OK so I’ve been trying to track down this fucking song for a long time now. The commercial is running for over a year and it was the only one not on the official Toyota YouTube channel. I watched so many Toyota commercials (I feel like buying a Toyota for some reason) trying to find this fucking thing! I did numerous searches with keywords like “toyota corolla commercial” and “they tell you I’m the one who drives you mad” and found nothing but one other dude on Yahoo! Answers asking the same question.
I just heard the commercial again from another room and decided to try one more search. Voila! Right there. Yahoo! has an answer and some other asshole found the commercial on YouTube. There seems to be mini-cult built around this song; a disparate and dedicated group endlessly searching this phrase, ”they tell you I’m the one who drives you mad” and posting on forums: “does anyone know who sings that song in the Corolla commercial? It goes …”
Here’s the commercial that got my panties all knotted up:
And here is the song, “The Ghost of Us” by The Moon Chambers
Dylan Miles Frechette continues his World Domination Tour. Not only has he moved on from Orlando, FL to Denver, CO, but he pushed past the drums and added guitar to his repertoire. He is only seven years old! Dylan Miles still plays the drums everyday, but has been taking weekly guitar lessons for several months. He took to the stage recently to add a little rhythm gee-tar to the Trevor Jones Band.
Dylan got on stage at Cervantes in Denver to sit in with New Orleans good time vibe-ist Trevor Jones and The Voice of the Wetlands All-Stars. In a super-cool move, Trevor brought Dylan on stage to share the musical experience and jam. “This is something we do in New Orleans a lot, we bring the shorter people up,” explained Trevor before they slid into “Bayou Breeze.”
Gene Simmons and Paul Stanley will be bringing the body of late KISS drummer Eric Carr to Brooklyn for the band’s April 10 induction into the Rock and Roll Hall of Fame, Simmons confirmed to RollingOnion via email.
“Just because the Hall of Fame has refused to honor any of the players who soldiered on with us after we fired Ace [Frehley] and Peter [Criss] doesn’t mean that we have to sweep an entire era of the band under the rug,” Simmons says. “So if that means hauling out the carcass of one of the sweetest guys who ever lived and propping him up next to Bruce Kulick for a couple of hours, then so be it.”
“It’s real funny,” Stanley noted via text message. “People sometimes assume that somebody has to be alive to be part of the KISS family. But we love Eric’s cadaver like a brother, and we can’t wait to see it again. We’re looking forward to having a warm one-way conversation about the experiences we’ve shared and all things KISS, just like we used to in the old days.”
Privately, Hall of Fame officials are confused by the apparent inconsistency in the band’s stance: Simmons and Stanley made no effort to track down ex-guitarist Vinnie Vincent, still technically alive, and never lobbied for his induction into the Hall. Yet in an act some see as defiant, they are reserving a spot for Carr’s corpse at their table while founding members Criss and Frehley share a folding card table situated near one of the serving carts.
“Let’s just say that, with all due respect to Peter, we expect Eric’s contribution to the evening to be more vital and animated,” Stanley responded. In an official statement posted on the website of East Coast DJ and second-tier-cable celebrity Eddie Trunk, Frehley said, “Gene and Paul’s decision is an insult to the memory of Eric Carr. It’s bad enough how they’ve treated me and Peter, but now they’re using a dead man as a prop – literally. I don’t exploit the memories of the deceased, which is why I was so careful to barely mention Eric in my book.”
RollingOnion reached out to Criss for comment, but could not get him to read his email, pick up his phone, answer the doorbell, or comply with the March 31 deadline to sign up for Obamacare.
UPDATE: Since this story was posted, an alleged representative of Carr’s estate has filed suit in a Manhattan lower court, claiming sole ownership of the late drummer’s body. The suit claims that Simmons and Stanley ignored repeated warnings that Carr’s remains could not be unearthed and moved without the complainant’s consent. The law firm of Dewey, Cheatem and Hilsen also alleges ownership of the rights to several songs Carr was thinking of writing in the late 1980s, as well as Marvin Gaye’s “Ain’t That Peculiar,” just in case.
- Hot off the wire from our Senior KISS correspondent, Steve Schneider
Just about every lead singer can talk the talk, but how many can walk? Josh Homme, frontman, founder, and lead shredder in Queens of the Stone Age, is a rare breed these days. A lead singer that can throw a tantrum and threaten to kick someones ass, but actually be able to knock their fuckin’ teeth out. We all know about Axl Rose’s temper. Let’s say, for some reason, Axl singled me out in the crowd and jumped in after me. Axl is about 5’8″ and in his hay day was about 145lbs soaking wet. I would literally grab him by the face and throw him back on stage. That’s not going to happen with Joshua. Some people assert that QOTSA lacks that sense of danger they had with Nick Oliveri. Nick might have been a maniac, but Josh is pretty damn dangerous. Take the incident at The Mahaffey Theater Tuesday night.
The band took a break from working our faces like a speed bag to slow down the pace momentarily with a song from Like Clockwork … “The Vampyre of Time and Memory.” Here is where an intoxicated fan took advantage of the intimate nature of the theater to make his way on stage and show his love for Josh. Homme don’t play that. This sturdily built bearded dude wrapped up Josh from behind in a bear hug. Josh jumped up to subdue the guy. This fella, drunk and determined, got a little squirrely and slipped away. You could see a change come over Homme and calmly say to himself, “not in my store you don’t.” It almost seemed like he was putting an Aikido move on the dude. Josh placed one hand on beardy’s shoulder and another on this guy’s wrist. He seemed to get leverage with the wrist hold then pulled the guy’s shirt over his head hockey fight style and pitched him headlong into the orchestra pit. My video picks up just as the guy disappears into the pit:
Mr Homme has a history of not taking shit from pussies. When you’re 6’4″ and probably close to 240lbs your swagger comes with a little more authority. Here is a compilation of Josh calling people the fuck out:
The funniest part of this compilation is that half of these instances are a big, badass, American rock ‘n roll hero telling Euro-trash that he is going to fuck them up. Haha! U-S-A! U-S-A!
Orlando fans may recognize this section of the compilation. This might have been my first or second QOTSA show. It was the $2 MTV concert. Here is my first taste of Homme’s no bullshit policy. He basically straight-arms a pretty large dude right off the stage:
One could argue that everything KISS produced after 1985 was overlooked. I’m looking at a period when they ruled the world. They had so many albums between 1974 and 1980. Many of the songs that were staples then have fallen out of the repertoire, but at least they had their moment in the sun. I went looking for songs that I love that never really got any traction at the time of their release or since.
The first two albums are loaded with classic tunes that have since disappeared from the live set. Tracks like “Got to Choose,” “Let Me Go, Rock n Roll,” “She,” “Parasite,” “Watchin’ You,” “Rock Bottom,” “C’mon and Love Me,” “Let Me Know,” and “100,00 Years” don’t get played too much anymore, but can’t be considered overlooked. The songs such as “Strutter,” “Deuce,” “Firehouse,” “Black Diamond,” and “Hotter Than Hell” are still relevant and find their way into the setlist. The first song on the list is “Mainline” (I was tempted to go with “Strange Ways” because of its classic 70s rock feel) featuring Peter on vocals. Peter and Ace songs stand out more over time than some of the popular Gene and Paul songs. “Mainline” might have made the setlist in 1975, but it is hard to find many live versions of the song anywhere. The tune embraces the sort of 60s rock vibe that inspired KISS to begin with:
Following Destroyer (well the release of the single, “Beth”) KISS took over the planet. It would be hard to say anything on the late 70s albums was ignored, but “Do You Love Me” is so cool and never seems to make any favorite lists and I rarely see live footage of it. The opening anthemic drum line is what got me into the drums:
Another mega-album, 1977′s Rock ‘n Roll Over features what might be my favorite KISS song of all time. “Mr. Speed” just kicks ass. Although another brightly colored feather in their misogyny cap, it is just so damn cool and catchy with its T-Rex riffage that I’d expect to hear it more on satellite radio or even commercials. “Cause you ain’t enough lady / to keep the master satisfied” – now that’s some macho dick swinger-y right there:
“New York Groove” performed by Ace isn’t unknown either, but to me, it’s a big, big song. It’s actually a cover originally written by Brit rockers, Hello. It’s just more sincere coming a Bronx native. This is another one that should be in films and commercials more often. It’s the rock ‘n roll version of the love letter to New York City that Sinatra’s “New York, New York” is:
OK, I guess I’m not digging to deep with these, but I have to feature “Shandi” from 1980′s Unmasked. This is a single so it had support, but I think rock fans were so disillusioned and disgusted by the disco embrace of Dynasty that following it up with yet another disco-y, sugar-coated power pop groove had most everyone tune the fuck out. ‘Shandi” is equally lame as it is great. This will probably never get played again, but I can’t help but love the fact that it captures the late 70s so well and could easily be snuck into the soundtrack for Xanadu or Grease (maybe Grease 2) or something:
KISS is heading to Orlampa as part of “The Tour” with opener / co-headliner Motley Crue. I’ve been a KISS fan since I was a kid. My upstairs neighbor in Brooklyn was 10 in 1979 and I was 4. I remember walking into his room and every inch of wall space was covered with KISS posters. This is pretty cool since his Italian parents barely knew any English. I was mesmerized. At 4 years old, they were more than a band, they were gods – these massive, mysterious beings that were simultaneously scary and alluring – kind of like a fat naked girl. I remember going to Richard’s (that was his name) birthday party where he got ALIVE II as one of his gifts. While the traditional party happenings played out I sat on the couch staring at the cover. I could not stop looking at the image of Gene Simmons drenched in sweat, makeup cracking, blood running down his chin and throat, and bathed in the blue stage light. My musical fate was sealed. Although soon after this was the point that KISS started to lose credibility with some fans I embraced them and all the hair metal they spawned through the 80s.
It can be argued that their music through their 4th album, the double-live ALIVE (everybody knows your 4th record is supposed to be a double-live album), was its purest and most original. Some may lean on their apogee, from Destroyer through Alive II, a time when they ruled the planet. Personally I loved them through 1979s Dynasty. They caught so much shit for the disco twist to that album, but listening to it again reveals a pretty charged pop rock record. These guys basically took the band they idolized (early Beatles) then amped it up. Early KISS is essentially “I Want to Hold Your Hand” with leather, flash bombs, and loud guitar. Their larger than life persona was the next evolution of teenage rock idols eclipsing the Fab 4 by becoming interstellar comic book anti-heroes.
Then the makeup came off:
This began a new era both musically and stylistically. They now competed with a new wave of bands in a genre they helped create. Hair metal, cock rock – whatevs – was the norm. The overblown 60s pop approach was not going to work anymore. While some bands still relied on theatrics, many bigger, louder, and more technically proficient bands came along. Screeching, whaling guitar heroics opened the door for groups that were a little more complex than KISS. Instead of KISS thriving in their own unique realm, bands that were not only influenced by KISS, but Alice Cooper, Led Zeppelin, Thin Lizzy, Black Sabbath and AC/DC appeared. The lessons learned from these bands created a more rich landscape for new bands to draw from. This led to KISS appearing somewhat sophmoric to some metal fans. Without the novelty of their makeup KISS struggled for relevance but built up so much clout that they were able to sally forth despite constant line-up changes and bedazzled outfits. They still managed to put out good songs in the 13 year period without makeup before they realized they could go back to the gimmick even though we all know what they look like.
I feel compelled to list “Shandi” from Unmasked, but they technically had not removed their makeup yet. I also want to list “War Machine” from Creatures of the Night because the first time I got Creatures on cassette it was the re-released version featuring the band without makeup on the cover. It also had guitarist, Bruce Kulick, in the picture even though he joined the band 3 years after that album was released. To chronicle non-makeup songs one has to start with ’83′s Lick it Up. This is where they were officially unmasked. This moment was ahead of the guitar “shredder” revolution and Gene and Paul didn’t realize what they had in Vinnie Vincent (the first replacement for Ace Frehley) and they literally had to restrain him from going apeshit on the ax. There were some personality issues too, but Gene and Paul weren’t ready to deal with any competition for the spotlight, nor did the anticipate the sea change in rock. I would like to pick “On the 8th Day” but “Exciter” still had the aura of KISS and was the first song on the first album without makeup. Vinnie’s guitar gave the song and album some credibility and “Exciter” still embodied the mythical rock god image they once possessed. UPDATE: The venerable Steve Schneider, @Schneider_Stv - humorist and most knowledgeable KISS fan alive, noted, “You picked the only song on Lick it Up that Vinnie didn’t play the solo on! It’s Rick Derringer!”
This is a single so I’m not really reaching here, but it is – without a doubt – the best song on Animalize. This is a great tune and a hair metal prototype. After Vinnie Vincent was fired, Mark St. John – another shredder – joined the band for this album before crippling arthritis (and I’m sure there were personality issues) forced him to leave.
“Heaven’s on Fire”
Yet another single, but a truly strong track that is much more than a cock rock song from 1985. “Uh All Night” and “Who Wants to be Lonely” are pretty good but don’t stand the test of time. They were the other two songs in the KISS trifecta method. Every KISS album after 1977 is built around three singles and a series of filler songs. This is also the first official album for Bruce Kulick, a terrific hard rock guitar nerd that lacked any sort charisma or stage presence and that suited Gene and Paul just fine. Bruce was just happy to be working and take orders.
“Tears are Falling”
It was hard not to pick “Crazy Nights” or even “Turn on the Night” but “No, No, No” is actually the better song here and stands out 25 years later.
“No, No, No”
“Unholy” is a great song but it reflects a time KISS got a little harder in an effort to stay relevant. “God Gave Rock ‘n Roll to You” – although a cover – represents some of late KISS’ best work. And the addition of Eric Singer finally gave KISS a world class pro behind the drums. Yes, the great Anton Fig is amazing but we’re not supposed to know he was drumming for them.
“God Gave Rock ‘n Roll to You”
The albums KISS put out since returning to the makeup are mostly unremarkable, but I will always stand by them as one of the coolest rock bands in history.
KISS and Motley Crue are playing the Ask Ax Gary Amphitheater in Tampa tomorrow
Sarah Jaffe was sort of an indie-folk type, but just broke her mold with “Glorified High“ a sticky, muddy, electro-infused dance rock tune: (Embedding is turned off on this track which is stupid – click link above to visit)
British sisters comprise the braintrust of 2:54. “You’re Early” rocks just enough to catch my attention amid the tidal wave of new indie music – strong enough to break through the wall of laptop artists, 2:54 is driven by real guitars and drums … thank god:
Formed by some of the dudes in Fleet Foxes, Father John Misty is a side project that flexes a little more straight forward rock muscle than the Foxes usual somber folk. Listen to “Hollywood Forever Cemetery Sings”:
Another side project, this time from some of the guys in Tame Impala, is Pond. “Elegant Design” embraces the psychedelic trip-rock of Impala more than some of the other tracks on their album and that’s probably why I like it:
White Rabbitsare back with a new album. Now I never loved them nor hated them before, they just kind of existed. Their latest album pushes the Rabbits another step away from their percussive, nearly Latin debut album toward a more fully integrated rock sound. I absolutely adore the first single “Heavy Metal”:
Now this motherfucker has soul! Lee Fields & The Expressions have a new album called “Faithful Man” and this is the title track. Like Sharon Jones & The Dap Kings, Fields takes the roots rock ‘n soul approach with a traditional sound that is neither tired or contrived, but spot-on:
Jeff the Brotherhood is another 2-person outfit, but instead of fleshing out songs with synth and loops they opt for the layering of crushing organic rock guitar. “Hey Friend” lays thick guitar tracks on top of a drum kit for a more traditional White Stripes meets 70′s guitar rock feel:
Like Lee Fields, Nick Curran and the Lowlifes embrace tradition. Curran evokes early Sun Records Elvis or Gene Vincent with a retro garage rock blast that is so authentic you would never know it came out last year. Check out “Rocker”:
Probably not. But “You and Whose Army” is an anthem to rally around the libertarian Texas Congressman. Newt Gingrich is an animal - a fucking pig. Newt made millions skimming off the bank engineered housing bubble that wrecked our economy.
Mit Romney probably fired your dad at some point. Romney earns 57k a day off investments. He’s used his power and influence to ensure he gets the lowest tax rate possible on those investments. The number 1 contributor to Obama’s campaign in 2008 and Romney’s present campaign is Goldman Sachs.
Sachs received the lion’s share of the staggering TARP (nearly 800 billion dollars) funds followed by the incomprehensible secret donation from the Fed of nearly 14 trillion dollars (14 trillion!). This was “lent” at 0.01% interest to Goldman and other banks like Bank of America. These banks then turned around and used this nearly free money that will be paid on the backs of the US working class to buy US debt in the form of treasury bonds that earn 3% interest. This simple sleight-of-hand hoodwinked our country into an instant multi-billion dollar revenue for the banks at all of our expense. This tid-bit of information was only found through a partial audit (imagine what a full audit will reveal) of the Fed, which was spearheaded by Ron Paul long ago. They used this revenue to buy European debt and pay the record-high executive bonuses for 2010. Ex-Goldman board members and CEO’s now sit in positions of power at the US Treasury, the Federal Reserve, The European Central Bank, and as “appointed” prime ministers of Greece and Italy. Voting for any of these monsters (Newt, Santorum, Romney, Obama) only supports the bankers hostile takeover of the planet.
The money for these bailouts didn’t come from Uncle Sam’s savings account. It was printed by the Federal Reserve. It will need to be paid back. It is paid back in 2 forms: tax revenue collected from the citizens and inflation incurred by the citizens from an artificial influx of capital into the economy. This serves to destroy the buying power of the US dollar. The taxes put a heavy burden on the middle class. The inflation all but cripples the poor and further strains the evaporating middle class. So no matter how much we are taxed in order to provide money and aid to the poor and unfortunate it will never be enough because the dollar continues to weaken. This pushes us towards a new, global currency that will give the banking cartel an even stronger hold and a wider net.
Obama let this happen. He doesn’t address it. He continues to give eloquent speeches about nothing and refuses to confront the troubles we face head on. He entered Libya without congressional approval and he is continuing with the propaganda build up to war with Iran – similar to the Bush administration’s propaganda push into Iraq. We don’t have the money to fight this war. The only way we can get this money is by borrowing from China and printing money that again drives the burden back to American citizens. Obama signed the NDAA, which makes the Bush era Patriot Act seem like child’s play.
Bush, Cheney, Romney, Newt, Pelosi, Santorum – most politicians really – are all the same thing. It’s a smoke and mirrors game that gets the US citizens worked up about token left and right wing issues while the political machine works on its own agenda; pandering to the richest 0.37% of the country that is powerful enough to sway our government with lobbyists and cash. The banks and the military-industrial complex have railroaded our government away from the people as they slowly erode our freedoms and our sacred constitution in order to create a landscape that is suitable to them. Neo-cons buy into the militarism while “progressives” buy into the welfarism – all thinking that these politicians are going to bat for their beliefs. They are being duped into surrendering their money and lives to an ever-growing, corrupt and incestuous government that threatens us all.
The media, for the most part, is towing the staus quo line driving us to the “lesser of two evils vote” by playing up our red team vs blue team spirit and marginalizing a man of integrity and ideas (if Ron Paul’s ideas are crazy I have yet to hear better ideas, real solutions that people and politicians plan to use as opposed to focus-group talking points contrived simply to gain re-election) and focusing on vapid, senseless, disconnected, wealthy used car salesman that have the money to pay for their attention.
Ron Paul is the only guy running for more than just simply winning. He warned about all the issues we face right now for 30 years. Nearly everything Paul fought to stop threatens to destroy us at this moment and if we don’t listen, don’t act, don’t research, and continue to be informed by talking heads with an insidious agenda then we deserve what we get.
A vote for Ron Paul is a vote against tyranny. It’s a statement that says “I am informed and I know what you are up to.” It sends a message to the establishment that we all understand the country is broke and we will not police the world, build bloated bureaucracies, pander to the pharmaceutical companies, the oil conglomerates, banking cartels, and the military-industrial complex. It is a vote for personal liberty and responsibility and the removal of government from our day-to-day lives. It advocates pushing the federal government back to what is outlined in our constitution; providing sound money, protecting our country, and honoring our personal liberty. Voting for Ron Paul takes a swipe at the status quo and says we won’t stand for fabricated wars that destroy poor countries and strip what remaining dignity and respect we have with the citizens of the world. We don’t support police actions (not wars) that tear our American soldiers away from their families and uses them as cannon fodder to blow their faces off for nothing more than perpetuating a stream of money to the military-industrial complex.
Vote for the guy that has single-handedly changed the conversation in Washington. The guy that has his talking points continually co-opted by both the left and right. Vote for the guy that warned against the housing bubble in 2001 as well as our reckless spending and monetary crisis years before they blossomed. Vote for the man that understood that our overstretched military would bankrupt us and make us less safe. Vote for the guy that is routinely a guest on all news shows as an expert in monetary policy. When was the last time Pelosi, Obama, Newt, Mit, or any “leaders” were considered real experts on anything? Vote for the guy that has energized America’s college students and has them discussing foreign policy and monetary policy as opposed to vacuous and esoteric concepts like “hope.”
While the media, the candidates, and the incumbent are engaged in their incestuous circle-jerk and pandering to their audience one guy is straight droppin’ science – being honest, informative, and explaining the causes then offering solutions to the grave dangers on the horizon:
Never took the time to understand Paul’s foreign policy?
My videos are far from professionally shot. Most are done with a Canon Powershot from just about any vantage I could get. The video is meh, but the audio is actually pretty damn good because of the type of mic the Powershot has and where it is placed. The point is capture a moment from these concerts as a sort of keepsake.
And the Top 10 Most Viewed Videos Are …
Modest Mouse put on one hell of a show at the Hard Rock Live in June 2008. They were supporting We Were Dead Before the Ship Even Sank playing a good mix of new stuff with killer classics like “Paper Thin Walls,” “Custom Concern,” “Breakthrough,” and this song, “Trucker’s Atlas.”
Tricephus, or Hank III, visits just about yearly to put on one of the coolest live spectacles on the planet. He starts with a set of country classics from his grandpa, Hank Willimas Sr. Next, he does a set of Psychobilly – a sort of roots country / hard rock / punk hybrid and ends the show with AssJack, a full-on hardcore / death metal shit show. This AssJack metal medley that includes Van Halen, Ministry, and Slayer comes in at number 9.
VIEWS: 1, 716
Thievery Corporation is known for their chill, eclectic, international sound, but they come at the audience full-force with a host of supporting musicians and performers in their live shows. This performance of “Sound the Alarm”- the first track on 2008′s Radio Retaliation – is from the 2008 VooDoo Music Fest in New Orleans.
Phish took over Miami for New Year’s in 2009. Their loyal sandal-shaking fanbase will search out all media related to their shows. All the videos from New Year’s Eve got a lot of views, but “AC/DC Bag” blew them all away.
Avi Buffalo is a band of pretty young kids that visited The Social several times thus far (with Rogue Wave and Blitzen Trapper). Their biggest and possibly best song, “What’s In It For?” is reflected in the amount of views here.
LCD Soundsystem blew my mind with their show in October 2010 at Hard Rock Live. I was amazed at the raw power that this semi-electronic dance pop band brought. I’m glad to have the opportunity to interview Pat Mahoney and see James Murphy and the gang because it ended up being their last tour. They kicked the show off with “Dance Yrself Clean.” This is a video that sort of captures the essence of what I try to do. Although the angles aren’t pro-shot, the immersion in the audience translates the kinetic vibe of the show.
The Tennessee 3 was Johnny Cash’s famous backing band. Orlando had the privilege of seeing these legendary musicians play a set for Anti*Pop 2007. I was hesitant because I thought without Cash’s infamous gravelly baritone it just wouldn’t work. Not true at all. Guitarist and long-time musical companion of Cash, Bob Wooten, had an uncanny vocal resemblance to The Man in Black himself. Truly Amazing. All of the video from that night was popular, but “I Was There / Luther Did the Boogie-Woogie” is way out in front of other classics caught that night like “I Walk the Line,” “Orange Blossom Special,” and “Ghostriders in the Sky.”
Del tha Funkee Homosapien rocked The Social in January of 2010 with his unique flow. I also interviewed Del in 2009. His show at The Social was razor sharp as he dug through his prolific song book. He even did a version of “Clint Eastwood,” the Gorillaz song that brought him mainstream fame, but it was classic, rarely played “Mr. Dobalina” that brought all the hits.
My Morning Jacket is one of the best live bands in existence right now. They are a band I will travel anywhere to see if I can. This video for “Victory Dance” was from their performance at the 2011 Hangout Fest. It was the opening track and the first time fans got to hear this song from Circuital which was not released at the time of the show. It’s a slow and creeping song that builds to a frenetic ending. Watch as the eager crowd goes berserk in the last 30 seconds as Jim James banshee cries wakes them up.
Representatives from Orlando Health and the Arnold Palmer Medical Center along with founders of the new rock music festival, Orlando Calling (including Festival Republic’s CEO Melvin Benn), and the ubiquitous Joey Fatone gathered at Arnold Palmer Hospital for Children today to release some great news. The Orlando Calling event donated 10-large to benefit the Music Therapy Program at the hospital.
In addition to the giant check – literally (I know a place we can cash that right now) – they facilitated the donation of four Gibson guitars to be auctioned for the program’s benefit. These lucscious axes will be signed by Orlando Calling talent including Bob Seger (Seger!) and The Killers.
The Music Therapy Program is made possible through Joey’s My Healing Harmony – a program of the Fatone Family Foundation. The program provides a credentialed music therapist to assist children as they heal and grow through music. They help hospitalized children learn instruments and understand music theory as a way to relax and cope with pain and discomfort in addition to providing channels for socialization and self-expression.
Local band and Orlando Calling performers, Savannah, played in the hospital’s atrium. The stars of the show were the hospital patients including a little girl that strummed guitar with the band, twinkled out some melodies on the keyboard, and sang an Adele cover with Joey on bongos in the therapy room.