Musik Indonesia

Clad in Guantanamo-style orange jumpsuits with black hoods cinched over their heads and their hands behind their backs, Rage Against the Machine were led onstage to deafening air raid sirens and cheers in Minneapolis last night. The band faced the crowd for a second — as if waiting for a firing squad — before their instruments were placed in their hands and they launched into a blistering rendition of “Bomb Track,” their heads still covered in black cloth. “We’re Rage Against the Machine from Los Angeles, California,” Zack de la Rocha said after the band had changed out of their prison-camp garb, and that was basically his only address to the crowd for the next dozen songs.

The band seemed to have even more energy than the amped-up audience on the over-packed floor, and the four tore through song after song like they were making up for the canceled free concert the police shut down the previous night. Guitarist Tom Morello and de la Rocha stomped back and forth while drummer Brad Wilk kept up a tireless mechanical thrash and bassist Tim Commerford bounced up and down for almost the entire concert. Only during the drum solo in “Sleep Now in the Fire” did de la Rocha say a few words. “I know we’re going to take care of each other this evening,” he said as security poured water on the sweaty fans packed against the fence in front of the stage. “I know we can stand here with y’all in peaceful opposition to the whole fascist Republican agenda.”

A few minutes later, before they walked offstage to regroup for their encore, de la Rocha gave his only real speech of the night. “I know a lot of you feel the way that we do,” he said. “In our small way, together we come to spots like this to interrupt and to disrupt and to not be passive in the face of all this death and destruction that this party brought to this country and the world. We won’t be party to it. And we’re going to resist it. And we’re not going to let them distract our brothers and sisters and people around the country from it. … These people are concerned about a few determined people that broke a couple of windows; this government just broke two countries! … Oh and by the way, Sarah Palin’s 17-year-old daughter is pregnant, I forgot to mention that.”

As they finished “Wake Up,” de la Rocha added, “I don’t know what you all are going to do tonight afterward, but I hope you all leave peacefully… but you don’t have to be passive! You don’t have to let anyone put their hands on you.”

After an encore featuring “Killing in the Name Of” left an arena bristling with middle fingers, the band stood and faced the audience one last time. This time, instead of looking like victims of a firing squad, the effect was more like posing for a yearbook photo — the four stood smiling, their arms around each other’s shoulders.

When Target Center emptied into the streets, crowds stood across from lines of riot, bike and mounted police. Some protestors went on to lie on the ground while others held a flag. The police reinforced their lines and the two sides faced off for about 30 minutes between the First Avenue nightclub and Minneapolis Hard Rock Café. Finally, the police allowed a crowd of about 200 to march away from the Target Center towards the center of downtown Minneapolis. (The group reportedly dwindled as they marched and the protest ended in the arrests of 102 people.) Less than a block away, at a RNC party thrown by the Minneapolis St. Paul Host Committee, one middle-aged woman dressed in white looked down on the protestors from the restaurant’s second floor windows, “Where are their mothers?” she asked.

Set List:

“Bomb Track”
“Testify”
“Bulls on Parade”
“People of the Sun”
“Know Your Enemy”
“Bullet in the Head”
(Katrina song)
“Born of a Broken Man”
“Guerilla Radio”
“Ashes in the Fall”
“Calm like a Bomb”
“Sleep Now in the Fire”
“Wake Up”
[encore]
“Freedom”
“Township Rebellion”
“Killing in the Name of”

“This is the first time the paparazzi made it to the gate!” Pete Wentz exclaims, rushing into the L.A. studio where Fall Out Boy are working on the follow-up to 2007’s platinum Infinity on High. “We recorded in secret. The tabloids think I just go to Starbucks and hang out at clubs — they don’t know what I do for a job.”

Working with Neal Avron — the primary producer of FOB’s last two records — the quartet made a decision to dial back the heavily multitracked sound of their last album. “With the Babyface collaborations, the R&B influence and vocal acrobatics, Infinity really opened up the lane,” Wentz says. “This time, we focused on making an ambitious record without giving the impression of making an ambitious record.” That proved challenging. “Making this record has been painful,” says singer Patrick Stump. “Pete and I fought more than we have in a long time. I threw something across the room over a major-to-minor progression.”

The first single, “I Don’t Care,” rides a Gary Glitter-style stomp with a wry chorus: “I don’t care what you think, as long as it’s about me.” Another standout is a still-untitled power-pop cut fueled by a pingponging guitar riff. “Am I the only one that hears ELO?” Guitarist Joe Trohman asks as the song fades out. “Enuff Z’nuff’s been mentioned twice,” Stump adds, “and I have a neon peace sign.”

The title of the album, Folie a Deux, is a psychiatric term that refers to psychosis shared between two people. “It’s like when your fans want you to be crazier, so you become crazier,” explains Wentz, who says the concept fits into the record’s theme, which loosely deals with the bassist-lyricist’s growing celebrity.

With the release only two months away, FOB are still finalizing cameos — they are hoping to get Kanye West, Pharrell and Panic at the Disco — and nailing down their famously long song titles. Still, you can be sure that the disc will be ready for Election Day. “It’s going to be one of the biggest days of the year, if not the decade,” says Wentz. “Why not be a part of it?”

[From Issue 1061 — September 18, 2008]

On September 23rd, TV On the Radio will return with Dear Science, the group’s follow-up to their breakthrough record Return To Cookie Mountain. Rolling Stone caught up with the band to talk about the making of the new disc, why the group set out to make a more dancier, upbeat album than the doom-and-gloom mood of Cookie Mountain and some of the ridiculous alternate titles that the group batted around.

Your new record Dear Science has a much cleaner vibe than the industrial mood of Return to Cookie Mountain. What ideas did you guys have when you set out to make this record?
Tunde Adebimpe: Well, I think going into it, we always try to come to recording pretty fresh and the time that we have off from touring, everybody kind of goes back into their cave and makes some demos. This time the only thing that got tossed around loosely was that everybody wanted to make a dance record, or at least our version of a dance record. The songs that got brought in kind of ended up being that way. We’re not as murky as we had been before. I like it when I go to a concert and I get lost in a group of people who are just dancing as if they were in a club. It’s more about a collective experience instead of a passive observational thing.
Dave Sitek: These songs are just cleaner and punchier. With this record, we faded out the question mark and faded in the exclamation point.

How many songs did you prepare?
TA: When we started this record we probably had about 32 or 33 songs in demo form that were brought in, and then we kept whittling that down to fourteen or so that ended up on the record.

Any plans to release the leftover demos?
DS: We have hard drives full of stuff. We recorded 26 songs for the record and we only really finished 13. We’ll put them out when we’re all in tax trouble. Who knows?

What’s the title refer to?
TA: Dave had written this letter addressed to science in kind of a kid’s handwriting and it said, “Dear Science, please fix all the things you keep talking about or shut the fuck up.” And that ended up in the washer when we were picking titles. I think we’re going to post all of the titles, because while we were recording the record, everyone would give their two cents as to what the title should be. There’s a long, long list of horrible titles. Dear Science is probably the most tasteful of all of those.

What other titles were kicked around?
TA: Black Versus French Fries in the Battle For The Delicious Universe and Thick as Chicken Feed. There were several food related ones and they were just horrible. When you open the floodgates for ridiculousness, you get a little bit too ridiculous.

One of the best songs on the record is “Lover’s Day,” which explicity deals with having sex. Who is the lucky recipient?
Kyp Malone: I wrote it specifically to be a gender-neutral, sex-positive love song so anyone can apply it any aspect of life. But any time my daughter hears it, she says, “That’s for Jessie.” She’s my girlfriend. Sex is the spice of life, you know. It’s how we all got here. A lot of songs that are sex positive are very predatory — it’s within the binary of gender politics. That’s boring to me. It’s not reflective of the world we live in.

Did your decision to move away from the gloomy atmospheric jams on Return To Cookie Mountain towards more dancier, upbeat tracks have anything to do with the impending end of the Bush regime?
TA: I personally think it’s a cause for celebration. If anyone would like to use the soundtrack for that, please blast it on 11.

Dave, you are known for using unconventional recording techniques as a producer. What did you experiment with this time around?
DS: There were times when I set up a shitty 1980s Sharp home stereo out in the hallway and then a microphone clear at the other end, and I blasted the song out of the shitty home stereo and recorded it through the home stereo. There was a lot of that kind of tomfoolery.

For your last record, you smoked copious amounts of weed for inspiration. How many bowls a day for Dear, Science?
DS: I’d say probably slightly less than Return to Cookie Mountain. I’m in my thirties, you know. I’m slowing down.

Christina Aguilera’s first greatest hits comp, Keeps Gettin’ Better — A Decade of Hits, will be released exclusively through retail giant Target on November 11th. The disc features two new songs.

• Fall Out Boy has revealed the first single from their upcoming new album Folie A Deux posting the song “I Don’t Care” on their website. FOB’s Folie is out on Election Day, November 4th.
• Despite rumors of Spacehog’s Royston Langdon joining the band, Velvet Revolver guitarist Slash says the search for a singer is “still ongoing.” “We want something aggressive,” Slash said.
• Aerosmith’s Steven Tyler told a fan club website that the band will go into the studio at the end of this month to begin work on a new album. The band has already scheduled their next tour, which is booked to begin March or April ‘09.

Sosok Sulis sebagai penyanyi Sholawat, tidak bisa terlepas dari Hadad Alwi. Maklum keduanya 'nyaris' selalu tampil bersama, baik di album maupun dalam berbagi event. Karenanya, ketika Sulis selalu tampil seorang diri, muncul banyak pertanyaan dari para pecintanya. Apa keduanya tengah ribut?

"Nggak mas, kita gak pernah ribut kok bener.. walau kita sudah tidak bekerja sama lagi selama 4 tahun, tapi kita tidak ada masalah," ungkap Sulis mencoba menerangkan.

"Kak Hadad sekarang lebih sering ke dakwah dari pada menyanyi," tambahnya.

Sulis sendiri yang ditemui dalam jumpa press konser The Spirit Of Ramadhan di Soultan Hotel, Kamis (4/9) mengaku kehilangan, saat harus menyanyi sendiri. Terutama pada saat-saat awal, dirinya mulai tampil sendiri.

"Awalnya aku merasa kehilangan apalagi kita dulu sering muncul berdua, tapi setelah berlalunya selama 4 tahun, saya harus bisa belajar sendiri," terang pemilik nama lengkap Sulistyowati ini.

Beberapa grup band dan musisi tanah air berlomba memanfaatkan momen ramadhan untuk meluncurkan album religi. Seperti Ungu, untuk tahun ini sudah kedua kalinya menelurkan album religi. Bagi Ahmad Dhani membuat album religi bukan sesuatu yang bakal dikerjakannya dengan asal-asalan.

Dhani mengakui kalau dirinya sudah berancang-ancang untuk menelurkan album relig. "Kalau rencana ada. Insyallah tahun depan," ungkap Dhani saat dijumpai di 'Konser Musik Spesial Ramadhan' di Parkir Timur Senayan, Kamis malam (04/09).

Namun untuk album karyanya, Dhani tak mau sesuatu yang monoton seperti yang lainnya, seperti Sholawat Nabi saja. "Menurut saya kalau bikin album religi bukan Sholawat aja. Tapi bener-bener religi," ungkap pentolan Dewa 19 ini.

Berpisah dari suaminya, tak mengurungkan niat Pink untuk punya momongan. Penyanyi fungky ini kini telah siap untuk menimang anak. Tapi Pink memilih untuk mengadopsi dari pada melahirkan.

Pilihan untuk mengadopsi ini menurut Pink lebih karena kepeduliannya pada kehidupan di dunia. Saat ini, menurut Pink dunia sudah penuh dengan orang.

Setelah lama tak terdengar kabarnya, Christina Aguilera akhirnya bersiap untuk merilis album koleksi lagu terbaik pertamanya tahun ini.

KEEP GETTIN' BETTER - A DECADE OF SONG akan dirilis di Inggris 10 November mendatang, sehari sebelum album ini menggebrak pasar Amerika.

"Aku tidak bisa percaya bahwa sudah sepuluh tahun sejak album pertamaku. Dan merupakan hal yang mengagumkan untuk menyatukan semua lagu kesukaanku dalam satu koleksi untuk para penggemarku," kata penyanyi tersebut.

Kompilasi tersebut akan berisi dua lagu baru juga, Keep Gettin' Better dan Dynamite, dilengkapi pula oleh versi baru Genie In a Bottle dan Beautiful.

Dibulan Ramadhan ini, Saski membuat singel bernuansa islami berjudul 'Diatas Sajadah'.

Seiring dengan bulan puasa yang hampir berjalan satu minggu ini, kesibukan tawaran untuk mengisi menyanyi pun juga dialami mantan penyanyi cilik tersebut.

Salah satunya adalah promo singel religi tersebut, menurut dara kelahiran 13 November 1989 ini, sudah beberapa kali dirinya diundang mengisi sebuah acara Ramadhan dan kemudian menyanyikan lagu itu.

"Sampai saat ini, aku sudah beberapa kali menyanyikan lagu baru religi ini. Pertamakali saat mengisi acara empat mata, selain itu ada juga sih promo untuk album 'Kesatu'," ucap Saski saat mengisi acara LG Galeri Desain Charity Program, buka bersama anak yatim piatu, di komplek Mesjid Albina, Gelora Bung Karno, Senayan, Jakarta Selatan, Kamis (4/9) sore.

Dalam lagu religi tersebut, penyanyi yang dikenal melalui lagu 'Menabung', yang dinyanyikan bersama Geofany ini turut berpartisipasi dalam memberikan sentuhan musik."Kalau masalah lirik , bukan aku yang membuat. Tapi, aku ikut memberi masukan mengenai pemilihan musik akusti,"tambahnya.

Great specs, versatile wearing style, and a sexy new look.

The Stanton DJ Pro 3000 Headphones are the newest addition to Stanton's line of high-quality stereo headphones. With the same great features as previous Stanton headphones, plus a few new additions, the DJ Pro 3000 definitely is in a class of its own. With swivel and folding capabilities, the Stanton DJ Pro 3000 also includes high pass and low pass filters, detachable cord, and cool blue LEDS. With this array of features, its sexy new look, and an affordable price, it is destined to rise to stardom in the DJ world.

Stanton DJ Pro 3000 Headphones Specifications:

• Type: dynamic, closed
• Driver size: 50mm
• Magnet type: neodymium
• Plug type: gold
• Frequency response: Normal 16Hz-22kHz
• Low pass: 16-5kHz
• High pass; 200Hz-22kHz
• Impedence: 30 ohms
• Power: 3000mW
• Cord length: 9-4/5'
• Weight: 15-1/10 oz.

Stanton DJ Pro 3000 Headphones Features:

• Spring-loaded, rotating ear-cup allows for flexible postitioning and single-sided or shoulder-rest wearing styles
• Detachable coil cord (3m) for safe storage and easy replacement
• 90 degree elbow 1/4" connector
• Wide frequency response for outstanding sound reproduction
• Closed-ear designed for excellent sound isolation
• 50mm neodymium drivers for clear low end reproduction and superior power handling
• Convenient folding design for ease of storage and transportation
• Mini-jack adapter included
• Passive high pass and low pass filters
• Blue LEDs blink to the beat of the music
• Carrying pouch included

Designed for DJ and remix monitoring.

Sony MDR-V500DJ Headphones boast a swivel earcup that allows easy single-sided monitoring. Ferrite-magnet 40mm drivers deliver powerful bass and clear treble sounds. Phones have a sleek-looking silver finish and a compact, foldable design. Includes gold-plated stereo UniMatch plug.

Sony MDR-V500DJ Headphones Features:

• Swivel earcups for DJ and remix applications
• Reversible earcups for added flexibility
• Supra-aural design for excellent listening comfort
• 40mm drivers for hi-fi sound
• High-energy ferrite magnets
• 1000mW power handling
• Folding design
• Wide-molded headband for long-lasting comfort
• Stereo plug for phone jacks and mini-jacks

Sony MDR-V500DJ Headphones Includes:

• gold-plated stereo UniMatch plug

Quality, foldable headphones for the busy DJ.

Gemini DJX-05 headphones have super-soft, cushioned earcups a padded headband and amazingly lightweight construction that will still be comfortable hours into a night long set. The joints are reversible with 90-degree horizontal and 180-degree horizontal rotation to match multiple listening styles. Soundwise, DJX-05 headphones have large 50mm high-output drivers with 200 mW max power handling, and dynamically enhanced balanced audio, providing you with a better mix of crystal clear highs, crisp mids, and rich bass. Gemini DJX-05 headphones come with an ample 13.1' removable coiled spring cable for more freedom to move around in the booth, and a gold-plated 1/8" connector with 1/4" screw-on adaptor to meet the needs of your equipment. When not in use, DJX-50 headphones fold up for easy packing and transportation to your next gig.

Gemini DJX-05 Headphones Specifications:

• Frequency response: 20 Hz-20 kHz
• Impedance: 32 ohms (at 1 kHz)
• Sensitivity: 102 dB (at 1 kHz, 1V ac)
• Rated input power: 1 mW
• Weight: .80 lbs.
• Shipping: 1.15 lbs.

Gemini DJX-05 Headphones Features:

• Dynamically enhanced balanced audio with clear highs,
• crisp mids, & deep bass
• Adjustable padded headband & comfortable, soft-cushion earcups
• Reversible 90° horizontal/180° vertical rotating joints
• Durable lightweight flexible folding body
• 13.1' Removable coiled spring cable
• Gold-plated connector 1/8" with 1/4" screw-on adaptor
• 200 mW max power handling
• Large 50mm high-output drivers

The Sennheiser HD 205 closed DJ-style headphones provide excellent sound quality and a brilliant shielding of ambient noise. The rotatable ear cup plus the single-sided cable make them ideal for DJs. The HD 205 headset come with a convenient protective pouch for storage and transportation.

Sennheiser HD 205 DJ Headphones Features:

• Medium-sized dynamic, supraaural headphones
• For compact systems or mobile players (32 ohm)
• Powerful stereo sound
• Outstanding passive attenuation of ambient noise
• Rotatable ear cup for one-ear listening
• Highest wearing comfort for long music sessions
• Comfortable head- and ear pads
• Convenient protective pouch included
• 3.5 mm jack plug and 1/4" (6.3 mm) screw-on jack adapter, gold-plated
• Single-sided cable
• 2-year warranty

The AKG K181DJ headphones were designed in cooperation with leading international DJs. The result: the ultimate tool for professional DJs high performance closed-back headphones with the best possible sound, and maximum SPL that should be exceptionally rugged and easy to bend or fold into any listening position, and provide a switchable bass boost.

The 3D-Axis professional folding mechanism allows the DJ to change their monitoring position quickly at the club. High quality lightweight construction, extremely rugged. Headphones fold down into an extremely thin package for transportationBass boost switch: Appropriate sound for every venue. Switchable bass boost for gigs at large clubs Plug-in cable: Single cable for ease of handling, with professional mini XLR connector Stereo/mono selector for optimum single-ear monitoring High sound pressure level: High SPL capability for any type of event in any environment. Legendary AKG sound quality Closed-back earphones: Isolating ear cups attenuate ambient noise, keeping even quiet passages clearly audible Rubberized finish ensures easy and safe handling at the club

AKG K181DJ DJ-Style Headphones Specifications:

• Efficiency 120 dB/V
• Frequency range 5 Hz to 30,000 kHz
• Rated impedance 42 ohms
• Max. input power 3,500 mW
• Cable 99.99% oxygen-free cable, 1.8 m (5.9 ft.)
• Net weight (without cable) 280 g (9.9 oz.)
• Special features 3D-Axis (folding mechanism)
• Plug-in, single-sided cable on headphones (mini-XLR connector)

AKG K181DJ DJ-Style Headphones Features:

• Bass boost switch: Appropriate sound for every venue. Switchable bass boost for gigs at large clubs
  
  Plug-in cable: Single cable for ease of handling, with professional mini XLR connector
  
  Stereo/mono selector for optimum single-ear monitoring
  
  High sound pressure level: High SPL capability for any type of event in any environment. Legendary AKG sound quality
  
  Closed-back earphones: Isolating ear cups attenuate ambient noise, keeping even quiet passages clearly audible
  
  Rubberized finish ensures easy and safe handling at the club

Reliable, comfortable, and stylish high-fidelity 'phones.

The Denon DN-HP1000 Professional DJ Headphones are designed to give you impeccably clean vibrant sound at high volume while maintaining its sonic characteristics. The DN-HP1000's dynamic, closed back design provides superior isolation, while 53mm drivers provide outstanding audio quality and rich bass with an extended high-end frequency response (5Hz-33kHz). These comfortable headphones conform to all head sizes with soft padded ear cups that swivel a full 180 degrees with dual pivot action design. Housed in a metallic silver color shell and branded with the Denon DJ logo etched in real stainless steel on both cups. Comes with a dual nickel-plated adapter (1/4" [6.3 mm] and 1/8" [3.5 mm]) and semi-coiled soft insulated cord with reinforced cable strain relief.

Denon DN-HP1000 Professional DJ Headphones Specifications:

• Dimensions (when opened): 6.49"W x 8.1"H x 1.61"D
• Weight: 11.28 oz.
• Cord length: 3.9' flaccid/10' stretched
• Load impedance: 36 ohms
• Driver size: 53mm
• Transducer type: dynamic
• Frequency response: 5~33,000Hz
• Channels: L/R stereo
• Sensitivity (1mW): 105dB/mW (JEITA)
• Maximum input: 3500mW

Denon DN-HP1000 Professional DJ Headphones Features:

• Dynamic, closed-back design
• Large 53mm drivers
• Folding design
• 180-degree reinforced swivel joints
• Dual size H/P connector
• Semi-coiled soft insulated cord
• Reinforced cable strain relief for high reliability
• Stylish leather carrying bag included
• Real stainless steel plate etched with Denon DJ logo
• Comfortable headband for long-term wearing
• Replaceable ear pads (optional)

Hear well and look cool.

The Numark HF-125 headphone set features flexible 7-position independently adjustable dual ear cups, large 40mm Mylar speaker drivers, 6' tangle-resistant cord with 1/4" connector, and padded headband and ear cups.

Numark HF-125 Dual-Cup DJ Headphones Features:

• Flexible 7-position independently adjustable dual ear cups
• Large 40mm Mylar speaker drivers
• 6' tangle-resistant cord with 1/4" connector
• Padded headband and ear cups

Unheard recordings by Led Zeppelin’s Jimmy Page are among the 5,000 items from music producer’s Joe Meek private collection that will go to auction tomorrow in London.

• Ten years after his first solo album, Scott Weiland will release his second solo set Happy on November 18th on his own Softdrive label. Happy was engineered by producer Steve Albini.
• A live DVD documenting the Sex Pistols’ 2007 reunion will be released on October 14th. There Will Always Be An England features the band’s Brixton Academy concert from London as well as ninety minutes of bonus footage.
• Ne-Yo was awarded $700,000 by an L.A. court after it ruled that the concert promoter of the singer’s ill-fated joint tour last year with R. Kelly, which Ne-Yo was dropped from after two shows for allegedly upstaging Kelly.

As the Take Back Labor Day concert opened on Harriett Island in St. Paul, Minnesota, Billy Bragg’s cover of Laura Nyro’s “Save the Country” drifted over a hot, sluggish Mississippi River and mixed with the lingering traces of tear gas from outside the RNC. The Mississippi divided two very different scenes: On the south bank, a sold-out crowd of 20,000 college-age kids, 30-something parents and kids stood in the 90-degree heat and clapped along to

“There Is Power in Our Union,” while on the north bank, “anarchist” ninjas smashed windows at Macy’s and led riot police on a chase through downtown streets practically devoid of Republican delegates.

Back on the other side of the river, news of the violence — marring an otherwise peaceful protest march 10,000 strong — Twittered through the audience as Steve Earle and wife Alison Moorer ended their set with a duet of “City of Immigrants.” Union officials took the mike between acts to rally the crowd around the flag of the Service Employees International Union, which sponsored the event.

Tom Morello, in his solo, Nightwatchman mode with a guitar emblazoned “Whatever It Takes,” played “One Man Revolution” and a bluesy version of “Guerilla Radio” before bringing a dozen veterans from Iraq Veterans Against the War onstage to lead the crowd in “This Land is Your Land” with the “secret, censored” verses intact.

The crowd swelled when hometown heroes Atmosphere appeared onstage with live keyboards and back-up singers. Rocking an Obama ‘08 T-shirt, Slug started out by dedicating the overzealous cop ballad “Less One” to the police. Later, as Mos Def moved through an almost-constant stream of dub and soul tinged favorites like “Respiration,” “Hip Hop” and “Fake Bonanza,” he paused for just a second. “Damn, I thought Minnesota was cold,” he said, taking off his jacket. “It’s hotter than a motherfucker!” He went on to “Undeniable” to New Orleans, which was staring down hurricane Gustav on the other end of the river.

The screen above the stage didn’t get a lot of use until the Pharcyde walked out to a spacey CG intro. The four performed “Ya Mama,” “4 Better Or 4 Worse” and “Drop” as their classic music videos unspooled behind them. Just as Pharacyde was closing the concert with a cover of “My Prerogative” and “Passing Me By,” another Twitter news flash went through the audience: The bridges back into St. Paul were shutting down, effectively turning the Mississippi River into a moat.

The sun dipped behind the trees while security shooed the crowd out of Harriet Island and police sent them towards, supposedly, the only open bridge, on Robert St. “If I see a Republican, I am going to shit,” one teenage boy said, crossing the train tracks past the closed Wabasha St. Bridge. When the tired, sun-baked attendees met a phalanx of riot police and police car barricades blocking the foot of the span, the line held fast as hundreds of concertgoers continued to back up on the north side of the bridge, unable to cross.

Some of the friendlier concertgoers milled around and waved at the Coast Guard patrolling the water below in inflatable rafts armed with mounted machine guns. Confused police vehicles ran into their own roadblock — along with a few SUVs and an empty school bus — and they were soon enveloped in the crowd. For a few minutes, a riot seemed imminent. Chanting and screaming broke out and the crowd began to press forward before the St. Paul Police realized their mistake and let them leave. Once freed, the masses broke into applause and then dispersed into the deserted streets of a deserted convention. One officer turned to another in disbelief, “I can’t believe we did this,” he said.

For bikers, this past weekend’s Harley-Davidson Festival was a big deal: Organizers expected more than 100,000 Harley riders and guests to descend on Milwaukee to celebrate the 105th birthday of the H-D motorcycle. Many rode to Milwaukee from all around North America; some came from as far away as New Zealand. For four days, Miller Park was packed with comedians, merch booths, bike stunts, beer and loads of rock & roll. (Click here for photos!)

“Good evening Harley-Davidson enthusiasts,” Bruce Springsteen said just before nine Saturday night. More than 180 minutes later, he was still onstage, closing out six months of steady touring and, for all intents and purposes, the fest. (There are only a handful of gigs Sunday.) Despite all the time on the road, Springsteen showed zero signs of fatigue. He bounced around the stage, sweated like Kevin Garnett, rolled around on his back and took numerous trips into the crowd to shake hands and let fans sing into his mike.

Most of the best-known, crowd-pleasing songs came near the end of the show, including “Glory Days,” “Born to Run” and “Rosalita.” Preceding those show-stoppers was a load of steady rocking, several cuts that pushed past the 10-minute mark thanks to extended solos and crowd sing-alongs, one bar-band classic (”Wooly Bully,” which came after Bruce picked up a sign out of the crowd requesting said bar-band classic) and “Livin’ in the Future,” which Springsteen introduced with a short speech that railed against “rendition and illegal wiretapping.” That drew a few isolated boos, but the response Saturday was overwhelmingly positive. If “Born to Run” wasn’t biker-appropriate enough, Springsteen also broke out “4th of July, Asbury Park (Sandy),” a song that mentions Harleys — not that he even needed to play to the crowd like that. They were with him for all three-plus hours.

Friday night’s Foo Fighters headlining gig proceeded roughly as expected — lots of intense, supercharged bashing, lots Dave Grohl chewing gum and delivering throat-shredding screams — except for one thing: solos. Roughly the half the songs had extended guitar breaks. The violinist got a long solo, as did drummer Taylor Hawkins and the auxiliary percussionist — on triangle, no less. Much of the set focused on darkly rocking material from the Foo’s Echoes, Silence, Patience & Grace. Grohl, who admitted he was nursing a giant hangover, committed a venial sin: He was drinking Coors, a no-no in Miller Town. (A few people booed him for it.) But he delivered the best stage banter: “The is the first time I’ve seen a fat white dude show me his tits.”

Though the Foos were the bigger draw, ZZ Top got a larger share of Harley riders. Billy F. Gibbons took song requests, including “Planet of Women,” an oldie the band had to re-learn before Friday’s gig. Their highly likable blues-rock set indeed included “Planet of Women,” plus some more familiar oldies: “Jesus Just Left Chicago,” “Legs,” “I’m Bad, I’m Nationwide” and a set-closing “Jailhouse Rock” jam.

When Rolling Stone talked to him before his show on the fest’s first day, Kid Rock, a Harley owner himself, told me he might tweak his set list to make it more biker-appropriate. He may have done just that: The gig was light on rapping and included the Detroit rock medley — snippets of Seger, Nugent, the Temptations and Eminem — he thought the Harley folks would like. Rock was flanked flanked by a big incarnation of the Twisted Brown Trucker band, which featured two guitarists, a drummer, a bassist, a percussionist, a sax player, a DJ and two female backup singers. The band ran kind of like a Harley — noisily and powerfully — as Rock, dressed in what looked like a custom jogging suit, ran through much of his most recent album, the very blue-collar-friendly Rock N Roll Jesus: Among others, there was the sweet, Skynyrd-quoting reminiscence (and current hit) “All Summer Long” and the sleazetastic title track. After announcing, “It’s time for a little honky-tonkin’ ” Rock also turned in “Half Your Age,” a country song that seems to be about getting a new girl after his marriage to Pam Anderson failed (chorus: “She’s half your age and twice as hot”). Only this time, his drummer, Stephanie Eulinberg, stepped from behind the kit to deliver a tweaked chorus that got a giant cheer: “He’s half your age, with twice the cock.”

In leather pants and a skimpy bikini top, Joan Jett came out earlier in the afternoon firing with two of her best known songs: “Bad Reputation” and “Cherry Bomb.” After a mid-set lull that featured largely newer, less-known material, Jett broke out the familiar cuts that got the crowd up: the fist-pump-able “I Love Rock N’ Roll,” the arm-waveable “Crimson and Clover.” But it was two less-expected cuts that seemed especially Harley Fest-appropriate: Punky covers of “Everyday People” and “Love Is All Around,” the theme from the midwest-set Mary Tyler Moore Show.

Kevin Cogill, the blogger who was arrested by the FBI last week for leaking nine unreleased Guns n’ Roses tracks, has broken his silence on his Website. In a new post, Cogill reveals that he has retained the services of attorney David J.P. Kaloyanides, who works with “many indigent clients who cannot afford to hire their own lawyer,” according to his Website. Cogill has set up a Paypal account on his site to raise funds for his defense. He also plans on auctioning his Gibson Les Paul BFG guitar. “[Battling these charges] has definitely been by far the biggest expense I have ever faced in my entire life,” he writes. “My resources are very limited while formidable costs shall continue to pile up. It’s beyond daunting, being a single independent citizen facing a full-force prosecution by the most powerful government in the world.” If convicted Cogill faces a possible five-year prison sentence and a $250,000 fine. A preliminary hearing is booked for September 17th.

Speaking to Rolling Stone in June, Cogill seemed unaware of the recent law that explicitly outlawed the distribution of unreleased music. “I’m not worried [about possible legal action],” he said. “I have a few friends in the music industry, pretty high up on the inside. The consensus seems to be that they probably aren’t going to prosecute, it’s pretty bad PR. It’s a grey area in a lot of senses since it wasn’t for download and it wasn’t a finished product. We aren’t even sure who owns the recordings. Everything I know about these situations doesn’t apply to this particular case. I’m not ruling anything out, but I feel like I might survive this. I don’t know.”

He also explained his rationale for posting the music to begin with. “I set out to prove the point that this shit will always get out there, no matter how tight a lid they put on it. Me just saying I had these songs wouldn’t be enough. If I said, ‘Hey, we heard Chinese Democracy — it’s great.’ Nobody would fucking buy that. How many sites have said that? I had to have someone say, ‘No, they fucking have it. They posted it.’ “

“Music will always be my first love,” Johnny Depp revealed in a recent issue of Rolling Stone. “I pick up the guitar and space out and drool.” So it’s no surprise that the actor jumped at the opportunity to reunite with his old band the Kids this past weekend in Florida for a benefit concert honoring Sheila Witkin, a manager of local South Florida bands in the Seventies and Eighties and the mother of Bruce Witkin, Depp’s childhood friend and bandmate.

Depp joined the Kids when he was a 17-year-old high school student in Miramar, Florida, and achieved some success with the group — opening for Iggy Pop, Talking Heads, the Pretenders and the Ramones — before putting his musical career on hold to become an actor. He took the stage at Club Cinema in Pompano Beach in torn jeans and blue plaid shirt knotted around his waist while he played guitar for adoring onlookers including family members Vanessa Paradis and daughter Lily-Rose. This is the second annual memorial concert for Wiktin, who died in 2006.

Though he took time to hug each musician onstage and reach out into the audience to touch the hands of his many fans, Depp never spoke to the crowd directly. During the band’s cover of the Ronettes’ “Be My Baby,” Depp contributed backup vocals on a mike he shared with Bruce Witkin, while the two jokingly pointed at each other and exchanged meaningful pats on the shoulder. Later, Depp, Witkin and the band’s other guitarist, Joey Malone, pulled out some classic rock moves by fanning out in a group formation while they played through the Kids’ catalog.

The evening ended as the Kids gathered the other bands on the benefit bill onstage for a sing-along rendition of Them’s “Gloria,” substituting the spelling of the iconic chorus with S-H-E-I-L-A. “That’s what I like about him,” one concertgoer commented. “He’s a real guy. He minimizes his presence so the focus can be on the band. And,” he added, “no doubt the man can burn it.”

Bring your vinyl into the digital age.

The Numark TTUSB Belt-Drive Turntable with USB Audio Interface makes it super easy to digitize your record collection with plug-and-play compatibility with USB-equipped PCs and Macs. It includes everything you need to get music on your computer and clean it up. The TTUSB turntable features an adjustable anti-skating control for increased stereo balance, support for 33-1/3 and 45rpm playback speeds, ±10% adjustable pitch control, and a 1/8" stereo minijack input connector to make transferring cassette tapes easy. Comes complete with Audacity software, a headshell with pre-mounted cartridge, and all the necessary cables to connect with your computer and stereo playback system. Audacity lets you record at a high speed and return your music to the original playback speed; clean up the sound by removing clicks, pops, and other noise; and export to WAV and MP3.

It also includes EZ Vinyl Converter 2 (PC) and EZ Audio Converter (MAC) two of the simplest ways to record and convert vinyl directly to iTunes or your iPod. EZ Vinyl Converter 2 features Gracenote MusicID technology which analyzes your vinyl and automatically retrieves album, artist, and song information for you. EZ Audio Converter lets you easily enter track information. On Mac or PC, you can now digitally archive your collection to CD or MP3 in just a few mouse clicks.

Numark TTUSB Belt-Drive Turntable with USB Audio Interface Features:

• Anti-skating control for increased stereo balance
• Support for both 33-1/3 and 45RPM playback speeds
• ±10% adjustable pitch control
• RCA line outputs
• Plug-and-play USB compatibility with both PC and Mac
• EZ Vinyl Converter 2 (PC) and EZ Audio Converter (MAC) software for converting vinyl to your iPod
• Counterweight for tonearm
• Platter w/belt
• slipmat
• Cartridge pre-mounted on headshell
• RCA cable connected
• USB cable Included
• 45 RPM adapter Included
• Software CD (MAC/PC)
• Software user manual
• Hardware Quick Start guide
• Ships with Audacity software (compatible with PC and Mac)

Affordable audiophile quality featuring a pre-mounted Ortofon OM-5E moving magnet phono cartridge.

The Pro-ject Debut III Audiophile DJ Turntable has a felt-covered steel platter mated to a chromeplated stainless-steel axle running in a brass bearing housing for exceptional speed stability and accuracy. Aluminum tone arm employs inverted hardened stainless-steel points for superior tracking. The turntable's belt drive isolates motor vibration for pristine audio quality. The Debut III also features silicone-damped arm lift. 16-1/2"W x 4-1/2"H x 13-1/4"D. 14 lbs.

Pro-Ject Debut III Audiophile Turntable Features:

• Ortofon OM-5E moving magnet phono cartridge
• Felt-covered steel platter
• Chromeplated stainless-steel axle
• Brass bearing housing
• Aluminum tone arm
• Inverted hardened stainless-steel points for superior tracking
• Belt drive
• Silicone-damped arm lift

Do anything with CDs that you can do with records!

The Numark CDX Direct-Drive CD Turntable was designed to fulfill the dream of harnessing digital sound with the irreplaceable feel of working with vinyl. The CDX lets you do anything with CDs that you can do with records, all the while giving you the feel of a genuine turntable.

Why does CDX feel so real? Because it is built with the same ultrahigh-torque direct-drive motor as Numark's flagship TTX, complete with 12" vinyl and slipmat. The vinyl feel just doesn't get more real than this. Play the CDX and it'll make a believer out of you.

Numark CDX Direct-Drive CD Turntable Features:

• Ultrahigh-torque (5.0 kgf/cm) direct-drive motor
• Full size 12" aluminum platter with vinyl record control
• Slot-load CD transport with CDR compatibility Integrated DSP effects include sonar, slide, echo, filter, chop, auto-pan, and auto-dissemination
• Multiple scratch modes for tricks and effects Seamless loop with smart loop, live trim, and beat shifting
• Built-in Beatkeeper with auto-synchronization of loops, effects, and MIDI devices
• Bright VFD (Vacuum Fluorescent Display) shows BPM, time, and unit status
• Dedicated wheel for effects and search control MIDI I/O for synchronization with drum machines and other MIDI devices
• 3,000 cue point memory
• 2 hot stutter starts
• Dual "battle-style" turntable platter controls Adjustable start and brake speeds Forward/reverse toggle with bleep- ±6, 12, 25 and 100% pitch control
• Key lock at any tempo up to ±100%- Anti-Shock buffer technology
• S/PDIF digital output
• Fader/remote start and relay play User-updateable via Internet downloads

Serious features and peerless quality for demanding DJs.

Like all the Technics 1200s the world has come to love, the 1210MK5 is built to last. It comes with all the features you've come to know and love in earlier Technics models, plus a few extras tailored to the needs of the pro DJ.

Easy To Adjust Breaking Speed
It's simple to set the breaking speed to suit your liking with the SL-1210MK5. After removing the slipmat, all it takes is a few twists of a screwdriver to go from a slow winding down to an instant halt, or anywhere in between.

Non "Click" Pitch Control
Smooth sliding, quartz locked, non "click" continuous pitch adjustment +/-8% and +/-16%

Recessed Power Switch
Recessed Power switch to avoid accidental turn off.

Pitch Reset
Instantly reset pitch to zero at the touch of a button.

New LED Stylus Light
New LED stylus light lasts longer than earlier models.

Technics SL-1210MK5 Pro Turntable Specifications:

• Wow and Flutter
• 0.01% WRMS
• 0.025% WRMS (JIS C5521)
• +/-0.035% peak (IEC 98A Weighted)
  
  Rumble
• -56dB (IEC 98A Unweighted)
• -78dB (IEC Weighted)
  
  Tonearm Section
• Type: Universal
• Effective Length: 9-1/16" (230mm)
• Arm Height Adjustment Range: 0-6mm
• Overhang: 19/32" (15mm)
• Effective Mass: 12g (without cartridge)
• Offset Angle: 22 degrees
• Friction: Less than 7mg (lateral, vertical)
• Tracking Error Angle: Within 2 degrees 32' (at the outer groove of 12" record)
• Within 0 degrees 32' (at the inner groove of 12" record)
• Stylus Pressure Adjustment Range: 0-4g
• Applicable Cartridge Weight Range: 3.5g - 13g
• 11g - 20.5g (including headshell)
• Applicable Cartridge Weight Range (with auxiliary weight): 9.5g - 13g
• 17g - 20.5g (including headshell)
• Applicable Cartridge Weight Range (with shell weight): 3.5g - 6.5g
• 11g - 14g (including head shell)
• Headshell Weight: 7.5g
• Power Supply: AC120V, 60Hz
• Power Consumption: 13.5W
• Dimensions (H x W x D): 6-25/32" x 17-27/32" x 13-31/32"
• Weight: 26.5 lbs.

Technics SL-1210MK5 Pro Turntable Features:

• Quartz direct-drive turntable
• Brushless DC motor
• Aluminum die-cast platter with 13-5/64" (33.2cm) diameter and 3.74 lbs (1.7 kg) mass
• 1-1/2kg/cm torque for quick starts (1.3 lb-in.)
• 33-1/3 rpm, 45 rpm speeds
• Build-Up Characteristics: 0.7s from standstill to 33-1/3 rpm
• Electronic brake
• Bass-absorbing rubber bottom
• +/- 8% pitch control

Convert vinyl to digital with the greatest of ease.

The Gem Sound DJ-USB turntable ends your worries about all those great vinyl tracks you'd love to play that are just collecting dust sitting in crates. Now you can easily save your old-school favorites from obscurity with this USB-compatible record player. The DJ-USB has line level RCA outputs with built-in preamp, and all the cables needed to connect it to your Mac or PC as well as your stereo system.

Whether you have a ton of 78s, 45s, classic LPs, or 12" singles, the DJ-USB has adjustable Anti-Skate and pitch control (+/-10%) to ensure your music is played the way it was originally intended. To help clean up the familiar pops and clicks vinyl produces and for other, useful sound-editing options, the turntable ships with both Bias Soundsoap SE and Audacity software. Mac users also get a free trial version of Bias Peak Pro.

Gem Sound DJ-USB USB Turntable Specifications:

• Dimensions: 14"L x 18"W x 6"H
• Weight: 11 lbs.

Gem Sound DJ-USB USB Turntable Features:

• USB compatible turntable for digitizing your vinyl collection to your PC or Mac
• Metal platter
• Adjustable Anti-Skate control for increased balancing 33-1/3 and 45 rpm speed playback, with 78 rpm support via software
• Adjustable pitch control (+/-10%)
• RCA line outputs with built-in preamp
• Comes with all cables for connecting to computer and stereo playback system
• Ships with Bias Soundsoap SE for cleaning vinyl noises (Mac/PC)
• Audacity sound editing software
• Free trial version of Bias Peak Pro (Mac only)