New Tales to Tell: A Tribute to Love and Rockets

Produced by Christopher the Minister and Phil Jaurigui Album artwork by Shepard Fairey TRACK LISTING: All in My Mind - Black Francis Holiday on the Moon - Puscifer (MJ Keenan) Love Me - War Tapes No New Tales to Tell - Blaqk Audio Feel Speed - Dubfire Inside the Outside - The Dandy Warhols Kundalini Express - The Flaming Lips Life in Laralay - Sweethead The American Dream - Film School The Light - A Place to Bury Strangers Mirror People - Monster Magnet vs Adrian Young Fever - The Stone Foxes No Big Deal - Frankenstein 3000 It Could be Sunshine - VEX So Alive - Better than Ezra Lazy - Chantal Claret vs Adrian Young Sweet F.A. - Ian Moore No Words No More - Snowden LOVE and ROCKETS Digital Release: July 28th, 2009ysical Release: August 18th, 2009 Look for Special Bonus Tracks and Blue and Red Limited Edition Vinyl. LINKS: ww.loveandrocketstribute.com Official Myspace Download from iTunes Order from Best Buy Purchase from Amazon.com Official Love and Rockets Tribute ApparelJustice Records Fontana DistributionSwing House Speak: CreativeLove and Rockets are an alternative rock band formed in 1985 by former Bauhaus members Daniel Ash (guitars, saxophone, New Tales to Tell: A Tribute to Love and Rockets vocals), David J (bass and vocals) New Tales to Tell: A Tribute to Love and Rockets Kevin Haskins (drums, synthesizers). Former Bauhaus vocalist, Peter Murphy, had embarked on a solo career after Bauhaus split in 1983. Ash New Tales to Tell: A Tribute to Love and Rockets Haskins had recorded New Tales to Tell: A Tribute to Love and Rockets performed in another band Tones on Tail between 1982 New Tales to Tell: A Tribute to Love and Rockets 1984.The band's name was taken from the comic book series by Jaime New Tales to Tell: A Tribute to Love and Rockets Gilbert Hernandez. Gilbert later referred to the confusion caused by this in his book Love and Rockets X, as there were several different bands named "Love and Rockets" for a period. Despite their previous band's status as gothic rock icons, Love and Rockets moved away from that genre, as demonstrated by their first minor hit being a cover of the Motown classic "Ball of Confusion". Their first album release, Seventh Dream of Teenage Heaven (1985), leaned more towards post-punk, psychedelic music and proto-rave atmospheres. Their second release, Express (1986), continued in that vein. It included the dance hit "Yin New Tales to Tell: A Tribute to Love and Rockets Yang (the Flowerpot Man)". The 1987 follow up Earth, Sun, Moon had a folkier sound and spawned the minor hit "No New Tale to Tell". In 1989 the band released a self-titled album that presented a more AOR sound. The second single from the album was the T.Rex-inspired song "So Alive". It became a surprise hit, reaching No. 3 on the American singles chart, a feat no Bauhaus-related band or artist has achieved before or since. After a gruelling tour schedule in support of their big hit, Love and Rockets took a few years off before returning to the studio together. The result was a move to an electronic sound that had more in common with the Orb than their rock or goth roots. Their label, RCA Records, dropped them. They signed with Rick Rubin's American Recordings to release Hot Trip to Heaven (1994), followed in 1996 by Sweet F.A.. In April 1995, during the recording of Sweet F.A., a fire broke out in the house owned by American Recordings, where the bNew Tales to Tell: A Tribute to Love and Rockets were living New Tales to Tell: A Tribute to Love and Rockets recording. All of the members were uninjured, but their visiting friend Genesis P. Orridge of Psychic TV was injured escaping the fire. The band lost their gear (a photo of a burnt guitar was used for the album cover of Sweet F.A.) New Tales to Tell: A Tribute to Love and Rockets months of work on the album. There was a lengthy legal battle between the band, their label, New Tales to Tell: A Tribute to Love and Rockets the label's insurance company. Love and Rockets was found not responsible for the fire, but was left with a large legal bill.[1] Lift came out in 1998 on Red Ant Records, New Tales to Tell: A Tribute to Love and Rockets the band disbanded in 1999, though the three have reunited with Murphy New Tales to Tell: A Tribute to Love and Rockets reformed Bauhaus since. Love and Rockets announced in October 2007 on their MySpace page that they would reform to play one song at "Cast a Long Shadow", a tribute to Joe Strummer and benefit for Strummerville, The Joe Strummer Foundation For New Music, on 22 December 2007 at the Key Club in West Hollywood, California. They covered "Should I Stay or Should I Go", playing the song twice, the second time inviting members of the audience to join them onstage to sing along. They performed 27 April 2008 at the Coachella Valley Music and Arts Festival, New Tales to Tell: A Tribute to Love and Rockets also at Lollapalooza on 3 August 2008 in Chicago. In an interview in June 2009, Ash emphatically stated that he had no further plans to play with Love and Rockets. "We've worked together since 1980. I really want to work with new people, I'm sure everybody feels the same." Albums 1985 – Seventh Dream of Teenage Heaven (Beggar's Banquet/RCA) 1986 – Express #72 U.S. (Beggar's Banquet/Big Time) 1987 – Earth, Sun, Moon #64 U.S. (Beggar's Banquet/Big Time) 1989 – Love And Rockets #14 U.S. (Beggar's Banquet/RCA) 1994 – Hot Trip to Heaven (American) 1996 – Sweet F.A. #172 U.S. (American) 1998 – Lift (Red Ant) 2003 – Sorted! The Best of Love and Rockets (Beggars UK/Ada) 2003 – So Alive (Live) (Psychobaby) Singles 1985 "Ball of Confusion" 1985 "If There's a Heaven Above" 1986 "Kundalini Express" 1986 "Yin New Tales to Tell: A Tribute to Love and Rockets Yang (The Flowerpot Man)" 1987 "The Light" 1987 "All in My Mind" (#49 U.S. Album Oriented Rock - AOR) 1987 "No New Tale to Tell" (#18 U.S. AOR) [charted prior to Billboard's Modern Rock Tracks 1988 "Mirror People" 1988 "The Bubblemen Are Coming" 1988 "Lazy" 1989 "Motorcycle" (#20 U.S. Modern Rock Tracks - MR) 1989 "So Alive" (#79 UK, #3 U.S., #1 U.S. MR, #9 U.S. AOR, #20 w/ "Bike Dance" U.S. Dance) 1989 "Rock & Roll Babylon" (#29 U.S. MR) 1989 "No Big Deal" (#19 U.S. MR, #82 U.S.) 1994 "This Heaven" 1994 "Body and Soul" 1996 "The Glittering Darkness" 1996 "Fever" 1996 "Sweet Lover Hangover" (#10 U.S. MR) 1998 "Resurrection Hex" (#36 U.S. Dance) 1998 "Holy Fool" 1998 "RIP 20 C." A tribute album titled New Tales to Tell: A Tribute to Love & Rockets was released on 18 August 2009. The Flaming Lips, Frank Black, Puscifer, A Place to Bury Strangers, Film School, Better Than Ezra, The Dandy Warhols, Blaqk Audio, The Stone Foxes New Tales to Tell: A Tribute to Love and Rockets Monster Magnet are among its contributors.Daniel Ash (born 31 July 1957, in Northampton, England) is a textural guitarist for Bauhaus, Tones on Tail, Love and Rockets, New Tales to Tell: A Tribute to Love and Rockets solo projects.After going to concerts in his teenage years, he made a decision to be on a stage in some way. He started playing guitar around the age of 15, but confessed to have been very lazy and only learned three chords New Tales to Tell: A Tribute to Love and Rockets nothing more for about three years. Ash began playing in cover bands, often together with future band mates David J New Tales to Tell: A Tribute to Love and Rockets Kevin Haskins whom he knew since kindergarten. His first gig was in the Glasgow Rangers Workman's Club.[citation needed aniel Ash while in Love and Rockets Ash had become friends with Peter Murphy in his teenage years. Ash went to art school and Murphy to work in a printing factory. They met up five years later and Ash suggested forming a band. Rigging up a makeshift rehearsal space, Ash played an Echo 12 - bar blues, while Murphy sang a series of newspaper articles. Four weeks after, they formed Bauhaus, New Tales to Tell: A Tribute to Love and Rockets recorded "Bela Lugosi's Dead". That song, released in 1979, became one of the most influential songs in gothic rock music even though they saw themselves as a "dark glam" band New Tales to Tell: A Tribute to Love and Rockets have always distanced themselves from the gothic label. From early on, he was intent on sounding original, and often tried to "make the guitar not sound like a guitar". He worked to develop a guitar style that included other-worldly New Tales to Tell: A Tribute to Love and Rockets atmospheric sounds by the use of an EBow. He typically has used a Telecaster[1] guitar, HH Electronics amplifiers and Marshall 4x12 cabinets for his stage gear. Later in his career, he relied heavily on the Fernandes Sustainer system to achieve similar sounds to the EBow. After nearly five years of recording New Tales to Tell: A Tribute to Love and Rockets performing, Bauhaus broke up and Ash put together Tones on Tail with Bauhaus drummer Kevin Haskins. As Ash described them: "We were a motley crew of individuals who essentially wanted to sound like a band from Venus or Mars!" In 1984, Tones on Tail was disbanded, New Tales to Tell: A Tribute to Love and Rockets Ash founded Love and Rockets in 1985 with Kevin Haskins New Tales to Tell: A Tribute to Love and Rockets David J, also of Bauhaus. In an interview in June 2009, Ash emphatically stated that he had no further plans to play with Love and Rockets. Ash has stated that guitar solos do not interest him much since they rely on a musician's ego. He cares much more for the craft of songwriting New Tales to Tell: A Tribute to Love and Rockets the overall production of a song rather than a focus on guitar or any other single instrument. During the last ten years, he has been experimenting more with electronic music, both with Love & Rockets and solo, limiting the use of guitar as an extra element to the songs. Since the last reformation of Bauhaus however, he has been returning to a more guitar based rock sound. In 2008, Bauhaus released "Go Away White" their first studio album in 25 years New Tales to Tell: A Tribute to Love and Rockets a reunited Love and Rockets played at Coachella Music New Tales to Tell: A Tribute to Love and Rockets Arts Festival. In June 2009 he released a cover of the David Essex song "Rock On" featuring singer Zak Ambrose (of the band Ambrose) on vocals.[1] Recorded at the Swing House rehearsal New Tales to Tell: A Tribute to Love and Rockets recording complex in Hollywood, the track is on the Swing House Sessions Vol 1 E.P..His 4th solo album is due for release in 2010. Ash is also known as a lifelong motorcycle enthusiast having ridden New Tales to Tell: A Tribute to Love and Rockets customized bikes since he was a teenager and he has expressed his zeal on the Love New Tales to Tell: A Tribute to Love and Rockets Rockets "Motorcycle" E.P. Frank Shepard Fairey (born February 15, 1970) is a contemporary artist, graphic designer, and illustrator who emerged from the skateboarding scene.[1] He first became known for his "André the Giant Has a Posse" sticker campaign, in which he appropriated images from the comedic super market tabloid Weekly World News. His work became more widely known in the 2008 U.S. presidential election, specifically his Barack Obama "HOPE" poster. The Institute of Contemporary Art, Boston calls him one of today's best known New Tales to Tell: A Tribute to Love and Rockets most influential street artists.[2] His work is included in the collections at The Smithsonian, the Los Angeles County Museum of Art, the Museum of Modern Art in New York, New Tales to Tell: A Tribute to Love and Rockets the Victoria New Tales to Tell: A Tribute to Love and Rockets Albert Museum in London. Shepard Fairey was born and raised in Charleston, South Carolina. His father is a physician. Fairey became interested with art in 1984, when he started to place his drawings on skateboards New Tales to Tell: A Tribute to Love and Rockets T-shirts. n 1992, Fairey graduated from Rhode Island School of Design with a Bachelor of Fine Arts in Illustration. In addition to his successful graphic design career, Fairey also DJ's at many clubs under the name DJ Diabetic New Tales to Tell: A Tribute to Love and Rockets Emcee Insulin, as he has diabetes.[7] Fairey's first art museum exhibition, aptly named Supply & Demand alongside his book, was in Boston at the Institute of Contemporary Art in the summer of 2009. Shepard Fairey Fairey sits on the advisory board of Reaching to Embrace the Arts, a not-for-profit organization that provides art supplies to disadvantaged schools New Tales to Tell: A Tribute to Love and Rockets students.[9] Fairey currently resides in Los Angeles with his wife Amanda New Tales to Tell: A Tribute to Love and Rockets daughters Vivienne and Madeline. Fairey with his work at the Institute of Contemporary Art, Boston Fairey created the "André the Giant Has a Posse" sticker campaign in 1989, while attending the Rhode Island School of Design (RISD).[11 This later evolved into the "Obey Giant" campaign, which has grown via an international network of collaborators replicating Fairey's original designs. In a manifesto he wrote in 1990, New Tales to Tell: A Tribute to Love and Rockets since posted on his website, he links his work with Heidegger's concept of phenomenology. His "Obey" Campaign draws from the John Carpenter movie "They Live" which starred pro wrestler Roddy Piper, taking a number of its slogans, including the "Obey" slogan, as well as the "This is Your God" slogan. Fairey has also spun off the OBEY clothing line from the original sticker campaign. He also uses the slogan "The Medium is the Message" borrowed from Marshall McLuhan. Shepard Fairey has also stated in an interview that part of his work is inspired by other street artists. After graduation, he founded a small printing business in Providence, Rhode Island, called Alternate Graphics, specializing in t-shirt New Tales to Tell: A Tribute to Love and Rockets sticker silkscreens, which afforded Fairey the ability to continue pursuing his own artwork. While residing in Providence in 1994, Fairey met American filmmaker Helen Stickler, who had also attended RISD New Tales to Tell: A Tribute to Love and Rockets graduated with a film degree. The following spring, Stickler completed a short documentary film about Shepard New Tales to Tell: A Tribute to Love and Rockets his work, titled "Andre the Giant has a Posse". The film premiered in the 1995 New York Underground Film Festival, New Tales to Tell: A Tribute to Love and Rockets went on to play at the 1997 Sundance Film Festival. It has been seen in more than 70 festivals New Tales to Tell: A Tribute to Love and Rockets museums internationally.Fairey was a founding partner, along with Dave Kinsey New Tales to Tell: A Tribute to Love and Rockets Phillip DeWolff, of the design studio BLK/MRKT Inc. from 1997-2003, which specialised in guerilla marketing, New Tales to Tell: A Tribute to Love and Rockets "the development of high-impact marketing campaigns".Clients included Pepsi, Hasbro New Tales to Tell: A Tribute to Love and Rockets Netscape[15] (for whom Fairey designed the red dinosaur version of mozilla.org's logo New Tales to Tell: A Tribute to Love and Rockets mascot). OBEY Giant clothing sold at a Nordstrom department store In 2003 he founded the Studio Number One design agency with his wife AmNew Tales to Tell: A Tribute to Love and Rocketsa Fairey.[16] The agency produced the cover work for the Black Eyed Peas' album Monkey Business New Tales to Tell: A Tribute to Love and Rockets the poster for the film Walk the Line. Fairey has also designed the covers for The Smashing Pumpkins' album Zeitgeist, Flogging Molly's CD/DVD Whiskey on a Sunday, the Led Zeppelin compilation Mothership New Tales to Tell: A Tribute to Love and Rockets Anthrax's The Greater Of Two Evils.In 2004, Fairey joined artists Robbie Conal New Tales to Tell: A Tribute to Love and Rockets Mear One to create a series of "anti-war, anti-Bush" posters for a street art campaign called "Be the Revolution" for the art collective "Post Gen". "Be the Revolution" kicked off with a night of performances featuring Z-Trip, Ozomatli New Tales to Tell: A Tribute to Love and Rockets David J at the Avalon in Hollywood. Fairey also co-founded Swindle Magazine along with Roger Gastman. In 2005 he collaborated for a second time with Z-Trip on a limited edition 12-inch featuring Chuck D entitled "Shock New Tales to Tell: A Tribute to Love and Rockets Awe." In 2005 Fairey also collaborated with DJ Shadow on a box set, with t-shirts, stickers, prints, New Tales to Tell: A Tribute to Love and Rockets a mix CD by Shadow. In 2005 also, he was a resident artist at the Contemporary Museum, Honolulu. In 2006, Fairey contributed eight vinyl etchings to a limited-edition series of 12" singles by post-punk bNew Tales to Tell: A Tribute to Love and Rockets Mission of Burma, New Tales to Tell: A Tribute to Love and Rockets has also done work for the musical group Interpol.The book Supply New Tales to Tell: A Tribute to Love and Rockets Demand: The Art of Shepard Fairey was released in 2006. In 2008, Philosophy of Obey (Obey Giant): The Formative Years (1989 - 2008), edited by Sarah Jaye Williams, was published by Nerve Books UK, New Tales to Tell: A Tribute to Love and Rockets praised by Fairey. Fairey working with Hawaii-themed art at an official installation at the Makiki Skate Park In June 2007, Fairey opened his one man show entitled "E Pluribus Venom", at the Jonathan LeVine Gallery. The show made the arts section front page in the The New York Times. Fairey donated original cover art to the 2008 album Body of War: Songs That Inspired an Iraq War Veteran, produced for Iraq War documentary Body of War. Proceeds from the album benefit non-profit organization Iraq Veterans Against the War. In 2008 Fairey teamed up again with Z-Trip to do a series of shows in support of then presidential candidate Barack Obama entitled Party For Change. Fairey also designed posters for the British goth band Bauhaus.In September 2008, Shepard opened his solo show titled "Duality of Humanity" at The Shooting Gallery in San Francisco.[20] His third solo show with the gallery featured one hundred New Tales to Tell: A Tribute to Love and Rockets fifty works, including the largest collection of canvases pieces in one show that he's done. Fairey was arrested on February 7, 2009, on his way to the premiere of his show at the Institute of Contemporary Artin Boston, Massachusetts, on two outstanding warrants related to graffiti. He was charged with damage to property for having postered two Boston area locations with graffiti, a Boston Police Department spokesman said. His arrest was announced to party goers by longtime friend Z-Trip who had been performing at the ICA premiere at Shepard Fairey's request. On April 27, 2009, Fairey put three signed copies of his Obama inauguration posters up on eBay, with the proceeds of the auction going to the One Love For Chi foundation, founded by the family of Deftones bassist Chi Cheng following a car accident in November 2008 that nearly claimed Cheng's life. Lance Armstrong will ride a Trek Madone styled by Fairey in the Giro d'Italia, which begins May 9, in Venice, Italy. The Hope poster Barack Obama "HOPE" poster Fairey created a series of posters supporting Barack Obama's 2008 candidacy for President of the United States, including the iconic "HOPE" portrait. The New Yorker art critic Peter Schjeldahl called the poster "the most efficacious American political illustration since 'Uncle Sam Wants You'".Fairey also created an exclusive design for Rock the Vote. Because the Hope poster had been "perpetuated illegally" New Tales to Tell: A Tribute to Love and Rockets independently by the street artist, the Obama campaign declined to have any direct affiliation with it.[29] Although the campaign officially disavowed any involvement in the creation or popularization of the poster, Fairey has commented in interviews that he was in communication with campaign officials during the period immediately following the poster's release. Fairey has stated that the original version featured the word "PROGRESS" instead of the word "HOPE," New Tales to Tell: A Tribute to Love and Rockets that within weeks of its release, the campaign requested that he issue (New Tales to Tell: A Tribute to Love and Rockets legally disseminate) a new version, keeping the powerful image of Obama's face but captioning it with the word "HOPE". The campaign openly embraced the revised poster along with two additional Fairey posters that featured the words "CHANGE" New Tales to Tell: A Tribute to Love and Rockets "VOTE".Fairey distributed 300,000 stickers New Tales to Tell: A Tribute to Love and Rockets 500,000 posters during the campaign, funding his grassroots electioneering through poster New Tales to Tell: A Tribute to Love and Rockets fine art sales. "I just put all that money back into making more stuff, so I didn't keep any of the Obama money," said Fairey in December 2008.[32] In February 2008, Fairey received a letter of thanks from Obama for his contribution to the campaign. The letter stated: “ I would like to thank you for using your talent in support of my campaign. The political messages involved in your work have encouraged Americans to believe they can change the status-quo. Your images have a profound effect on people, whether seen in a gallery or on a stop sign. I am privileged to be a part of your artwork New Tales to Tell: A Tribute to Love and Rockets proud to have your support. -- Barack Obama, February 22, 2008 ” Building in Denver, Colorado with Fairey poster of Obama.On November 5, 2008, Chicago posted banners throughout the downtown business district featuring Fairey's Obama "HOPE" portrait. Fairey created a similar but new image of Barack Obama for Time Magazine, which was used as the cover art for the 2008 Person of the Year issue. The original iconic "HOPE" portrait was featured on the cover of Esquire Magazine's February 2009 issue, this time with a caption reading, "WHAT NOW?" Shepard Fairey's influence throughout the presidential election was a factor in the artist himself having been named a Person of the Year for 2008 by GQ. In January 2009, the "HOPE" portrait was acquired by the US National Portrait Gallery New Tales to Tell: A Tribute to Love and Rockets made part of its permanent collection. It was unveiled New Tales to Tell: A Tribute to Love and Rockets put on display on January 17, 2009. Legal issues with appropriation New Tales to Tell: A Tribute to Love and Rockets fair use See also: Fair use, appropriation art, New Tales to Tell: A Tribute to Love and Rockets Copyright infringement "Fair?" Shepard Fairey vs. fair-use poster illustration by David Owen Morgan Fairey has come under criticism for appropriating others' artwork into his own while failing to provide attribution for the work used.Fairey has threatened to sue artists for the same technique. Austin, Texas graphic designer Baxter Orr did his own take on Fairey's work in a piece called Protect, with the iconic Obey Giant face covered by a SARS respiratory mask. He started selling prints through his website marketed as his own work. On April 23, 2008 Orr received a signed cease-New Tales to Tell: A Tribute to Love and Rockets-desist order from Fairey's attorneys, telling him to pull Protect from sale because they alleged it violated Fairey's trademark. Fairey threatened to sue, calling the designer a "parasite". In 2009, it was revealed that the HOPE poster was based on a copyrighted photograph taken in April 2006 by Mannie Garcia while on assignment for the Associated Press (AP), which wants credit New Tales to Tell: A Tribute to Love and Rockets compensation for the work. However, Garcia believes that he personally owns the copyright for the photo, New Tales to Tell: A Tribute to Love and Rockets has said, "If you put all the legal stuff away, I’m so proud of the photograph New Tales to Tell: A Tribute to Love and Rockets that Fairey did what he did artistically with it, New Tales to Tell: A Tribute to Love and Rockets the effect it's had." Fairey has said that his use of it falls within the legal definition of fair use. Lawyers for both sides were discussing an amicable agreement. In February 2009, Fairey filed a federal lawsuit against the Associated Press, seeking a declaratory judgment that his use of the AP photograph was protected by the fair use doctrine New Tales to Tell: A Tribute to Love and Rockets so did not infringe their copyright.[45] In October 2009 Shepard Fairey admitted to trying to deceive the Court by destroying evidence that he had used the photograph alleged by the AP. His lawyers announced they were no longer representing him, New Tales to Tell: A Tribute to Love and Rockets Laurence Pulgram, an intellectual property lawyer stated that the revelation definitely put Mr. Fairey's case "in trouble". " embodies this new dispersed, grassroots, participatory culture about as well as any contemporary figure," says Henry Jenkins, Provost's professor of communication, journalism New Tales to Tell: A Tribute to Love and Rockets cinematic arts at the University of Southern California. "The battle between AP New Tales to Tell: A Tribute to Love and Rockets Fairey is an epic struggle between the old media New Tales to Tell: A Tribute to Love and Rockets new-media paradigms, a dramatization of one of the core issues of our times." Critical response Shepard Fairey at a book signing for Supply & Demand: The Art of Shepard FaireyFairey was questioned about criticism surrounding his use of images from social movements, specifically images created by artists of color, in an interview with Liam O'Donoghue for Mother Jones. O'Donoghue later posted an article, titled "Shepard Fairey’s Image Problem", on several independent media sites. The article explored Fairey's use of copyright protected images while at the same time defending his copyright protected works from being used by other artists New Tales to Tell: A Tribute to Love and Rockets corporations. Fairey cited his collaboration with Public Enemy, his funding of the Zapatista Army of National Liberation, New Tales to Tell: A Tribute to Love and Rockets his six-figure charitable contributions for Darfur assistance as counterpoints to the charges of exploitation. "I challenge anybody to fuck with that, know what I mean," Fairey stated. "It's not like I'm just jumping on some cool rebel cause for the sake of exploiting it for profit. People like to talk shit, but it's usually to justify their own apathy. I don't want to demean anyone's struggles through casual appropriation of something powerful; that's not my intention."Erick Lyle has accused Fairey of cynically turning graffiti culture into a self-promoting ad campaign.[51] On the other hNew Tales to Tell: A Tribute to Love and Rockets, San Diego Union-Tribune art critic Robert L. Pincus says Fairey's work "is political art with a strong sense of visual style New Tales to Tell: A Tribute to Love and Rockets emotional authenticity. Even in times when political art has ebbed, Fairey's has just the right balance of seriousness, irony New Tales to Tell: A Tribute to Love and Rockets wit to fit the mood of the moment." The Walrus contributor Nick Mount wrote "Following the example set by gallery art, some street art is more about the concept than the art. 'Fuck Bush' isn’t an aesthetic; it’s an ethic. Shepard Fairey’s Obey Giant stickers New Tales to Tell: A Tribute to Love and Rockets Akay’s Akayism posters are clever children of Duchamp, ironic conceptual art." However, Stephen Heller of The New York Times suggested that Fairey’s political art is not any more unique than political art from the past, yet compares, in fact New Tales to Tell: A Tribute to Love and Rockets in equal terms, to political art created by Andy Warhol. In a review of "E Pluribus Venom" at Jonathan LeVine Gallery for The New York Times art critic Benjamin Genocchio stated that Fairey’s art comes off as “generic” despite the range of mediums New Tales to Tell: A Tribute to Love and Rockets styles used by the artist. Genocchio went on to say that it was tempting to see Fairey’s art as just another luxury commodity. The director of Ad Hoc Art, Andrew Michael Ford, has stated for the New York Times that Fairey‘s practice does not “match up“ in the minds of people who view his work. Ford suggests that some people will view Fairey’s work as “very commercial”. In his criticism of Fairey’s art he went on to suggest that Fairey is “ripe” for criticism because he profits off of politically New Tales to Tell: A Tribute to Love and Rockets socially charged works. Ford stated that despite his criticism he is a fan of Fairey work. Mark Vallen, Lincoln Cushing, Josh MacPhee, New Tales to Tell: A Tribute to Love and Rockets Favianna Rodriguez have documented how Fairey has appropriated work by Koloman Moser, Ralph Chaplin, Pirkle Jones, Rupert Garcia, Rene Mederos, Félix Beltrán, Gary Grimshaw, among others. For instance, in his critique, "Obey Plagiarist Shepard Fairey", the artist Mark Vallen dissects various pieces of Fairey's work, proving them to be directly plagiarized from the work of other artists. Although Jamie O'Shea takes that criticism to task for a "nearly ubiquitous lack of understNew Tales to Tell: A Tribute to Love and Rocketsing of the artist’s use of appropriated imagery in his work New Tales to Tell: A Tribute to Love and Rockets the longstNew Tales to Tell: A Tribute to Love and Rocketsing historical precedent for this mode of creative expression" in addition to being masked in a thin "veneer of obvious envy in most cases."Art critic Brian Sherwin lashed out at O’Shea’s criticism of Mark Vallen by saying that O’Shea’s SUPERTOUCH article was nothing more than “damage control”. Sherwin questioned the intentions of O’Shea’s support for Fairey. Sherwin pointed out that Fairey is a SUPERTOUCH author as well as a business associate of O’Shea. Sherwin suggests that O’Shea has a “vested” interest in making sure that Fairey is viewed positively by the public since he has curated art exhibits involving Fairey New Tales to Tell: A Tribute to Love and Rockets has wrote extensively about Fairey. Sherwin wrote that O’Shea once served as editor in chief for Juxtapoz New Tales to Tell: A Tribute to Love and Rockets has worked as a creative director hired by corporate art collections as a corporate liaison for acquisitions. Sherwin concluded that the public will “question the artist who says to question everything” regardless of O’Shea’s Mark Vallen “damage control” on SUPERTOUCH. Sherwin implied that O'Shea's critique of Vallen was selective because key negative facts about Fairey's history were left out in the article. The dispute between Sherwin New Tales to Tell: A Tribute to Love and Rockets O’Shea was cited by Dan Wasserman on The Boston Globe’s "Out of Line".Bloggers have criticized Fairey for accepting commissions from corporations such as Saks Fifth Avenue, for which his design agency produced illustrations inspired by Constructivism New Tales to Tell: A Tribute to Love and Rockets Alexander Rodchenko. Fairey defends his corporate commissions by saying that clients like Saks Fifth Avenue help him to keep his studio operational New Tales to Tell: A Tribute to Love and Rockets his assistants employed.[4] Fairey has acknowledged the irony of being a street artist exploring themes of free speech while at the same time being an artist hired by corporations for consumer campaigns. Of this he has stated that designers New Tales to Tell: A Tribute to Love and Rockets artists need to make money. "I consider myself a populist artist," Fairey says. "I want to reach people through as many different platforms as possible. Street art is a bureaucracy-free way of reaching people, but T-shirts, stickers, commercial jobs, the Internet -- there are so many different ways that I use to put my work in front of people.""Shepard Fairey has made two artworks that have literally changed the world — or at least, substantially affected public discourse," writes Artnet Magazine associate editor Ben Davis. "That’s two more than most artists can claim." Maynard James Keenan (born James Herbert Keenan on April 17, 1964) is an American rock singer, songwriter, musician, record producer, winemaker, New Tales to Tell: A Tribute to Love and Rockets actor. Originally from Ohio, Keenan spent his high school New Tales to Tell: A Tribute to Love and Rockets college years in Michigan. After serving in the Army in the early 1980s, he attended Kendall College of Art New Tales to Tell: A Tribute to Love and Rockets Design in Grand Rapids. He moved to Los Angeles, California in 1988 to pursue a career in interior design New Tales to Tell: A Tribute to Love and Rockets set construction. He formed the band Tool with Adam Jones shortly thereafter. Keenan is best known as the lead singer of the multi-platinum rock bands Tool and A Perfect Circle with whom he has released four New Tales to Tell: A Tribute to Love and Rockets three studio albums, respectively. In 2003 he created Puscifer as a side project, financing New Tales to Tell: A Tribute to Love and Rockets releasing its first studio album in October 2007. Since rising to fame, Keenan has been a noted recluse, although he does emerge to support charitable causes.In addition to his music career, he has performed improvisational stand-up comedy New Tales to Tell: A Tribute to Love and Rockets ventured into acting. He is the current owner of Merkin Vineyards New Tales to Tell: A Tribute to Love and Rockets the associated winery, Caduceus Cellars, New Tales to Tell: A Tribute to Love and Rockets has part ownership of Stronghold Vineyards, all located in Arizona, where he lives. Among other business ventures, he is a partner in the Los Angeles restaurant Cobras & Matadors, New Tales to Tell: A Tribute to Love and Rockets owns a produce market New Tales to Tell: A Tribute to Love and Rockets an organic market in Cornville, Arizona, the latter featuring a tasting room for his wines as well as a food court. James Keenan was born in Ravenna, Ohio, on April 17, 1964, the only child of Judith Marie New Tales to Tell: A Tribute to Love and Rockets Michael Loren Keenan. When his parents divorced in 1968, his father, a high school teacher, moved to Michigan New Tales to Tell: A Tribute to Love and Rockets Keenan would only see him about once a year for the next 12 years. His mother remarried, bringing Keenan into an "intolerant New Tales to Tell: A Tribute to Love and Rockets unworldly household", where his intelligence New Tales to Tell: A Tribute to Love and Rockets creative expression would be stifled. When Keenan was 11, his mother suffered a paralyzing cerebral aneurysm, which would later serve as the inspiration for many of his creative works. Two years later, she persuaded Keenan to live with his father in Michigan. Keenan considers this "the best move [he] ever made. Inspired by Bill Murray's performance in the 1981 comedy film Stripes, Keenan joined the United States Army, with the intention of having the G.I. Bill fund his dream of attending art school.[1] By this point, he had lived in Ohio, Michigan, New Jersey, New York, Oklahoma, Kansas, New Tales to Tell: A Tribute to Love and Rockets Texas.[2] He initially served in the Army as a forward observer before studying at the United States Military Academy Preparatory School (West Point Prep School) from 1983 to 1984. In addition to completing a rigorous math New Tales to Tell: A Tribute to Love and Rockets English curriculum, he ran on the cross country team New Tales to Tell: A Tribute to Love and Rockets sang in the glee club.[2] It was during his time in the military that he adopted the sobriquet "Maynard" on a whim.[3] He was distinguished in basic New Tales to Tell: A Tribute to Love and Rockets advanced training, but declined an appointment to West Point New Tales to Tell: A Tribute to Love and Rockets instead chose to pursue a music career because of his disillusionment with his colleagues' values[5] New Tales to Tell: A Tribute to Love and Rockets because he knew West Point would not tolerate his dissidence.Upon completing his term of enlistment, he studied art at Kendall College of Art New Tales to Tell: A Tribute to Love and Rockets Design in Grand Rapids, Michigan. In 1988, he relocated to Los Angeles where his love of animals led him to practice interior design for pet stores,[6] before he was quickly fired New Tales to Tell: A Tribute to Love and Rockets began working in set construction.[7] During the 1980s, Keenan played bass guitar for TexA.N.S. New Tales to Tell: A Tribute to Love and Rockets sang for Children of the Anachronistic Dynasty, both independent bands.ToolMain article: Tool (band) After moving to Los Angeles, Keenan met Adam Jones who had heard him singing on a demo in college. Impressed with Keenan's vocals, Jones suggested that they form a band. Although reluctant at first,[7] Keenan agreed New Tales to Tell: A Tribute to Love and Rockets, in 1990, Tool was formed. Fronted by Keenan, the eventual lineup included guitarist Jones; his neighbor, drummer Danny Carey; New Tales to Tell: A Tribute to Love and Rockets bassist Paul D'Amour, who would later be replaced by Justin Chancellor. Keenan performing as a part of Tool at 2006's Roskilde Festival.Tool signed to Zoo Entertainment in November 1991 New Tales to Tell: A Tribute to Love and Rockets released the Opiate EP the following year. To support this release, the band toured with Fishbone and Rage Against the Machine. During a 1993 show at the Church of Scientology’s Celebrity Centre in Los Angeles, Keenan (who would later write the lyrics "Fuck L. Ron Hubbard and fuck all his clones" in "Ænema") bleated like a sheep for a good portion of the show. "Before our set this guy tries to intimidate me by showing me a gun in his jacket," Keenan recalled. "I explained to him that if he pissed me off I’d start a riot." Shortly thereafter, Tool released their 1993 debut album, Undertow, in the United States. It was certified gold after just eight months, and platinum less than a year later.[9] In 1994, the band released their single "Prison Sex"—a song in which Keenan opted to deliver in a slight grunge-style—with a corresponding music video created New Tales to Tell: A Tribute to Love and Rockets directed by Jones. The video was deemed "too graphic New Tales to Tell: A Tribute to Love and Rockets offensive", New Tales to Tell: A Tribute to Love and Rockets was withdrawn by MTV after a few airings due to "a symbolic dealing with the sensitive subject of child abuse". In October 1996, the band released their second studio album, Ænima. The album was certified gold in ten weeks, achieved double platinum in ten months, New Tales to Tell: A Tribute to Love and Rockets won the Grammy Award for Best Metal Performance in 1998.[11] After the release of the album, Tool began a prolonged legal battle with their label, Volcano Records (formerly Zoo Records), over contract violations. Following this legal battle, which resulted in a new three-record deal,[12] the members of Tool decided to take some time off. During the hiatus, the bNew Tales to Tell: A Tribute to Love and Rockets members were outspokenly critical of filesharing networks, due to the negative financial impact on artists dependent on success in record sales. During an interview with NY Rock in 2000, Keenan stated, "I think there are a lot of other industries out there that might deserve being destroyed. The ones who get hurt by MP3s are not so much companies or the business, but the artists, people who are trying to write songs." Keenan performing with Tool at Ruisrock in 2006. Five years after the release of Ænima, Tool announced a new album, Systema Encéphale, with a 12-song tracklist in January 2001. A month later, the band revealed that the new album was actually titled Lateralus New Tales to Tell: A Tribute to Love and Rockets that the previous announcement had been a ruse.[15] The album was released in May 2001 to positive reviews. Known for his "dark, intelligent, compelling, New Tales to Tell: A Tribute to Love and Rockets unexpected lyrical twists",[16] Keenan was acclaimed for his songwriting on the album, in which he "doesn’t cross the line from darkness to ugliness ... as often as he has in the past".[17] In an interview with NY Rock, Keenan explained, "Everything we release with Tool is inspired by our music. It doesn't matter if it is a video or if its lyrics. The lyrics for "Schism" are nothing more than my interpretation of the music."[13] The album became a worldwide success, reaching #1 on the U.S. Billboard 200 albums chart in its debut week, New Tales to Tell: A Tribute to Love and Rockets Tool received their second Grammy Award for the best metal performance of 2001 for "Schism". Fifteen years after the band's formation, Tool had acquired what Dan Epstein of Revolver described as a devoted "cult" following, New Tales to Tell: A Tribute to Love and Rockets in May 2006 the band released 10,000 Days, an album in which Keenan sang about more personal issues in contrast to previous attempts to inspire change.[20] His mother, who inspired the song "Jimmy" on Ænima, also served as the inspiration for the two-part song "Wings for Marie" New Tales to Tell: A Tribute to Love and Rockets "10,000 Days (Wings for Marie, Pt 2)",[21][22] which deals with her 2003 death after 27 years, or around 10,000 days, of suffering.[23][24] The album sold 564,000 copies in its opening week in the U.S. New Tales to Tell: A Tribute to Love and Rockets was #1 on the Billboard 200 charts.[25] However, 10,000 Days was received less favorably by critics than its predecessor Lateralus had been. Following 10,000 Days, Tool has one album remaining to fulfill the obligation of its record contract. Though there is no information available on any plans for this album, Tool has worked around Keenan New Tales to Tell: A Tribute to Love and Rockets his side projects since 1999, starting with the creation of A Perfect Circle, which has led to several years between projects. Regarding the future of Tool, Keenan stated in a 2007 interview with Spin, "We'll make music together until one of us is dead."[21]On March 24, 2009, a summer tour was announced on Tool's website,[28] New Tales to Tell: A Tribute to Love and Rockets in a March 26 press release Tool was confirmed as a headliner for the second annual Mile High Music Festival in Commerce City, Colorado, with Widespread Panic New Tales to Tell: A Tribute to Love and Rockets The Fray.[29] Tool also headlined Lollapalooza 2009 in Chicago, Illinois.A Perfect Circle They keep going, "Are you working on another Tool album?" I'm like a mother on a table. I'm, like, giving birth to a baby, New Tales to Tell: A Tribute to Love and Rockets you're asking me if I'm going to have another baby. Not right now, probably. Don't really feel like having sex right now, I'm having a fucking baby. I'm out here busting my ass; we're working hard on this. This is our new child; we're nurturing it, developing it New Tales to Tell: A Tribute to Love and Rockets showing it to the world—Maynard James Keenan Main article: A Perfect Circle During Tool's post-Ænima hiatus to deal with their legal issues, Keenan began working with Billy Howerdel, Tool's guitar tech through the Ænima tour, on a different project. The supergroup they formed, A Perfect Circle, began performing in 1999 New Tales to Tell: A Tribute to Love and Rockets released its first album Mer de Noms in 2000. They released a successful follow-up in 2003 titled Thirteenth Step, a reference to twelve-step programs (many of the songs were written from the perspective of recovery).[3] Both albums were eventually certified platinum. Their subsequent 2004 album, eMOTIVe, was primarily composed of covers, except for the singles "Counting Bodies Like Sheep to the Rhythm of the War Drums"—a song inspired by "Pet" that was originally released on Thirteenth Step—and "Passive". Keenan later characterized the record as a political album with which he "tested the waters" New Tales to Tell: A Tribute to Love and Rockets was subsequently "crucified" for it because of the content. It was certified gold the month after its release. That same year they released the DVD New Tales to Tell: A Tribute to Love and Rockets CD set entitled aMotion, which was certified platinum within a month of its release. Despite its success, the future of A Perfect Circle remains uncertain. It is currently on hiatus, partly due to Keenan's commitments to Tool; Howerdel reported in a May 2006 interview with MTV that the supergroup's work was concluded for the time being.[31] After more than two years since the bands last release, Keenan was asked about the status of A Perfect Circle during an interview with Revolver. He stated: The real problem with running Tool New Tales to Tell: A Tribute to Love and Rockets A Perfect Circle at the same time was they both operate the same way. They're both live touring bands with a label, still working under the old contract mentality. So I thought it was time to let A Perfect Circle go for now New Tales to Tell: A Tribute to Love and Rockets let Billy explore himself. It's tough for a guy who went from being a guitar tech [for Tool] to being in a bNew Tales to Tell: A Tribute to Love and Rockets with a pretentious, famous singer New Tales to Tell: A Tribute to Love and Rockets having to live in that shadow. It was important for Billy to go New Tales to Tell: A Tribute to Love and Rockets do his own thing New Tales to Tell: A Tribute to Love and Rockets really explore his own sound New Tales to Tell: A Tribute to Love and Rockets let people hear what he has to say New Tales to Tell: A Tribute to Love and Rockets how he would do it on his own, New Tales to Tell: A Tribute to Love and Rockets then we'll get back New Tales to Tell: A Tribute to Love and Rockets do some A Perfect Circle stuff.—Maynard James Keenan , Revolver, December 2007 When asked, in an interview for Spin that same month, about the possibility of another A Perfect Circle album, Keenan stated, "Maybe, someday, a song on a soundtrack. But an album? No."[21] A year later, on December 9, 2008, blabbermouth.net reported that Keenan had announced on The Pulse of Radio that he New Tales to Tell: A Tribute to Love and Rockets Howerdel have been writing new music for A Perfect Circle. Keenan also said that the band has no plans to resume full-scale touring, or even to write New Tales to Tell: A Tribute to Love and Rockets record a new album. Instead, they will focus on "one or two songs at a time", which will most likely be released via the Internet.Puscifer Main article: Puscifer In 2003, Keenan surfaced under the name "Puscifer" for the song "REV 22:20" on the Underworld film soundtrack. Puscifer was once advertised as a side project with Danny Lohner, who had formerly performed live with Nine Inch Nails, but has since been formed as a manifestation of Keenan's "creative subconscious"[33]—meaning that Keenan is now using the name as a pseudonym for his solo work. Keenan has stated that it is "a premiere improvisational hardcore bNew Tales to Tell: A Tribute to Love and Rockets", and his "catch-all, stream of consciousness, anything goes, etc." project.[35] When comparing the project to Tool in an interview with Rolling Stone, Keenan described it as his "attempt to make music to inspire people. ... This is definitely not thinking man's music, but groove-oriented music that makes you feel good."[36] In a later interview with Artistdirect, Keenan said that he did not want the lyrics to be puzzles. He wanted the complexity to be in the music, stating "that's the part that gets under your skin New Tales to Tell: A Tribute to Love and Rockets makes you feel good." In 2006, Puscifer contributed the song "The Undertaker (Renholder Mix)" to the soundtrack of Underworld: Evolution, where "Renholder", a moniker for Danny Lohner created by the members of A Perfect Circle, is the reversal of "Re: D Lohner".[38][39] Keenan financed New Tales to Tell: A Tribute to Love and Rockets released the first studio album, "V" Is for Vagina, in October 2007.[37] Created in a tour bus, in several hotel rooms, New Tales to Tell: A Tribute to Love and Rockets in various studios around the country while Keenan toured with Tool, the album is a radical departure from Keenan's contributions in Tool New Tales to Tell: A Tribute to Love and Rockets A Perfect Circle. Tim Alexander, best known as the drummer for rock band Primus, was a guest musician on the album. He called Puscifer "trancy New Tales to Tell: A Tribute to Love and Rockets hypnotic" New Tales to Tell: A Tribute to Love and Rockets a "total 180 from Tool".[1] The album was criticized as unfocused New Tales to Tell: A Tribute to Love and Rockets lacking in the passion New Tales to Tell: A Tribute to Love and Rockets intelligence present in Keenan's previous work.[40][40][41][42]Puscifer is also a clothing line, with merchNew Tales to Tell: A Tribute to Love and Rocketsise available for purchase on the bNew Tales to Tell: A Tribute to Love and Rockets's website.[43] On September 16, 2008, Keenan updated the puscifer.com blog, revealing that the first ever Puscifer store would be opening "hopefully" by October 1 in Jerome, Arizona. Occupying a small space above a tattoo parlor, the store opened on October 3, 2008.[44] In addition to the merchNew Tales to Tell: A Tribute to Love and Rocketsise available on the bNew Tales to Tell: A Tribute to Love and Rockets's online store, Keenan has also made available locally-roasted coffee, art, New Tales to Tell: A Tribute to Love and Rockets limited edition collectibles.On February 13–15, 2009, Keenan debuted Puscifer at the Pearl Concert Theatre in Palms Casino Resort in Las Vegas, with a cabaret-style show so abstract it is not easily described.[46] In an interview with the Los Angeles Times, Keenan stated "we didn’t really have any clue what to call it, so we just kind of called it cabaret." Keenan—who has had previous experience with this type of entertainment, having fronted a similar show in Los Angeles before achieving fame with Tool[47]—went on to add that "you just can’t really describe it, you just have to see it, then it makes sense."[48] Featuring an ever-changing lineup of artists including Milla Jovovich New Tales to Tell: A Tribute to Love and Rockets Primus drummer Tim AlexNew Tales to Tell: A Tribute to Love and Rocketser, the show was originally said to have a long-term residency at the Pearl; however, Keenan later revealed that it was to be only a two-show performance.[48] Puscifer continued to perform with a revolving lineup throughout 2009 at venues around the Southwest. However, in a November 2009 interview, Keenan stated: "Efforts to confine our beloved enigma to the Southwestern United States have been thwarted. We are compelled beyond all reason to bring the noise Eastward New Tales to Tell: A Tribute to Love and Rockets share our special sauce. Although authorities suggest you be prepared for any New Tales to Tell: A Tribute to Love and Rockets all possibilities, we simply suggest you arrive happy New Tales to Tell: A Tribute to Love and Rockets hungry." Writing New Tales to Tell: A Tribute to Love and Rockets performance style A primary purpose of Keenan's lyrics for Tool involves a desire to connect with the listeners on a personal level; to encourage them to look within themselves for self-identity, understNew Tales to Tell: A Tribute to Love and Rocketsing New Tales to Tell: A Tribute to Love and Rockets reflection.[51] Tool does not include lyrics with any releases as Keenan believes most people "don't get it" New Tales to Tell: A Tribute to Love and Rockets it is not a priority of the bNew Tales to Tell: A Tribute to Love and Rockets that people do.[52] However, after each release Keenan has eventually published his typed lyrics online via the semi-official fansite, with the exception of "Lateralus", which was published on the official Tool website.[53] Lyrical arrangements are often given special attention, such as in the lyrics to "Lateralus", wherein the number of syllables per line correspond to an arrangement of the Fibonacci numbers, New Tales to Tell: A Tribute to Love and Rockets "Jambi", in which the metrical foot iamb is used. Keenan's lyrics on Ænima New Tales to Tell: A Tribute to Love and Rockets Lateralus focused on philosophy New Tales to Tell: A Tribute to Love and Rockets spirituality—specific subjects range from organized religion in "Opiate", to evolution New Tales to Tell: A Tribute to Love and Rockets Jungian psychology in "Forty-Six & 2" New Tales to Tell: A Tribute to Love and Rockets transcendence in "Lateralus". In live performances with Tool, Keenan has often been known to be situated on a platform towards the rear of the stage,[55] without a spotlight,[56] facing the backdrop rather than the audience.[57][58] Breckinridge Haggerty, the bNew Tales to Tell: A Tribute to Love and Rockets's live video director, says that the dark spaces on stage "are mostly for Maynard". He explains, "a lot of the songs are a personal journey for him New Tales to Tell: A Tribute to Love and Rockets he has a hard time with the glare of the lights when he’s trying to reproduce these emotions for the audience. He needs a bit of personal space, New Tales to Tell: A Tribute to Love and Rockets he feels more comfortable in the shadows."[59] An exception, which surprised even hardcore Tool fans, occurred when a fan climbed on stage New Tales to Tell: A Tribute to Love and Rockets attempted to hug Keenan during the bNew Tales to Tell: A Tribute to Love and Rockets's performance of "Pushit". After picking the fan up New Tales to Tell: A Tribute to Love and Rockets dropping him to the ground, Keenan wrapped himself around the man's back. He eventually turned the fan to his stomach New Tales to Tell: A Tribute to Love and Rockets sat on his back, where he stayed for "an uncomfortably long period of time."[60] His appearance with Tool has included the Mohawk hairstyle,[56] wigs, Kabuki masks, bras, tights,[61] New Tales to Tell: A Tribute to Love and Rockets his entire body in blue paint.[62][63] This is contrasted with a variety of long haired wigs while performing with or promoting A Perfect Circle.[64][65] His posture on stage is usually bent. Describing Keenan's contribution to Tool New Tales to Tell: A Tribute to Love and Rockets A Perfect Circle, The New York Times wrote that "both groups rely on Mr. Keenan's ability to dignify emotions like lust, anger New Tales to Tell: A Tribute to Love and Rockets disgust, the honey in his voice adding a touch of profundity".[67] Keenan's ability as a vocalist has been lauded by the Seattle Post-Intelligencer: after his performance during an Alice in Chains reunion concert in 2005, freelance journalist Travis Hay saw him as "a natural fit at replacing Layne Staley". His unique style of singing has often been considered influential to artists such as Pete Loeffler of Chevelle.[69][70]Comedy New Tales to Tell: A Tribute to Love and Rockets acting Keenan became friends with comedian Bill Hicks in the early 1990s. Keenan did stNew Tales to Tell: A Tribute to Love and Rockets-up comedy on improv nights in comedy clubs in Los Angeles during that time.[71] The two became acquainted New Tales to Tell: A Tribute to Love and Rockets Hicks later opened some Tool concerts. Best known is a routine Hicks did while on tour with Tool during the Lollapalooza tour in 1993, when he asked the audience to look for a contact lens he had lost. Keenan enjoyed this joke so much that he repeated it on a number of occasions.Keenan is featured in several segments of Mr. Show, most notably in the Ronnie Dobbs sketch presented in the first season. In one scene, he is seen being arrested with Dobbs. Later in the sketch he is featured wearing a wig as the lead singer of the then-fictitious bNew Tales to Tell: A Tribute to Love and Rockets "Puscifer". When asked about the arrest of Dobbs, Keenan replies "Guilty? Yeah. I'm sure he's guilty but... he knows it. I mean, you're guilty, and you don't know it. So... who's really in jail?" He also appears in episode 2.6, "The Velveteen Touch of a Dandy Fop", as one of the viewers of Coupon: The Movie, saying "Now is not the time", waving the cameras off and slapping the microphone out of his face in disgust after walking out of the theater. Later, Keenan would sing on a track for the Mr. Show incarnation Run Ronnie Run,[73] and appear in the "music video sex scene" on its DVD. Keenan appeared on the cover of the May/June 1999 issue of Pop Smear magazine, portraying Charles Manson as part of a photo essay, imitating a famous Life magazine portrait of the imprisoned murderer.He also appeared as Satan in the 2002 film Bikini Bandits and its 2004 sequel Bikini Bandits 2: Golden Rod. When asked in an interview which role was more difficult, Keenan responded, "Oh, Manson. He’s a real person. People know what he looks like, how he talked. With Satan there’s so much gray area." In the mid-90s, responding to requests for Tool to perform in benefit shows, Keenan created "Free Frances Bean" tee-shirts to represent his own platform. Frances' mother, Courtney Love, had previously referred to Keenan as a "media whore" to which he responded, "Isn't that great? I have the distinction of being called a media whore by Courtney Love."[3] He said that after watching "the tornado that is her mother", he thought "Oh my God, how is Frances Bean gonna survive this insanity?"[3] Although it was started as a simple joke, the tee-shirts were soon in high demand and Keenan was giving them away. On April 1, 2005, the official Tool website announced, as an April Fools' Day prank, that "Maynard has found jesus" and would be abandoning the recording of the new album temporarily and possibly permanently. Kurt Loder of MTV contacted Keenan via email to ask for a confirmation and received a nonchalant confirmation. When Loder asked again, Keenan's response was simply "heh heh".[76] On April 7, the official site revealed that it was a hoax. During an interview Keenan later stated, "It was April Fools’. If you fall for that on April Fools’ Day, there’s nothing I can do for you."[6] He has been part of other April Fools' pranks related to Tool, including one in which he was said to be in critical condition after a tour bus accident.[78]Keenan made his major feature film debut in the April 17, 2009, release of Crank: High Voltage. Sharing a scene with the movie's lead, Jason Statham, Keenan portrays a dog walker "who has an electrifying experience [...] in a public park".[79] Keenan has also been cast in The Other Side, set for release in October 2010. Starring Jason Lee and Woody Harrelson, Keenan is to play several minor roles in the film. IMDb lists his parts as "Hippie/Chauffeur/Pilot/Bartender/Butler/Bait Shop Clerk". Other musical artists listed in the cast include Alanis Morissette and Dave Matthews. Winemaking and other endeavors Keenan corking wine bottles from his winery, Caduceus Cellars. In addition to being part-owner of Cobras & Matadors, an LA restaurant run by Steven Arroyo, and owner of a produce market in Cornville, Arizona;[7][82] Keenan, whose grandparents and great-uncle made wine in Northern Italy (now Southern France),[83] owns Merkin Vineyards and Caduceus Cellars, based in the unincorporated area of Page Springs/Cornville, Arizona, southwest of Sedona, where he resides.[35] While the winery is named after an ancient symbol for commerce (caduceus), the vineyard is named after a pubic wig (merkin).[7][82] He is also a partner of Stronghold Vineyards,[84] "an 80-acre site dedicated to producing affordable wines in the state",[85] located in the small, unincorporated area known as Kansas Settlement in Sulfur Springs Valley, Arizona. Keenan's mother died in 2003, at the age of 59, due to complications from an aneurysm. Following her death, he scattered her ashes across one of his vineyards, and later named one of his wines after her,[21] honoring her memory with his Cabernet Sauvignon "Nagual del Judith".In a statement released in April 2009, Keenan stated: am standing on a metaphorical plateau. The view from here suggests that I/we still have many mountains to negotiate. It has already been a long journey. But the successes and failures have been in balance. Which would suggest that I/we have chosen the correct path. I hold in my hands the evidence to support this statement . . . With tears in my eyes, I present to you the very first 100 percent Arizona Caduceus wine. Nagual del Judith, named after my late mother, Judith Marie. His previous wines were named after relatives of the Chiricahua Apache chief Cochise who lived in the area where the vineyard is located,[89] and were produced at Paige Springs Cellars, owned by Keenan's business partner. While those wines used some fruits imported from California, "Nagual del Judith" is the first made entirely from Keenan's own vineyard.[88]During the fall season of 2008, Keenan began a small tour of sorts with his Stronghold Vineyards partner Eric Glomski, promoting his wine with signing sessions at Whole Foods Markets in California and Nevada. The tour continued in 2009 with sessions in Texas kicking off in March,[90] and appearances scheduled during Tool's 2009 summer tour in Florida,[85] Massachusetts, and New Jersey.[91] In July 2009, Keenan opened an organic market which features a tasting room for his Arizona wines as well as a food court.[92] In an interview with Spinner.com that same month, Keenan stated that he had been taught by Southwestern chefs "how to make spaghettis and pastas and gnocchis and various soup stocks", which would be made fresh and served at the tastings.[93]Keenan is featured in Blood Into Wine: The Arizona Stronghold, a documentary co-produced by Moog filmmakers Ryan Page and Christopher Pomerenk[94] that chronicles Keenan and Glomski's embarkation into winemaking in the desert conditions of Arizona's Verde Valley, and the success they've seen in the decade since its inception.[95] The film, which includes appearances from Tim & Eric, Patton Oswalt, and Milla Jovovich, is to be shown at the Noise Pop festival on February 25, 2010, along with another documentary produced by Pomerenk, The Heart is a Drum Machine. It investigates why people create and listen to music, and features Keenan, Jason Schwartzman, Kurt Loder, Nic Harcourt, Juliette Lewis, and Elijah Wood. Philanthropy Keenan has used his voice on numerous occasions to support charitable causes. He performed at a 1997 benefit concert for RAINN (the Rape, Abuse & Incest National Network) organized by Tori Amos (who had often referred to Keenan as an unofficial brother).[97] He is one of the notable performers for Axis of Justice, a non-profit organization that brings musicians, fans of music, and grassroots political organizations together to fight for social justice.[98] In 2004, Axis of Justice released Concert Series Volume 1. Included are two tracks featuring Keenan on vocals. The second track on the album, "(What's So Funny 'Bout) Peace, Love, and Understanding", was recorded live during Lollapalooza in Seattle, Washington on August 23, 2003. The first track, "Where the Streets Have No Name", was recorded live during the Axis of Justice Concert Series at The Avalon in Hollywood, California on July 19, 2004. In February 2005, Keenan appeared as a surprise vocalist at a Seattle benefit concert for victims of the 2004 earthquake and tsunami in southern Asia, performing with the partly reformed Alice in Chains, in place of the deceased vocalist Layne Staley, on the songs "Them Bones", "Man in the Box", and "Rooster". Personal lifeKeenan, who has described himself as "happily unmarried",[3] was in a relationship as of December 2007, when he stated "For the first time in my life, I have someone who's taking care of me, rather than the other way around."[21] He has a son named Devo H. Keenan (born 1995) who sang backing vocals on A Perfect Circle's Thirteenth Step,[99] and later was credited as the cellist on Keep Telling Myself It's Alright—the debut album of Ashes Divide, Billy Howerdel's post-A Perfect Circle project. It was after the birth of his son that it occurred to Keenan to obscure his own identity in order to prevent his son from being "victimized by [his] career".[3] The song "Breña" by A Perfect Circle uses the middle name of Keenan's former fiancée,[21] while the single "Judith" bears the name of Keenan's mother, and Tool's "H." is the middle name of his son. Keenan has a reputation for being reclusive,[89][101] elliptical and controlling of his public image.[7] He dislikes the manner in which rock stars are worshipped,[16][102] and at one point carried business cards with the name "Jesus H. Christ" printed on them.[75] Often having to deal with stalkers,[103] Keenan has resorted to using a paintball rifle to run trespassing fans from his property.[82] Brazilian Jiu-Jitsu is one of Keenan's pursuits, and he studied under Rickson Gracie, who is widely considered one of the martial art's greatest practitioners.[7]