First off, I would like to say hellp to my friends with the DGIF, and I hope you all enjoyed Madonna's column on Little Debbie Gibson... :P

I'd like to touch on a couple possible things on my last post, the mega-rant over Sherrie Austin's career and my anger toward the music industry.

My anger is over what I feel is injustice. I'm not angry that she hasn't outsold Shania Twain (though, she should, since Shania Twain deserves to sell ZERO albums). If there is one theme you'll see throughout my posts and that is a common thread through my views, it's a serious problem with injustice - whether it be an artist being treated like shit by the industry, whether it be the likes of Barry Bonds getting away with cheating, or whether it be the regime currently running this country. The fact that this particular case of injustice involves an artist I think the world of only makes me more angry, but I'm angry over what goes on in the music industry.

Music belongs to the artists, and the fans. The corporate lords who run the record labels deserve no rights. They're also a bunch of sick fucks for how they treat artists and fans - without artists making the music, and without fans supporting those artists, there would be NO RECORD LABELS. In fact, I'd be happier if artists just blew off the labels and went about getting the music to the fans directly (like Sherrie did with Followin' A Feelin').

A friend of mine also admitted to me that she was at first a bit puzzled as to how and why I ran into Sherrie outside the hotel, but quickly realized why. I'll, however, explain for anyone out there scratching their own heads or a bit troubled: Medina, Minnesota is a very small town, which from what I saw of it consisted of houses and some vacant lots with a ballroom and hotel in the middle of it. The ballroom is where she performed, and the hotel is literally about 75 yards from the ballroom. It's also, to the best of my knowledge, the only hotel in the city. Not wanting to try to commute back and forth between Minneapolis and Medina (especially NOT knowing the area), I decided before heading out on my trip to go ahead and stay in that hotel, and had even made reservations before heading out.

So, either I would've had to have stayed in another city or slept on the streets, or Sherrie would've had to have stayed on her bus the whole time, or.... we were going to wind up in the same hotel. And, what's funny is, I didn't even expect to run into her at 11am (I was thinking she'd show up that evening or something). I was outside, admiring the clean air and sky (something that DOESN'T exist in Southern California), when I see someone walk across from my right side (my right eye is terrible, so when I see something "move" to my right, I tend to look over to make sure I'm not about to get ran into or something). I turn and the first thing that goes through my mind is "OH SHIT!" when I realize who that movement was...

But, no, it wasn't a thing of intentionally picking the same hotel as her. I didn't go down and knock on her door, and it's not like I plan on taking a trip to Nashville to track her down anytime soon. Just one of those things where we were going to wind up in the same hotel because neither one of us had a whole lot of choice due to the location...

By the way, for those who are curious: The profanity count from the rant? 62, including 31 uses of the magical word that begins with an F. Not something I planned on. The more I typed, the angrier I got - especially when the topic shifted from Sherrie to the industry. What's sad is when I counted, I could hear Joe Buck saying "Touch first, Madge! You are the new single post cuss word queen!"

Damn you, Mark McGwire...

I just want to see Sherrie treated like a human being by this industry, and given a chance to be herself. All artists deserve it, even corporate cookie-cutter crap like Shania and Britney, who are to music as McDonald's is to food.


Author Hunter S. Thompson shot himself tonight. Thompson was an outspoken "gonzo" journalist (his own term) who spoke out on politics. A great deal of his work was in Rolling Stone in the early years, and in recent years he was a part-time writer for ESPN.com. He wrote the book "Fear And Loathing In Las Vegas", which the film was based upon, and made headlines for a one on one interview with Richard Nixon where they only discussed football. The character Duke in the "Doonesbury" comic strip was based upon him.

Last year, a friend of mine sent me a quote she caught from Thompson, in response to some of my rants about the music industry: "The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side."

Thompson definitely lived a very chaotic life, and seemed to never truly be at peace. I hope he's at peace now.


Patriots linebacker Tedy Bruschi suffered a minor stroke earlier this week. He has already been released from the hospital. No word yet on the cause, or if there's a risk of another one. While I can't stand Tedy's team, he truly seems like one of the class acts in football, and I wish him a full and speedy recovery.


Gay marriage in now legalized in Springfield. In tonight's episode of The Simpsons (which I didn't get a chance to catch), the gay marriage ban was lifted, and a character came out of the closet. No, not Smithers (the very obvious choice), but Marge's sister Patty. I am surprised there hasn't been a major outcry from the Religious Right (yet). Perhaps they were waiting for the episode to air before raising hell, or perhaps they are still busy waging war on SpongeBob and emailing the hell out of Keith Olbermann.


Speaking of the Religious Right... A few weeks ago, they reared their heads again, this time over "No Name Calling Week" in schools across America, claiming it "promotes homosexuality". While it was a gay rights group that was behind the idea, it's not exclusively about homosexuals. The idea is to create an environment in schools where hazing and name calling doesn't go on. As someone who went through plenty of it in school, and watched some very abusive bullying and hazing, I'm all for it. Furthermore, what the Religious Right doesn't seem to get is how widely used the word "faggot" is in schools anymore. It's not just used against homosexuals, but against students PERCEIVED to be homosexual, and many times just used on anyone who is different or just doesn't fit in.

Once again, the Religious Right cares more about their goddamned agenda than people. Instead of thinking "Hey, it would be nice if kids could go to school and not be bullied and harassed by other students!", they're busy thinking how they can twist this and soil this for the sake of protecting their precious agenda and warped views on sexuality.

But, then, why should I be surprised? The Religious Right ARE bullies, hence they would side with the bullies on this. Maybe if they understood and knew what it felt like to be bullied, they'd feel differently...


Speaking of bullying, an ABCNews.com article recently pointed out a growing trend - cyberbullying. It would appear that students are now using the Internet to bully fellow students. I can't say I am surprised (though, very disgusted), considering how many so-called "adults" have used the Internet to bully and harass people - usually because they don't agree with them. I saw my share of it a few years ago, when more than a dozen women - all ranging (supposedly) from their mid 30's to late 60's used the forum at chandralevy.com to bully, harass and stalk a half a dozen members they didn't like and didn't agree with (and I was one of them being targeted - including harassing phone calls and threatening emails). Too many sick fucks have the opinion that because they're hiding behind a computer monitor that they can do whatever they want to people... It causes nothing but trouble online. So, I guess it's of no surprise that jackass children do the same online, but it still makes me sick.

I'm just tired of people like that. I'm tired of people who have nothing better to do with their lives than cause misery for people.


The state of Virginia has passed a law against "low-riding" pants, authorizing a $50 fine for anyone who displays "his or her underpants in a lewd or indecent manner." While I'd rather not see someone's underpants in public, this law is ridiculous, and clearly is about two things: Bilking money from people, and control. Just as bullies in society cause nothing but grief to innocent people, the bullies in our government cause nothing but grief to citizens of this country. I fear now that this law passes, we'll see more conservative old farts try to pass more laws controlling and dictating what people wear.

What's next? No more black trench coats (since, after all, black trench coats caused Columbine, according to some of these lunatics). A prison sentence for wearing an anti-Bush T-Shirt? A fine because your pants are too tight, or you show too much cleavage, or your spike heels are too high? How about probation because your boots look like Julia Roberts' in Pretty Woman, or because you don't wear the latest, trendiest brand named clothing?

Of course, let's not give these fascists any ideas. I'm sure many of them would like to see everyone in America dressed in fatigues and sent off to the Middle East to kill for oil...

How about passing some real laws - like to protect consumers from corporate fraud, or to keep schools safe, or to protect people? This is what happens when a country is ran by too many egomaniacs drunk with their own power...


ESPN.com is having a field day trying to discredit Jose Canseco and his book. Hey, have fun. But try to come up with something more convincing than claiming Jose must be lying because he claims he never slept with, well, me. I've read a few biographies on Esther Madge Richie to "research" for the "part", and every one I've read has also claimed that Esther Madge never slept with Canseco. It appears there was some flirting, and some possible interest in each other, but it never seemed to go beyond that.

So, either they're both lying, or both telling the truth. Considering how open Esther Madge is/was with her sexual conquests, I find it hard to believe she'd lie about Canseco - after all, from what I have read, she'd rather lie about Dennis Rodman if she could lie about her sex life...

What's interesting (or scary, depending on your point of view) is that Canseco has the same theory on Mark McGwire that I've had for three years: That the Andro "use" was a smoke screen. He believes McGwire never used them, but kept the bottle in the locker room hoping the press WOULD see the bottle and report on it, leading fans to assume he was using Andros, and not anabolic steroids. I'd often thought the same thing myself, and you do have to wonder why someone like McGwire would've left the bottle in plain view like that unless there was a reason he WANTED it seen...


For good measure: Curse your black heart, Jeff Gordon!


Little Debbie is back in the news (or shall we say, tabloids). No surprise, since that seems to be the only attention she can get anymore (well, that, and Howard Stern).

Debbie, it seems, is angry that today's teen idols don't acknowledge the "groundwork" that she "laid" for them, and in her own words, "I'd love to get them all in a room and smack them around a little bit."

Debbie goes on to claim that they don't acknowledge and respect her the way she did the Osmonds and "people who came before me". This, of course, is hilarious, considering that in the 80's she was busy talking about Billy Joel, Elton John, Michael Jackson, and me - when she wasn't dropping the latest, trendiest names in music to make herself look cool (ie. Guns 'n Roses, Poison, Whitney Houston, New Kids On The Block).

It sounds to me like she's just pissed off that people aren't dropping her name in the press, and talking about her. What else is new? Nobody has been talking about her except to laugh at her since 1990.

Debbie, you really need to do something about your "do as I say, not as I do" problem... It's why all your fans are running for the lifeboats after you decided to plow your own Titanic into the iceberg. You're finished.

Debbie, Don't go away sad, don't go pre-fab, don't go be bad, don't go away mad, just go away...


Eight days down, sixty eight to go in Jeopardy!'s Ultimate Tournament Of Champions. Daily updates are being posted here.


On Thursday, I bought myself a set of wheels. It's the first bike I've had in six and a half years. Definitely felt funny on the ride home, not being used to riding because of the long layoff. But, it's a very nice bike, and I am sure I will get the hang of it sometime soon (after I get the front tire fixed, which already managed to go flat).

As some of you know, I have been battling back problems since December 2003, and after doing some reading (and seeing quite a few people recommend low-impact exercise like cycling), I decided to give it a shot. And, the bike being on sale didn't hurt.

But, no, I don't plan on any sixty miles trips - at least, not just yet...


Lastly, a thank you to What She Said! and tsuredzuregusa for the links to my blog, and I'll be adding tsuredzuregusa to my own list. I'm also adding Keith Olbermann's blog to my links. Great blog, and even better show - Keith is now definitely on my Must See TV list.

Labels: A world gone mad, Cheaters, Gone But Not Forgotten, Little Debbie Gibson, Religious Right Ain't Right, Stone Cold Sherrie Austin

A bird in a cage can't use its wings
One day she might refuse to sing
You'll find some feathers on the floor and an open door

I've been in a sour mood since last Monday over this issue, and for one reason or another - struggling to find the right words without going postal, or even not wanting to write about it, because writing about it would be acknowledging it and making it "real" - I've dragged my feet on discussing it. But, here goes...

Anyone who has known me for any lengthy period of time knows that my favorite artist in the world is Sherrie Austin - moreso than the Beatles, or even Madonna (kind of funny, since I reinvented myself as Madonna and not Sherrie).

For those of you not familiar with her, Sherrie is a country singer from Australia. Despite being a country singer/songwriter for nearly a decade, she is probably still best known for playing Pippa McKenna in the final season of The Facts Of Life. After a few more acting roles, she recorded one pop album (lead vocalist for the pop duet Colorhaus), then moved on to Nashville, where she has since recorded four albums and even written songs for a few other artists (Dolly Parton and Hal Ketchum, Tim Rushlow and Tammy Cochrane).

Sherrie's journey into country music actually began at a young age, and at the age of 14 she opened for two of Johnny Cash's shows in Australia (years later, she'd run into Johnny in Nashville, and he said "I remember you! You were the little girl in the red cowboy boots!").

Sherrie originally hit Nashville, planning to write, and did so for a couple of years before getting her own album deal with Arista Nashville. Sadly, like just about everything else in her career, the timing was bad - country music was beginning to crossover into pop, thanks to corporate pawns Shania Twain, Faith Hill and LeAnn Rimes. And, from nearly day one, the pressure was on Sherrie to become a huge hit - not by being herself, but being expected to become "The next Shania Twain".

That was the beginning of the bullshit - years of it, which more than once has left Sherrie lost, wondering what she is doing and what purpose she has, and nearly ended her career three years ago...

It would appear the bullshit struck again, and her career may have just ended.

Like many young artists, at first Sherrie wasn't sure what her purpose was, and in the very beginning thought she was there to be successful and famous. Shortly after the release of her 1997 debut album, Words, she truly came to realize why she was doing what she did - to be an artist.

"When Words came out and did what it did, that's when I realized 'Oh, this is why I'm doing it' - I didn't do it for (fame), I thought that's why I was doing it but hell, it turns out I really love what I do and I really want to be an artist." - Connect!, July 1999

During other interviews in 1998 and 1999, she'd also say things like "Success is craving to wake up everyday, wanting to write a great song" and "If my music touches even one person, I consider myself a success". Where many artists release an album, have a taste of success and get hooked, she had quickly decided (and at the young age of 27, no less) that she was more interested in art than fame.

Her debut album, which was contemporary country/pop, would have a couple minor hits and sell about 300,000 copies, would establish her as one of country's "up and coming stars". In my honest opinion, it's the second best of her four albums - a unique sound, good songwriting, and Sherrie would sing with spunk that really wouldn't be present on her later albums (and I have suspected for years that years of battling with the music industry drained her of that spunk).

Her second album was the beginning of the end - at least with Arista Nashville. Titled Love In The Real World, the album seemed to artistically be a step backwards from Words. The production was much slicker, the sound more like Faith Hill, and the songwriting nowhere near as strong, it would struggle and barely pass 100,000 in sales, with only the hit single "Never Been Kissed" as a highlight.

It was a few months after the release of this album that I first saw Sherrie live. In the small town of Medina, Minnesota on October 21, 1999, Sherrie performed a number of songs off both albums, plus the not-yet-released "Favorite Waste Of Time", and covers of "Queen Of Hearts" and "Jolene".

The performance floored me, yet left me scratching my head. Her concert marked the first time in my life I heard an artist perform live and thought they put their album to shame. The sound was more country, her singing more energetic, and sounding so much better without slick studio producing. After the show, I began to think "Something isn't right. Where's the energy in the studio? Why are they producing her the way they are? Why does she sound more country live - unlike Shania Twain, who sounds more POP live?"

That day also made me even more of a fan of Sherrie. She signed a few items for me, and even smiled and said "Hi" when we ran into each other in front of the hotel that morning (and keep in mind, she would've had no way of knowing at that moment that I was one of her fans!). She quickly gave me the impression of being an artist who is very grateful to her fans, and that hasn't changed. I had also chatted with her then-road manager that morning, and after he found out I had just traveled 2,000 miles, gave me a meet and greet pass (she also signed and met with fans after the concert as well).

Six weeks later, I would catch her again in Las Vegas. While the energy was still there - outdoors, with it about 40 degrees and breezy, and while she met with fans, the signs were showing that this wasn't the same Sherrie as the one I saw six weeks earlier. She didn't seem anywhere near as upbeat. While she sat there and signed something (or had a photo snapped) with every fan who stuck around after the show, there was no joy that night - not in a "Get away from me!" sense, but a "I want to go home!" sense.

A couple months later (February 25, 2000, to be exact), the news broke in a simple, one sentence statement: Sherrie Austin and Arista Nashville have mutually agreed to part ways. I believe there were a number of factors that played into the decision: Former CEO Tim DuBois leaving Arista to head Gaylord Entertainment (and he promptly walked away less than two months later), and the lackluster sales of LITRW and the poor showing of Sherrie's second single, "Little Bird" among them.

However, I think ultimately the decision came down to one unhappy artist. Sherrie clearly was unhappy, and becoming more unhappy by the day. There was an out clause in her contract that would allow her to leave if DuBois left, and the fact she made the decision so quickly after his departure tells me she had wanted out for some time - DuBoius's departure gave her the right to do so.

That being said, shortly after she left, Arista cut several artists, and I don't think it's hard to assume Sherrie herself would've been released had she not left first.

A year later, Sherrie would openly state on her website that there was a great deal of pressure to become the "next Shania Twain or Faith Hill", instead of being supported as she was and being allowed to be herself. Undoubtedly, this wore on her, and leaves no doubt that the sound and style of LITRW wasn't based upon what Sherrie wanted, but what Arista Nashville wanted.

The last year under Arista not only seemed to drastically alter the path of Sherrie's career, but my own views. Where in years past there was some anger toward some of the major labels for "not doing enough to make so and so into a superstar", it became a genuine hatred for the manner in which they treated their artists. No matter how you try to look at it, or try to make sense of how Arista handled Sherrie Austin, there is one undeniable reality - they treated her like shit. Instead of nurturing and supporting her as an artist and giving her the freedom to create her own music, they tried to turn her into something she was not. She is not Shania Twain, and she is not Faith Hill. Denying her the freedom to be Sherrie Austin is something I still haven't forgiven Arista Nashville for, and likely never will.

It didn't take much for me to realize that Sherrie isn't the only artist to have received such treatment from the corporate fucks running the major label cartel - she probably wasn't the only artist on her own label to have been put through this. Her end with Arista was a major wake-up call, and the foundation of the anger I've felt for the music industry over the last five years.

Sherrie would spend the rest of 2000 touring, writing and "soul searching". She received several offers from other labels, but ultimate chose herself - in late 2000, it was announced that she had co-founded WE (Wrensong Entertainment) Records, and her upcoming release would be the first (and sadly, only) on this new, independent label.

Titled Followin' A Feelin', the album was the one glimpse fans would get into the music that was truly in Sherrie's heart and soul. The songwriting was (at that point) her best, the style was more traditional sounding, and the slick production of Love In The Real World was gone, replaced with a more "raw" sound. In my opinion, this was by far her best work, and at the time left me hoping we'd get more of the same over the years.

Another bonus was that WE created a Street Team, giving fans the chance to help out in promotion, with the bonus of getting (or winning) merchandise. The chance to help out and make a difference was what drew me to it, the merchandise was the icing on the cake.

The Street Team would be one of the reasons I would view ***1 (besides "That Year" and "That Awful Fucking Year") as "The Year Of Being A Professional Volunteer", as at one point in the Fall I was contributing to the Street Team, and moderating chandralevy.com and operationjustice.org (a site devoted to the 9/11 attacks) at the same time. Things eventually got so bad I gave in and got DSL, as I'd get phone calls from people, chewing me out because they'd been trying to call me for 2-3 days and getting a nonstop busy signal. However, I viewed the Street Team as a labor of love, and an escape from the daily horror and grief of the Chandra Levy case and 9/11.

Eight days after 9/11, 9/19/*1, would be one of the biggest days of my life, with the horror of the previous week still fresh in my mind. I woke up at 5:30am that morning, and spent two hours biting my nails and smoking way too much, anticipating one of the most important phone calls of my life. My mind was going a million miles per second, counting down to 8:30am, feeling like a member of the 1980 US Olympic hockey team in the final period - I'd load up my golf game at 8am, play a couple holes, and it'd seem like it was 8am and one second.

An eternity later, at 8:28am (two minutes early), the phone rings. I got the nerve together by the second ring to answer, not sure if I'll hear Heather Edwards (a staff member at WE) on the other end...

Or Her.

At that point, I was hoping it would be Heather, to give myself a moment to pull myself together. No such luck. Because after choking out "Hello", the voice on the other end telling me "Good morning" is none other than Sherrie Austin.

This is, of course, a day that should go on the calendar of everyone reading this blog and/or who knows me. No, not because Sherrie called Maddy, but it's one of the few days in my life where my outspoken, brutally honest ass was speechless.

Among thanking me for my hard work, and praising one of my ideas for the Street Team, she had said a quote that I think sums up so much of what she is about (and hence why I bring up the phone call)...

She had asked if I was married or had kids, and I told her I was single, no kids. She said the same, then added "No, wait. My songs are my kids."

While it's a cute quote, when you really think about it, it tells you just how seriously she takes her music. "My songs are my kids". Not that she saw music as just a means to make a living, but as a part of her heart and soul. That quote has stuck with me ever since.

The conversation lasted about 15 minutes, on what I know was a busy day for her, and it only further reinforced in my mind how much she values her fans. I had won the phone call in a random drawing, and I know of so many artists would've called, said hi and been off the phone in 30 seconds.

It would be during that year that we would get a few more memorable quotes from Sherrie. Whether it be lashing out at the music industry for not giving artists freedom, lashing out at her former label for expecting her to be another Shania/Faith, or blasting both sides in country music's generation gap ("I think the new artists have to have respect for country roots. But I also think the older artists need to nurture the new artists and let them find their own voice. It's all about respect and remembering where country music came from, and having respect for each other."), Sherrie was not afraid to lash out over issues she had with the industry in recent years. She left little doubt that her previous experiences in Nashville had left a sour taste in her mouth.

However, despite the freedom of Followin' A Feelin', the unhappiness of the past was once again surfacing. The politics and bullshit of the business were again weighing on her, and in January ***2, WE Records closed. Sherrie once again walked away...

This time, planning to take a permanent vacation.

"I started questioning whether this was what I wanted to do for the rest of my life. I just got burned on all the politics and the business." - Country Weekly, August 19, 2003.

The sad part is that at that point, Sherrie had wasted more time and energy over those five years clashing with the industry, and dealing with politics and bullshit than she had writing - the one passion she has always had more than anything else. As I had often thought (and even said a few times), she has the misfortune of being an artist in an industry that calls for corporate assassins now. And there was no doubt by spring ***2 that the stress had taken it's toll.

What brought her back was "Streets Of Heaven", a song through the eyes of a sad, scared and angry mother, pleading with God not to take her ill child. Once she wrote it in summer of that year, her mind was made up - that she must get this song out.

"It's refreshing to see that I can do something with music other than strive to be rich and famous. That doesn't seem like a very worthy goal" - same issue of Country Weekly, referring to the song.

Sherrie would use this album not only to get "Streets Of Heaven" out there, but to even take a shot at Nashville and the music industry:

"Want to know how mad Nashville can make you-especially if you're in the music business? Then bend an ear to 'This Town Is That Small' on Sherrie Austin's Streets of Heaven album. Austin co-wrote the lyrical diatribe with her producer, Will Rambeaux. Here's part of the chorus: 'A good fiction is better than fact/They're masters of the art/Of 'Bless Your Heart' with a knife in your back.' Could this foul place possibly be Music City? Hot Talk asked Austin. 'The politics of a small town are the same no matter where you go,' she began diplomatically. But then she spilled. 'Yeah, I was going through a bit of a rough patch at that time. I was slightly pissed. It was a good way to get some stuff off my chest. I was just frustrated with the business, and I felt a whole heck of a lot better when I put it down on paper.'" - CMT.com, November 3, 2003.

She signed on with Broken Bow Records, a so-called "indepedent" label whose slogan was "Keepin' it country!" However, it took little time for me to see that we were about to watch another derailment.

BBR is an upstart label which at one point had eight artists, the majority of them one-time major label castoffs (Joe Diffie, Craig Morgan, Chad Brock, Sherrie). The corporate lords in charge are all castoffs from major labels as well - with experiences at Atlantic, Arista and a general Who's Who of major corporate record labels. The label also is a rarity in that it's an independent label that is an RIAA member (which makes Streets Of Heaven the only time I have violated my RIAA boycott that began in 2000 - my loyalty toward Sherrie is stronger than my hatred for the RIAA).

In other words, it quickly became clear - independent label with major corporate label mentality. A band of bloodsucking assholes either dumped (or not climbing the ladder fast enough, so they walked) by major labels who founded a new label, hoping to become the new bully on the block.

And, it seemed like it took little time for the trouble to begin with Sherrie's new album.

Where the previous three albums had primarily been produced by Will Rambeaux, Streets was primarily produced by Dann Huff (a former rock artist who has produced Faith Hill since 1998). This immediately set off red flags, as not only did Sherrie go out of her way to seek out Will when she arrived in Nashville in 1994, but has been romantically involved with him for years. There's just no logical reason to think she sat there and decided "Naw, I'd rather work with Dann."

While the songwriting on Streets is great, the album was a step back from Followin' A Feelin'. The arrangement sounds like something you'd expect from Faith Hill, and her vocals was once again slicked up (unnecessarily). I wasted no time after getting the album in August 2003 in lashing out at Huff and the manner in which the album was produced:

"What makes me mad is I feel she has been suckered. Again.

She honestly felt that Tim DuBois appreciated and supported her as an artist. If that is the case, why didn't he let Sherrie be Sherrie? He was clearly trying to mold her into Shania Austin...

Well, now she is with an independent label that may as well call itself Arista II.

After nearly a decade of collaberating and working with Will Rambeaux, he suddenly appears to be out of the picture on her new album...

Yes, he's "credited" as a producer, but if he produced one note of it, I'll be surprised.

With her first three albums, the melodies and music was arranged around Sherrie's vocals. You know, the way they USED to in country, where the producer would produce to bring out the artist? Before Mutt Lange ruined music by producing his overrated wife, molding HER around his style to make a statement?

Well, that's not the case with this album... Too much of the album sounds the same, and is clearly produced and arranged with the mentality of making Sherrie fit into the melodies, NOT the other way around, like Will did it...

There is also an annoying disco drum beat throughout the entire album.. Not only is it obvious on the song samples I've heard, but a friend obtained a VERY early copy of the CD on eBay and said the same thing... And not only is the album produced in such a manner that it sounds neither country nor pop (just like Love In The Real World, which I felt wasn't as good as her other two albums), but between the arranging and the drum beat it's sometimes hard to clearly hear her singing...

Dann Huff obviously produced the album (and yes, he is credited). Dann has worked primarily as a guitarist and producer for rock, pop and R&B albums.. His "experience" in country consists of playing electric guitar on albums for the likes of Shania, Faith and Sherrie (on her two Arista releases)...

He also produced Faith Hill's Breathe album, which is about as country as Britney Spears.

Why would Sherrie remove Will as producer? When she went to Nashville, she sought him out, wanting to work with him.. She's dating the guy.. He has produced her first three albums, which ranked from very good to awesome...

There is only one logical conclusion: Broken Bow Records hired Dann Huff and gave Will a shove." - excerpt from my own post on Strange Forums, July 28, 2003

A good friend of mine, and fellow fan, would say the following a couple weeks later:

"Now that I've heard the music through a decent sound system, things become more glaring. Her voice was run through a lot of effects. I can hear the digital signature on her voice big time. Completely unnecessary for her voice. Way too many electronic instrumentations underneath especially in the drum and synth department. Way, Way too many complex background vocals that almost drown her out in several parts. Basically, things noticed on the sample listenings only magnified."

Was it a matter of Sherrie losing her ability to sing? Or deciding on a change in sound? Not from what I hear. Other fans were telling me she sounded as good as ever live, and as usual, sounded quite country live. She'd appear at "songwriter's nights" in Nashville, perform a few songs with Will, and sound VERY country...

No, it's obvious once again that the drastic change in direction (and sound) was the decision of the powers that be, the corporate fucks at the top who clearly saw Sherrie as nothing more than a cash cow. And not only did they compromise Sherrie's album (making it an impressive .750 batting average of Sherrie albums compromised by record labels), but the irony is it blew up in their faces: The biggest female in country music in 2004 wasn't Faith Hill, or Shania Twain, but a 31 year old, beer-drinking, chain-smoking, take-no-shit woman who has become country music's new poster child on the song "Redneck Woman". That's right - while BBR and Huff were again trying to mold Sherrie Austin into Faith Hill, Gretchen Wilson has come from nowhere to getting Grammy nominations and performing at the Super Bowl pregame show.

However, the evil of Dann Huff isn't the only thing to have blown up in everyone's faces...

BBR sent Sherrie on not one, but TWO radio tours to push the single "Streets Of Heaven", all the while doing nothing to get her steady stream of live performances in front of fans. Sherrie, who had openly admitted to being tired of nonstop promoting and all the "me me me" stuff during her time with Arista, was again finding herself on a seemingly endless promotional tour, as BBR's lone focus seemed to be on how many times "Streets Of Heaven" could be played on the radio.

Things quickly seemed to be degrading into a situation where the only positives were that "Streets" was receiving airplay, and 25 cents from each CD sold was going to St. Jude's Children's Hospital. According to some things I had heard later on, this was basically more than Sherrie herself was making off the album, as she wasn't in a position to really profit off her own work unless it broke 100,000 in sales.

Leave it to the corporate fucks to once again fuck over Sherrie. There's something very wrong with the people at the top raking in the profits while the artists who actually fucking write and perform the music don't get shit. I believe that's called SLAVERY...

The second single - behind a complete lack of promotion by BBR, would flop. Sherrie would follow this up by giving fans what they had wanted for years - a recorded cover of "Son Of A Preacher Man", a favorite from her live shows. The recording and production for the song came out of her own pocket, and once again BBR seemed to have no interest in promoting the single (likely since they weren't in position to make a profit off it of.) The single, much like Followin' A Feelin' and her live performances, had more of a country/folk rock feel to it than the slick country/pop feel Huff gave her album (gee, is that starting to sound familiar?)...

The result of the pressure, bullshit, politics and double radio tours was fans mentioning that she looked and sounded "exhausted" by March 2004, and her expressing the need for a break - and for things to slow down - shortly afterward:

"I miss my time to write. I kinda need it. It's like breathing or eating to me, and it's a little harder to do out on the road."

When asked what she hoped for after that? "Then I'm slowing down, I think!"

After a series of performances/autograph signings (the majority of them in Wal-Mart parking lots), Sherrie would once again head back to the studio to work on her fifth album....

Or, at least, that was the plan.

As recently as December, Sherrie gave an interview with CSO, talking about working on a new album. However, eight days ago, this appears to be no longer be the case.

An email received on January 31 from a reliable source stated that Sherrie Austin is no longer with Broken Bow Records, is focusing on writing for other artists and pursuing musical theater, and has no idea when - or even IF - there will be a new album.

Obviously, something went VERY wrong, the shit hit the fan, and now one has to worry if it could be the straw that broke the camel's back.

It's a fairly reasonable assumption to conclude there was a clash over the direction and production of the album - likely BBR wanting Dann Huff (or worse), with Sherrie wanted Will Rambeaux back in charge. Tired of the bullshit that had piled up over the last couple of years - the radio tours, the lack of support, Dann Huff - it's safe to say something happened that made her decide "Enough is ENOUGH!".

In other words, I think she walked, and it wasn't BBR that gave her the boot. You would imagine if that was the case, it would've happened before work began on the new album.

The last time around, she nearly quit for good. She was already tired of fighting, tired of the shit, tired of the politics. She came back, feeling there was a purpose this time around, and deciding she was going to have more fun this time around, keeping the focus on performing and writing.

Yet, it sounds like it wasn't any fun. Again.

I am fucking furious. No, I'm not the least bit angry with Sherrie. I'm furious with the industry. I'm furious with fucking Arista Nashville, and fucking Clear Channel, and the fucking RIAA, and fucking Broken Bow Records, and fucking Dann Huff, and all the fucking bullshit this woman has been put through over the years.

This is one of the few artists left who is/was in the business for the right fucking reasons - the love of music, a passion for songwriting, an artist who loved performing for her fans, and has been as supportive of her fans as her fans have been of her.

She may not have the largest fanbase around, but I can assure you we are some of the most loyal fans you'll ever find. Her fans truly think the world of her - as an artist, and as a person. I've often wanted to come up with a name for her fanbase, but the only thing I can think of that kind of fits is "Austin's Army" - but I don't want to rip off Arnold Palmer and his fans...

This is a woman who time and time could've sold out - skimpy clothes and/or skintight leather and latex, blatant sexuality, cookie-cutter singing and shallow, catchy lyrics. She's refused everytime because her music and her integrity matter to her, and she is more interested in making a statement with her music than with celebrity. Instead of being pissed on and shat upon and fucked over, she should be admired and respected by the industry.

However, she is the very thing they DON'T want. She won't sell out, she won't compromise herself, she won't let them fucking control her. She has had this music and these lyrics in her heart, mind and soul and she feels the need to express them, not be a fucking corporate pawn to the bloodsucking dictator assholes who treat fans like shit and treat artists like slaves.

Sherrie Austin deserves better than the fat, steaming pile of shit she's gotten all this time. I don't say that because she doesn't have billions of dollars and a dozen #1 hits and platinum records and tons of awards. I say this because she has never been treated with respect and dignity by these assholes. Not one record label has taken her and said "Sherrie, do your thing, and we'll support and help you." None. Instead, it's been "Make this sacrifice", "Make that sacrifice", "compromise your fucking music to our demands".

She is about the only current artist I am really passionate about, and it's because of who and what she is, not who and what the industry wants her to be. She gives a damn about her music, she gives a damn about her writing, and she gives a damn about the fans that support her. If there were more artists that shared her mentality - and record labels who supported such artists - today's music would be so much better.

In an industry full of pablum horseshit like Britney fucking Spears, Shania fucking Twain and dozens of other "superstars" more obsessed with paychecks and celebrity, she is a rare artist who has done it for all the right reasons. She is someone who either came along too late for her own good, or too early for her own good, because her mentality, and the industry's mentality, are polar opposites.

There was a point in my life where I thought she got all this fucking shit because she was Australian, and Nashville has held a grudge against Australian artists since Olivia Newton-John. However, I don't think this is the case. They give her shit because she doesn't play their game. She has no interest in their politics, or their power trips. She's too busy marching to her own beat - the beat in her heart and soul...

The only beat ANY artist should fucking follow.

Nashville may have not only taken the joy out of Sherrie Austin, and killed her career, but they may have just deprived her fans of her music. And that is a crime which I will never forget, nor forgive...

With me, I never cared about commercial success when it came to her. In fact, with the shit Nashville put her through, I often feared that commercial success would be the end of her - the pressure would escalate, the bullshit would mount, and she'd walk away even sooner. This is a music industry where once an artist has success, their own label (making HUGE profits off their work) puts even more pressure on them to create more, MORE, MORE! - integrity be damned.

Her music is something very special - not only to her fans, but to her. It truly is a gift, and it angers me that the industry never appreciated it.

I want Sherrie back, writing and singing. But more than anything, I want her to be happy and at peace. And if it means walking away, then I'll support it just as passionately as I supported her from 1998-2004. Nobody deserves this, certainly not her.

Nashville, I hope you're fucking ashamed of yourselves, you self-righteous, greedy, mean-spirited, arrogant, abusive, fasicst fucking assholes. You might have just chased away the best fucking artist in quite some time...

Years ago, I had said something to a fan, troubled over Sherrie forming her own label, worried that it meant none of the major labels wanted her...

It's not that Sherrie isn't good enough for Nashville, Nashville isn't good enough for her.

They don't deserve her. Never have, never will. Not the way you have treated her...

Thanks a fucking lot, you corporate assholes.

Or, as I put it in the same Strange Forums post quoted above:

"And along with that mentality comes their handling of Sherrie. They obviously are trying to push her down that Shania Twain/Faith Hill, pop with fiddles route... And I would bet the house that before she signed the contract, they told her how much creative freedom she would have, she could keep Will, blah blah blah...

Then she signs the contract and gets Whammied. The only difference is some cute, red cartoon character isn't going to come out and do something silly.

There's no logical reason for any of this. The one album she's done where she's had total creative freedom - because she was her own boss! - sounded the complete opposite of her other three albums... She obviously thinks the world of Will, both professionally and personally... She has said time and time again that she is not Faith Hill or Shania Twain, and has even lashed out at the industry for not appreciating or nurturing new artists.. And everything that has taken place since joining BBR has run the opposite of what she did when she was calling her own shots.

BBR obviously wants to piggy-back Sherrie Austin into becoming a major label. They are no different than Arista Nashville or any of the other scum-sucking major labels, and as far as I'm concerned, should be charged with fraud.

She has already left two labels, both times saying she was burnt out and lost...

BBR may finally drive the stake through that woman's career.

A couple years ago, when she started writing some songs for other artists, I said if she decided to retire from singing and become a full time songwriter, I'd support it...

Right now? I almost am hoping she does just become a full time songwriter. I can imagine this isn't fun for her.. I know it's not fun for me.

I've lost faith in a great deal of today's artists, and outside of Sherrie, most of my music collection is OLDER than I am... She's about the only current artist I give a damn about, and the reason is she was different.. Now BBR is trying to take that away from her AND her fans...

And maybe some of her fans will be happy, just because "shes's on the charts again".. But I'm not. I'm mad, I'm livid, and I could care less about the charts.

I'm used to "losing".

I've been a lifelong Dodgers fan - they haven't even been within sniffing range of a World Series since Kirk Gibson..

I've been a lifelong Rams fan.. They were the epitome of "close but no cigar" in the 80's, and downright pathetic in the 90's before winning a Super Bowl...

I've been a lifelong fan of the Angels.. Look at all their heartbreak.. It still makes me physically ill to think about Donnie Moore.. But they finally won a World Series...

I've been a lifelong Kings fan. One trip to the Stanley Cup finals, no championships...

It wouldn't kill me to never see Sherrie get a #1 hit, a platinum album, or a shiny trophy.. But it would kill me to see the corporate fucks in the music industry take everything that makes her unique and special and beautiful and flush it down the toilet in the name of the almighty dollar.

Fuck money. Money can be replaced. Careers can be replaced. BUT PEOPLE CANNOT BE REPLACED.

I'm sure there are people in this world who think I'm off my rocker. I'm sure maybe even some of you might think so (though, I'd hope not). Really makes me wish my mother was still around.. She was always the one person who understand why I'm me, and what made me tick, and applauded me for who I was...

And she is part of the reason I am the way I am, especially with the people I care about. She taught me the painful lesson of how people can't be replaced - 15 years later she's still gone, never to be replaced or to come back.

However, let me end this by saying it is far better to die on your feet than live on your knees. And I'd rather see her career die on it's feet than live on it's knees.

'Don't let them take the one named Austin.'"

If it will finally bring peace and happiness to just be Sherrie Krenn, songwriter, and write that music in your soul for others to sing, do it. It makes me sick to watch what the fucking industry has done to her, and I have to imagine it's making her even sicker. She doesn't deserve to be treated like this, and the industry doesn't deserve her...

But, I sure as hell won't forgive them if they push her to walk away...

In 1999, Sherrie wrote and recorded "Little Bird", a song she insists was about leaving a bad relationship. For nearly six years, I've been convinced the song is really a message to the music industry:

A bird in a cage is on display
People they poke and stare all day
If she can get those bars to bend
She wont be back again

Nashville has been poking - and much fucking worse - for years now. And this time, she may have just bent the bars...

Ooh Ooh whatcha gonna do
When your little bird flies away
Hey Hey, Ooh Ooh whatcha gonna say
Whatcha gonna do
When your little bird flies away

And this time around, perhaps the little bird has indeed flown away... But far better for her to be free than miserable.

Go fuck yourselves, Nashville. The music industry can eat shit and die.

Labels: A world gone mad, Corporate Assholes, Stone Cold Sherrie Austin

The lone highlight of tonight's Super Bore: The halftime show. 62 year old Paul McCartney left no doubt he can still rock, and and is as awesome as ever. He performed "Drive My Car", "Get Back", "Live And Let Die" and "Hey Jude". My only regret was hearing the three Beatles songs, and wishing John Lennon and George Harrison were still around.

I hadn't intended to watch a second of this crap, but Eric came over. I threw together some food, and watched the game. Where in years past, I would enjoy the game and hate the halftime show, this was the opposite. The game was a total bore, but I loved the halftime show...

UPDATE: ESPN is once again showing their asses, calling the Patsies the "greatest team ever". This, of course, is ludicrous. How the Patsies are now superior to the 90's Cowboys, the 70's Steelers, the 60's Packers or even (and it kills me to admit this) the 80's 49ers is beyond me. It's just more of the same old "Everything from today must be the best ever!" bullshit that has taken over the sports media in recent years.

I'm going to say something I rarely say, because it is nasty and mean-spirited, but I can't help myself. Will the so-called "journalists" with ESPN please put down their fucking crackpipes already?


Daunte Culpepper has shown that Randy Moss isn't the only Viking without class. During this week's FedEx NFL awards ceremony, Culpepper pulled off a flip-flop that would make John Kerry proud.

Jerry Townsend, a high school player was paralyzed from the neck down during a game in October, asked Culpepper "Hey, Daunte, can I get some of that ice?", referring to Culpepper's necklaces, valued at about $75,000. Culpepper stepped down, took them off, and put them around Townsend's neck.

Touching story, right? Not exactly...

After the ceremonies ended, Culpepper talked to the press, while keeping an eye on Townsend and his family. Why? Because Culpepper wanted to reclaim his necklaces, and "get his address" so he can "send him something else".

Real classy, Daunte. They called that "Indian giving" when I was growing up...

Obviously, Culpepper liked his necklaces. However, we are talking about a player who signed a contract worth over $100,000,000 a couple years ago. $75,000 worth of necklaces? Think it'd be that hard for him to replace them?

If Culpepper had no intention to give them to Jerry Townsend, then don't act like it in the first place. Offer to get him something else in the first place. But hasn't the kid gone through enough? Why toy with his mind and emotions like that?

Needless to say, I've lost all respect for Daunte Culpepper. I hope I'm not the only one.


The RIAA has made asses out of themselves again (and not, this is not the big rant in question). The RIAA filed a lawsuit against Gertrude Walton for allegedly making hundreds of MP3's available to download under the name "smittenedkitten".

There's just three little problems: Gertrude is 83, she does not own a computer, and she died in December.

Gertrude's daughter, Robin Chianumba, had tried to notify the RIAA several days before the suit was filed by faxing a copy of her death certificate. Yet, the RIAA went ahead and filed the lawsuit anyway.

A spokesman said on Thursday that Wilson is "likely not the smittenedkitten we're looking for" - gee, you think so?, and said they will now dismiss the lawsuit.

Too little, too late. Not only have you made it clear that you do not have the facts straight in your bullying witch hunt, but I'm sure Gertrude's daughter really wanted to deal with this, a month after burying her mother.

Up your ass, RIAA.


And finally, the last piece for this post: Steroidgate is back in the news.

The NY Daily News has published some details of Jose Canseco's upcoming book, which is still in the editing stage and will be released by HarperCollins on the 21st.

His book, titled "Juiced: Wild Times, Rampant 'Roids, Smash Hits and How Baseball Got Big", allegedly includes details of players that Canseco introduced steroids to, and how tinkered around with so many chemicals and drugs to enhance performance that he was known as "The Chemist".

Among some of the players Canseco helped juice up were Ivan Rodriguez, Rafael Palmeiro, Juan Gonzalez, and... Mark McGwire. According to the book, Canseco injected steroids into McGwire, and witnessed McGwire and former teammate Jason Giambi injecting each other.

Canseco also stated that then-Texas Rangers' owner George W. Bush "had to have been aware" of the rampant steroid use on the Rangers when he owned the club in the 90's.

So far, the only two comments in the press have been McGwire and former manager Tony La Russa. McGwire denies the allegations, and La Russa stated that Canseco was open about his steroid use in the Oakland A's clubhouse, saying things like "Come on, man, what are you talking about? I got the world by the tail."

One thing that is unquestionable is that everyone listed (at least in this article) did see their power numbers increase dramatically during the early/mid 90's, so Canseco's allegations aren't that outrageous.

A few years ago, while researching Barry Bonds' size and power increase in the late 90's/early part of this decade, I became convinced that McGwire had also used steroids to boost his power numbers. McGwire went from 6'5", 200 as a rookie to 250 by the mid 90's. Furthermore, there were other signs, such as the changes to his face/skin, and the series of leg injuries he suffered in the latter part of his career (very common in steroid users).

Furthermore, there was the Androstenedione scandal in 1998, as McGwire was breaking Roger Maris' single season home run record. While many people had assumed that was the only thing McGwire had used, I almost wonder if it was a smoke-screen - that when McGwire was caught with the Andros, he was almost relieved because everyone would be focusing on the Andros, assuming that is what he was using, and keep the focus away from anabolic steroids.

There has been mounting evidence over the years that McGwire had also cheated his way into history, just as Bonds is doing now. The sad thing is, up until all my research, I was huge McGwire fan. Not anymore...

I will be checking out a copy of Canseco's book when it comes out. Even though he too is an asshole and a cheater, he openly admitted to his own steroid use a few years ago, and was coming out saying baseball had a problem before the media admitted it, before baseball itself admitted it, and before the whole BALCO scandal erupted.


Still working on the big rant. Should be up soon. I also may be posting a special "guest" rant on the same topic, depending on whether my friend types up one and how he would feel about it being "syndicated" over here.

Labels: A world gone mad, Bushwhacking, Cheaters, Corporate Assholes, Sports

First off, the news that John Vernon, Ossie Davis and Max Schmelling passed away this week.

Vernon will always be best remembered for his role as Dean Vernon Wormer in Animal House, waging his battle to wipe out Delta House. Among some of his memorable lines were "Double secret probation" and "It's time for someone to put their foot down, and that foot is me." The latter I used in early ***2, during the period of turmoil on chandralevy.com, complete with a photo of a black thigh-high boot and a riding crop.

Davis, of course, was famous for his acting roles dealing with racial injustice - not only on-screen but in real life. Eloquent, well-spoken and of course gave eulogies for BOTH Martin Luther King, Jr. and Malcolm X. A true legend, not only on screen and stage but off...

Schmelling is the only German to ever hold the world heavyweight title, and is best known for his two bouts with Joe Louis. Sadly, he became falsely identified as an idol for the Nazi party in the 30's, and was hated in America as a result - despite the fact Schmelling opposed the Nazi party himself. He used his influence to insure protection for American athletes at the 1936 Olympics, he used his fame and wealth to save some of the Jews during WWII, and in his later years financially helped Louis (and even paid for his funeral).

May they all rest in peace.


The Pro Football Hall Of Fame is now officially tainted, with the induction of Steve Young today. Young, one of the most overrated quarterbacks in NFL history, was also a key figure in the mid/late 90's salary cap cheating scam on the 49ers. Not only should that have been held against him, but it's a serious injustice when his numbers are identicial or worse (for the most part) than Boomer Esiason's, yet Boomer's still on the outside looking in.


In less than 24 hours, Super Bore XXXIX will be over, thank goodness. For two weeks it's been nothing but "Terrell Owens", "Brady is Joe Montana" and Janet Jackson's boob. I'm so sick of hearing about Tom Brady that I think I'd rather listen to the media drool over Joe Montana.

As for Janet's boob, good lord. It was on the screen for about half a second live. A great deal of the viewers didn't notice it, but the press can't shut up about it. It's been replayed so much that they have ensured EVERYONE in America has seen it - even the poor children they claim to be protecting. ESPN, of course, is the worst when it comes to it.

The media is acting like a bunch of teenagers who have never seen a breast before, and now can't shut the fuck up about it.

And for old times sake: Terrell, shut the fuck up.


Star Trek: Enterprise is now history. This will be it's last season. Thank goodness, because Rick Berman fucked up Enterprise the way he fucked up Deep Space 9, Voyager and the last movie. Though, the best part of this is, it leaves Scott Bakula free to do other work. Namely, one certain, particular project...

Last year, Universial announced they were developing a made-for-TV film, Quantum Leap: A Bold Leap Forward. It will take place 20 years after the series finale, and reunite Sam and Al.

Dean Stockwell has been set to play Al for a year now, however, there was no word on who would play Sam, until recently. It was recently confirmed that Scott Bakula will indeed play Sam Beckett once again.

It has been the hope of many Quantum Leap fans - including and especially myself - that a successful TV movie could lead to a new series. The show was one of the most creative and unique shows on television, and ended way before it's time, thanks to NBC constantly moving the show's time slot and pressuring the writers and producers to do things for the sake of ratings (such as Sam leaping into celebrities).

NBC, of course, wouldn't know good television if it bit them in the ass. This is the same network that cancelled the original Star Trek in 1969, didn't give Pippa McKenna her own series (or at least bring back The Facts Of Life for a tenth season), the same network that gave us pathetic crap like Friends, and the same network that crammed Michael jordon down America's throats with the NBA coverage.

So, the good news is if there is a second series, chances are this time around it would be on Sci-Fi, and not NBC. Now, we just need for this film to lead to a new series...


Jeopardy! and Ken Jennings are about to make their way back into the news. On Wednesday, the Ultimate Tournament Of Champions begins. It will start with 150 contestants over Jeopardy! 20 years history, and over 15 weeks be narrowed down to two. Those two finalists will face Ken Jennings with serious bragging rights and money on the line.

Third place gets a guaranteed $250,000. Second will get $500,000. The winner will get $2,000,000 (which, if Ken won, would bring his total to an insane $4,522,700, meaning the only realistic chance we'd see to pass him would be someone getting at least 14 questions right on Super Millionaire).

The Finals are scheduled to air in either May or June. I'll be once again running daily updates on the KenJen blog, which obviously isn't quite ready to be retired just yet...

And even more Ken: A familiar looking package arrived in Thursday's mail. Familiar, because it was the same SASE I had sent in September. In it was a 3x5 photo of Ken and Alex, signed "Debbie, thanks for the kind words! Ken Jennings".

This brings my autograph collection to a whopping three celebrities: Sherrie Austin, Arnold Palmer and now Ken. I at one point had Gary McCord's, but I can't find it and am assuming at this point it was lost during my 37 moves during the 90's.

Thank you, Ken. It was nice to have something positive happen this week.


Lastly, the final topic of the night/week will be getting it's own seperate post, probably sometime over the weekend. It's news that I became aware of on Monday, and has left me in a sour mood all week. I have not yet posted on it, partially from not being able to find the words, and knowing that the post is likely to set a Material Blog record for most uses of the word "fuck" in a single post - and I'm worried that unless I'm somewhat calm, every other word will be "fuck". While that word isn't rare here, there wouldn't be much point to posting something, only to have everyone say "I tried to read it, but after seeing the word 'fuck' 129 times, I gave up".

I'll post it soon enough. But I'll just close this post by saying that the music industry can rot in hell and die for all I care.

Labels: Boobiegate, Cheaters, Corporate Assholes, Gone But Not Forgotten, Religious Right Ain't Right, Sports, Star Trekkin', Terrible Owens, The Stormin' Mormon