of love and life. John Vesely is a modern day storyteller following a path all to his own while putting a new twist on his timeless tale.



Manhattan Beach California Area Articles

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Oct 31,2017: Who’s Bad


An ultimate Michael Jackson Tribute band needs glitzy jackets, glittery gloves and 80’s regalia. It must pay studious attention to the intricate details of every original groove and gravity-defying dance step. It must demonstrate a commitment to the unforgettable musical legacy the King of Pop left us. Beyond replaying MJ’s countless hits, an ultimate Michael Jackson tribute band must possess the ability to connect millions of people around the globe with each resurrection of our favorite Michael Jackson songs.

In January of 2004, Who’s Bad mesmerized a standing-room only gathering of friends and pop music lovers at a small nightclub in Chapel Hill, North Carolina. They have since played over 700 shows in numerous countries and now boast the title, “The Ultimate Michael Jackson Tribute Band.” Their live performance is a jaw-dropping musical extravaganza that pulls from 3 ½ hours of Michael Jackson’s catalogue and spans four decades of Michael Jackson’s extraordinary music career.

From ABC to You Rock My World, no song is forgotten in this electrifying revival of Pop Music’s Royal Highness. As the longest running MJ tribute band and the only one that predates his passing, Who’s Bad has awed Michael Jackson fans at sold-out shows the world over. Who’s Bad has packed internationally-acclaimed pavilions numerous times, including The House of Blues in Houston, Dallas, and New Orleans; Washington D.C.’s 930 Club, and the River Rock Theatre in Vancouver, British Columbia. Their first tour of China included sold-out stops at Ningbo’s Grand Theatre, Wutaishan Stadium in Nanjing, People’s Grand Hall in Chongqing, Red Stadium in Chengdu, and Hunan Grand Theatre in Chengsha. Who’s Bad also gained the respect and admiration of thousands of MJ fans in the United Kingdom with performances at Royal and Derngate in Northampton, Central Theatre in Chatham, Embassy Theatre in Skegness, The Orchard Theatre in Dartford, The Palace Theater in Manchester and The Pavilion in Glasgow. With sold-out shows from Colorado’s Bluebird Theatre to Romania’s Sala Palatalui and anticipated tour dates in Central and South America, no corner of the globe is safe from this infectious party production.

Founded in 2004 by saxophonist, composer and arranger Vamsi Tadepalli and spearheaded by some of North Carolina’s premiere musicians, Who’s Bad has crafted an intricate performance complete with synchronized dance routines, blaring horn section and down-deep rhythms–each delivered with a precision that could only be superseded by the King himself. They’ve shared the stage with some of pop music’s biggest acts including The Four Tops, Boys II Men, and The Backstreet Boys. Captivated fans include LIVENATION’s Anthony Nicolaidis who calls Who’s Bad, “the real deal,” and Michael Jackson’s longtime friend and manager Frank DiLeo, who, after catching Who’s Bad’s concert in Nashville, TN said, “The show was great… Michael would have been proud!” Such accolades have earned Who’s Bad an invitation to play London’s O2 in December of 2010, the venue where the King of Pop was slated to end his career with a 50-show “This Is It” concert series before meeting his untimely demise.

Whether you idolized the Jackson 5, fell in love to Human Nature or memorized all of Thriller’s creepy choreography, Who’s Bad is authentic, music-driven, must-see entertainment that navigates you back to that special place. As the curtain opens on a Who’s Bad performance, even the most skeptical Michael Jackson fan feels the excitement rising, screams at the sight of that unmistakable silhouette, and succumbs to a surefire MJ sing-along. The energy is magnetic, the musicianship is first-class, the dance moves exhilarating. Who’s Bad is a homage befitting a King and their high octane execution of MJ hits has exclusively catapulted them to the ranks of ultimate!



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