Saturday, June 28, 2014

Commentary: Open letter to an open letter

Photo courtesy of Darkana Kat

Over the last several weeks, the symphonic metal/femme-metal community has been abuzz with talk about the recent “open letter” posted online by Nightwish vocalist Floor Jansen, in response to negative incidents with fans during a recent tour with her band ReVamp in South America. To give a quick rundown, Floor basically pleads her case as to why she feels she must put up certain boundaries when it comes to interacting with fans, and defends herself against accusations that she is a “bitch” or a “diva”. In short, it is a message from a woman asking that other people respect her space; something that any human being has a right to expect.

Upon the publication of this letter, understandably, reactions on both sides of the argument have been heated. Some fans believe Floor should not have ever had to make a public statement about something that should be so obvious to everyone. Others felt that hey, if you don't want to be mobbed by fans, don't be a rock star and go find some other line of work. Still others were so outraged that they suggested that Floor should resign as Nightwish vocalist, if she cannot handle meeting with fans or cannot make herself available to sign autographs or take photos. Seems like Floor has been in a position of “damned if you do, damned if you don't” from the very start.

Reading this letter and discussing this with fellow fans, in turn, opens up the age-old topic of fan interaction; of meeting with “famous people” or our “idols” in music, movies, or art. It's a discussion that anyone who is a fan of anything never tires of talking about, and people have strong opinions on either side. Do we have a right to expect certain things from those we consider famous? What are the boundaries, and what is considered “crossing the line” when it comes to interacting with them? Do we have a right to be angry or to take it personally when someone doesn't come out to sign autographs or take pictures? Does an artist have the right to shun their audience and ignore them completely when, in essence, it is the fanbase who provides them their lifestyle of fame and fortune to begin with? Do public figures have a sort of moral obligation to be role models for society? Should stars just “suck it up” and accept that dealing with fans was something they signed up for when they took on the job?

In the world of celebrity, there are those who are very fan-friendly; people who are always happy to stop and pose for a picture or shake someone's hand, even if they are clearly busy or in the middle of doing something. In return, it makes us feel good to know that as fans, we are appreciated by them and that they recognize our enthusiasm for whatever it is they are doing. For most of us, that's all we really want; just to be able to have a moment to say thanks to that person for giving us something that brings us so much joy, and for them to know that their hard work has made people happy.

However, there are those fans out there who can be pushy and are known to expect more out of these celebrities than just a few moments of their time. The more harmless of these sorts of people can be labeled as “groupies”; but in the most extreme cases they can be outright stalkers. Those who are not content to just get an autograph or to talk to the object of their affection for just a few minutes. These people oftentimes view the celebrity almost as an inanimate object; as their personal property to use as they see fit. These are the people who cannot discern the artist from the art, and feel that because they relate to the artist's work, that somehow they have a claim on the artist themselves.

This can be a lot of the reason why some public figures are clearly not “fan-friendly”; those who go out of their way to avoid fan interaction at any and all costs (think the celebs who travel with intimidating-looking bodyguards, or hide their faces under their coats as they exit from a car or a building). Whether the label is completely deserved or not, they are accused of being “jerks” or “assholes” for not wanting to meet their public. Sure, some stars might actually not be so nice, and maybe their lack of interest in meeting their fans does come solely from an egotistical place. However, there are some out there who have good reasons for not wanting to put themselves in such a position.

To give an example, in the world of rock and metal, the one person who is most known for keeping his fanbase at arm's length is Rush drummer/lyricist Neil Peart. He has made it very clear, both in interviews and by way of his lyrics, that he has no desire to make himself readily available to fans. He has also stressed time and again that it is not because he is a “jerk”; but because the adulation that often comes from fans makes him feel uncomfortable, and he is by nature a shy and introverted person. Because he has been so honest about his reasons, most Rush fans accept that this is the way he is and do not try to seek him out after the shows; nor do they ever expect that he will turn up at meet-and-greets where the other two members of the band connect with fans so that he doesn't have to. In Neil Peart's own words: “People have a fantasy; I don't want to trample on it, but I also don't want to live it.”

For many celebrities, it is this blind idolization that makes them wary of meeting with fans. Some of them do not see themselves as superstars or as anything special; they are just doing a job and cannot wrap their minds around the idea that their work somehow raises them to a level greater than that of anyone else. Still others have social anxiety issues that stem as far back as childhood; after all, it is no coincidence that many artists were bullied as kids or considered “nerds”, social outcasts, or misfits. Just as it is no different for any of us to shake off some of the negative things we learned in childhood; it is not easy for any of them to go from one day being looked at as a nonentity, to all of a sudden being the center of attention.

Another example of the metamorphosis that a person goes through upon achieving fame is the late Nirvana frontman Kurt Cobain. While I do not claim to know anything about Kurt personally, it is common knowledge that Kurt Cobain was a child of divorce, shuffled around the homes of various relatives throughout his childhood, and was taunted mercilessly in school. There were periods in Kurt's young life where he was homeless and slept under the bridge in his hometown. No doubt this has got to wear on a person's sense of stability and sense of self-worth. One can understand how music became his refuge and why a lot of his lyrics can be considered “dark and depressing”.

So then, when you go from living this way almost all your life and knowing nothing else, imagine when virtually overnight, everyone's perception changes of you. When Nevermind reached the top of the charts and Nirvana became a household name, this elevated Kurt from a homeless nobody to a rock star that everyone wanted to be seen with. To go from one day being looked at as a “loser” or a “piece of shit” to almost the next day being called a genius and being hailed as the “spokesman” or “voice” of your generation has got to be heavy stuff even for the most self-confident of people; so it probably was even more difficult for Kurt, who was not always known for having the highest of self-esteem. Perhaps it was not exactly these things that led to him taking his own life, but certainly those things could not have made his life easier towards the end.

Then there are the pressures that come with fame; all of a sudden, your life is no longer your own anymore, and your public demands that your private life is laid bare for all to see because somehow you now belong to the people because of your art. It's not enough anymore to watch the movies or listen to the music; now people want to know who you're dating in your private life, what you plan on naming your next baby, or what kind of food you've been eating to make you gain those 10 pounds that make you look fat. People demand of public personalities the very things they would consider rude by anyone else if it were expected of them. From the star's perspective, they feel a sort of burden to live up to these expectations. As we are a society that loves to build up our idols only to watch them fall, it is understandable why celebrities experience stress over their public image; they could easily lose what was just as quickly achieved. All it takes is one interview taken out of context or an article written out of bias, and your audience turns into an angry mob over something they think you have said or done.

That being said, people somehow get this idea that public figures are supposed to be above us in a sense that they should be role models or pillars of the community. When a star is caught doing something like, say, dancing in a suggestive way at the club, or smoking a joint, people get into an uproar and demand that the celebrity's new TV show or latest album be boycotted and that people stop supporting them; because after all, these people are role models for children and they should be held to a higher standard than the rest of us. But is that really true? I'm sorry, but if you expect your children to model their lives after an athlete or a pop star, then maybe the problem is not so much with the celebrity as it is with the parents who should be looking to themselves to be role models for their own children.

Yet on the same token, this now shifts the perspective from that of the celebrity to that of the fan. All of us are fans of someone or something; even the famous are fans of other famous people. All of us at one time—whether as kids playing make-believe or teenagers dressing up like our favorite rock stars—we all had some superstar that we looked at and felt we could relate to. Understandably, this gives the fan a sort of feeling of kinship with the celebrity; it makes them feel as if the celebrity understands them, and that they understand the celebrity and the deeper meaning behind their lyrics or the roles they play. There is certainly nothing wrong with that, because relating to others is part of human nature. It validates our feelings to know that there are those like us who have gone through the same experiences we have or who enjoy the same things that we do.

At the same time, it can also sour our feelings towards these same people when, for whatever reason, they don't live up to the image we have of them in our minds. Everyone has a preconceived notion of what these celebrities are (whether positive or negative), and there's nothing wrong with that either. After all, we don't know these people personally and all we have to go on is what information is made available to us, so of course we are going to form our own opinions of who we think they are. Just as we have our favorite musicians, actors, and writers; there are also those personalities we don't like, whether it's because we are turned off by their public persona, or maybe we don't care for their artistic style. Whether it's out of bias towards or against the celebrity, we judge them as being good or bad people based on whether we consider their form of art to be good or bad. So when a celebrity we like does something we don't approve of, we almost feel personally insulted; as if they have betrayed our trust by not being the person we thought they were. On the other hand, when a public figure we dislike does something we consider good, we almost don't want to believe it; as though it must be some sort of mistake, or that the person must have a secret underhanded reason for it.

While most of us have a fairly rational viewpoint about the famous and where they fit into the grand scheme of our lives, there is a fine line that can very easily be crossed under certain circumstances. Sure, we all joke about that one celebrity that we would be completely star-struck over if we were ever to meet them; but there are actually people out there who go a little further than just being star-struck. Coming back to the point made earlier in this article, there are those who do not know when enough is enough, and can become downright aggressive when in close proximity to their favorite celebrities. Some of them do not just want to shake hands; they want to grab them inappropriately. Some of them do not just want an autograph; they want to rip off an article of clothing. Some of them do not just want a picture; they want a key to the star's hotel room. At best, fans like these can be thought of as passionate; but at worst, fans like this can be considered obsessive, and therefore dangerous.

For those of us who can remember a time before the internet existed (which was actually not as long ago as you young'uns out there like to think it was!), the gap separating the famous from the rest of us was a lot wider than it is nowadays. Back in the pre-internet days, communication with celebrities or public figures was pretty limited. If you were lucky enough to run into one at a random place or had the stroke of good fortune to have a unique set of circumstances that put you in proximity to one, then that was basically the only way to meet them. The only things we knew about our favorite stars was whatever we learned from interviews, magazine articles, or second-hand stories (i.e., “I have a friend of a friend who knows so-and-so...”). Even then not everything could be taken as truth; because we didn't have things like Wikipedia or Google back in those days, it was easy to make up stories or rumors about famous people, and no one really had a way to verify or dispute those tales. There are some living legends out there who have such stories following them to this day!

Likewise, celebrities were able to live in their ivory towers by not having a way in which to hear a negative opinion about their latest work; unless an admirer was lucky enough to get close to them and share their thoughts, oftentimes famous people could live in their own little bubble, surrounded by yes-men who told them everything they liked to hear and convince them that everyone out there loves what they are doing. Even if there were opportunities for fans to offer their honest opinions, it was easy enough to brush them off as someone who “just doesn't get it”. Their public personas could be carefully crafted by PR agents; we never knew any more about a famous person's private life than they wanted us to know. Whether it was the teen idols of yesteryear having to keep marriages or relationships under wraps for fear of losing their female fans; or movie stars being photographed at charity events or children's hospitals in order to live up to their reputation of being a beloved icon, celebrities could pretty much create their own characters and we were never the wiser as to whether or not those personalities represented who they were in real life.

But times have changed, and the line between regular folks and celebrities has become somewhat blurred. Nowadays fans can reach out to their favorite musicians or actors on Facebook and Twitter; they can become “Friends” with these people and get in touch with them as they would any other person. While this is a very cool thing in many respects, this has also opened up a new can of worms that neither fan or celebrity has had enough experience to know how to deal with just yet. Because we live in a world of online social media these days, we now have a vehicle in which to express our opinions as loudly as we want. You couple that with the mentality that stars somehow “belong” to their public, and this can be a recipe for disaster. A post on a celebrity's wall asking honest opinions from fans about something can turn into an all-out flame war; people feel that because they can express an opinion, that somehow that means they can also be rude or inconsiderate. Posts can range from snarky or sarcastic to outright brutal honesty (emphasis on the “brutal”); not just giving insight on what the artist can do to improve their work, but making personal attacks on them because past works happen to not live up to the standard that has been put upon them by said person.

This sort of thing also works just as badly in reverse; sometimes the famous can get a little punch-drunk off their own hype and start to believe it when people deem them as role models, and that it is their duty as a celebrity to “raise public awareness” for the personal causes they believe in. Case in point: the actress Jenny McCarthy, who has gone on record as to say that childhood vaccines cause autism (despite that there has been no concrete scientific evidence of this). As a result, things like this get around; and like the game of Telephone, people mistake opinion for fact, and suddenly there are parents out there who are not giving their kids vaccines because somehow the opinion of one celebrity has overtaken the inclination to seek out factual evidence for themselves.

A celebrity's influence can be just as equally dangerous to their public as a rabid fan can be, and this is one of many examples. When a star expresses a viewpoint about politics or current events, our first reaction is to say, “what do they know? They're just an actor and should shut up and stick to making movies!” Yet these people are voters and taxpayers just like we are, and have just as much a right to an opinion as we do (besides, when has our lack of knowledge about something ever stopped any of us from expressing an opinion if we have a mind to?). Why should their viewpoints be dismissed just because they have access to a larger group of people to hear those ideas? But as proven with the incident mentioned above, all it takes is for one bit of misinformation to be made public, and one celebrity can change the course of an election or put companies out of business all from a seemingly innocent offhand comment. This comes back to that feeling of relating to celebrities that we like, and feeling that because we know their work, that we somehow know them, and our friends wouldn't lie to us, would they?

It is that feeling of knowing a star or feeling an affinity with them that can create the “psycho fan” mentality; the people who make it to where celebrities must travel with bodyguards or an entourage, and the type of fans that make the rest look bad. It is a measure of safety to always take in the worst-case scenario, and if a celebrity judges their fanbase by the worst of the bunch, then it's a bit of a buzzkill for everyone who has good intentions and does not want to follow the artist home. In short, these behaviors ruin it for everyone else who has honest motives and mean no harm towards the celebrity. But stars have a right to their safety and their privacy, so it's to be expected that they are going to keep their public at a reasonable distance when dealing with them; because when they don't, the worst can happen.

There are so many examples of what happens when celebrities become a little too trusting or are friendlier than basic common courtesy requires; I would be here all day naming just the ones that come off the top of my head, so I might as well just get to the point and name some of the most extreme cases. The most well-known one is probably that of John Lennon, who was killed when stopping to sign an autograph for an obsessed fan.

But not all celebrities killed by fans are done so by way of being friendly or generous; sometimes all the star has to do is be in the same vicinity as a crazed fan, and such incidents can still happen. Considering that my blog is read predominantly by rockers and metalheads, the first example that likely comes to mind among my readers is the brutal onstage murder of Dimebag Darrell (former guitarist of Pantera) nearly 10 years ago. Not only was he callously shot in the head while performing in front of fans with his new band Damageplan, but he was killed by a fan who somehow believed that Dime was at fault for the breakup of Pantera and that the band's music was “stealing his thoughts”. It's obvious the guy had mental issues, and certainly this is where the difference lies between the average fan and the stalker-type fan. Very rarely, if ever, do we hear about cases like this where the person is diagnosed as being mentally stable.

However, if it were that easy to discern the insane from everyone else, then there wouldn't be cases like this in the first place, and celebrities would know who to avoid. Since mental instability comes in all shapes and forms, some people can pass themselves off as being completely level-headed and by all other accounts seem totally normal; so much so that even the celebrity themselves can be tricked enough to believe that the person is sincere. Some may even go so far as to invite this person into their lives and cross over that line from a fan-celebrity relationship into actual friendship.

One of the most horrifying examples of what happens in these situations is probably the story of Selena, the Tejano singer who was just about to cross over into American pop music stardom when she was senselessly shot and killed by the president of her fan club just weeks before her 24th birthday. Her murderer was not only someone that Selena came to trust, but everyone in Selena's family and inner circle also considered her a friend and part of their extended family. Yet when it was discovered that Selena's fan club president was stealing money from fan club funds behind their backs and was not all she seemed to be, it triggered a domino effect that led to disastrous results. In a classic case of “if I can't have you, no one else can”, Selena was fatally shot in the back when it became clear that the woman's days of hobnobbing with her idol had come to an end.

When asked over the years about the woman who needlessly took her life, Selena's family, friends, and husband have all echoed the same statement: they never would have expected this to happen and never considered her, of all people, to have done something like this. (Yes, I did do my research and know the name of the person who killed her; but out of respect for her fan community, who has sort of made it a pact not to ever mention that person's name, I am doing the same here.) For someone who saw herself an artist of the people, was known to never turn down an autograph and always wanted to make herself available to her audience, Selena's tragic death only makes it harder to bear for both her loved ones and her fans; for all it took was one person to abuse the trust that Selena had so easily given. It is a bitter irony that the thing Selena loved most—her fans—was ultimately the cause of her demise.

Considering that the majority of this article has been written from a perspective of trying to put ourselves in the celebrity's shoes, what about the fans; the average, everyday people? After all, most of the people reading this are probably going to be just regular folks and not considered famous. Maybe this is why I tried to write from a viewpoint of putting ourselves in the star's shoes, because oftentimes we are so blinded by the glitz and glamour of what their lives seem to be that we can forget the pitfalls and perils of what that lifestyle entails. It is too easy for us to sit back and look at these people and say that they have it so great; how nice it must be to have a life that is, from all appearances, virtually trouble-free. But with fame and fortune comes a new set of responsibilities and worries that none of us could possibly begin to understand; any more that some of these wealthy superstars can understand the trials of our everyday lives.

Even so, there are those who desire the life of celebrity, and will do anything to achieve it. If they can't become famous themselves, they will do anything to get close to someone who is. In a humorous light, try to think of those old episodes of I Love Lucy where the gang visits Hollywood, and Lucy becomes so star-struck that she goes to extreme measures to meet anyone who is remotely famous. Sure, watching someone climb over a movie star's fence, stare at them at a restaurant, or steal their cement block from the Walk of Fame all looks hilarious when it's on a sitcom; but if Lucy's character actually did some of these things in real life, the celebrities would file a restraining order on her, or she would still be sitting in jail to this day for some of the things she did in order to get close to her favorite movie stars!

However, there are those people out there, as already mentioned, that will go to great lengths to be close to their favorite celebrity. While I've touched on the incidents that led to terrible results; not everyone is malicious in their pursuit or intends harm to the celebrity, but strange things happen just the same. Sometimes people can make a request of a star that doesn't seem extreme to them, but is to most other people (think of that person who asks for a lock of hair, for example). Sometimes people cross the line of civility and do not think twice of imposing on someone in situations when it's probably not a good time to ask for an autograph (think of that person who corners someone in the bathroom stall, or while eating at a restaurant with their families). Even among fans, there is an unspoken code of etiquette that is different for each person, but boils down to their own ideas of common courtesy and respect.

To give an example from my own experiences in meeting musicians (both as a fan and in my years as a review writer), one cardinal rule I have always kept to is not to go near the band's tour bus. Over the years I have seen people hang on the side of the tour bus, knock on the windows or the doors to entice the artists to come out, and I have just always found this to be very rude. Again, each person's code of conduct is different, and what I may consider rude or inconsiderate may not be a big deal to them. But for me, I have always viewed a band's tour bus as the one place that is a “safe haven” for them. For a touring band, the tour bus is their one area where I feel they have a right to expect privacy and shut out the world. When they are out there in public, it is expected that they are going to be mobbed by fans wherever they go; so to me, once they go into the tour bus, that is the equivalent of going into your house and shutting the door behind you. But that is just my own personal line that I do not cross; not everyone feels the same way, nor do I expect them to.

Because everyone has their own idea of what is within limits and what is not, this can result in incidents such as those that prompt someone like Floor Jansen to address the issue. While not all fans mean to do harm when meeting with their favorite stars, sometimes people can easily get caught up in the heat of the moment where the heart can take over the head, so to speak. Sometimes people can get so overwhelmed by being in the presence of someone they have longed to meet that what starts out as a friendly gesture could easily cross over into getting too close into the personal space of the other person. Things can get out of hand very quickly, without any intention to do so from the fan towards the artist.

And as already elaborated on, there are always going to be those who feel that they have a personal right to the artist or celebrity, and have no qualms about crossing the line even when they know it's socially unacceptable. I remember going to a concert once for a band who is normally not considered the type to attract a large female audience, nor have any of the bandmembers ever been considered sexy or fodder for a teenage girl's bedroom walls. However, the woman next to me at this concert made me feel as if I had stumbled into a boy band performance, whenever she would boldly reach up and grab the private area of whichever bandmember would walk to our side of the stage. I do not mean just a quick moment where her hand grazed the general area; I am talking a full-on grope as if she were intimately involved with these men. Not only did I find this to be terribly bold and disrespectful, but the woman's boyfriend was standing right there with her and seemed to have no problem with this, which was almost just as offensive! The band tried to make a joke out of it by changing the words of one of their songs to make reference to this incident, but I wonder how they must have felt; being married men and probably not used to women grabbing at them in this way. Out of respect to their privacy and the privacy of their spouses, I will not say which band this was; but needless to say it was not someone normally known for these sorts of things happening at their shows. But I could not help but feel embarrassed not only for the band, but for myself as a fan, having been subjected to this and to wonder what goes through a person's mind to where they think this is something that is OK to do? In all honesty, what kind of man would approve of his wife or girlfriend carrying on like this right in front of him? I'm pretty certain that this woman and her boyfriend do not go to restaurants and start reaching down the waiters' pants, so why is this different when it is a rock band performing onstage? Why is the level of consideration towards someone's personal boundaries suddenly lowered or thrown out the window entirely when the person involved happens to have any kind of “celebrity” status?

What, then, are the guidelines (if any) on how to approach a celebrity when meeting them? I guess there really are none, other than to go with what you think is right. But maybe we can afford to change our way of thinking on some things too. Perhaps we can get over this sense of entitlement that celebrities “owe” us something simply for being famous. Or maybe we can stop looking at them as a plaything whose sole purpose is to bring us entertainment. Yes, that's what they get paid for, but that does not mean they must be “on” or “in character” at all times. If you have a friend who works at the Olive Garden, you certainly do not expect him to start whipping up spaghetti every time you see him just because he happens to do that for a living, do you? (In fact, usually it works in reverse; we do not normally take our friend out for an Italian dinner once he has  some time off from working at the Olive Garden, because we know he is probably sick of the sight of Italian food.) Why is it so different when it's a movie star or an artist? (OK, so maybe that's a terrible analogy, but on the other hand, if you are that person working at Olive Garden, ask yourself how you would feel if every time you stepped outside, people stopped you to ask if you could make them some fettuccine? Or waited outside your house in the hopes that you would come out and give them a loaf of garlic bread?)

The rules should apply to them as much as it should to anyone else: if a star feels comfortable with giving an autograph or taking a picture, and they seem as though they want to (or are not too put out or bothered by doing so), then fine. But if they are not, we shouldn't take it as an affront to us, or feel as though they are ungrateful or unappreciative of what their fans have given them. Does that mean you shouldn't be disappointed if they are outwardly rude or mean to you? Of course not! But if they have treated you this way, then it is probably par for the course for them and it won't make one bit of difference if you are insulted by it. They are going to go along their merry way (off in their sportscars with their model wives/girlfriends in tow) and not give you another thought. So maybe you shouldn't either.

As the saying goes, hit them where it hurts most: in the pocketbook. If you are disgusted with the behavior of a celebrity, don't buy into what they're selling anymore. Don't go to their movies, don't buy their albums, don't watch their latest reality show. You have power as a consumer, if you really feel that strongly. But you can't have your cake and eat it too: you can't approach a celebrity as if they were a piece of meat, and then become offended when they have rightfully backed away from you and do not give you the autograph you were seeking.

On the same token, a celebrity does have the “right to refuse service to anyone” if they see fit. You can be the nicest person in the world and approach them with all the good manners you can muster up, and they can still politely decline your request. Do you have the right to be angry about it? Sure. But do you have the right to jump online and put the celebrity on blast about what a terrible person they are? Well, I suppose that's up to you. But it probably won't win you any points, should you ever meet up with this person again and get a second chance. After all, just as much as they have a right to turn away autographs or pictures, they also have a prerogative to change their minds and be generous with these things at another time. And even if they don't, well, consider it their loss! ;)

Through all of this, as a fan, I still think that it is part of the job for celebrities to expect that fans will ask for autographs and pictures, and that they should try to be as accommodating to their public as possible. But I also do agree that when certain fans get out line, that the artists have a right to back away and put up a reasonable boundary between themselves and their audience. Maybe it is because I have had nothing but positive experiences when meeting with people who are considered famous, that I want the same experience for everyone else who feels the same way I do. But it should never be at a cost to the person doing the giving. After all, the relationship between an artist and their public should be inter-dependent; realizing that neither can exist without the other. A celebrity cannot be famous without fans, and those who can appreciate the creativity of another makes it possible for artists to find success. But it should never be co-dependent, and I think that is the key behind all of this here. A celebrity should not live for their fans, and fans should certainly not live for celebrities. It no longer becomes fun for either party when one or the other has to put themselves in an awkward situation in order to appease someone.

How much of a fan can you really be if you expect your favorite celebrity to compromise all the things that you claim to love about them as an artist by expecting them to pretend to be something they are not in order to please you? And how appreciative can your favorite star really be of you or of fellow fans when all they see are people making demands of their time and attention, simply due to the fact that they are entertainers? I wouldn't think either side would be very happy with that sort of interaction.

Coming back to my reference to Neil Peart earlier in this blog entry; would I love to meet Neil Peart? For me, the answer is no, and I will explain why. Quite simply it is because Neil does not want to meet me. I am not saying this in a sarcastic manner or in a haughty tone; I'm saying it just the way it means. Sure, Neil is one of my biggest influences as a writer (after all, not only do I write about music, but I also listen to music when I write, so a lot of my influences as a writer are more from lyricists and musicians than from actual authors or writers). So naturally it would be great to be able to shake his hand and simply say “thank you”. That is all; I would not ask for anything else. But I do not want it because I know, as someone who appreciates his music and actually takes the time to listen to what he says in regards to this very subject, that it is not something he feels comfortable with; and the last thing I would ever want to do is make someone feel uncomfortable. Now, if he ever reads my blog posts or liked my writing and asked to meet me, that would be another story (figuratively speaking). But I would never impose myself on someone who did not want to be bothered. If I were ever to run into the guy in a public place, I would probably do as I do with any other stranger I passed on the street: go on my merry way.

Since this article is called “Open Letter to an Open Letter”, I suppose I should end it by directly addressing the people out there who seem to slap these labels on celebrities; the ones who call people like Floor “divas” or people like Neil “snobs”. These people do not exist for you; nor are they a pawn on a chessboard for you to move around however way you like. They do not owe us anything; they give a moment of their time because they want to. So don't ruin it for them, or the fans who will come along afterwards, by souring what could be a good experience by treating them like an inanimate object. The money you have invested into their art does not turn these people into your personal property. They owe their livelihood to you, not their lives. Just because they do not come at your beck and call or do not cater to your whims does not mean they are stuck-up and it does not mean they can't handle their celebrity status. They have just as much a right to courtesy and respect as you do.

So this brings us full circle to the Floor Jansen open letter. Perhaps after reading the various worries and concerns that celebrities face when meeting with their public, we can gain a greater understanding of what they go through, and perhaps we can appreciate what they do a little better. When thinking of all these possible dangers that stars face on a daily basis, maybe Floor's request for space does not seem too much to ask after all. In many ways, as fans, to give the artist enough respect to keep your distance might be the greatest gift you can give back to them. As I was once told by someone very close to me (who worked in rock radio and met his share of celebrities), it's as simple as this: “Treat regular folks like superstars, and superstars like regular folks.” Couldn't have said it better myself.

_________________________________________________________________________________

—Special thanks to Oceansouls of America for providing links and information regarding Floor Jansen and Nightwish.
—Special thanks to Darkana Kat Music Photography for providing photo of Floor Jansen.
—Special thanks to Texas Johnny and the Selena Forever site for providing research materials.
—Sources can be cited accordingly by clicking on links provided, via Wikipedia, YouTube, BuzzFeed, Biography.com, and Ranker.com.

Tuesday, May 27, 2014

Commentary: One Rÿche to Rule Them All!

“No more suffocation, my true vindication, ascending from all the remains...”


So it's been a while since I made a blog entry, and you probably knew it was coming. My readers know me too well.

At long last, the two-year-long ongoing soap opera of “All my Queensrÿches” has finally come to an end. It's been a long road for everyone: the band, the fans, and former vocalist Geoff Tate. After several court date changes, everyone agreed on a settlement which, according to this article from the Seattle Times states the following conditions:
  • The band lineup of Michael Wilton, Scott Rockenfield, Eddie Jackson, Todd LaTorre, and Parker Lundgren “will now be the sole band recording and touring as Queensrÿche”. (Which means that THIS is the “One and Only” version; there will be no more “Todd LaTorre version” or “Geoff Tate version” from here on out. When you hear the name “Queensrÿche”, it will be in reference to this lineup and no one else!)
  • Geoff Tate must now perform his solo projects under his own name or another band name if he so chooses; however, he has retained the rights to the Operation: Mindcrime saga and has the right to perform either or both albums in their entirety. (Which means that while Queensrÿche can play these songs too, they will not be allowed to perform the albums in consecutive order as they have done in the past.)

There is more in the article about the near-future plans of each entity and their statements about all of this being over, which you can read by clicking the link I provided above.

Some other facts and figures, according to the band's recent press statement:

  • Geoff Tate will no longer be allowed to make use of the tri-ryche logo or related images in any of his future projects (outside of anything having to do with Operation: Mindcrime).
  • Geoff Tate will also be allowed to refer to himself as “the original voice of Queensrÿche”, or “the former vocalist of Queensrÿche” for the next 2 years. Whenever he promotes himself, aforementioned text must be at least 50% smaller than his own name in these advertisements.
  • After the two years have expired, Geoff Tate must refer to himself by his own name, with no mention of Queensrÿche whatsoever.
  • Geoff Tate will be allowed to finish out his contractually obligated shows under the Queensrÿche name up until August 31st. As of September 1st, the Queensrÿche name will belong solely to Michael Wilton, Eddie Jackson, Scott Rockenfield, Todd LaTorre, and Parker Lundgren.

One of the many questions I have heard among fans since this has gone down: what about the original Facebook page that was hijacked by the Tates? Does the band get that back, will it be deleted, will it be merged with the band's current page, or will Tate get to keep that? So far, the only answer to this has been on the band's Facebook page, explaining that more will be revealed after the final turnover of the name occurs in September.

Then there are a particular set of questions that fans have also constantly asked throughout this entire ordeal: what about Chris DeGarmo? Does this now open up the possibility of his making a return to Queensrÿche? What is his opinion on the matter, whose side has he been on and does he support the decision? Considering that he has made his living as a pilot for the near-20 years since his departure from the band, it would probably be a safe bet to say no in regards to a reunion with Queensrÿche. But he has been known to do the occasional musical guest spot here and there over the years, so it's anyone's guess as to what may happen. As far as to what he thinks about all of this or where his loyalties lie: only DeGarmo himself could answer that, and it doesn't look like he's talking anytime soon.

Another interesting question that has also come up: what happens to Frequency Unknown, the album that Geoff Tate released under the Queensrÿche name during the time when both parties had equal use of the name? Tate may have exclusive rights to Mindcrime, but because the other bandmembers now have the name, does that mean the Frequency Unknown album has become part of their back catalog? Would they have the right to perform songs from that album if they wanted to? Will future pressings of the album be changed to read “Geoff Tate” instead of “Queensrÿche” (thus turning the original pressing of the album into a sort of collector's item)? Of course most would be inclined to wonder why the band would want anything to do with this album at all; but from a technical standpoint, this is an interesting angle to consider. Again, this is another question that may be answered once the name is officially handed over to the band, but for now, there is no mention of what will become of Frequency Unknown, if anything. (God willing, it will be rendered as part of the settlement that all copies will spontaneously combust as of September 1st!)

Now that we've gotten all the legal bullshit out of the way, let's get to what I do best, which is being opinionated!

I have never made it a secret as to which “side” I took in this entire debacle, so I'm sure I don't need to tell anyone reading this that I'm glad things worked out in the band's favor. Without going into personal detail about certain events that took place as far back as 1999, I will say simply that I saw that the Tates (namely Mrs. Tate) were leading the band down shit creek even then; and while I am no psychic, I cannot say the ultimate turn of events surprised me other than that I expected such an ending a whole lot sooner!

I am also not going to deny that after Chris DeGarmo's departure in late '97/early '98, my interest in the band's music waned considerably with each passing album. I tried to give them a fair shake, but it was clear something was missing. Considering that a majority of the band's earlier work (and most successful songs) were written or co-written by him, I chalked this up to being that he was one of the main songwriters who had a hand in crafting the band's signature sound; therefore without him, the band would suffer a lack of musical direction and it was to be expected. The fact that Tate's lyrical content drifted farther and farther away from the “thinking man's metal” that we knew and loved on albums like Operation: Mindcrime and more towards appealing to the lowest common denominator, it felt as though that the band I once loved was no longer there. 

Basically, I likened them to someone on life support: the body is there and the vital signs check out, but the soul was gone and it was clinically brain-dead. With every new album that passed, I hated to admit to myself that I wished someone would pull the figurative plug because their chance to die with dignity was passing them by. I mourned the loss of one of my favorite bands and moved on to other things. It was easier for me to pretend that Queensrÿche stopped making music after DeGarmo left so that I could continue to love those older albums from 1983 to 1997 without the newer stuff getting in the way of that.

However, as the band muddled through the 2000s, it was impossible as a fan not to wonder how they had gotten this way. How did a band who, just the decade before, went from winning awards left and right and were the darlings of MTV; go to being virtually forgotten in the metal community? It is safe to say that Queensrÿche were one of the forefathers of what would come to be known as symphonic metal, but were hardly ever noted or credited for this. They were seldom ever named as an influence on the genre (if at all), because by the time bands like Nightwish and Kamelot were coming up in the world, Queensrÿche had become so far removed from the movement they had started that many of the younger bands had little to no idea that they were even walking down a path forged by Queensrÿche long ago. A band who was once deemed as “metal for the intelligentsia” were now relegated to playing biker festivals and were a staple on the hair-metal nostalgia circuit; playing alongside the “cars and babes” bands that they worked so hard to always differentiate themselves from. The band had met a sadder fate than any of their conceptual epics could have predicted.

Even if the band was given their proper due for their contributions to power and progressive metal, oftentimes the bulk of the credit was attributed to vocalist Geoff Tate (which, mind you, was not completely unwarranted). An operatically trained vocalist, he was among the handful of frontmen that laid down the groundwork for what would become “opera metal”; so oftentimes when citing the founders of the genre, it was easy to name him as the main component of Queensrÿche's sonic approach. The fact that Chris DeGarmo—Tate's co-songwriter and one of the co-creators of their unique style—had virtually fallen off the face of the earth since his departure from the band made it even easier to give Tate all the accolades for what earned Queensrÿche their status as trailblazers. The fact that Tate took on the bulk of interviews and press statements throughout most of the band's career (almost sharing them evenly with DeGarmo during his years in the band), this made it seem all the more that Queensrÿche was his sole creation and artistic vision. To anyone observing from the outside who did not know anything about Queensrÿche or their history, it all but looked like the other guys in the band were just there to play their instruments, and never contributed a thing to what made their music so special. This couldn't have been further from the truth.

Just when it seemed the story of Queensrÿche would meet an inevitably tragic end, there was a plot twist that no one ever expected, least of all the band themselves. It was a twist that would allow them a chance to redeem themselves, regain their respect, and reclaim their place in metal history. Proving that some things happen purely by luck or by destiny, the stars were aligned when a singer named Todd LaTorre crossed paths with guitarist Michael Wilton at a NAMM convention. What happened afterwards was nothing short of miraculous. I'm not a religious person so I am reluctant to use such terminology, but the word “resurrection” means to rise from the dead; so if I had considered Queensrÿche as dead, then certainly Todd LaTorre was responsible for bringing them back to life.

This is the part of the story that everyone knows; that everyone has talked about endlessly and led us here. We all know about the ultimate meltdown that prompted Geoff Tate's firing. For those fans who were still sticking it out and still supporting the band, they were rewarded by being insulted onstage by Tate such as this incident at Rocklahoma...


For those of you who didn't watch the video, I'll give you a quick recap: Tate tells the audience that they “suck”.

It's not hard to figure out what the rest of the band must have been thinking by this point. Why put up with a guy who will essentially embarrass the rest of them by insulting their fans, when they can hire someone else who they know can sing the songs just as well, and will not be as much of a problem? After all, Geoff Tate was an iconic vocalist for a reason: he has a unique voice and it would be impossible to replace him (which is most likely the main reason they put up with him for all these years and went along with his musical equivalent of a mid-life crisis). Or at least, that's what most people thought until they heard Todd LaTorre for the first time. 



Here was someone that not only sounded like Geoff Tate, but sounded like the Geoff Tate of the early days. Someone who was bringing old-school Queensrÿche back. Someone who could sing the songs that fans have been wanting to hear for years; the songs that Tate no longer had the vocal chops to pull off (or that Tate claimed were too “immature” for him, as he wrote such compelling pieces with titles like “Wot we Do”). For the latter part of his last decade in the band, Tate seemed more interested in hocking cheap wine than in singing onstage. After years of fans putting up with cheesy cabaret shows, clichéd lyrical content, and hackneyed concept albums, Todd was winning over the disillusioned fans such as myself, and reminding us all of why we loved Queensrÿche in the first place.

Now that they were reclaiming their lost fans, it was time for them to reclaim their rightful place in metaldom. It was time to take back their place among the legends, and show the whipper-snappers out there just how it was done.

However, when you are a band who has existed for over 30 years, you are going to have fans who have been a part of that success for just as long, and we humans are creatures of habit. Much as many fans welcomed the change, there were just as many who were outraged by it. After all, Geoff Tate was not such a legendary vocalist without merit. There's no denying that in the world of metal, at one time he was right up there with the Dickinsons and the Halfords. So when the news broke of the split, fans who felt that Tate's voice was the primary attribute that separated Queensrÿche from all the other metal bands also felt that the band was committing career suicide and that Geoff Tate WAS Queensrÿche.

When the legal battle for the band's name first became public knowledge, many people felt the remaining bandmembers were fighting a losing battle and that it was a no-brainer that not only would Tate get the name, but that he deserved it because it was his voice that made them unique (this opinion was shared across the board by many longtime fans and so-called “rock journalists” alike). Other fans felt that neither party should continue with the name, and just go their separate ways and finally put Queensrÿche to rest, as they should have done long ago. I admit that I was one of these fans at first. The way I saw it, the band was already going around as Rising West and getting good buzz from the fanbase, and Tate was already out there promoting his solo album, Kings & Thieves, under his own name. So this was the perfect opportunity, I thought, for both parties to just let Queensrÿche go and for everybody to move on with a clean slate.

However, as we all came to find out as time went on, the issue about the name became less about practicality and more about principle. Needless to say, the band and Todd LaTorre had the odds stacked against them and had a lot to prove. It was time for them to roll up their sleeves and get to work.

As those first few months with Todd passed and the band began to prove their worth onstage, public opinion started to shift. As certain private details about the band's final days with Tate became public, people began to reconsider their stance on the issue. With every show they played with Todd LaTorre, the remaining members of Queensrÿche were winning over both the fans who thought they'd lost interest long ago, as well as fans who thought they were so certain that they could never accept anything less than Geoff Tate.

On the one hand, the fight for the Queensrÿche name brought both parties public attention again; but on the other, it was for all the wrong reasons. As a result, many reviewers and journalists out there felt inclined to weigh in on the hot topic, but many of them had little to no knowledge of the band, or had not kept up on what the band had been up to since their heyday in the early '90s. So a lot of the information being put out there was not entirely accurate, or coming from a very skewed angle. Boundaries were clearly marked, and soon it became the battle of the “Geoff Tate version” versus the “Todd LaTorre version” of Queensrÿche.

Since this IS an editorial, meaning this is written purely from opinion, let me just state for the record that I *hated* when the original bandmembers were referred to as “the Todd LaTorre version of Queensrÿche”. That reference made it sound as if Todd LaTorre had just formed a band from thin air, decided to call it Queensrÿche, and that no one who was part of the original lineup had any involvement at all. By having such a label slapped on them, the bandmembers' contributions were being downplayed and dismissed once again, and further perpetuated the myth that Geoff Tate was the prime mover in all that made Queensrÿche successful.

On the same token, the brand that was called “the Geoff Tate version” had the opposite effect: hired musicians that had never been part of the Queensrÿche lineup during his years in the band or had never contributed to a note of music the band had written were now referred to as members of Queensrÿche; when in reality, the only member of Tate's band who could legitimately make this claim was Kelly Gray, who replaced Chris DeGarmo from '98 to the early 2000s. This is not to say that Tate's new bandmembers were not talented and did not deserve respect for doing their jobs, but to call them members of Queensrÿche? That may have been a bit of a stretch even for fans who were truly supportive of Tate as an artist (i.e., not just rabid blind followers of whatever he was doing simply because he was Geoff Tate).

Because of this, confusion ran rampant on both sides. You'd think that in this day and age of being able to find anything with a quick Google or Wikipedia search, that anyone buying tickets to a Queensrÿche show would be aware of which one they were going to see; but in some cases the internet made things more difficult for the casual fans to figure out what the hell was going on. First, there was the issue of Geoff Tate and his wife stealing the original Queensrÿche Facebook page from the other guys upon his firing; causing them to open up a brand new one of their own. So many people going to the original page looking for the band now featuring Todd LaTorre were promptly banned from the page just for asking innocent questions. Likewise, the Tate fans who could not let things go were known (and are still known) to stalk the band's new page with taunts about how they aren't as good without Tate, and calling them a “cheap cover band” (maybe these fans just aren't familiar with what the term actually means: a cover band is normally defined as a group of musicians playing songs that they did not originally write or perform on...but I digress!).

Even professional websites selling concert tickets seemed to play into the confusion by listing shows for one band and showing a group photo of the other version. The band had to constantly reiterate on their Facebook page that if it wasn't listed there, then it wasn't their show. Yet that still didn't stop many people wishing to hear Todd LaTorre ending up at a Geoff Tate performance instead (or vice-versa). Well-intentioned friends or family members who knew nothing about the band would buy tickets for the Queensrÿche fan in their lives; completely unaware that there were two different versions (or which one their loved one might want to see), unknowingly forcing the recipient of their gift to sit through a show they might not have wanted to see. One could only liken this madness as being similar to what happens when someone steps on an anthill.

Yet through all of this, the band continued to press on; and what might have been impossible hurdles to conquer for most other bands, Queensrÿche plowed them right down with nothing more than the strength of their music...just as they once did back before personal conflicts overshadowed everything. Their self-titled album with Todd LaTorre was a glorious return to form, and the listeners agreed: first-week albums sales scored them a #23 position on the Billboard charts. That might not seem like much, but when is the last time you can remember Queensrÿche on the Billboard charts at all?

However, things did not appear to fare so well for Geoff Tate. His album under the Queensrÿche name, Frequency Unknown, barely cracked the Billboard 100. Not only did one practically have to give copies away, but even the record label tried to turn a negative into a positive by holding a contest based on how much fans hated Frequency Unknown. This was probably the most enthusiasm fans showed for what Geoff Tate was doing; they could hardly wait to upload their videos to YouTube and express to the world what a pile of steaming crap they believed Frequency Unknown to be.


In case you didn't watch this video, this is basically Geoff Tate's reaction to the many videos sent in. It's probably a good time to note that his overall reaction to these videos exemplify the blatant denial and total arrogance that many fans believe has been the downfall of the band over the last decade.

So by the time the issue with the name was finally hashed out, it went without saying that both parties had experienced their highs and lows and were probably all equally anxious to get it over with and move on. In the end, the final decision is win-win for everyone, far as I see it. Tate gets to keep his rights to Operation: Mindcrime, of which the story is his intellectual property. Likewise, the other guys get to keep the name of the band that they formed long before Geoff Tate ever became a part of it (for those of you who don't know your Rÿche history, Geoff Tate was the last member of the band to join). Everyone walks away with something, even if it isn't everything they want.

But, a band breakup is not too unlike a divorce; the fans being the figurative “children” caught in the middle. While the bandmembers have each started the new chapters of their careers, the fans still remain divided and probably always will be. It may take a long time and a lot of water under the bridge before the fans can reconcile their bitter feelings about the breakup (no matter which side they have taken), but that gives both parties a reason to try harder and do better on their next projects.

For all the biased opinion I have shown here, I honestly do wish Geoff Tate well in his future endeavors. Who knows? Maybe one day he will make music that I'll be interested in hearing. I, for one, would love to see him make a return to the thought-provoking lyrics he was once known for. But no matter what he does in the future, hopefully now that he is on his own he will do what makes him happy and that's what is most important; not whether I like it or not.

As for Queensrÿche, I look forward to hearing what they've got in store now that this debacle is behind them and they can carry on towards their future with Todd LaTorre. No doubt many fans have attributed the success of the previous album to the controversy that surrounded them; so it will be great for them to get back to what they were once known for, which is silencing the naysayers by making amazing music on their own terms. I have missed that most of all in the music over the last 15 years, so now that they do not have this hanging over their heads anymore, they are completely free to make music with a clear head and an open heart. While some believe it is strife and tension that makes for the best music, I think the story of Queensrÿche has suffered through enough of that more often than not over the last decade. It's time for them to get back to a good place again; and for the fans who have stuck through the ups and downs with them, it's time for us to enjoy the ride along with them.

Let us all rejoice, for there is only one Queensrÿche!

Video by Rik Johnston; link provided courtesy of Shelly Error-Ribe

*Editor's note: Apologies for the tags below; for some reason Blogger categorizes them in alphabetical order and not the way that I actually placed them, which was by band name first! Sorry for the inconvenience.

Sunday, February 23, 2014

Concert reviews: "The Weekend of Awesomeness"!

Wasn't sure how to start off this entry, so here's a pretty picture of a rainbow!


So it's a few weeks late, but I felt it was time to write a review of what has since been deemed “The Weekend of Awesomeness”! Indeed, it was an awesome weekend, because I got to see two great bands, two nights in a row. The first night, January 24th, was the listening party for the new Within Temptation album, Hydra. Then the following night, January 25th, was my chance to finally see Queensrÿche in concert after 15 years; my first time seeing the band with Todd LaTorre. How can one possibly top a weekend like that? Answer: you can't! So on with the review!!!


Photo courtesy of John Thornburgh

Friday, January 24th:
Within Temptation listening party
(The Joint; Los Angeles, CA)

What a great way to start off the weekend: meeting up with my metal family and my fellow Sonic Cathedral writers is always going to be a good time! My friend Laura and I carpooled to L.A., listening to Within Temptation on the car stereo on the way. We arrived at The Joint at about 6:30, and since we are of drinking age, we are allowed inside the venue, where the bar is open.

Not only do we meet a group of our friends, but we also see Ruud from WT at the bar, meeting with fans. We have a nice time chatting with him for a little while before he eventually leaves to get ready. Throughout the week before the show, the question of whether or not the band will perform an acoustic set has been hanging in the air. When Sharon, Robert, and Ruud all come out on the stage and start doing a sound-check; needless to say that question has been answered! The fact that Nuclear Blast staff requests that no one in the crowd takes pictures or takes video of the acoustic set only heightens anticipation all the more.

At 9 p.m., the doors open for the rest of the fans waiting outside. The enthusiastic cheers from the packed crowd emphatically heralds in the long-awaited return of Within Temptation to the West Coast, after nearly 7 years. On either side of Sharon den Adel were Robert Westerholt and Ruud Jolie; each armed with nothing more than their acoustic guitars, as Sharon's angelic vocals took center stage. Yet Sharon was not a weapon of her own (besides her amazing voice!)—with a hot cup of tea by her side, Sharon nursed a sore throat as she proceeded to give a stellar vocal performance.

Beginning with the experimental track “And we Run” from their new album Hydra, WT strips it down and takes away the bells and whistles provided by guest rapper Xzibit, and delivers a gorgeous acoustic rendition that silences the doubters and shows that this is still, at its core, a trademark WT song.

From there, Sharon continues to impress us with an acoustic version of the Hydra opening track, “Let us Burn”. She shows no sign of strain or struggling as she hits those high notes; making it seem so effortless, when we know that she is probably pushing herself very hard. After the song ends, Sharon humbly thanks the audience by telling them that she wishes she could capture their cheers and put it in a box, so she can open it and listen to it whenever she needs encouragement.

Robert and Ruud complement the ethereal quality of Sharon's voice with their flowing, delicate melodies as they move on to the next song. It's a new song that everyone knows because it's the first single from the new album: “Paradise (What About Us?)” Sharon's vocals pierce your heart as she sings the impassioned lyrics; taking over the high parts where guest vocalist Tarja can be heard on the studio version. (No, Tarja did not make a surprise appearance...remember, we're in the U.S., and we all know how much Tarja loves playing in the U.S.! Which is not at all!) But as WT has already proven, just because their new album is full of guest appearances, those additional voices are not needed in order to put on a good show. Nor does anyone feel that the songs lack anything without those guest musicians either.

Further proof of this was with the next song: Hydra's closer, “Whole World is Watching”; which features Soul Asylum vocalist Dave Pirner as a guest vocalist on the album version. WT always end their albums on a ballad, and this is yet another touching slow number where Sharon's voice will wrap itself around your heart in her magical way. She puts you under her spell with her ability to put a tear in your eye; the audience is enchanted as this simple yet heartbreakingly beautiful song reaches their ears.

Signed WT poster; photo courtesy of John Thornburgh

Any audience would have been happy with an acoustic set of 4 new songs, but WT keeps it going by surprising us with “a somewhat-oldie, but goodie”. The band proceeds to go into an acoustic version of “Faster”; a fan favorite from their previous album The Unforgiving. Sharon pantomimes being at the steering wheel as she sings the lyrics, “I go faster and faster and faster and faster and faster!” Even when done acoustically, it's a fun, up-tempo song that gets the crowd going; and the band looks like they have fun playing it, too.

But why have one blast from the past when you can have two? The band decides to end their acoustic set with the infectiously catchy “What Have You Done?”, a hit from their 2007 album The Heart of Everything. The rousing chorus might be a bit too much for Sharon, so the audience is happy to take over with their zealous sing-along of the lyrics, “What have you done now?!” There are some points where the people in the audience can be heard as loudly as the band themselves!

With that, the band ends a fantastic 6-song acoustic set. Keep in mind that Sharon has a terrible sore throat and can barely speak! Yet she gives all she has to her singing voice, which shines brilliantly. If this is how she sounded at less than 100%, then one can only imagine her power at full capacity! Well, I don't really have to imagine, as I have seen WT live twice before...but rest assured, even at less than Sharon's highest standards, no listener is cheated or left feeling as if they had not experienced less than her best. This is why Sharon den Adel is one of the most respected vocalists on the scene.

However, her bandmates are not to be forgotten; they know Sharon's voice so well that they can seamlessly craft anything around it. Whether they are playing fast and heavy or slow and easy, Sharon takes any melody that is tossed at her and throws it back with equal strength. The same songs that are written in a heavier style for the album now stand in their bare bones; just as powerful in their beautiful fragility.

WT autograph signing; photo courtesy of John Thornburgh
You can see the back of my head, and that's as good as you're gonna get!

After the killer acoustic show, the entire Hydra album plays on the loudspeakers while fans receive their goodie bags from Nuclear Blast (the band's record label) and wait in line to meet the band, who are now signing autographs and taking photos. For over 2 hours, the band shook hands and signed posters; making sure every person in The Joint walked away with a memorable experience.

I really have to take my hat off to Sharon—what a trooper she is! Many other people would have just retired back to their hotel rooms to properly recover after playing a set like that; but even as sick as she was, she still took the time to meet with fans and didn't leave until everybody was done. WT has always been a band who goes above and beyond for their fans, but a situation like this only hammers the point home even more. The fans certainly would have understood if Sharon didn't have a voice to sing (as most were not expecting a show at all!), or if she had to forgo meeting with fans in order to do the show instead. But she managed to hang in there and go the extra mile so that everyone there felt that it was worth their time to come out.

Since it cost no money to get in, one cannot exactly say that fans “got their money's worth”; but if you want to count the time and effort (especially for those like myself who traveled far to get there), then we were certainly rewarded generously! And let's face it, getting to hear an impromptu acoustic set debuting 4 new songs that no one had heard in a live setting yet, that is not something you can put a price tag on. Just to be part of such a unique experience was priceless.

One can only hope that this will not be WT's only West Coast appearance for this upcoming tour; that they will return to the U.S. with a proper stage show so that we can all hear the new songs as they were intended to be heard. But whether they are performing a complete show with all the props and full instrumentation, or down to basics with nothing but acoustic guitars and vocals, WT is one of the best live bands to watch. The circumstances involving Sharon's condition did not compromise that reputation—it justified it and shot it up a thousandfold!



Photo courtesy of  “Iron” Mike Savoia

Saturday, January 25th
Queensrÿche: House of Blues; Anaheim, CA

As if the show the night before wasn't enough, I still had one more concert to attend, and it was one I had been looking forward to for a good long while! Not only was it my first time seeing Queensrÿche with their new vocalist Todd LaTorre, but I was also meeting up with a friend of mine whom I hadn't seen in almost 6 years! Seems we only ever see each other at concerts, but we don't always go to the same shows, and we live rather far away from each other so our meet-ups are few and far between.

Considering that I did not arrive to the place where I was staying until 4 a.m. after the listening party, one would think that I'd be dragging after only a few hours of sleep, especially at my age! But on concert days, I'm full of excitement and adrenaline, which totally makes up for lack of sleep (caffeine helps too!). Fuck it, I'm just going to be honest...I was going to a Queensrÿche concert, which means I think the 15- or 16-year-old version of myself totally took over and told my old bat self to go take a hike! There's always time for sleep on the bus ride home...right?

We were leaving pretty early; my friend was going to the meet-and-greet and was told she had to be there by 3:45. Seemed a bit early to be holding a meet-and-greet, but I'm not in charge of these things, and I wasn't going anyway (a free ticket was enough of a gift for me; I can't afford those VIP packages!!!). After a long trek through the labyrinth that is Downtown Disney, we finally find the House of Blues and arrive with time to spare.

She gets in line for the meet-and-greet, while I go inside to find something to eat. Eventually, while wandering around outside the House of Blues looking for a way to kill time, I meet some other Queensrÿche fans from the South Coast Empire (a local branch of the fan club). It's from them that I'm able to meet one of my Facebook friends, which is super-cool. I also made a few more Facebook friends along the way; one thing about fellow Queensrÿche fans, is that I don't meet any who are jerks! I've met many over the years; some have been longtime friends, and all of them have been awesome people!

It is at this meeting that we learn that the band isn't even set to hit the stage until 10:45 that night. Considering it is not quite dark by this point, there is a lot of time to spare between then and now! By this time my friend has returned from the meet-and-greet, bringing with her a signed copy of the new CD for me (that I brought along and asked her to have signed for me, if she was able). Score!

Meeting up with fellow fans makes the time go fast, and eventually it's time for everyone to find their places in line. Some are going back outside the venue to where the main line is; others are going to where their VIP passes indicate they need to be. I'm off to where the people with wheelchairs are supposed to wait; inside the venue where the elevator will take us to the balcony area when it's time to watch the SOLD-OUT show!!!

While hanging out in my chair and waiting for the security to take us up to the balcony area, who do I see come out of the artists' area but Todd LaTorre himself? Pretty cool! But he looks rather busy so I do not try to get his attention or anything. However, a little while later, he comes back and we sort of make eye contact, so what the hell? I wave hello. Sure, maybe he'll wave back or nod or something; that would be nice. But what does he do? He walks straight over to me and shakes my hand. Wow! What a nice guy. A true gentleman!

A few minutes later, I also saw Michael Wilton come out the same door that Todd had gone back through, but security was ready to take everyone upstairs, so I didn't get anything more than a glimpse before I was ushered to the elevator and directed to the area where I would park my chair and watch the gig. I don't even think it was quite 8 o'clock yet, so it was still a long way to go before the band hit the stage. I take this opportunity to check out the merch booth and buy a shirt. As everyone knows, I love collecting band shirts. This has become for me what shoes and purses are for other women, so any opportunity I have to add another band shirt to my collection, I'll take it!

The first opening act of the night is a band called Heaven Below, which didn't appeal much to me. The music was OK (the drummer was quite good), but the vocals are all that same “screamo”-type shit that is popular these days. The band was energetic and put on a good show, but their music is just not for me. When they got to the final song of their set, they brought out a female singer for a cover of Dio's classic “Rainbow in the Dark”, and she did a great job there. That was probably the most I remember about their set.

After a sufficient intermission, the next opening act hits the stage: John Corabi, who is probably best known as the singer who replaced Vince Neil in Mötley Crüe for a hot minute back in the mid-'90s. As opposed to Heaven Below's fast-paced performance, Corabi did an acoustic set; including an acoustic version of the one minor hit he had with the Crüe during his short stint in the band. To be honest, he isn't a bad singer; however, I think my lack of sleep started to catch up with me during his set, because his songs are so mellow and relaxing that I sorta drifted off a couple of times! This is not to say his music was so boring that it put me to sleep...but well, I think at this point my old bat self had made a return; because I had been operating all day on a few hours' worth of sleep, and I wasn't familiar with any of his material, so it was easy to just close my eyes for a few minutes and let the music carry me away! And maybe I needed those few minutes of light dozing to renew my energy for what was to come!!!

And then...FINALLY!!! The moment that seemed to take forever to arrive!

Anaheim setlist; courtesy of Setlist.fm

The opening notes of “Queen of the Reich” kick in, and the crowd goes ballistic as Todd hits the stage and belts out that piercing high note that fans have missed hearing for years; showing their enthusiasm by singing along during the chorus. Scott is on his drums, playing like a monster; while Michael and Parker proceed to unleash their twin-guitar assault in the solo. Eddie stands unobtrusively on his side of the stage, but he's clearly rocking out too. What a way to kick off a show. Goddamn, that was good!

But it gets better...the next song is “Speak”, which is another good tune for the audience to sing along to. Eddie and Parker provide some nice backing vocals while Todd headbangs his way through the guitar solo, where Michael shows just how and why he has earned his nickname of “Whip”!

Next up is “Walk in the Shadows”, from one of my favorite Queensrÿche albums, Rage for Order (this album always ties with Promised Land for my all-time favorite). This was definitely a part of the show where I went nuts, because obviously I love to hear anything off this album. Parker does a fine job on the solo and Todd rouses the crowd into a little sing-along towards the end of the song.

So if one song from Rage for Order wasn't enough, let's have two! Here comes “The Whisper”, another fan-favorite from Rage and a song that has been pulled from the vault after many years. Parker brings in the ever-familiar riff and we all know what is coming. Todd pulls off some impressive high notes, making it sound like new again. I also love to watch Scott during the kick-ass drum part after the guitar solo.

Just when I thought I couldn't be any more pleased by hearing songs from one of my favorite Rÿche albums, I'm about to get a lot happier as the bells toll and Todd introduces “En Force”; my favorite song from their album The Warning, and a song I never thought I'd get the chance to hear live. The blood-red lights coupled with Parker's sinister low-pitched vocals singing the “enforcer” line just give it that extra-special something. Todd sounds almost exactly like the studio version; which is pretty fucking awesome, considering he did not even sing on that album! Then towards the end of the song, Todd gets up on the dais where Scott's drums are, and plays right along. After all, many people forget that Todd LaTorre doesn't just sing, but he plays drums too. Then he jumps back down and sings that final part that is so heart-wrenching and hauntingly beautiful.

More material from The Warning is coming next; EdBass is throwing down some massive grooves as the crowd chants and “Child of Fire” proceeds to rock everyone's asses off. This is another tune where the audience is happy to sing along to Todd's impressive vocals. Todd really shows off his stage presence as he gets on his knees and sings the lyrics of hopelessness in the middle of the song right before Michael's soulful solo.

You can't have songs from The Warning without doing the title track, right? Not to worry, because Queensrÿche knows what their fans want to hear! The sound of sirens herald Todd's cry of “Warning!”, as he urges the crowd to raise their hands. Crowd participation is just as essential to a Queensrÿche show as the band themselves, as the audience enthusiastically chants along with the chorus. Michael rips it up on the solo while Scott bashes those skins with wild abandon.

So far the show has consisted of “oldies but goodies”, but now it's time to break out some new stuff. The intro track “X2” plays to a darkened stage with minimal blue lighting, heralding in the fan-favorite “Where Dreams go to Die”. The fans can be heard singing along as loud as Todd; we know every word and aren't hesitant to show it! Michael and Parker are bringing back the harmony and melody of the trademark double-guitar sound that is classic Queensrÿche. This song is every bit as fantastic live as it is on the album. Well, go ahead and see for yourself...

Video provided courtesy of  “Iron” Mike Savoia

After the intensity of “Dreams”, the second intro track from the new album, “Midnight Lullaby”, plays from the speakers and I know what is coming. I'm ready for my own personal highlight of the show: “A World Without”, my favorite song on the new album and a song I have reviewed as being better than sex (or at least a close second!). So yeah, I am totally into the music and having the time of my life, and then...all of a sudden I cannot hear Todd sing towards the middle of the song! Someone either fell asleep at the switch or the cord in his microphone fell out. I don't really know, but he keeps going (because he's a pro), and the fans have got his back as they fill in for him and sing the vocals. Luckily the moment doesn't last long, but it does bum me out to think that this will probably be my only chance to ever hear this song live (because by the time they come back this way they'll probably have a new album out), and something came along to dampen the experience. Oh well. Nothing in this world is perfect, and considering the circumstances, it could have turned out much worse. I mean, they could have played something from American Soldier! The horror! (Oh wait, what am I saying? This is the real Queensrÿche we're talking about...those shitty albums from the Dark Years do not exist!)

“A World Without” was probably the closest the show came to a “slow break”, so the band goes immediately back into rockin' mode as Michael and Parker take center stage and proceed to do a double-guitar solo that redefines the term “eargasm”. Bits and pieces from other well-known Queensrÿche guitar solos are peppered throughout as each guitarist shows off his chops for over two minutes.

This, of course, leads up to another song...a fan-favorite from the beloved Operation: Mindcrime: “The Needle Lies”! The crowd screams the line “you'll never get away!”, as Todd belts out the high notes. EdBass moves towards the front to show off for a minute (which is not long enough!). OK, so Todd can't hold the end note as long as on the studio version, but neither can their former singer, so who the fuck cares?

Yay, more stuff from The Warning! The ominous “NM156” starts up, and Todd's voice is equally eerie in the verses, and then he just belts it out on the chorus. S-Rock is like a beast on the drums, and the guitar solo is spot-on. This is another favorite of mine from this album, and while I have heard it live before (nearly 20 years ago!), it's been far too long since the last time so it's almost like new again. Damn, those high notes Todd hits at the end of the song make me want to cry tears of joy.

We are back to songs from Operation: Mindcrime as the clock ticks, ushering in the short song “My Empty Room”. Todd really shows off his ability to convey the emotion of the song in his performance; getting on his knees as he sings the pensive lyrics. Then he tells the crowd “you know what time it is” as the intro plays and the opening notes of “Eyes of a Stranger”, the closing track from Mindcrime, starts up. Todd gives us another glass-shattering high note as he starts in. More guitar solo awesomeness proceeds and the crowd sings along shortly thereafter. Then the band just full-on rocks out 'till the very end.

As far as the older songs go, up until this point the band has only played material from their first 4 albums; but that's about to change as the guitars fire up “Empire”, the title track from their 5th album and the very first Queensrÿche song I ever heard in the summer of 1990 (just before my 12th birthday), and my life changed FOREVER. And in case you're doing the math, this means I have been listening to their music for nearly 2/3 of my life! (Ahem, enough of boring stories about me, on to the show!) So yes, this is a song I have heard at every single Queensrÿche show I have ever been to (this one marks #4!), but because of the sentimental reasons attached to it, I never get bored of hearing it. Todd does his share of headbanging here as Parker and EdBass provides some nice backing vocals. Just before the solo, Todd calls for the house lights so he can see the crowd, and then introduces the rest of the band. Upon Whip's introduction, he greets us back with the killer solo. It's almost like a game of vocal tennis as Todd sings, “Can you feel it coming?”; and the audience hits back with their response of, “Empire!”...“Can you hear it calling?” “Empire!”...“Can't someone here stop it?!” “EMPIRE!!!” Ah, yes. What a great song to hear live! So much energy. So much rock. So much everything!

Afterwards, the band leaves the stage for a few minutes, and then it's time for the encore. Wow, time flies when you're having fun! We're so close to the end of the show already?! Noooo!!!

The band returns after a short break with another song from the new album; one that has quickly become a huge favorite among fans: “Fallout”. This is a fast-paced rocker that gets everyone on their feet and headbanging exuberantly. This time Parker does a solo for a change, and he sounds fantastic! The crowd chants along: “fallout, fallout, don't hesitate”, Before you know it, the song is over, but it packs a big punch and shows that not all great metal songs have to be lengthy or padded with solos in order to kick ass.

But don't worry, folks; there's still some more to be had! Another Empire tune is coming, and it's “Jet City Woman”, the band's homage to their hometown of Seattle. EdBass' trademark opening bass line ushers in the song, and everyone cheers enthusiastically. The crowd knows all the words and sing along to the chorus. Oh, and S-Rock is also drumming his heart out as well. In case you don't believe me, here is some video for you...


Video provided courtesy of “Iron” Mike Savoia

As the saying goes, all good things must come to an end, and so it is here...we have arrived at the final song and what is an excellent closer to a Queensrÿche show: a longtime fan-favorite from The Warning; the uplifting, “silver lining in the cloud” track, “Take Hold of the Flame”! It is at this time that Parker returns to the stage, proudly wearing a Seattle Seahawks jersey; obviously as a way of showing his hope that the team will win the Super Bowl (which obviously worked very well, because they did!). Why he didn't wear it during the previous song, I don't know; would have made more sense, but...what do I look like, a fashion coordinator? Have you people seen my wardrobe? Highly unlikely. Anyway...Todd screams out that high note at the beginning of the song like no one's business, while Parker moves over to the other side of the stage. Everyone in the audience is pumping their fists and chanting “take hold!” EdBass also moves to the front during Michael's solo. Looks like everyone in the band wants to get some serious time up front before calling it a night, which no one minds at all!

So while this is the final song of the night, the show is not quite over yet. Todd has some things to say to the crowd, and it just reminds you of what a breath of fresh air he is to the band when he sincerely thanks the fans for welcoming him into their hearts over the past 2 years. He also thanks his family and friends from Florida for coming out to the show, as he screams out one last high note and S-Rock's drums pound out the last notes of the song.

A couple of things to say about the show overall...for one, I cannot speak highly enough about Todd LaTorre or give him enough praise for resurrecting the band I love. I wish I could have had the chance to tell him this personally when the opportunity presented itself, but I imagine that he hears it all the time and one more person probably would not have made a difference! Then again, he has expressed such gratitude towards the fans and shows such humility about his role in the band that I certainly could not think that it would just roll off his back either. But I'll talk more about that in a minute!

Judging from past performances on YouTube from when he first joined Queensrÿche, his stage presence has improved a great deal. In the earlier footage, you can see he looks a little stiff and not quite sure of what to do onstage sometimes; tending to stay in the same spot throughout the show and not moving around much. This is not the case anymore! If anything, now it's hard to keep up with Todd as he flits like a bee from flower to flower, moving across one side of the stage to the other in the blink of an eye.

LaTorre also knows how to invoke the right mood according to the song; during the slower parts, he gets on his knees and his voice almost sounds like it is crying when he sings those lyrics that can be downright sad. On the other hand, when the song is up-tempo and calls for a lot of action, he is running around the stage, headbanging, pumping his fists or rallying the crowd to join in along with him.

True, performance-wise he has not quite yet mastered all of the dramatic onstage gestures of his predecessor; but I think it's also safe to say that over the years, the grandiose displays and “putting on an act” started to far outweigh the essence of the music as well. So at least for me, I am willing to give up some of that if it means I can hear the songs properly. I also feel it is more important that the band now has a singer that will not compromise sonic integrity for avant-garde stunts. In short, I'd rather have a rock show than a cabaret show. There, I fucking said it. Take it for what it is.

This brings me now to Todd's voice...OK, so in some parts it does sound a little pitchy, but let's also not forget that the band's former singer was classically trained as an operatic vocalist; whereas LaTorre hasn't had any formal training of this sort, so he is “all-natural”, so to speak. That being said, I sort of expect some things to not be 100% like it was with the former singer (it never is in any band, no matter who it is or what kind of singer they are dealing with). Yet keep in mind that the band's former singer has not been singing in this style at all for at least over a decade (arguably almost 2!), so even with all his fancy training, he was not hitting those notes perfectly either. Again, I would rather sacrifice a little bit of “classical training” if it means I can listen to a singer that is willing to put his heart into the performance and is able give the fans what they want. Todd is giving us the high notes; while sometimes they lack the finesse or technical precision of those earlier studio works, he makes up for it a thousandfold in terms of energy and passion. This is someone who shows he loves the music; that he truly enjoys singing these songs and wants to continue working hard to make them sound as close to the way fans remember hearing them as much as possible.

Coming back to my previous statement of Todd's onstage performance improving, this also means his vocal delivery is getting better too. After all, Todd LaTorre has been a lifelong Queensrÿche fan who has known these songs front-to-back for years, so in many ways, he has been training his voice to sound like his predecessor's for a long time (whether subconsciously or not). However, it shows that he has clearly made the transition from being the wide-eyed fan who has scored his dream gig, to taking his rightful place as the frontman that Queensrÿche has needed for far too long. You can tell he loves what he's doing and is happy to be there.

Speaking of which, this brings me to the band themselves...they also show a restored vigor onstage; the band was all smiles during the night and looked so relaxed and just plain HAPPY. This was a huge difference from the last time I saw them 15 years ago; there was a sort of tension in the air and the band looked so miserable up there onstage. There isn't a fan on earth who doesn't know the reasons for that now; but back then, those personal differences were not publicly known. So to see them in a live setting again, playing songs from years ago...it's like their playing feels young again, and they have regained so much assurance and swagger in their performances too.

This says a lot not just about their overall performance, but in the choice of songs too. I think for so long, they have been bogged down with the safe, middle-of-the-road songs, that they have just gone balls-out and are making this a real ROCK show in the truest sense of the word, from beginning to end. Every song, one right after the other, were heavy tunes that got your blood pumping and your head banging. It was like they had a hat full of magic tricks, and each one they pulled out of the hat was more surprising than the one before. Oh, you liked that song from Mindcrime? Here's one from Rage for Order that you haven't heard in a while! You thought that one was going to be the heaviest song of the night? Here's three songs from The Warning that will melt your face off! You get the idea.

In fact, perhaps you have just now noticed that the band's most popular song, “Silent Lucidity”, was not on the setlist at all! I know there were a couple of people who asked me why they did not play this song, and while I cannot answer for them personally, I can offer up my own opinion, which is this...I really think that they have gone so many years having to play nothing but ballads or mid-tempo songs; stuff that was not necessarily what they wanted to do, but was what put asses in seats (or what their former singer was either capable of doing vocally, or only the songs he wanted to perform). Now that they have proven with Todd LaTorre that fans are still coming to see them in spite of the personnel change, I think that has also given them the courage (?) or incentive to start playing what they want; popularity level of songs on the setlist be damned. 

I also think their overall goal with this lineup change has been to reconnect with their fans, and a huge part of that is to play the songs that fans like to hear; songs that fans have been asking to hear for years uncounted. Seeing as how the song has been a staple at shows for over 20 years, I do not hear a lot of fans saying they miss hearing “Lucidity” on the setlist. The return of classic Queensrÿche has also meant doing a lot figurative spring cleaning and getting rid of the unnecessary bullshit. If that means getting rid of all the poseurs who are only there to hear their one hit song from over 20 years ago, then good fucking riddance to them! I'm a fan who wants to hear songs from a time in their history when I was too young to have heard them the first time. I want to hear songs that only other fans know. I never liked having to put up with that one person at the show who looks dead in the water for the entire two hours and then only shows the slightest bit of enthusiasm when the band's radio hit starts playing. Get the hell out of the venue and let the rest of us fans rock out in peace!

OK, so you're all probably sick of me going on, so I shall get to my final point of this review, since we are on the subject of the fans, which brings me to an earlier point that I will now elaborate on. One of the reasons I am so fond of LaTorre is not just because he's delivering the goods vocally; but also because he seems like a good fit for the band as a person as well. I have had the privilege of meeting the other bandmembers many moons ago when the original lineup was still intact, and one thing that always struck a chord with me was how genuine they are with their fans. They were down-to-earth guys who never conveyed a “rock star” attitude or treated their fans like they were somehow beneath them. They talked to their fans like regular people; sometimes even like a friend.

So when one bandmember gets drunk with power and starts to make everything his personal ego trip, I can see where it weighs down on the others and skews their perspective; especially if they still want to maintain their down-to-earth roots and still be those regular guys for their fans. You can't be real with your fans when you're hiding inner conflicts or personal differences. Nor can you feel comfortable with your fans when there are other people in the band dynamic who want to treat those fans like shit, or strut around with the attitude that the fans somehow owe them something. I would think a lot of times they felt embarrassed by that, even if it was no fault of their own.

This is yet another reason I feel that LaTorre has breathed new life into Queensrÿche; not just because of his vocal prowess, but also because you can tell by his public persona that he is also a nice guy that is humble and appreciative of this rare opportunity that has come his way. He's been with the band for nearly 2 years; long enough to become complacent with the idea or to even be a little jaded by it. But if he has, he doesn't let it show. He continuously shows how thankful he is to the fans for giving him a chance and welcoming him into the fold. He understands that the extended Queensrÿche family includes their fans and recognizes that it's he that is the new element in their faction; not the other way around. Lead singer syndrome does not appear to affect Todd LaTorre, by the way he respects the fans' opinion of him and does not act as though somehow being the new lead singer makes him above that. He's a class act, and the band deserves a classy person to match their first-class music. I can't wait to hear what they've got in store for us next. (And hey, if that next thing happens to be another show in my neck of the woods, I certainly will not complain!)

Another spectacular gig for the record books!
Photo courtesy of “Iron” Mike Savoia

_________________________________________________________________________________

Special thanks to the following... 

At Within Temptation:
Loana at Nuclear Blast USA (who dubbed this “The Weekend of Awesomeness”!), John Thornburgh (my fellow SC writer; thanks for sharing your photos with me!), Laura Medina, Shiva Ramesh, Andrea Granillo, Craig Frantz, Diane Granillo, Zoë Marie Federoff, Alirio Puche, Güzel Engel, Rose Caldera, Fernando the bartender, and IHOP!

At Queensrÿche:
Tané Pruett, Mike Savoia (thank you for sharing your photos with me!), South Coast Empire (all the wonderful people whose names I've forgotten!), Melody & Bobby, Dave Fulbright, Teefer Churro Norcal, Sylvia Giraldo, Leisha Fenton & Ronald Fauth, and Ron (the elderly gentleman who sat next to me at the show)!

To everyone who couldn't be there...you were missed. To anyone I didn't get the chance to meet up with over this weekend of awesomeness, I'm sorry I missed you! Apologies to anyone whose name I forgot to add to the list.

To my metal family...I love you all. See you at ReVamp, bitches!

In loving memory of my old-school camera, which died before this weekend. I will miss the beautiful pictures you gave me. But you went out with style at Kamelot, and who could ask for a better send-off?

Until next time...