In reference to “Talking to GODSMACK about what they use they use their music for,” published online in May 2006 and then in print in Arthur No. 23 (July 2006)…
November 15, 2012, 1:45 pm
By BEN SISARIO
From 2002 to 2008, Arthur was music’s version of a literary-minded “little magazine.” Distributed free in record stores and coffee shops, it celebrated underground culture of all kinds and attracted writers like Alan Moore (“Watchmen”), Douglas Rushkoff and even Thurston Moore of Sonic Youth, who wrote a reviews column with the critic Byron Coley.
Like magazines of all sizes in the digital age, however, Arthur struggled to stay in print. It briefly suspended publication, and then resumed it, in 2007 before disappearing completely the next year.
Now Arthur is back, with what its publisher and founding editor, Jay Babcock, says is a more stable business model. It will cost $5 an issue and be published on newsprint, with ads only on the back covers of its two sections, a move intended to shield the magazine from fluctuations in the economy and the ad market…
Read more: New York Times
LAist Interview: Jay Babcock from Arthur Magazine
by Nikki Bazar
Whether it’s free bands by the river, obscure films at the Silent Movie Theatre or music festivals featuring great non-mainstream bands, Arthur magazine has improved L.A.’s sullied corporate reputation by organizing eclectic, margin-friendly events that embody the magazine’s mission to represent “transgenerational counterculture.” Case in point: Arthur’s Sunday Evenings series at McCabe’s Guitar Shop in Santa Monica, which continues this weekend with eccentric songwriter Michael Hurley and next Sunday evening with psych-rock band Wooden Shjips. On Feb. 13, the magazine also presents a launch of Abby Banks’ new book Punk House at Family on Fairfax. The book features photos of punk houses from across the country ⎯ a few of which are reprinted in this month’s issue of Arthur. We asked Jay Babcock, guru of Arthur magazine, a few questions about the upcoming shows. Continue on to read more about the dire state of L.A.’s all-ages scene, the mysterious absence of our rock ‘n’ roll elders, and the fall and rise of Arthur magazine.
Q: Tell me about the bands you’ve chosen for this series.
Michael Hurley is a legendary folk nomad, one of America’s great weird individuals, who’s been around the block many times. His newest record is on Devendra Banhart’s record label. Alela Diane is another one of these amazing musicians coming out of Nevada City. The Rough Trade record shop in Europe said her album was the best of the year, and they had a point. Matteah Baim put out a really good record last year, a dark folk sound, ice-ghost sort of thing, headed toward Nico’s stuff. On the 17th is Wooden Shjips, a psychedelic raga band from San Francisco; Mariee Sioux from Nevada City; and Headdress ⎯ also wandering nomads who sound like an even darker, slightly more country Brightblack Morning Light. But with several of these artists, I’ve never seen ’em, so there’s a bit of mystery there for me just as there probably will be for most of the audience. Which is part of the fun.
Q: It’s good to see some decent bands on the Westside. How did you land on McCabe’s as the venue?
Jared Flamm at Everloving encouraged me to get in touch with Lincoln Myerson at McCabe’s, who’d told me a while back that McCabe’s and Arthur might be a good match. McCabe’s have been around for 50 years and haven’t used an outside booker/curator since the early mid-‘90s. Lincoln let us book whoever we wanted to do whatever they wanted musically ⎯ within reason, of course. So, the size of the venue dictates a lot of things, like how much money you can offer your talent, and we had to think about who we could afford to put in there and keep the door price low, and also who was available. Given those parameters, the goal was to put individual line-ups together who would form an interesting evening and also attract a mixed-generation audience. I really wanted to work with McCabe’s because it’s very simple ⎯ it’s about music, it’s not about alcohol sales. Also, it’s an all-ages venue. Ever since we did Arthur Ball at the Echoplex, which was 18 and over, I’ve been insistent that we only do all-ages shows, because I don’t think anyone should be excluded from good music. Also, I wanted a transgenerational group of artists. We call Arthur a “transgenerational counterculture magazine,” and we mean it. There is a coherent counterculture that runs from the beats to the hippies to the punks, forward. They have more in common with each other than they do with the mainstream culture. In any of our festivals we do, we try to include older artists as well as younger ones. It’s truly “all ages” onstage, and we’d like to see that more in the audience. There’s so many great artists that live here in Los Angeles ⎯ Tom Petty, Joni Mitchell, John Fogerty, Ray Manzarek, Dylan lives here sometimes ⎯ and you never, ever see them at shows. I assume they don’t participate in the local culture because they got burned one too many times with overhyped crap, or it’s just too much of a hassle to be out in public. Or maybe they just don’t have any interest and they’d rather roll one more at home and listen to Jim Ladd rhapsodize about the past rather than get out there and do something. But they should. ‘Think cosmically, act locally’ is a great credo, you know? You live here? Then BE here. A lot of cool stuff becomes possible when you mix the energy of the youth and the wisdom of the older folks: think of Allen Ginsberg’s continuing, lifelong interest in the best young artists ⎯ his advocacy for them ⎯ whether it was the blues guys or jazz players or the hippies or the punks, it was all the same to him. McCabe’s has such a great history, and is a venue a lot of those people have played at, and it’s so pure in its only interest being music (as opposed to alcohol sales) that I’m hoping some people older than 50 see what’s going on, something that may have more of a spiritual, political or aesthetic resonance with them than they may at first think.
Q: Arthur shut down for a spell in early 2007, then resurfaced with a redesign. Do you care to talk about what happened?
My partner for many years was looking to not be the publisher anymore and eventually, he didn’t want to own it either, so he wanted me to buy him out which I couldn’t afford to do. That’s when the magazine died. Then we made an arrangement that allowed me to gain 100 percent of the magazine. We’d already planned the transition to Mark Frohman and Molly Frances as the new art directors before the whole thing went down, so that’s just a coincidence. After I got full control of the magazine, we decided to go all color and go for it. We’re just continuing to do what we’ve been doing for five years. And there’s always new blood coming in. Next issue, [author] Erik Davis is going to start doing a column for us and there will be a lot of other surprises. So basically, I just took on more credit card debt and a lot of people loaned me money and we were able to go forward.
Q: What sort of things do you hope to do with the magazine that you just aren’t able to right now?
Well, it’d be nice for everyone to get paid what they deserve. We work from our homes in Atwater, we have tea at India Sweets & Spices or lunch at Tacos Villa Corona or Viet’s new noodle place, we sit by the river for inspiration and excitement … It’s not the toughest life. But as a business? We’re making a go of it, but we do want to be monthly and we want to have more pages. There’s so much good stuff to cover. The rest of the media is collapsing and there’s a lot of really good writers, photographers and cartoonists who deserve a wider audience and no one’s giving it to them for some reason. So the main pressure on us is to jam as much stuff into the magazine as possible without making it an aesthetic mess. If we had more pages, it could breathe a little bit more and we could cover a lot more of the good stuff that’s going on.
Q: And you obviously have a love for print.
The free magazine model is a really solid one, and it’s working, and it’s gonna work better in 2008 for us. Print is near-perfect. It’s portable, it doesn’t require batteries, you don’t have to squint, it’s a bigger window, you can do more design things than you can on a computer screen and it gets out there in front of people who aren’t looking for it necessarily. With the web, mostly what you get are people who are already looking for you. And of course, you can read a magazine by the river. Try looking at a website there.
Q: Is it your mission to book a lot of smaller acts that you don’t see as much in some of the bigger 21-and-over venues?
For a city this big, it’s absurd there aren’t more places where people of all ages can get together and hear something other than mainstream arena pop and rock with good quality sound in a comfortable setting. The only real venue in this city where people of all ages can gather together to hear music at a low price with good sound in a comfortable setting at a reasonable hour is Amoeba. You’re in a bad situation as a culture when you’re dependent on a store ⎯ a place of commerce ⎯ for the presentation of music to the public. We’ve written about this in Arthur in our all-ages series. You know, if you’re into music, bars are not the ideal venues. You don’t want to hear other people talking or the cash register ringing or bottles being dropped in a garbage pail. You don’t want to be hanging out with a bunch of amateur drunks. That has a place, but not all music is right for that. There just should be a greater range of venues. It’s also bad for the bands. You can’t build a career by getting one chance to intrigue the hipsters. And if we can help raise the profile of some of these artists by putting our brand name on it, then good. It’s very hard for artists to break in because everything is so calcified on radio and in venues.
Q: Arthur is developing a real presence in the L.A. music scene.
We’re working with people at a very local level who are in it for the right reasons ⎯ the folks at Family and at McCabe’s and The Cinefamily, it’s all labor of love stuff. We like labor of lovers, basically. Doesn’t really matter what it is they love. It’s the loving that is important. Those are our people, those are the people we want to hang out with in such grim times. We’re just trying to use whatever profile or heft we may have to hopefully help other people do what they love too.
Arthur magazine: back from the ashes but still looking for a lifeline
By Jennifer Maerz
Published: August 8, 2007 – SFWeekly
Arthur may have a low print run of 50,000, but its influence is unquantifiable. The lefty counterculture magazine has been ground zero for antiwar activists, psychedelic drug enthusiasts, and, most importantly, weird-ass music. Arthur has been an early enthusiast for aberrant strains of exciting, adventurous artists, from the bone-quaking drones of SunnO))) to Devendra Banhart’s mystical folk and international beatmakers Delia Gonzales & Gavin Russom. The free publication carries with it an unflinchingly anti-corporate, anti-soundbite attitude, running rants and expositions on the far-flung subjects captivating its writers. And even when you didn’t want to slog through, say, a 10,000-word feature on magic mushrooms, it was good to know that there was a publication so forceful and singular in its vision and so timelessly relevant in its musical taste.
Arthur championed its unique tastes regardless of the publishing date of a new release or its place on Billboard, and created an international following in the process. In June, London’s Sunday Times wrote, “[Arthur has] its finger on America’s eccentric and softly anarchic countercultural pulse,” and the New York Times has lauded it as an important leader in the new folk movement.
So when trouble hit Arthur’s ranks in February, it seemed we were witnessing the loss of a significant voice in tastemaking music journalism. Citing irreconcilable differences to the press, publisher Laris Kreslins left Arthur, and editor Jay Babcock told the Village Voice his publication was dead. As we reported here in March [“Rest in Peace,” March 7, 2007], Babcock tried to buy out Kreslins, but their inability to come to agreeable terms locked Arthur’s credit line and put the magazine on indefinite hiatus.
You thought Arthur was gone for good? The indie magazine beloved for its music coverage and antiwar politics will resume publishing this summer.
by KEVIN MCCARTHY
THE NATION — July 16, 2007 issue
In 2002 a free counterculture music magazine, Arthur, came onto the underground scene and won readers in just about every city where young people (and some older ones) still flouted local noise ordinances. Edited by LA-based music journalist Jay Babcock and published by Philadelphia-based independent media veteran Laris Kreslins, it was distributed by volunteers across the nation who delivered issues to coffee shops, record stores and bookstores. With contributors like Thurston Moore of the legendary punk/noise band Sonic Youth; T-Model Ford, the elder blues statesman and Arthur advice columnist; and writer Trinie Dalton, the magazine specialized in long stories and interviews on wide-ranging subjects, from ’60s “White Panther” leader and MC5 manager John Sinclair, to ambient music pioneer Brian Eno, to novelist J.G. Ballard, to contemporary folk musician Devendra Banhart–each representing a segment of the counterculture.
Arthur’s music coverage has been among the most influential of its era, but the magazine was never just about music–it was from the beginning fiercely political. Babcock, who studied political science at UCLA, had at one time worked for Congressman Henry Waxman and drafted Waxman’s anti-NAFTA position paper. As the magazine was launching, the war in Iraq was being sold, and Arthur defined itself as a virulently antiwar publication; the magazine dedicated its fifth issue to a critique of the war. (The cover of that issue depicted comedian David Cross as a soccer mom cheerleading the war surrounded by the words “Hooray for Empire” and “USA #1 with a Bullet.”) The editors never stopped questioning the war and military recruitment. In 2004 Arthur teamed with the American Friends Service Committee (AFSC) to run a PSA for antirecruitment campaigns in its pages. Then in May 2006, in an issue of Arthur, Babcock challenged Sully Erna of the rock band Godsmack for licensing his music to the military for use in recruitment ads and for using military images at concerts. The magazine’s pages were a regular space for artists and writers like Talking Heads frontman David Byrne and Kyp Malone, of the indie band TV on the Radio, to speak out against the war and President Bush.
Earlier this year, Arthur announced that it would no longer continue printing. Not long after, however, Babcock reached a deal with Kreslins and is about to relaunch the magazine as its editor and publisher. The next issue will arrive in record stores sometime in August. The Nation recently spoke to Babcock by phone about publishing a counterculture magazine in the current economic and political environment.
What drove you to start Arthur?
[As a culture/arts journalist] I grew more and more frustrated with the limitation of subject matter, technique and the length of story available to me in the outlets that existed. I realized that many other writers were feeling the same way. I thought the only way to do what I wanted to do was instead of campaigning for somebody to come to their senses, I would start my own magazine.
How did you get the magazine going?
I didn’t come from money, and I didn’t have any money. Laris didn’t come from money. So we pooled our credit cards and were able to start to pay the printer and so forth. The publishing situation in the United States has gotten to the point where you really do have to be wealthy in order to publish. Everyone can have access to a printing press, but hardly anyone outside the wealthy has access to the newsstands. It requires a huge amount of capital to start up a magazine and print it, and then convince the distributors that it deserves to distributed, and then be able to wait for them to pay you. The newsstand distribution system in this country is notoriously inefficient and corrupt…. That wasn’t an option for us. So what we did was, we created essentially an underground, alternate form of distribution.
What is the vision behind Arthur?
The biggest underlying idea is that the culture drives everything else. Culture creates the metaphors and the landscape on which politics and economics and so forth take place. And so then you ask: What kind of culture are you making, or taking part in, or helping to exist? Our idea was to do what all the other underground magazines or publications in America have done over the last 200 years or whatever, which was to attempt to infuse into the culture at large all of the liberatory, progressive and expansive ideas of freedom and values from the traditional underground, and to celebrate them, propagandize for them and push them.
What were your models?
We want to be in the tradition of the American underground press. Especially the twentieth-century underground press. Whether it’s the punk magazines, or the rave magazines, or the amazing underground press that was happening in the late ’60s and early ’70s, or the mimeo scene before that in the ’60s and ’50s, with the Beats and the whole literary poetic scene–there’s a whole tradition you can go back to: anarchist magazines, Wobbly magazines and so forth. And there’s always been artists and poets, and the serious ones have always been political, engaged and very far to the left.
Arthur grew more and more political. The fifth issue is dedicated almost entirely to looking at American imperialism. How did that political consciousness develop?
By the second issue the war stuff was starting to happen, and by coincidence we had a section about [civil rights and antiwar protest photographer] Charles Brittin. We found out that he had a photo of a parade of veterans against the Vietnam War that happened in LA in the late ’60s. It’s an incredible photo from the corner of Wilshire and Vermont that was just mind-blowing for those of us who live here in LA, to see this familiar landscape filled not with cars and billboards but with ex-soldiers protesting the war as far as the eye could see. So we elected to make that a centerfold.
For the third issue we did a back page that said “What War Looks Like,” and it was a picture from a book by [LA punk musician] Exene Cervenka, a photograph of an Iraqi soldier, dead, from the first Gulf War, with parts of his body blown off. It’s an extremely gruesome black-and-white photo that says all sorts of things about what war is, what it does to people, what people who kill have to look at. And you look at what the soldier was wearing–he’s wearing dress shoes, which shows how mighty the Iraqi army was that we were so afraid of. It was nothing–they didn’t even have boots.
And by the time we got to the fifth issue the war had started already and it was getting worse. We went all the way. We solicited special advertising saying we were doing an emergency issue of Arthur. We assembled it in just four weeks. Arthur isn’t exactly the biggest megaphone–but the megaphone that we did have was very carefully directed at this cultural class where things develop and bubble up occasionally into the mainstream consciousness. We wanted to be an incubator space. No other pop culture or culture magazine was taking any stand like that. We did it and we didn’t think we’d have much effect, but we did think we would be a comfort and an aid to those people in the culture who were doing good work but who needed to know that they weren’t the only ones out there, which would allow them to go on with what they were doing and to feel that what they were doing was worthwhile.
You mention in the editor’s notes in a later issue that you got a lot of mail about the fifth issue, some supportive and some very critical.
When you’re a small magazine, you need every issue that you put out to say the same thing over and over about what you’re doing, so that people who see it for the first time can get an idea about what it is you do. So it was very dangerous for us to completely depart from any music coverage, any arts coverage, and devote almost an entire issue to a radical political position stated in pretty blunt terms. We thought, Are we endangering our relationship with our advertisers? But because what we had done was something no one else was doing, it worked in our favor as a business. It won us a good amount of readers who were just shocked that there was this publication in record stores and coffeehouses for free, where you’re usually supposed to find pretty superficial status quo stuff—instead you’re finding this radical, impassioned and very smart talk about what was going on that you couldn’t find elsewhere. That a tiny magazine, with no budget and no capital, could put that together and nobody else could do that with their vast hundreds of millions of dollars, while the Hollywood liberals were all wringing their hands–that says something, not about how great we were but about how awful everybody else was.
Whom were you trying to reach?
We were very conscious that our audiences, our people, were artists themselves, musicians themselves, the record store clerks of America, and we wanted to remind them that they’re being told to shut up and not have an opinion and not state your opinion unless you are a politician or a Middle East expert. And we wanted to remind them that actually the voice of the poet, and the artist, and the musician is often where the deeper wisdom comes from. Those voices have always been heard, have always needed to be present and have always played a role.
By the time you get to the ninth issue [of Arthur], every artist we’re covering is talking out loud about what’s up. In that issue we ran a whole page put together in conjunction with the AFSC about how to counter military recruitment on campuses, in high schools and colleges. We’d already moved to the next part–you can’t have a war unless you have soldiers, so let’s try to convince kids not to be soldiers. That’s something everybody can do in their own neighborhood. Anywhere you live in America there is a high school.
You got a lot of attention for your interview with Sully Erna of Godsmack, in which you confronted him for allowing the military to use his band’s music in its recruitment ads and for using military images at concerts. That seemed to me to be kind of a cultural turning point–after years of hearing people called traitors and such for speaking out against the war, here’s someone challenged to explain why he supported it, and in the end he tried to distance himself from Bush and the war.
I conducted that interview over the telephone just a couple days after Stephen Colbert did his speech at the White House Correspondents Dinner. I believe that was the real turning point. At the time, the mainstream media didn’t pick up on it. It took a few days before they realized that it was the hottest thing on YouTube. The cultural press had figured out that it was the real story, not George Bush and his doppelgänger doing a comedy routine. Colbert had done something absolutely heroic. And Neil Young was just about to come out with his Living With War record. So there was this sort of surge that happened, and the interview with Godsmack happened right in there. I’d been waiting to talk with that guy for years. When that invitation to interview him arrived in the mail, it was like a gift.
So you had been following him?
Oh, I’d been following him for years. I keep files. I do my best to do what Ed Sanders does–to keep files, and wait and wait. It’s the only way to be a journalist and advocate sometimes–keep track of stuff the best you can, and when the moment happens, seize it. To me it’s fair game to ask someone why they’re licensing their music to a certain cause. I would be derelict in my duty as a journalist to not talk about that in a time of war. When someone’s doing live concerts that are essentially war rallies, that naturally should be a subject of conversation with that person.
In a later issue, you talked to Kyp Malone, from the band TV on the Radio, about his experiences playing shows where the promoter had allowed military recruiters in to sign up kids against the band’s contract. Is this something you’ve seen a lot of with the artists you cover?
Kyp was the main one who would talk about that, but there have been other things that had happened. [The country-soul band] Brightblack Morning Light had some trouble in Tucson, because they have it in their rider that they don’t want recruiting to go on at their concerts. It’s kind of ridiculous that you’d have to say that…. But if word gets out that that’s in your rider…that was a problem for them.
Have you noticed artists that you cover becoming more radical or speaking out on politics or against the war?
I think that most musicians in the underground tend to be antiwar, peace people, and some of them are more open about it than others. Some of them feel more confident about it and have figured out a way to deal with it onstage or in the press in a way that they think is going to get across something valuable. Devendra [Banhart] didn’t have antiwar songs on his early records, but he did on his last album, and that’s clearly because of what’s been going on and because the situation keeps getting worse and worse.
Do we have someone just churning out the anthems like John Lennon was doing? He was writing song after song over a few months that would go from his guitar to being sung by people in protests. There is nobody doing that right now. I think there are people that are capable of doing it, but they’re not high-enough profile yet.
from the April 26, 2007 L.A. City Beat:
Arthur Lives Again: Issue 25 won’t be the last!
This particular Arthur saga has a few chapters left in it.
Despite being declared dead by co-founder and editor Jay Babcock back in February, the much-mourned Arthur magazine announced its return earlier this month to the already too-small world of long-form counterculture journalism. Babcock’s negotiations with publisher Laris Kreslins to buy out Kreslins’ half of the mag had reached a seemingly hopeless impasse, but a recent breakthrough finally pushed the deal through.
“The main thing is that he came back to the table and we reached a deal, and I got loans from friends and family which allowed me to buy him out,” says Babcock, who has run the magazine from his home in Atwater Village since its inception in 2002. “I have now gained 100 percent control of Arthur, and I intend to resume publishing the magazine as soon as all the financing is in order.”
Babcock denied rumors that Arthur had received last-minute financial help from some of its high-profile friends, among them Rick Rubin, Dave Eggers, and Matt Groening. “When I reached out, it was to a close circle of family and long, longtime friends,” he says. “We probably will do a benefit or two or auction off one-of-a-kind items to help me pay back all the people who loaned me money.”
Founded in 2002, Arthur found success as a haven for long-form journalism and criticism that covered music, art, and politics with underground sensibilities. Editorial contributors have included Alan Moore, Byron Coley, and Thurston Moore. The magazine also spun off into a series of well-attended festivals, such as ArthurFest, which drew major acts such as Sonic Youth, Yoko Ono, and Sleater-Kinney.
Babcock is currently trying to get the publication’s momentum rolling again before he can set a date for the next issue. “It’s not time yet. All the ducks are getting in order, and then we’ll go for a swim,” he explains. Issue 26, which was all but completed before the negotiations breakdown, will never be published, and most of its features have either found homes at other publications or been posted on the magazine’s website. Nevertheless, his outlook remains optimistic.
“We’ll be back, bolder, brighter, bigger, and freer,” he jokes. “It’ll probably be a little more aggressive. We’ll name names. I think we’ve been pulling our punches to this point and we’re not gonna have to do that anymore.”(Alfred Lee)
L.A.’s counterculture core is smiling a little more this week with the news that Arthur magazine has come back from the dead. Whether that means the magazine will return to mounting its music and culture celebration, ArthurFest, remains to be seen.
Of course, the spirit of Arthur — champion of the freak folks, waver of the herbal flag and thorn in the side to all things bloated and consumptive — never went away, even after the magazine drowned in a pool of bad blood between co-founders Jay Babcock and Laris Kreslins in January.
Some of the material intended to run in the ill-fated issue No. 26 is being posted at the Arthur website. There’s still good reading from myriad contributors at the Magpie blog run by Babcock. And there is still fellowship to be found at the weekly Echo Park Social(ist) & Pleasure Club on Thursday nights at the Little Joy.
Babcock — now in hock after having bought out Kreslins’ share of the publication — also says an ArthurFest documentary is nearing completion; a “unique Arthur benefit performance” is in the works; and the mag’s compilation album “So Much Fire to Roast Human Flesh” (an anti-military recruiting benefit) is out.
And what about ArthurFest? “No comment,” Babcock says.
Arthur editor Jay Babcock will guest on national progressive radio network AirAmericaRadio’s “The Marc Maron Show” on Wednesday, May 31 . He’ll be discussing the Arthur vs Godsmack kerfuffle and also Arthur’s forthcoming CD (curated by Josephine Foster) which will benefit anti-military recruiting campaigns. It’s going to be AWESOME.
Info on the show: www.airamericaradio.com/maron/
AirAmerica radio network stations: www.airamericaradio.com/stations
Listeners on the internet can stream live at www.airamericaradio.com while the show is on the air. Air America Premium members can podcast and hear archived shows they missed.
MORE INFO ON THIS WHOLE RUCKUS:
Transcript of the Arthur v Godsmack interview (May 1, 2006), with Introduction, Afterword and Footnotes: www.arthurmag.com/magpie/?p=1244
MP3 of the Arthur vs Godsmack interview (May 1, 2006) (courtesy Crooksandliars.com and Bobby Tamkin): http://movies.crooksandliars.com/arthurvsgodsmack.mp3
Streaming audio of Arthur vs Godsmack interview (May 1, 2006) (courtesy Apollo Audio and Bobby Tamkin): http://www.apolloaudio.com/lt.asp?name=AA32
New York Daily News on Arthur vs Godsmack (May 10, 2006): www.nydailynews.com/news/gossip/story/416382p-351810c.html
CNN Headline News’s “Showbiz Tonight” interviews Godsmack on controversy – transcript (May 11, 2006):http://transcripts.cnn.com/TRANSCRIPTS/0605/11/sbt.01.html
Howie Klein commentary at The Huffington Post (May 8, 2006): www.huffingtonpost.com/howie-klein/not-all-rock-stars-are-li_b_20648.html