Australia Saves The World Alisterz.

com 2009 hollywood music page by Mary Eng dedicated to David Lamar RIP and to Nick Maybury for becoming my dearest friend and hero

A chat with Andy Clockwise-January 21, 2009: published also as Andy Clockwise in the Afternoon on braingarbage
I first became aware of Andy Clockwise the first evening I went to Cranes, last May, 2008. I had to meet him. The happy coincidence of befriending the spectacular team behind Alisterz.com provided for a three part interview, with questions from Janine, Canise, and myself. We sat down at Crane's Hollywood tavern on El Centro on January 21, 2009.The questions for the interview came to me in a panic one day. As though Andy alone held the answers . . . or might provide the missing code to unravel the angst besotting my soul. I could not thank him enough for the blessed experience of knowing the fabulous set of pretty young things, artists, writers, and musicians that congregate in a clockwise fashion. The signification of Andys art transcends a catchy tune. His genre-transcendent repertoire and stage presence are evocative of the unnamable stage greats of yore. If his role in the upcoming film Everything will happen before you die, or the recent celebrity sightings at his shows are any indication, great things are afoot for the Clockwise. And Andy Clockwise's name originated with a school joke, meaning, counter-clockwise or Anti-clockwise, in Australian English. And he has total denial of the name Andy Kelly, today at least. I can't help imagining that something about Andy provoked this counter-clockwise christening. He is witty and astute. Its like pop music, only interesting. Andy has already blasted through the indy music scene in Australia, topping alternative charts. He doesn't seem to acknowledge his charisma, and luminous drawl he has on his fervent fans. His drive to connect with his fans is ignited by a sincerity, a shameless joy, an innocent love of music and people. I asked him about his current band. Stella he met when she was nineteen, one of the best drummers ever, he states "you just don't find drummers that good." Josh Norton on bass and with "magical harmonies," and Nick Maybury on guitar. Sal and Smitty come in at times, as does Lady Tigra. He'd love to play with a full orchestra one day. Genre-hopping is a part of his admission that he is "very easily bored." To stay centered he says, "I drink, and I box. How macho." His debut album about characters in Sydney was culled from his personal observation of their lives. If Andy could do anything to help someone, he would help his friends. Oh and he does! He is famous for lavishing love upon his audience, calling them geniuses, legends. Both celebratory and satirical, the song "Everybody's in a band" reminds us that every one of us might flourish artistically. Andy's accolades fly back at him like a boomerang. Genius, legend, ha. I still have little to say, maybe even less than before. Except go. Go to his shows. Don't miss out. And if you are so lucky as to meet the man, you will be charmed. This Friday Night, January 30th at Hotel Cafe which will be a fun lil get together in Hollywood! 1030pm Interview by Canise, Janine and Mary Written by: Mary Eng

A rainy afternoon with Nick Maybury, January 23, 2009 :

Maybury, not the generic standard.

On the afternoon of 1-23-09, Alisterz.com had the pleasure of speaking with Nick Maybury, Los Angeles-based lead guitarist.I hate to say it but Nick may be more suited for a poem than prose. His manner brings clarity to the stage. Like cool clear water, effortless sounds infuse magic into the particles of air. As we listened to the music of a rainy afternoon in Silver Lake, I wondered how or why my instinct brought me to him. I dont know. It is just so good to feel inspired by someone who so obviously takes his art so seriously. Janine and I sat down with him for a chat. He was born in 1982. Nick remembers he and his brother singing Born in the USA into broomsticks, on a backyard garden table, sung with so much conviction, despite being Australian. That was the first song he can remember. Now settled in LA, music will take him to Vegas next week and he just returned from a fundraiser gig in New York. We were so lucky to track him down. Weve spotted him around town, from the Viper Room to the Gibson Showroom. His sonic expression has found admiration in a vast array of circles. He borrows from different genres and has a background in blues and soul music. The ideal band experience involves mutual respect and a same level energy-wise and skill-wise, he says. The best live experience is telepathic and free . . . natural . . . flowing. Its important to be careful not to over-rehearse. Nick told us that last night at the Gibson showroom in Beverly Hills, he had Nothing prepared and that was the idea. How to snatch the crowds attention, on the spot and do something, specific for them. I like to manipulate the guitar signal with my effects pedals." The entertainer is supposed to be different, he says, in a sense providing escape. When speaking of his recent work, he said its about creating a party. Entertainment for nine-to-fivers who want to have fun, and lose themselves in something freakish on the stage. Hes all about mood and atmosphere. Theres a difference between business and creativity. There is a time to Stick to product and keep it consistent. I asked if other art forms are inspiring. He said relationships with people inspire him. And humanity and the universe and the way the world works, and questioning that. Great things happening this year. Its a good vibe. Look for him in Prism Eye, Thunder from Heaven, Andy Clockwise, Mink, Billyboy on Poison, playing with Lisa Harriton, with Perry Farrell, and solo . . .

Interview by Mary and Janine Written by Mary Eng

Snake of Eden January 29, 2009:

Alisterz.com Loves Snake of Eden! Kelii, Rock, Izzy, and Oskar sat down to speak with Canise and I the evening of 1-29-09. Could they be any more glamorous? They are a Swedish rock and roll band that looks more like an LA band than any LA band currently ever could . . . Whats going on? The Stockholm music scene has had resurgence of what they reluctantly call Hair Metal. The Dagbladet Swedish newspaper uses the word Glamrock, which in Swedish refers more to eighties influenced hard rock bands, though Bowie-esque Glam is also an influence to the Snake of Eden. Besieged by media attention at home, Snake of Eden has found a refuge tucked away in central Hollywood. Now represented by StockXchange Music they are hard at work on an album which might push them into the Japanese market with a major Japanese label. It would mean a lot of touring and an exciting twist to their already adventurous fashion sense. They are already pop idols at home. An hour of signing posters means throngs of screaming girls. They even write their own column in OK magazinethe Swedish equivalent of Seventeen. They love Big Sexy Hair hairspray. And they love a special brand at home even more. They buy 13 bottles of at a time to bring to the USA. Walking down Hollywood Boulevard means being besieged for pics. Some people take pics on the sly. They say dont be afraid! Take a pic! They are headed to Le Deux tonight! Find them!

Maybe they would like the publicity. They do a fantastic job working their image in an image-based culture! Musically they are influenced by Hanoi Rocks, Chuck Berry, Guns and Roses, Aerosmith, the Sex Pistols, and the Ramones. They love classical music and flamenco and reggae and try not to get stuck in what they play. They are visual artists and Rock loves to make up classical composition on the piano. They got their name from the Ouija board. Sweden loves culture and gets behind artists with scholarships and arts funding. Hmmm. I asked them regarding their definitive style, if they ever get negative attention for it? Well, they were beaten up by Nazis in Sweden, profiled by the police, or called f------- on the streets of Hollywood. I think they are perfect. Japan is going to love them. When they go home they are very pursued by Swedish mediaonce, they clocked three TV shows and two magazines in 1.5 hours. Its easy looking from the outside to think that Hollywood is the most beautiful place in the world. What is the actual truth is the dirtiness of Hollywood. The dirtiness is a part of the glamour. Poverty in Hollywood was a shock compared to Swedish model of social protection. Unfortunately you learn to stop caring. Or you still care, but you learn not to notice as much. In Sweden, university, college, and health care are all free. They have efficient hospitals, it might take 15 minutes to get care. In America you might wait six hours or drive around to five different clinics. The lesson: Shape up America!!!!! Stop driving so much cars. Too much paper. Too much rules. Everything has to be so controlled here in America. Its rude. His first month in the USA, the drummer Oskar had a run in with racism. Oskar was hit by a stranger, and racist cops urged him to prosecute the wrong suspect. The cops said heres your chance and Oskar was like no that is not him. . . . No way man, take me home. It was just so racist. But Swedens not perfect either. Nazis kicked them down. They were bleeding and taken to the hospital. Kelii had to get stitches. Swedish cops are literally afraid of the Nazis and protect the Nazis from the anti-fascist agitators. Nordic runes, and even the Swedish flag have become Nazi symbols. The anti-fascists would throw stones, and might be more violent than the Nazis. So, nothing is perfect anywhere. But, after the George Bush re-election all of Europe was saying really? and is this a joke?" America seemed stupid. But the people here in California can be cool. As for the new government, Snake of Eden, like all of us wonders if the only change will be just talk. They started at the Santa Monica College and have studied at the Musicians Institute, and they appreciate the academic musical approach they have learned in school. But the live performance is what really congeals the act. At the moment their focus is on the new album and the work in the studio. They are geared to be adaptable to the changing music market with I-tunes, and a classic album release. They are open to new ways of transmission, advertisements, sponsorship, product mentions, reality television, schemes such as pre-selling licenses for a fixed number of albums. Tours are a big part of the music. They do it for the kick! Moneys not that important. To share music and appreciate their fans is what they crave. I told them I was dreaming of getting Swedish hip-hop to LA DJs. I asked about all the Swedish pop sensations. They like a lot of it. But some of it is unfamiliar. They say maybe theyve been in America too long. Maybe we should read OK magazine. Their walls are plastered with rock and roll memorabilia including an Alice Cooper Stockholm concert poster. They are inspired by art from India, and world travel, taking their gypsy style from Rome to South Africa. They used to live near the Sunset Stip where the party tried to creep indoors at all hours. With the rock and roll look perfected, they plan to stay beautiful forever by eating healthy and exercising. Breathing the LA smog is like smoking a pack of cigarettes a day. The air in Sweden is fresh, in contrast. Izzy recommends face cream every night. Canise agrees, face cream at night, and hair spray in the morning. They love the art of their tattoo artist friend Will Card and the hair magic of London LeGrand and Shari on Fairfax and Melrose Snake of Eden loves Alisterz.com and has promised to mention us for their next Swedish interview!

We love Snake of Eden!

Written by: Mary Eng

Brian McGuire Beguiles us January 29, 2009:

Brian McGuire is as soothing as tea and toast, which is what my mother fed me when I was sick to my stomach. His smile might fix an ailing heart. Janine and I were delighted to have his company the afternoon of 1-29-09 to talk about life, art, and music. Brian is the apotheosis of dj vu something about him is so uncannily familiar, likeable, brotherly. I always feel like a part of a Norman Rockwell print-ad when in his presence. Notable film critics love him, and have him pegged him as the new young Bill Murray, an interesting accolade that points to his likeability and his quiet humor. If indeed everything will happen before you die, we sure are lucky to meet Brian McGuire! His mom put him to sleep listening to Kraftwerk and Pink Floyd. It obviously worked. What a mom!!! I feel that Brian McGuire is an ultra-wonderful-life-like Jimmy Stewart doppelganger who has walked into my awareness, and I feel like an imaginary bunny. Harvey, perhaps. Only Brian was the Bunny at Catholic school, complete with a Bunny suit and a dramatic leap to his death, flying off stage, with a thud in a Don Cayote stage play. He perfected a more natural death as per request. On a hot quiet January afternoon in Los Feliz, he told us that his DJ skills were refined in the warehouse and club scene. His folk music (as alter ego Gene Wilder) tells of lost friendship and polite defiance. He might be Gong-man in a paper bag, trapped in a grunge metal world, with Thunder from Heaven. Or enclosed in a wrestling mask talking on a cell phone despite being on stage, which is so LA, to always be more important than the moment at hand. Left House Publishing is splitting into three groups. The Attic has Thunder from Heaven. The Basement will be another side of music. In a few weeks hes importing a brilliant brother hip-hop impresario from Chicago to rock the Left House publishing and continue work on the Dirty Digital project. Conversation was a scat. He delivered a near monologue story to our laps. Im overjoyed to have the audio record, as it occurs to me that Brian in person is more fun than any confection of words singing his praise. Gene Wilder plays Cranes once a month or so and took a regular spot at the Cat Club for years. At thirty-three, Brian speaks with the wisdom and sensibility of an older generation. Having been handed a DJ spot at raves prior to understanding the concept of matching beats, he taught himself, and manifested the warm bodies to fill the clubs, and became a paid hit DJ. He became quite good. There is really no separation between music and acting. Acting is metaphysical. He lives for acting, but makes music nonstop. His new film Everything Will Happen Before You Die stars Andy Clockwise as a street musician, and Joey Capone as a cross-dresser. I cant wait! The wise words of a monk in a nightmare crystallized into the next indy breakout film. Watch out! Technology invaded his last film, a craigslist-drenched tragi-comedy. The logic of distribution methods has made In Search of a Midnight Kiss a bigger hit in Europe than in the USA. Though if you get a chance, see it, and you will feel exactly like you are sitting at La Poubelle, with an actress you know, and you might have just suffered through some kind of craigslist purgatory blind-date, or casting cal. Its the place to be. Brian got to do publicity in London and Poland. Greece loves the film by Alex Holdridge. Brian is the guy youd want to give your eulogy at your funeral, he is just so nice, sincere, and heart-warming in person. He has such a coterie of talented friends it would take pages to name them all. Dave Warden of the online Weed Report has contracted McGuires music company to be the exclusive music for the stoner web phenomenon. For a year, McGuire did a song every week, released onto the web, such is his dedication to art. He stays creative all the time. No dormancy for Brian McGuire. Dan Finkle is behind Everything will Happen before You Die. Dont miss it.

Written by: Mary Eng

Kate Crash February 5, 2009 :

Rainy days are the best days for interviews.

Kate Crash is building a conscious intermedia revolution. All the rules are being broken She is all about interactive audience engagement. Kate Crash informed me that dinosaur day is a newly declared 5th of the month holiday. . . every 5th . . . celebrate it! Intermedia projects involve: collage, music, painting, fashion, lyrics, dance . . . Poetry is a part of her background and she found nourishment in Neruda and Edna St. Vincent Millay. Bob Dylan, Leonard Cohen, and musically feels inspired by Karen O. of the Yeah Yeah Yeahs with whom she shares a producer, Nick Launay. Eminem, Bowie, Missy Eliot, Brittney, Nirvana all inspire . . . She is is the chameleon combiner A collage. She thinks everyone pulls their identity and art from somewhere . . . People used to compare her to Peaches. Which I think is more about Peaches strength and unsettling confidence and showmanship. It used to bother her, but now she thinks that people can compare her to whatever they want. Now its MIA, all about the combining sound. And people get Kates music now, because of MIA. But Kate thinks there is room for more than one wild frontwoman. Karen O. Madonna Peaches. Blondie. As women we are responsible for changing the standards of beauty and behavior. She talked about looks as they help success. And her stage presence reflects inspiration from Mick Jagger and Iggy. Women Might have to work harder, but the key is to stick to the true self. She is all about Changing the zombie culture of the world. Her recitation of lyrics recalled another day, an era of an oral tradition. With the pop format, Kate can bring poetry into peoples homes and lives. Society is at war because people are at war. She advises to leave anger and Operate out of love. Wary of addiction-riddled eco-activists, who save the world between lines, she finds authenticity and clarity from her meditation practice which helps put her in touch with cause and effect. We all have the darkness within us, but we can rise out of it in creativity. Greed has failed the system She might be considered the savage love child of Iggy Pop and Timberlake. She calls it hip pop punk Ronson meets Cobain sums up the guitar style. She makes art within the mainstream to change it. Pop music with a catchy chorus sucks people in and then she can get away with murder in the verses . . . Darker songs from the past, involving impossible loves and her music now is more celebration . . kids love her . . .pop . . .rock . . .old punk rock people love her. As Bowie was respected by artists, music people, the mainstream, she crosses demographic separations in her appeal. When I first met Kate Crash, she was wearing a yellow and black striped outfit reminiscent of a techno interpretation of a bumblebee. She was on her way to a shoot or a video filming. My brother Gabriel eng of gabrielengphotography.com has shot her picture. Shes unforgettable. I finally got to see her live act at Cinespace in January 2009. A master of reinvention, she never appears with the same look twice. I liked the blue hair and the silver lame suit, or the metallic blue suite with Kate Crash embroidered on the back. I saw her this fall after she had just come back from Japan where she got involved in the street performance art scene. Chanting helps her to focus. She has more confidence than 100 of the rest of us put together. She can tear up the dance floor and her live act incorporates a vigorous dance component with costume changes, her gypsy electro band ensemble, supporting dancers, and her MC host. Early February she will perform for a fashion show as well as at Mister Ts. She performs with a headset mic that permits her to pirouette, kick, and dance into the crowd, all while singing. She is multi-instrumentalist, a dancer, a poet, a performer, a singer. What is amazing is her flair for the visual component of her persona. She is always dressed to kill, with a riot of color

and texture. She stays fit with a raw vegan diet. I dont like to draw comparisons but if I had to Id say, think Pink meets early Madonna meets Gwen Stefani . . . .but you see Kate is Kate, and there is no one like her. Check out her myspace URL: /katecrashmusic . . . Recently she had favorable press on KROQ with legendary Rodney Bingenheimer. Her past involved humanitarian work in the Middle East, although her approach has changed. Its all about love. Taking critique. And hard work. Be willing to do the grunt work. . . I had to make the dream a reality, you cant just dream and say it, you have to dream it and do it! And keeping people excited and working with the new tech-based short attention spans. Kate Crash the persona is a movement. Im just the face of something already going on. Two shows on Saturday February 7th! A fashion rock show for designer Nathalia Gaviria at 6363 Hollywood Blvd. 8pm Saturday. Then Mister T's in Highland Park where she will have the total artistic freedom to tear up the stage. And beyond that Good Heart in Venice Tues 10th and Thursday an art event downtown on Alameda. Stay tuned.

Written by: Mary Eng

Rebecca Stout January 30, 2009:

Rebecca Stouts manager Daryl Saunders of Revolution Records gave me a cassette demo back in 1997. I worked at the now defunct Sunshine Grocery in the arty Belmont neighborhood of Nashville, Tennessee. There were four tracks I played on repeat in my little Toyota Camry. They were trip hop and momentous and hit me like Bjork. Then in the summer of 1998 I met a neat girl at a party who played acoustic haunting folk spiritual almost Celtic-sounding songs about witches and spooky folklore in East Nashville, long known to be haunted by the Bell Witch, a string of arsons, the KKK, and the ghosts of slavery. It was Rebecca. Rebecca later referred to all this creepiness as the Dirty South and oh how dirty it is. I mean Nashville bigots are currently trying to make Spanish illegal. In fact any accent besides country, southern bumpkin puts you at a clear disadvantage, and you are likely to meet with discrimination. My loyal adherence to Greg Garings classic country revival (often featuring the legendary Kenny Vaughn on lead guitar), pointed me towards investigating the Shakers, a folk goth ensemble that haunted the nineties round about NashVegas as we called the horrid and wonderful township of Music City USA. Greg played fiddle. Rebecca, but a teen, sang with the Shakers. You tube it. Then I caught her new late nineties thing Rebecca Stout and the Circus Inebrius on the stage of Exit/In with 20-30 members playing all manner of instruments and non-instruments including washboard, spoons, bongos. She wore a gorgeous flowing vintage nightgown in red. Elliot Wilcox of the Glam Rock outfit Milkshake played guitar with a battery powered vibrator used as a slide for some ridiculously weird effects. I saw her clogging upstairs of Bongo Java once. Then Baby Stout, more of a blues/rock/hiphop kind of thing blasted into my awareness with the anthem against the sexual abuse of children. The song Probably a Pedophile discussed the epidemic of child abuse and cover-ups by family members. The song was an aggressive punch in the gut to the complicity of an establishment which harbors, ignores, and protects abusers. As Rebecca so courageously sang I aint going to turn this down cause it needs to be said these people are f----- in the head and deserve to be . . . I moved to California in 2003. Got a postcard one day from Rebecca. It had been sent to my old Tennessee address and then forwarded back out to CA. It turns out Rebecca had moved to LA. Chasing music glory led her to love. She is now the mom of a beautiful girl and heads the Friends of the Children of Macarthur Park Committee which seeks to repair the historic park in LAs Koreatown. She is a new member of the city council. In collaboration with green designers Xavier Llongueras and Maureen of Mosaic Design on Cahuenga, Rebecca is excited to have just been approved for the grant funding that will enable the park rehab project which will embody ecological principles. I want to ask Rebecca if she knew that Beck makes reference to Macarthur Park in his Guero/Guerolito projects. Everybody knows the Frank Sinatra or Jim Webb version of MacArthur Park. Its an intense neighborhood with a history of grandeur and extreme police brutality as recently as 2007. Rebecca now sings with a Bulgarian womens chorus---in Bulgarian. She also collaborates with her friends back in Nashville, laying vocals over tracks they send her. She is Stout Projex and she is a workaholic extraordinaire with the vision and dedication to pull things together. I wonder whats next for her.

Written by: Mary Eng

Thunder from Heaven : Part 1&2: February 6, 2009:

Part One: I cant believe it. Cam called to set up an interview. He said on my voice mail that there are new tracks up on a website called Reverb Nation. I checked it out. It sounds glorious to me. But then again, I like grunge and metal and emotional intensity. I miss the nineties. I like freaky stuff. Thunder helped me through a black spell of depression last summer. At one show Cameron, the lead singer, mentioned watching a murder in NYC as the inspiration for a song. Skinarexic Psycho reminds me how any of us male or female, might just disappear if we cant find a way to feed ourselves, physically and spiritually. One time I told Cam he was looking great. He looked back at me and said, Well, at least Im eating. I became a regular follower last June when Thunder had the opening slot of Cinespaces Camerata with headliners The Devils Orchestra. Cameron is a genuinely nice individual, despite his model good looks. It might take you off-guard. How nice and sincere. I bet hed really like my favorite black metal band Naglfar. Since Nick Maybury added his brilliant touch last autumn with a bow and slide, the band has expanded in a wonderful direction, with an orchestrated richness in the soundscape. Brett mans the saxophone. Eric has the bass. Stella, the extraordinary, beats the life out of the drums, and Cameron spills his soul on the stage with lyrics that are enigmatic, cryptic, and immediately gripping. Brian McGuire of the In Search of a Midnight Kiss fame, sometimes shows up for general stature-related, comedic, and gong-related purposes. The marketability of suffering is a good question, when a lot of music is about celebration. Thunder will be a part of the McGuire Music Oligopoly, Attic Division. Im voting for catharsis and exorcism, and that means Thunder. Thunder at the Roxy, or the Viper, or Cranes and Cinespace. We cant wait for Stella to get back from tour. I love the rawness and exposure and frenetic intensity as it unfolds in a Thunder from Heaven show. Cam has been know to take sweet ballads from the eighties and add a whole new level of intensity. At the last show I caught at January 9th at Cranes, Cam played a new song about a mountain and a rainbow. To me it meant the mountain of the suffering mystic who retreats from the world, and then dreams of love, rainbows and things. It set me to panic, it was so real. Nobody is going to believe this but Thunder from Heaven is one of my all time favorite live acts, finishing in queue with the Melvins and Radiohead. But I never saw Naglfar or The Horrors live. I wish Rodney Bingenheimer knew about them. Ill keep trying to find Cam so I can tell you more about his world. Cameron Powell models for Ezekiel print ads. Part Two: Speaking with Cam on the 30th of January was the culmination of a long passion for his art and poetry. The most valuable crystal of poetry he spoke regarding the songwriting process was a rhapsody on the subject matter . . . It is not love of the particular, or a story of a broken heart . . . it is a Love song with the earth . . . Living with the fear of death A background in the underground hardcore scene of Virgina influenced the chemical makeup of Thunder from Heaven, a band which hovers on the periphery of acceptable, in the LA musical landscape. The scene was "highly punk rock . . . i love punk." Is it retro or now? Talking to Cam brought me down to earth, on a day of stress and other concerns. So far I can write nothing regarding the interview because my mind is so clouded by the exaltation Thunder brings me. And because my knowledge of the genre is so scarce. To contextualize Thunder one would need a better understanding of the history of punk and grunge and metal. All I know is the Melvins and . . .vaguely of Bad Brains . . . and how much I loved the punk at Lucys Record shop in Nashville. I loved Murdered Minority. A friend showed me The Germs and the leadsinger of Legendary Shack Shakers put a rockabilly twist on punk and got a Jello Biafra endorsement as the best living band frontman. Really, I dont know a thing about the genre . . . I just know that times I want to leave LA, I worry about leaving Thunder . . .how would I live without Thunder? Cam says a blues vibe is good times and refs John Cash, Black Sabbath, Fugazi, Hatebreed,and I asked him about

covers . . . Like in the fake real world, there is no dignity in cover songs, but it conveys so much reverence for the inspiration of others . . . Pat Benetar . . . and Thunder makes the odd cover new, enchanting, and so sad, Im sorry, but that cathartic, gut-wrenching element is intrinsic . . . and if it sets your nerves on edge maybe it were better to listen to Edvard Grieg or something . . . And so if you check out Reverb Nation, youll find a nice new blitz of noise. Band lineup has undergone transition. When Nick shows up the ambience changes . . . the . . .guitar with bow, and the meandering, melodic soundscape underneath the harsh jagged rant of Cams soliloquies . . . so interesting . . . and I miss and love Taylor who heads up the scene at Bardot now, but Stella keeps a mean tempo, and its all good. Bretts sax, and I have loved Eric on bass, but everythings going to be new on March 1st 2009. Post-"get over yourself LA" show, we dont know what to expect, except Cam says everything will be new. Heres the scene: Cinespace Sunday March 1, 2009 Sorcerer, fast metal rockingness Thunder from Heaven Devils Orchestra If its not a packed house . . . we will have revenge on you LA. . . bring earplugs if you want to have hearing in old age.

Written by: Mary Eng

Toledo of The Toledo Show February 10, 2009:

Bardot Monday had a fun DJ set that lit up the dancefloor with mellow tones. Perfectly bespectacled model boys and tipsy glam hipsters twirled. Our excellent Maestro Toledo ignited the Toledo show in the main room. Funk with a up to the minute dance resonance, an industrial jazz sound, instruments including sax, drums, trumpet, keyboard, guitar, and bass expertly played, and sensuous dancers. One of the crew, a male dancer stole the show with his moves. The low mellow sinister tones of Toledo belied the vigor of his multi-dimensional live act which includes a troupe of sultry cabaret style sirens. We sat with Toledo at a pub Sunday night before his show at Harvelles. Roger, Alisterz wizkid, graced us with his elegant presence. Canice and Janine of Alisterz were looking ubersupermodel, as usual. Toledo presided over the interview with a magical Zen Master wisdom, helping crack the Koan of his brilliant career as choreographer and entertainment impresario. He started show business with what he calls a fluke. His career has spanned life in Paris to tours in Australia to packed shows in St. Louis to the classic Viper room The Toledo Show. He was originally deathly afraid to sing and told us that you have to find your voice. He is always nervous. And thats a good thing. If its a room of 50 people one night, or a club with 150, 000 the next day, the feeling is still the same. You come with what youve got, no matter whos there. Toledos been at show business for sixteen years. According to Mikey Speziale of the Viper room, the Toledo Show began there thirteen years ago, and some of the current Pussycat Doll Viper Room dancers, also dance with Toledo. The Toledo Show could be described as cabaret crowd-magnetizing decadence, evocative of the 1920s Josephine Baker Paris jazz scene, or the 1930s decadent cabaret culture of Berlin and Dresden that coincided with the dark expressionism preceding WWII. There is a speakeasy ambiance transcending time and place, evoking many eras and many modes of expression. And Toledo has choreographed and performed for the best, working with Paula Abdul, Janet Jackson, Moonshine, Propaganda Films, the film Dark Streets, and designer Thierry Mugler. Toledo told us about the video music revolution being similar to the current web/tech upheaval in the huge scope of its impact. The video format enabled a strong dance component to become a critical, central part of the artistic process. There was an expansion of the dance genre on a massive scale. When Toledo performs he is 100% himself. Costumes, cigarettes, the persona . . . He is about collaboration, not totalitarianism. He said this, flat out. His scintillating musicians, he gathers by word of mouth, as musicians breed musicians. The gorgeous industrial, blues, funk, and cabaret-loving cognoscenti of Hollywood know him, and follow him. The Toledo Shows tricky tricky speakeasy vibe is seductive. I had never seen him perform before last night. The ultra-exclusive door process of Bardot, and the force field of paparazzi lurking outside had me intimidated. Fortunately, I know someone, who knew someone, I know . . . .blahblahblah and I was allowed in, to view the understated ultra-Justice-inspired stylish, je ne rerette rien, glitterkids/ Hollywooderati in the private world of Toledo jazz. . . . The live expression of Toledo calcified the importance of the interviews wisdom transmission. Toledo is surrounded by the best people, period, period.

About his band, each player is a virtuoso. Toledo says every one is a frontman in his own right. They record all the shows. As for the stunningly refined dancers, Toledo starts with choreography, then gives the dancers freedom to feel the pulse of the show. Otherwise it looks contrived. His dancers work with him for years, and the often go on to create on their own, or work with exciting shows and projects. Toledos followers literally travel internationally to see his work, but Toledo is personable and has the humanity and kindness to meet each fan like a dear friend. I felt like we were disciples. The heft and value of Toledos bestowal dawned on me last night. He has such great wisdom about creativity and productivity. From Merce Cunningham to Martha Graham to Isadora Duncan to the present . . . Toledo is a dance maven and has transformed the art and shaped the face of modern dance. Astutely he notes, music and dance are synonymous. He is in love with the endless possibility of creativity. His motto is to keep moving on, so as not to become stagnant. His albums are never the same. The constant change provides a sense of truth. The journey is the coolest, most important thing . . . and his creation comes from the subconscious cortex out of his cells and the machine has his vision opened. Changes in the music industry have resulted in decentralized command which empowers artists as it opens it up for the world to hear what they are starving for. Namely, authentic original expression. The imperative to be yourself and preserve a unique artistic identity has never been so important. Be the first you! he intones. Nobody wants to hear the 25th version of the Rolling Stones. He says he wants to be the first me. Whats the point he asks, of being rich but miserable, overdosing, committing suicide? When he sang about dreams for sale last night, I felt the philosophical complexity of his genius at work. He told us stories of tours, and the excitement of being on the road, of sinister racist promoters, and adoring fans making a huge breakfast in his honor. His core wisdom never go anywhere without your people might help prevent the high-jinks swindlers that haunt the entertainment scene from wreaking too much havoc. So in regards to the Toledo Show, Find a way to see him. Bribe the doorguy. Discover the shibboleth. Befriend the genius. Sit down buckle up, or get up and dance! See Toledo. He plays Bardot, the Kress, Harvelles and more . . .

Written by: Mary Eng

DJ Keith 2.0 . . . a DJ saved my life . . . February 16, 2009:

Keith 2.0 of Cinespace and Boardners Club Moscow is on the top of my list right now. Im dying to write about him. I asked him what he was doing last night. He said making a lot of sad people happy. The week before I asked jokingly, if the DJ holds an important role in music or society. He answered, what rock band do I know personally thats played to a crowd of 6,000? About technology, he says that changes in the industry mean that the people that make art right now are more likely doing it for the right reasons. As in, passion, conviction. So art for arts sake, rules again. How longs it been? Which brings me to other fun issues like the notion of authorship. So blahblahblah Shepard Faireys in trouble for not giving the photographer photo credit for the Hope poster instrumental in the recent election outcome. Authorship? Property versus collaboration? Are people becoming more or less creative? Do we really want to go back to phonograph records? Should we say, no stop, dont load your song up to your myspace, lets pitch it to the last man standing at Capitol or whatever, sit on it for a few years. This is such old news. Unbelievably, I once spoke to a fellow who worked for the LA Opera whose interpretation of copyright protection included a prohibition on even loading Pimsleur Learn French Compact Disc series on to my laptop. That would be theft, fraud, I mean a total outcome of crime, guilt, and shame, as well as the possibility of broadening my horizons with some linguistic flexibility. It would be better to stick to English, and keep talking to stupid people. Ahhhh. Yes.

Furthermore, by way of example, he affirmed that photocopying a Robert Frost poem from a book would also violate his ethical code. Not that Id get near Frost, without convent sisters forcing me at it anyway, but heavens, what is facsimile, if not the chance for the light of a divine spirit to shine on? Gillian Welchs song Everything is Free Now came out in the heyday of Napster. My brother, a musician, was appalled at the freecultures dawning. He loved the song which describes mournfully the life of a talented artist scraping by on tips. But if everything were free, everyone would have a full belly, somewhere to sleep, and hopefully download this song one way or the other, and know the profound genius that is Gillian. James Oliver is to my mind the most interesting intellect of Hollywoodwhich---sorry guys---does not say much, except that he is so off the charts in every way. We discussed the entire subject rapidly. He apologized, I know you like Justice, but dont you sense the iconography of totalitarianism at play. And Im like yes of course, thats why its so brilliant. It is the music of a new era, and what topples one totalitarianism better than another? Anyway, Keith has his hand in the game with the music he plays. That Hollywood in anyway might be a trendsetting place would be a notion of our vanity. But I feel like DJs shape minds, save lives, get out the vote, and fix broken hearts. I feel like Justice and the whole Simian Uffie Ed Banger shabam, Ratatat, and new Portishead really have helped push things over the edge sonically in terms of ideology. Whether or not the youngsters of the day are going to put up with fifty thousand levels of BS in every facet of their lives. Whether or not property is an illusion, whether or not we are ok with war, or might politely say as Shephard Fairey would suggest, NO THANK YOU. I mean no thank you to the whole economy. Let your coins be found on sunken vessels, or under the ashes. Thank god its over. Now that the affluence mythology has crashed we might start thinking globally in terms of humanity, the earth, our connection to it, and pain, war, suffering, hunger, genocide, rape, violence, racism, repression, thought control. And what will any of it matter should we continue to destroy the earth? Who wants to obey any more? No more follow, no more obeisance pay. Hail to the thief. A sliding scale. The end to commodified compassion. The end of everything. Bip Jeffington, another LA DJ prodigy, saved my life summer 2007. He really made me pay attention to a lot of good music, and made me happy enough to deal with my unfulfilling job. Im not supposed to admit the intensity with which I became enamoured of the Faint, the Klaxons, Mystery Jets, Le Castle Vania, Does it Offend You, Yeah?, The Fratellis. Peaches really dawned on me, Yelle, Ladytron, Dirty Sanchez . . . Bips gorgeous friend Andi rocks the human relations aspect of their club presence at the Ruby and Arena. They are gorgeous, and kind, and give away free tickets, and made me feel again, young, and in love with sound and motion. Bip Jeff held the Portishead release party for the Third album last spring. Machine Gun was the only extant track on the myspace, with machine gun fire industrial drum beat, and the plaintive wailing celtic mourning song of guilt, of poison in the heart. I felt her walking through the carnage of yet another war. In an era when the apolitical, is the safe road, I felt her to be singing her repressed outrage, when no one else has the guts or voice to cut the callouses off the hardened hearts of us. And the terrifying electronic rhapsody plays like a requiem for techbots, who let the poor starve in the streets and walk by, and let another war slip past, another genocide, another heartless century. Could we listen to her? And if Justice by appropriating the iconography of the holy roman empire has captured our passion, inspired our need for ironic animal oblivion, will they also not too, help us live another day, that we might not fix something about this broken sphere? At least someone showed up to vote. But a hope poster is a lot different than actual . . . But Keith 2.0 gives me hope, sustains my hope, when there is so little left. I talk to homeless people on the way down to hear him play. A few months back, I fell mad for the Crookers Lonely Stoner/Day and Night. I dont know the names of his co-conspirators, but I know I like them, and each and every one has a unique DJ style. Keith 2.0 has a priestly air about him, as he ringleads the Camerata Cinespace DJ booth. The spiritual cleansing that occurs with his rigorous lineup of good music, good DJs and the adherence that his fans have is captivating. I just dont know where and if there is better music being played in a cooler atmosphere. What struck me first was the speed of transitions. Our Ipod-wired minds tune out after 30 seconds, in which time,

Keiths got a new a new layer, a new song, a new twisted beat, or mash. Its not just that he and his coterie are impeccably attractive. I joked that Id just write something without an interview because Im so anxious to have a word out about how cool his scene is. It all points to a larger issue for me which is whether or not music can transform us into compassionate, more intelligent beings, which is my hope. And the happiness I feel dancing, and the spiritual regeneration is enough to make me homesick for DJ Keith 2.0 unless I get to hear some tunes on a regular basis.

Written by: Mary Eng

I Love Richard Ray! Friday February 20, 2009:

I like Richard Ray . . . He plays at the Standard downtown . . . Tuesday 5-9pm . . . His style wows me . . . we had to meet up. He's a jazz guy, among other things, plays clarinet . . . I can't wait to check out his DJ style . . . he sat down the day after his birthday . . . to tell me about the optimism of music, the future of mixing, his library of 8,000 songs, the pattern "cover, original, remix" themes, moods, spontaneity, customized sets . . .creativity . . . We sat at Groundwork Coffee, Friday, February 20, 2009. It was the day after Richard's birthday. Coincidentally, Shepard Fairey's birthday party was the night before in a warehouse downtown. I found out too late, by Twitter, and lamented missing it. All the sudden, celebrating the artist seems so important, especially now as his role in the free speech and antiwar movements comes to the centerstage due to the recent AP suit and Boston police harassment. As the bit-torrent pioneers Pirate Bay bureau representatives sat trial all week due to the Motion Picture Association of America's attempts to force American laws on Swedish people, there could not be a better time to get to know the force of DJ culture in LA. DJs to me are at the heart of the cultural revolution, the revolution of music, information, and love. That's why I wanted to talk to Richard Delvone Ray. I am really curious about his influences. Miles Davis came up. Technology is helping creativity, because people can make and record music faster, without having to pay engineers. He's played music, promoted and DJ'ed for years. He's multi-instrumental and he sings. It's easy, he says. All people should make music. He cites the studies that show multi-fold benefit for spirit and mind. With the web people can think out of MTV norms, and really get creative, and build a following. He notes artists that want to share their music. Collaborate, layer. He loves all genres, with a few exceptions and describes his ideal set as eclectic, but not "esoteric" more a walk through a museum is the desired effect. We laughed about the accelerated time-dating that goes on now with our web-based attention spans. How he loves to take something retro--play a bit--and then the crowd flashes back "oh yeah, summer 2006!" and it keeps it fun. It's time travel, really. I didn't get to speak to Richard Ray as long as I would have liked, but I want to be hearing him out and about. He's got a set at the downtown Standard 5-9 Tuesday evening . . . and if you get to make it out, you'll love Richard's effortless, gentlemanly cool, and groove on his signature good taste. . . ilikerichardray@yahoo.com for inquiries.

Written by: Mary Eng

David Lamar/Nick Maybury Hotel Cafe Blues Residency February 22, 2009:
Coming from Nashville, Tennessee, Im spoiled. Im used to the highest quality studio musicians populating every bar on lower Broadway. Im used to barhopping from old country to southern rock to blues to jazz to bluegrass to experimental industrial all in a night, not to mention the late night jam sessions into the a.m. When I hear Nick Maybury and David Lamar revive an old blues sound on the sacred stage of Hotel Caf, I feel they are propelling a blues renaissance. Hurricane Katrina caused a diaspora of great Louisiana blues and jazz talent to scatter to the furthest endpoints on the map. When I hear Nick and Dave, I hear an old time music, made with reverence for and dedication to the past. To talk blues or Maybury, we must first talk the origin of the proto-guitar 5, 000 years ago in Africa or Asia, or the modern evolution to electric in the 1940s. Electrification lit up a blues which nourished a people oppressed by centuries of racism in America. The blues were blue for a reason. Miles Davis was Blue. Maurice Ravel named the second movement of his 1927 sonata No. 2 in G for violin and piano The Blues as blues became an international phenomenon made available by the early phonograph records. This work predated Ravels first trip to America. The blues traversed the world as a result of industrialized music distribution.

Even the shamisen and a vocal layer, might sing something universally experienced beyond Americana and its sphere of influence. What is the blues if not folk music, in the sense of volka people? And indigenous blues, as spontaneous sorrow, sprouts anywhere there is a human soul. When Nick touches the guitar, Nashville greats come to mind. Kenny Vaughn play live and in studio, and is perhaps the most mind-blowing lead guitar player alive. I first knew him as the show-stealing lead for the Greg Garing old country revival experience, which quickly traversed genres old country to swing to surf rock to jazz and back to rock and country again. Watching Vaughn and Garing get lost in a dueling lead guitar solo conversation was a gripping, mind bending, edge of the seat experience. Kenny Vaughn played with many bands and sessions in Nashville and can be seen on YouTube. My own best friend David Soldi came from a family of music royalty. His great grandfather, fiddle player Cactus Soldi from Sicily holds a spot in the Bluegrass Hall of Fame, and his dad played lead guitar for Johnny Cash. When his dad was on tour, Soldi (which means cash in Italian) would sneak into the guitar vault and teach himself. Soldi was a ringleader for Black Label Empires best bands of the early 2000s Nashville music scene, orchestrating the sonic splendor of Communist, Funiki, The Brian Kotzer Band, and serving as resident lead guitar wizard muse for a host of creative people that coalesced around dive/audioparadise Springwater taverns music scene and the Elliston Place bar crawl. Before my father slide into complete dementia, he pioneered a crusade to get Deford Bailey, the first AfricanAmerican to play the Grand Old Opry into the Country Music Hall of Fame. Deford was the grandson of slaves. My father was in love with the blues sound of the fifties which directly flowed out of the American slave system. In the 1950s, Steve, my father would walk the line of racist segregated Blues in Washington D.C. and cross over into the club scene as a teenager. So blues are in my heart and blood and DNA. And what was rock-and-roll , especially early Beatles and Presley but a repackaging of indigenous Blues into an acceptable format for a racist zeitgeist? They brought a blues legacy into popular modified transmission. The disavowal of inspiration in the dark roots of the dirty souths slave system was a part of the sanitization process. In North Nashville, old time Blues greats still light up dingy old clubs. Memphis sings. New Orleans has reconfigured after the great flood. And Nick Maybury and David Lamar will be keeping the blues alive with a residency at Hotel Caf. Their next show will be March 8, 2009.

Written by: Mary Eng

Alisterz.com 2009 music blitz written by Mary Eng Hollywood, California, U.S.A. extracted from http://alisterz.com/index.php much thanks to the beautiful Justice, Canise, and Janine for their graceful support much thanks to my father stephen richard eng whose work as a music historian immensely fueled my passion for The Pirate Bay and p2p music and data much thanks also to julian paul assange of wikileaks for giving me the will to live in 2011
addendum: (written during the 09 TPB persecution) Dopaminergic effects of music p2p is a neurochemical issue files get us high but live music might even do more- - files are billboards, advertisements, or dead relics of a formerly living thing . . . elliott smith to whom to we give royalties? The blood on the floor . . the public domain . . . can I live without your song . . . must I? Could you live with us and our banalities, greedsystems unending . . .? non-stop webstreams of live concerts daily? Beck's MTV makes me want to smoke crack . . . control 60 channels, nothing on . . . any prohibition does not dissolve neurochemical dependencies insatiable music needs concurrent with the global economic crises and tightening copyright restrictions (IPRED< BREIN, 3 strikes, etc.) leading to huge music deficits addicts do not care for law law is not the value system dope is music is dope

music as currency music as traded stocks in the chaotic shuffleboard that is an international smorgasbord with a lot of sharing people . . . united . . . incomprehensible to capitalism a cognitive wealth post-capitalistic and shared a culture if you will existent solely by virtue of sharing and deemed illegal yet sentimental nonetheless to we, a peoplean anti-copyriot mafia anakata? Sure, or the undead left over after war's bloodbath hungry for a fix against the ugly doom of war's death rattle and tax-driven dividends . . . the undead narcotized by music out of the nihilism a warstate a fascism might inspire inasmuch as we ever united to conspire that money has value p2p is the new socialism all belongs to all and enough is quite a lot lagom the rhetoric of the property people is so outlandishly passe, as to be unworthy of engagement, yet they want power over mind, matter, info, money, courts, persons, propaganda---more illusions in less sophisticated transmissions systems of courts and diplomacy and the national press lawsuits, takedown requests, strategies of disruption, junk files, deceptacons, crafting anti files to stall the ecstasy system (p2p) if tpb or the internet were a court inasmuch as any court exists by virtue of collective value making/communication or any authority is conferred by consensus and groupthought and tpb whether mafia or the new legitimacy and peers the communicants/criminals/ or the tribunal of the future pronouncing dead and criminal the old money system as it commits hara kiri before the eyes of our generation we do not even need slay it undone itself . . . and the consensus of the tribunal of p2p being fairshare enough is as good as a feast . . . and joy is the value system (money is not) and art a very worthy thing . . . endow . . . that art may thrive! Music junkies want more not less p2p does not want to starve art and artists! In fact it was old Industry which starved 99% while endowing the few anointed eating artists with parasitical fury, years and contracts sucking life and creative joy out of the assembly process . . . and executives on paycuts . . . and so? Q not should we make more laws and enforce re :copyright but rather to the source of the problem Q can we rewire the human minds back to a retrogressed state of minimal needs minimal music, less music, less mixing, less information, fewer languages such that all data acquisition can fit within confines of ever-tightening laws and shrinking purses and salaries . . . [or could you rewire a mind to forget a drug---any would say---no, it is not possiblethe DNA has reassembled--the wash of information has been too acute, too keen, too bright---there is no return . . . to primitivism---- and could a study prove the oral traditions contained in songs . . . should a person be sent to sensory deprivation---say guantanamo? Should that person exposed to more wealth of song not have more neural integration, more stories so to speak, to nurture the fragile psyche through to a process of re-integration, survival until release or death, which----? ] as RIAA essentially asks sensory deprivation and deceleration of transmission . . . for minds rewired for speed of thought and sound emotional death mind control IQ reduction and the priceless advantage of one day's pain and genocide and eco-destruction sugar-coated by the ear candy of p2p and apple's DRM lift and hand in the candy jars of our brains and pockets sue apple sue computers for existing, making it happen or edison or att, nsa's lovemate . . . and the rerouts . . . the implications and 80,000 a song would be worth it if any and every song were a loser song or a creep song . . . and meanwhile africa burns, desertifies . . . meaning someone's looking for water in dry sand and there is nothing there no water no oil but your SUV on the way to court. . . there's no money left to sue us for . . . adios manana goodbye goodnight property illusions of the ruling class goodnight idealism goodnight new colonials and hail to the thief if you escape with your life, that's a lot and this is high-scale banditry organized crime if you will but who was the euphemized criminal first here? And who was the first thug? And whose word against whose? And we're all thieves so long as human rights are denied . . . thieving safety from the doom . . . and nourishing delusions of meritocracy neo-colonialisms racisms fASCISMS opium trades empire narcotics of the masses, music opium panem et circenses keep us more narcotized not less dah! and the people need more want more will obtain more and if ever they needed music ever it would be now so your laws are like a bad song we don't want to hear anymore and likely you'll die soon anyway, so who cares what you say BREIN with your officious all-caps and acronyms,

and mission statements, lined pockets, and mccarthey-era rhetoric, bloated and slow like pre-tech brains grew, undernourished by the sensory deprivation of cave art educations, pre-information, pre-intelligence, pre-wiki, prefingertip perfect thought control blackout. and so how can we, minds poisoned by tpb and kazaa and napster, limewire, frostwire, and the mixtape, return to the 1930's? Simpler times for sure . . . a perfect time for a despot and so our needs for more and more music, more and more dopamine and movement, more interesting mixes---is a chemical dependency. And the endorphins born of the dopamine crazed dancing . . . but another addiction . . . and so we could have filesharing rehabs . . . for the neural expansion and intelligence gained by new song, new stories, new lyrics, new languages, tonalities . . . and with the help of RIAA-sponsored health programs . . . return to that utopic pre-p2p innocence of the record we can relearn to . . . buy what they are selling like it and listen over and over . . . wait patiently . . . until we can afford new albums, after a slow release . . . never mind spotify, last.fm's file laundering service, or youtube's renewing waves of reloads and take- downs . . . electrical effect of hormones on synaptic processes electronic music in particular effect on mind how it conveys credence in the mechanization of modern existence machine-gun mechanizations of human relations computer world music for robots to help robots self realize amor fati love the genocides of our forefathers hellbent on ignorance and information restriction music is information soul/mind as copyright notion was the creative output of a collective consciousness of another era--- rooted in feudalistic notions of property, control, ownership . . . so will new creative outputs emerge displaying more modern expressions of social formations . . . norms normatizing a new commerce names and capitalizations, letters and forms, bureaucracies limitless bounds counterfeits of counterfeits weightless names tags branding sovereignties nationlessness universalities trademarks of dying currencies visions of the neurochemically disadvantaged, the dark minds of pre-web linearity, unhigh, uninspired, tangled up in the fascisms of oil, vietnam, binaries, homophobias, misogynies, racisms, colonialisms . . . . still trying to wrap heads around the VHS congressional hearings . . . still trying to sort out the petrol plastic wrapper on the petrol diamond case of the toxic filaments of the compact disc and ship it off to sea or the cassettes that melted in the global warming sunbake across the desert of this world we created please say . . . . . . biology wherein hunter gather abstracted property so also it abstracts community as property spells war . . . turf . . . massacre so community speaks of higher mind, a library, a sharing ethos, a willingness to communicate with more advanced currencies than the old coinage . . . let this new cognition be interpreted as capitalism by the minds incapable of any other thought but. . . cognitive wealth unfettered even by the bleakest firewall . . . removable by lobotomy might be the memory of the most beautiful song a mirage to help us through the waking nightmare of eco-hellearth destruction, racial profiling, the eternal incarceration of innocents . . . and 25,000 dead a day of hunger in the oven/ gas chamber of our hunger termination program weltmacht and you keep ignoring the telegram and sending the boats back to wander the diaspora and now you want money and nobody even has any any way fools/killers panhandling riaa . . . begging what? of a new wealthy the young rich in freedom and hope love maryeng1@gmail.com braingarbage 8 nov 2011 london