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Homicide Suicide

tormented masses day by day 
no sentiment just hell
inside their minds is violent rage 
no safeguards in their head
perception rampant normal life
so typical and bland
ruined souls on borrowed time 
don't see they're already dead

All  consuming hatred that's growing  every day
addiction to  pure suffering humanity  must pay
all their peers that morning would never have a clue
that in a few short hours they'd be all over the news
stockpile some pipe bombs a couple mac-10's
they'll all drop like flies it's all gonna 
end
mow down the panicked masses nobody will be spared
a jaded society might pretend to care

Natural selection amalgamates with 
wrath
unsuspecting targets are standing in their path
a hidden agenda kept secret from them 
all
tear down their institutions the status quo will fall
endless ammunition bombardment never stops
spray from sawed off shotgun a firefight with cops
smoke and flying shrapnel bystanders on the run
today things will be different remember to have fun

Look at this scene it's a homicide suicide
blood and debris a way of life no longer safe
like a bad dream this homicide suicide
a community shattered their innocence raped

metal piercing flesh is screaming people fleeing ethnic cleansing
sea of bodies never ending satisfaction perfect killing
empty chambers rounds exhausted blatant slaughter so fulfilling
none remaining self inflicted execution empty building

no need to plan an exit doesn't matter anymore
questions left unanswered lay with shells upon the floor
the media surrounding respect is put on 
hold
a full barrage of coverage the tragedy is
told
no discrimination everyone will die the same
accusations flying they must find something to blame
forensics have their hands full still hear the victims cries
basement tapes recovered more evidence of lies

look at the scene it's a homicide suicide
blood and debris a way of life no longer safe
like a bad dream this homicide suicide 
a community shattered their innocence raped (x2)





Judge Mental

Stand before the judge

Dictator of evil playing his game 
passing his judgement we all fear his name
smashes the gavel the sentence is passed solitary confinement how long will you last
beaten and shackled behind iron doors inhuman treatment your blood on the floor
guilt is a given no need for a plea 
no crime is forgiven you'll never be free

Guilty guilty
you're tangled in a system of lies
lifetime of torture
pathetic worm the guards all despise
lethal injection
deadly toxins course through your veins
rotting cadaver
infirmary will dissect your brain

searching for justice where there's none judicial system under his thumb
a jury of peers there's no such thing 
this is his court the judge is king
locked in a chamber toxiferous fumes breathe your last breath in a cold septic room
erased from all records you'll never be found 
a nameless number who's now prison bound

Guilty guilty
you're tangled in a system of lies
lifetime of torture
pathetic worm the guards all despise
lethal injection
deadly toxins course through your veins
rotting cadaver
infirmary will dissect your brain

Stand before the judge

Innocence no such thing cast aside by the one called judge mental
kneel down before his throne final say it belongs to judge mental (x2)

escape your fate
betrayal abused by the chosen
corrupt it's all a lie
fed to you by the nameless in shadows (x2)

Stand before the judge
Kneel before judge mental

You’re the Star! / Be a Cool Cat
Independently produced shows
By The Cool Cat Recording Studio
Producer/Editor- Eddie deSouza
Assistant Producer- Jessica Mernagh
November 15, 2010
Why Started: 
Originally To get new students & make a living doing what I love to do & To get Local Media to focus on Local Entertainers.

Points:
The Show “You’re the Star!” is 11 months old
Success Stories:
Oren Barter came from Williams Lake to be on YTS! & got hired to perform for Billy Barker Days 2009
Jessica Mernagh my co host & Assistant Producer got hired by Shaw as a freelance Journalist.
2 of my students saw the show YTS! & it inspired them to write songs to be on the show.
We have produced 34  YTS! shows and 16 Be a Cool Cat Shows to date.
I always wanted to learn how to make Music Video’s & have produced 12 of my own in the last year, including “Water” & “Paint the Town Red!”
24 artists signed up for the DVD “The Best of You’re the Star!” with a  release date of early December.
Over 200 people have joined our Facebook group “You’re the Star!”
 
This month’s line up Video Shooting of new shows to be recorded live at The Cool Cat Recording Studio
Mike Nelson November 19, 6:30pm
Doug Koyama November 25, 6:00pm
Branwen Christine Patenaude   reading from her books December 2  6:00pm
Eddie deSouza December 9  6:00  Songs from the Skedaddelers  a Tribute to the Cariboo
December 16 TBA please check the Facebook group YTS for more info & to book your seat in the Audience. 

Future Plans:
Continue to work on Video productions ( Nazko Valley Carrier ) for my performance focusing on the revitalizing of the Gold Rush Trail.
Produce a Variety show to promote the Gold Rush Trail and the History of Quesnel through Music, Dance & Story Telling.
Rais Money for a non-profit organization through DVD sales & Performances.

Get as many groups as possible on YTS! Encourage our Youth & Local Bands to write songs,  or find songwriters who can write songs for their groups.

Continue to work on getting local media for local musicians. 

 
Eddie deSouza
250 991 0070
MusicMan0070@hotmail.com


Eddie deSouza Moves to Quesnel

	When Touring, 1989 in a Duo Called “Eddie & Julia” I noticed the prices of houses in Quesnel was at least 30% below the rest of the province of BC. This along with central location, we could get to Prince Rupert, Vancouver, Calgary, Fort St John, Edmonton, the Okanogan & the Kootenays all within a 500 mile radius, I decided to buy a house here. After looking at 10 houses the only one that was offering Vender Financing was a diamond in the rough & the present location of the Cool Cat Recording Studio. ( It Still Is a Diamond In the Rough! ) 
	In June of 1990 I moved to Quesnel & took possession of my house, while doing the very last performance with Julia Bambrough at the Billy Barker Hotel. Julia did not share my vision of making a home here & decided to stay in Vancouver where she has done well for herself, with a full time job in the respite industry as well as continuing to play and sing. 
	It was a challenge going from a full sounding Duo to a Solo act but the work was there so I continued touring Alberta & BC . In the Summer of ’91 I had a 8 week whole in my touring dates & decided to head up to the Yukon, on my Wild & Crazy tour,  Managed to land a gig in Fort Nelson at Trappers for two week & I was half way to White Horse. Anna Mea at the Capitol Hotel gave me an audition although she was booked till October. She gave me the booking in October  & suggested that I take the Stuart/ Cassia HWY back & see some more of the Wild West.  
	On the drive I stopped at the Glacier Inn in Hyder Alaska  & Big Jim Hired me for the 5 weeks, playing for the late crowd that came over from Stuart because of the laws that pubs could stay open till 4 am. I also did a Matinée on Sundays for the Children who were allowed into the pub for the show. This is where I wrote my first two Children’s songs.  Then  my tour of BC & Alberta continued.   Lethbridge, Mackenzie,  Prince Rupert, Spirit River, Napa,  White Court, Golden, Pentiction, Prince George, Williams Lake, 100 mile, Lilloett, Dawson Creek, Beaver Lodge, High Level,  Huston,  Smithers & Quesnel are a few of the Towns & Cities that I got to play in. 
	After playing for a Month at the Capital in White Horse I needed a break so headed home to Quesnel. I was asked to play for the CDC telethon in 91 & while looking for props came across a wig… which turned  me into Eddie Spaghetti & I created a musical review and 13 characters & performed for at least 15 years. With 4 CD releases. 
	Also in 91 I wrote a song called “Steal the Thunder” which lead to touring BC doing multicultural workshops with the BCTF.  The song was later adopted as the Multicultural Theme song of the Quesnel Multicultural Society and adopted as one of the official Canada Day Celebration songs by the Kiwanis Club in 93. 
	In 1992 I was asked by the Dene Voyageur Heritage Society to write a song for the Voyageur Festival to be held July 1 1993. I wrote the song called “The Alexander Mackenzie Bicentennial Voyageur Festival Song”  which featured Frank Garden for the Europeian, our MLA at  the time, BopPinchbeck sang for the natives & Victor Cronley  as the voice for the young Canadians. They were joined by a choir of the best Men Singers in Quesnel as well as the Correlieu Secondary School choir and Vicki Nelsons class from Baker Elementary School for a total of over 70 people lending their voice. On Lebourdais stage we had over 100 people singing for a crowd of 5,000. 
	Roy Carson the Musical Director at Correlieu Secondary School asked me to write a song for his choir. I asked the Youth two Questions, and wrote “We have a Dream to Share With You”  from their responses.  Roy & I had a lot of fun working together & he asked me to join him on a project he was working on, a tribute to the Cariboo called the Skedaddlers.  We worked on recording about 11 songs, 7 from the gold rush era, three of mine & one of his original songs. 
	In ’92 I wrote a song for safe streets called “Take Back The Night” and performed it an many TBTN rally’s and in ’95 I played it at Roxanne  Thiara’s funeral. The same night I was on stage at the Legion in Quesnel & my Duo partner got called to the Hospital, his mom had passed away. That night is when I decided to not play in bars anymore, so while honoring any work we had, I did not book any more bar gigs, Choosing to focus on building a better world with songs like “Set Them Free” ( Amnesty International ) “Be Smoke Free” ( Cancer Society)  The Lions Lead the Way ( Quesnel Lions Club)  “Fly on Your Own” (Quesnel Elks Club)  “Walk For Peace & Back to The Family” for world peace.
	1996 was the year that “The Billy Barker Days Festival Song” was written and recorded with the top musicians in Quesnel and an adult Choir joined by Mrs. Sison’s grade 3 class.
	1997  “Lest We Forget”  was recorded on November 11 after the performance at the Legion. Bill Higgens Thought it would make a good Bag Pipe tune & he wrote an arrangement and together with Al Piette we re-recorded the song in 1998.
2000 a song called Asking Questions was written & I asked people from 9 different cultures to translate “How Can We Fill the World With Love?” into their languages.  We Recorded it on September 8 2001. 
	
Eddie deSouza Moves to Quesnel  page 2

2000 I was asked to work with the Youth of Nazko & Started the “School of Joy & Self Esteem with Music, Games & Sports” We did Karaoke, had health seminars & toured the Police Station, as well as lots of Pot luck Dinners, concerts &  learned lots together.  This is when I wrote “Nazko Valley Carrier” “Be Proud of Who You Are”  & “Mirror Man” to name a few.  Aboriginal Education in Quesnel has been using “Nazko Valley Carrier” for the past 10 years in their teaching Carrier courses. 
	After 9 11 I took a break from writing for a while but in 2003 wrote “Quesnel My Home”  just before going on the road with Bobby Cole doing a variety act around the province of BC.  Stopping in Quesnel long enough to help with the Tsunami relief dinner which raised over $3,000 for the Salvation Army.
	In 2006 I was hired to teach music to the Takla Youth at the Nuswadeezulh Community School in Takla Landing. I was also asked to teach the youth about the value of water & what Kemmes mines wanted to do to Dunkley Lake ( Turn it into a tailings dump ) I wrote a song Called “Water” & got the Youth to help sing it. Before we could finish the recording the school year ended & fate would have it that the new band government chose not to renew my teachers contract. 
	2008-09 I was working at Quesnel Music, while making a living the amount of students left very little for creative work. In the Fall of 2009 I started a show on Shaw Cable called “Be a Cool Cat”  which Steve at Shaw said he got a lot of good comments about & he asked me to do some more, in November 2009 I Created  “You’re the Star!” which as of November 13, 2010 we have done 34 Episodes featuring local and passing through Songwriters & Musicians. We are also planning a DVD release called “The Best Of You’re The Star!”  hopefully by December.
	Future plans? While attending a revitalization of the gold rush trail seminar hosted by The Cariboo Chilcoltin Coast Tourism  Tourism Association & the Quesnel Chamber of Commerce,  I got inspired to create a Musical Review,  focusing on the History of Quesnel From  the Past to  the Present. We will need lots of musicians & lots of Dancing Girls!


Future Plans? While attending a revitalization of the gold rush trail seminar hosted by the Cariboo Chilcoltin Coast Tourism Association & the Quesnel Chamber of Commerce, I got inspired to create a Musical Review, focusing on the History of Quesnel from the Past the  Present. Already talking to lots of Musicians & Dancing Girls!

Get as many groups as possible on YTS! Encourage our Youth & Local Bands to write songs,  or find songwriters who can write songs for their groups.

Continue to work on getting local media for local musicians. 



North Philadelphia, Pennsylvania, rapper—and Street Spittas Entertainment CEO—Miz MAF (an acronym for Money and Family) is ringing bells regionally and across the nation, all from the comfort of his very own lane. “My music can be described as Reality Rap,” he says confidently. “That’s the lane I created for myself.” 

All of the music in his catalog reflects his actual life, no fairy tales. “It’s [really] the reality of it,” he says. “It’s not just one singular genre; it’s not just trap or gangsta music.” The tangible output he releases into the world is a variety of honest perspectives of his daily existence—and it’s dripping in authenticity.

“Music has always been a part of me … it was always was a household thing growing up and it just so happened to match the lifestyle and the reality I was living in and seeing,” he explains. “It was a culture thing, and I lived in the culture until I felt like I could make music myself.”

Building a buzz in his city, even collaborating and touring with hometown hero Freeway, he has released one official LP —2018’s Behold A Pale Horse, which surpassed 200K streams—and the single “Act Right,” both of which are available on streaming platforms internationally. Currently, MAF is working on numerous producer based projects; he has two collaborative albums in the pipe, Hammer and Crack the Concrete, as well as a project with DJ NoPhrillz. 

“I got singles that aren’t going to be on any specific project, which are designed to both attack the Billboard charts and populate my 3M [new music] series dropping throughout the year,” he adds.

Having appeared on numerous major platforms, within the pages of publications stateside and abroad, and been heard on radio stations up and down the east coast, MAF’s journey—already marked with some notable highs—is only just starting.

Today a yard family members get-together or party has wide varieties of options for not just points to do, yet also methods to obtain the fun times done. One of the important things that families can do with each other is to develop a fire and also relax playing music or chatting as well as even have grandfather tell a frightening story or two for the youngsters around the fire.

Discussing constructing a fire is one point, but it should be done safely. Having a fire pit is one secure method to have that enjoyable we're talking about. Fire pits been available in several shapes and sizes. You can acquire them practically anywhere there's a warehouse store.

Joe Pernice talking about James Walbourne

Never buy a used car. Whoever wrote that bit of advice was of a different time, a bygone era when money was cheap and it was assumed that regular people (that is, people who don't make records for a living) had enough of it to buy new.

When I was given a six-year-old Ford Taurus (I think it was in 1998), I couldn't believe my good fortune. When the transmission crapped out two months later, I made what at the time seemed like two good decisions: 1. I paid the $1,100 to replace the tranny. 2. I accepted an invitation to join an ill-conceived, sort of musical revue; an eleven date club tour of Holland. I figured I could use the dough to pay off the credit card used in good decision number-one. I was to do a solo acoustic set. There were three other acts on the bill. How bad could it be?

Well, it was a fucking nightmare on a number of levels. Here's the short form: Thirteen relative strangers in a shitty fume-filled splitter van with no AC in June; a maniacal tour manager who chain rolled/smoked "enhanced" cigarettes while driving; pipe-clogging, digestion-halting Dutch food (ham, cheese, fries with mayo); thirteen people crashing on damp, itchy Dutch couches in strange Dutch houses... and how can I put this delicately? You put thirteen musicians together in this kind of situation and someone could quite possibly end up strangled in their sleep.

We all spent the first two days "in country" exhausted, drinking, doing interviews, some radio sessions and too much "I think it's a good idea" handshaking with "influential Dutch club promoters." Honestly, during those first days, the only thing (besides personal financial debt) that kept me from telling the tour's ringleader to jam his tour up his ass was meeting James Walbourne (and Peter Bruntnell, with whom James was playing.)

The three of us hit it off instantly. James was 18 years old, and a really good kid, instantly likeable and sage beyond his years. Bruntnell and I are both at least a decade older than James, and like older brothers, we good-naturedly broke his balls to no end about little more than his limited sexual experience and the lack of prowess that comes with inexperience.

And then I saw James play. I was wholly unprepared. It was the first gig of The Bad Idea Revue. I thought they were going to blow. When you see two guys on stage with acoustic guitars, you say to yourself, "Please, God, make it go by quickly. And another thing, God, if you can, would you minimize the damage?" That's the kind of asshole you can become when you find yourself on a tour such as I was.

May I be struck dead right here in this Toronto coffee shop if I did not say to myself that night in Amsterdam that I was watching a true genius in James Walbourne. Not some soon-to-be-forgotten adolescent media creation "raised on the blues." Not some bullshit wankologist with a guitar shop perm who bores you to tears with cliched trips up and down the scales. Not even someone who was very, very good. This was a fully developed artist with other worldly ability. And he could sing like a motherfucker. And he was only 18. Guys his age were not in Holland playing shitty "character-building" gigs. Guys his age were home rubbing one out to Buffy The Vampire Slayer.

That was 1998. He has been a great friend and collaborator since. And he has been touring the world and recording with other acts since. Check out this partial resume:

- James records and tours with Pete Bruntnell 1998 - 2003
- joins the Pernice Brothers from 2003 - present day
- played with Jay Farrar in 2004
- tours with Son Volt from 2005 - present day
- toured with the Pogues in 2007 and 2008
- tours and records with the Pretenders 2008 - present day
- not to mention recording sessions and shows with Jerry Lee Lewis, Shane MacGowan, Linda Thompson, Death In Vegas, Saint Etienne, Bap Kennedy and Edwyn Collins amongst others

Now, finally, after being the sideman to artists smart enough to recognize his formidable talent, James Walbourne is standing tall before a great album of his own. It's called The Hill, named after Muswell Hill where he has always (and probably always will live.)

Since I am so good at dishing out advice (see PART I, Sentence I), here's a bit more with regards to The Hill.

1. Don't listen to The Hill if you prefer studio trickery to soulful and ridiculously talented people playing instruments with ass-kicking authority. I've told you how great James Walbourne is, but check out the rest of the lineup - Jim Keltner on drums, Ivan Neville on keyboards, Danny Williams (Black Grape) on bass James Fernally (The Pogues) on accordian and brother Rob Walbourne on second guitar. If you don't recognize some these historically significant players, well, I don't know what to tell you other than you have some serious makeup studying to do, son.

2. Don't listen to The Hill if you prefer some embarrassing lightweight fugazi wearing a self-absorbed-johnny-come-lately-poet costume to the real deal. James Walbourne is not too bored to tune his guitar, thank you very much. James Walbourne is not too polite to refrain from knocking you on your ass with his playing and singing. James Walbourne can talk (and play) the most obscure delta blues one minute and Orange Juice or Pussy Galore or The Replacements or Roger Miller the next. James Walbourne can bang out requests for Django Reinhardt b-sides all night. James Walbourne will go toe-to toe with anyone (and win) when it comes to Sondheim or Porter Wagner or just about anyone. James Walbourne's knowledge and understanding of music is so deep for someone of any age, it is, to put it simply, stupid.

3. Don't listen to The Hill if you prefer a bird's nest of disjointed and pointless song fragments to songs (and don't pretend you don't know what I'm talking about.) The man can pen a tune. When I first heard the songs on The Hill, I was reminded of Tommy Stinson's album Friday Night is Killing Me. Not because the songs are similar, but because with both albums, "someone else's player" steps out and pulls it off handily. (And no offense to Tommy Stinson, but he has never played an instrument the way James Walbourne does.)

Look, I could go on, but let me end by saying this: I cannot guarantee you will love The Hill, just as I cannot guarantee you are not a soulless degenerate bankrupt of all cultural currency and the capacity to love. That said... I give you James Walbourne's The Hill.

A collaboration of dj minds, Messrs Bleeps &amp; Shuffle, woodmun is a project exploring melodic grooves and rounded beats. Not sticking to any specific genre but generally lurking around the Deep House / Tech House bike shed, woodmun like to chuck some shonky beat action into the musical concrete, which kinda poses the question 'how much tunage could a woodmun chuck if a woodmun could chuck tunes?' Well, we'd like to assure you that we can and do chuck tunes, and usually for about an hour, one time we even played for 90 minutes!
With over 20 years dj-ing experience between Shuffle &amp; Bleeps, the journey to woodmun has been a long and varied chapter.
Honky started back in the days before electricity and used to bang out a rhythm on an old pre-Raphaelite tea tray. After a while it wasn't satisfying the need for a crunchy groove and he built a time machine that brought him to Scotland in the late 20th Century. It was after a steep learning curve in social policy that Honky embarked upon a journey of barry noise with New Order, Kraftwerk, Joy Division, and Eurythmics being piped into his mind muscle. Soon after, he grasped the concept of a rotating turntable and 'vinyl' and used his new found knowledge to destroy the will of the meek and somewhat dull residents of the local flats as he unleashed his musical pump sponge upon Edinburgh.
Jammy started somewhat differently. In the early days it was all about metalwork. Not in a physical sense, but more a feeling deep within. After years exploring the concept of metaphysical metalwork and its connotations with the field of musical banter, Jammy had unwittingly found himself in the middle of the 90's rave scene. Anything from oldskool hardcore, to gabba and d&amp;b dubs were being thrust about in a rhythmic fashion. Centuries later, the continents collided and a new outlook on musical cultures arose, heralding in an age of Deep House, Minimal, some techy stuff with weird noises and sticky melodies with jam in the middle. Today's musical menus are a michelin starred feast inspired by the likes of Efdemin, Pantha Du Prince, Swayzak, Alex Smoke, Nathan Fake, HOSH, Rayco Galvin and that schpunky noise when your phone is too near the hi-fi sound activation coil.


 I am a jazz singer. Over the past  13 years of gigging I have built up a reputation, having regular gigs in Bristol, Cheltenham,  Oxford, Leicester, Burton on Trent. As well as some London gigs at The Pheasantry, Acoustic Bar at Ronnies, Spice of Life, Smollenskies on the Strand, Cafe in the Crypt, Olivers, a residency at The City Pipe, Cafe Du Village, Roast, Del Aziz to name a few.  I have a large repertoire of songs (400) covering: Jazz, Swing, Soul, and Pop Classics. I really enjoy singing in restaurants and aim to create a wonderful atmosphere with songs and feel good music. Love taking requests of customers. 

I am also a published songwriter, having written and recorded my debut album "Break Free".  With rave reviews. 

Singing Teacher - I love passing on my knowledge as a singer to others wishing to sing.  - With knowledge of the Estill voice techniques, vast repertoire, jazz techniques, improvisation, songwriting, performance and confidence building.  I teach one to one lessons and group lessons at my home in Chiswick 

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Rhonda Merle is following