Pearl Jam Appear on 24-Hours-Only Compilation for Abortion Access

Pearl Jam are lending their talents to a limited-time-only compilation to raise funds for abortion access. Good Music to Ensure Safe Abortion Access to All, an exclusive to Bandcamp, arrives on Friday (Oct. 7) for 24 hours only, according to Billboard.

In addition to Pearl Jam, the 49-track compilation of all previously unreleased music features R.E.M., Death Cab for Cutie, Wet Leg, King Gizzard and the Lizard Wizard, The Regrettes, Jason Isbell with Amanda Shires, Teagan and Sara, Fleet Foxes, Mac DeMarco, Maya Hawke, Grouplove and Soccer Mommy.

Down toward the bottom of this post, see the album announcement along with the compilation’s cover art — it’s designed by Sonic Youth’s Kim Gordon — and full band list.

The compilation follows June’s Supreme Court decision to overturn Americans’ constitutional right to abortion. All net proceeds from the compilation’s sale will be split between The Brigid Alliance, which helps refer abortion patients, and the Abortion Care Network via its partnership with NOISE FOR NOW.

This summer, several rock and metal artists reacted to the controversial Supreme Court decision representing the court’s current supermajority of conservative justices. Rage Against the Machine and Coheed and Cambria donated proceeds to reproductive rights. Green Day lead singer Billie Joe Armstrong said that he would be renouncing his U.S. citizenship in defiance.

Earlier this year, Pearl Jam addressed the issue when lead singer Eddie Vedder explained to a concert audience his idea of how a woman should respond if the man they start dating is against legalized abortion. On Pearl Jam’s 1992 MTV Unplugged broadcast, Vedder scrawled “PRO-CHOICE!!!” on his arm in marker.

Abortion Care Network spokesperson Jay Thibodeau says, “Donating to keep clinics open in every state makes a huge difference to those who need care. It also matters that people who have, provide and support abortion know that they are not alone: most people in the U.S. support the right to abortion, and we are less alone when we can see and join unified, unapologetic calls to liberate abortion.”

Read more about the Safe Abortion Access compilation directly below.

Compilation made up of previously-unreleased recordings – featuring new songs, covers, remixes, live versions & unreleased demos. Available for only 24 hours, exclusively on Bandcamp on Friday 10/7 starting at 12:01am PT. Tee shirt of the album art by Kim Gordon to be sold 10/7 on Bandcamp. All net proceeds from album & tees will go to Abortion Care Network, Brigid Alliance and NOISE FOR NOW.

10 Rock + Metal Bands That Started Out Christian But Aren’t Anymore

There’s the Father, the Son, the Spirit… and the rock. But not every rock and metal group that started its career as Christian stays that way — such as the following examples.

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‘I don’t want to be a soundtrack to lies’

The founder of M People has slammed Prime Minister Liz Truss for using the band’s 90s hit “Moving On Up” during her entrance to the Tory party conference, saying: “I don’t want my song being a soundtrack to lies.”

Ms Truss beamed as she walked out to the track ahead of her keynote speech in Birmingham, but the band’s founder Mike Pickering criticised the decision, saying her team did not ask for permission to use it.

When asked about Mr Pickering’s criticism, the PM’s press secretary responded: “I don’t know who he is.”

Ms Truss entered the stage to the chorus of the song with the lyrics: “Movin’ on up, nothin’ can stop me. Movin’ on up, you’re movin’ on out. Time to break free, nothing can stop me.”

Venting his frustration online, Mr Pickering said: “So apparently we can’t stop Truss walking out to our song, very weird! So sad it got used by this shower of a government.”

He added that the Labour Party used the song “with permission” in the 90s.

The song, sung by Heather Small, was released by the band in 1993, peaking at number two in the UK singles chart. Small’s son, James Small-Edwards, is a Labour councillor, Mr Pickering later pointed out.

“I sincerely hope she listens to the lyrics,” he tweeted after former Labour MP Dennis Skinner pointed out the opening lyrics of the song are: “You’ve done me wrong, your time is up. You took a sip from the devil’s cup. You broke my heart, there’s no way back. Move right out of here, baby, go on pack your bags.”

The band are “livid” that the song was used, Mr Pickering told PA news agency, adding: “Heather’s boy James is a Labour councillor. Hopefully most people will know that they have pirated it off us.

“She won’t be around to use it again for very long. I would imagine.”

He added: “I am absolutely gutted by it because they are killing the live touring of bands and artists… I am Mancunian and getting from Manchester to London these days is harder than getting on to continental Europe.

“The rest of the band have rung me: ‘For God sake, how can we stop it?’ And we just rang the lawyers and they went, ‘You can’t actually stop it. We can send a letter to cease and desist but you can’t do it.’

“They can play what they like, which seems a bit weird to me.”

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Mr Small-Edwards, who was elected to represent Bayswater ward on Westminister council, in May, also tweeted about Ms Truss’s use of the song.

“An apt choice,” he wrote, adding: “This tired and out of touch Tory Government is indeed moving on out.”

Ms Truss chose the song herself from a “range of options”, according to her press secretary.

When asked whether the team sought permission for using the song, he said: “I don’t have detailed knowledge of how the licencing of this stuff works.”

At last year’s conference, Boris Johnson faced similar criticism for failing to ask the Friendly Fires if it was okay for him to walk out to their song Blue Cassette.

The indie band said their “permission was not sought” and that they asked their management to ensure the track would not be used again by the party.

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JD Fortune Won the Chance to Front INXS. Then Came the Drama – Rolling Stone

Rolling Stone‘s interview series King for a Day features long-form conversations between senior writer Andy Greene and singers who had the difficult job of fronting major rock bands after the departure of an iconic vocalist. Some of them stayed in their bands for years, while others lasted just a few months. In the end, however, they all found out that replacement singers can themselves be replaced. This edition features former INXS singer J.D. Fortune.

When J.D. Fortune was a kid in the Eighties, he worshipped INXS. “I wanted to be Michael Hutchence,” he says via Zoom from his home in Nova Scotia, Canada. “He was just so fuckin’ cool. And one of my first major makeout sessions happened while ‘Need You Tonight’ and ‘Never Tear Us Apart’ played. I’m smooching some girl and thinking, ‘Does life get any better than this?’”

Life did indeed get better than that on Sept. 20, 2005, when Fortune won the CBS reality show Rock Star: INXS and was named the new singer of the Australian band, eight years after Hutchence died. This wasn’t just some TV gimmick like The Apprentice, where the winner might never see Donald Trump again or get anywhere near his organization. Fortune spent the next six years singing for INXS, traveling the world several times over on major tours with original members Tim Farriss, Kirk Pengilly, Garry Gary Beers, Andrew Farriss, and Jon Farriss, and landing new hits on the radio like “Pretty Vegas” and “Devil’s Party.”

But the real drama started when the CBS cameras stopped rolling. Fortune wasn’t prepared for the stress of life on the road with a major rock band, and he turned to cocaine and other hard drugs to cope with it. Within a few years of his victory on Rock Star, headlines like “INXS Singer Says Broke, Homeless After Fired From Band” popped up on the Internet. That particular story wasn’t accurate, he says, but it did reflect the chaos of his life at the time.

“I didn’t see my family for a whole year on that first INXS tour,” Fortune says. “The only people I saw were the band members and their family and friends and management. I had no support. No one pulled me aside and said, ‘Hey man, are you okay? You’ve just done some shit. There’s 40,000 people screaming your name right now. How do you feel like?’”

Despite the problems that came with singing for INXS, it was still the culmination of a dream that began when Jason Bennison Fortune first heard Elvis Presley’s music as a very small child. “It was the soundtrack to the [1979] Kurt Russell Elvis movie,” he says. “That was my video game, my TV, my everything back then. I just listened to that album all day long, every day.”

The infatuation eventually led Fortune to more modern artists like AC/DC, Michael Jackson, the Cars, and Duran Duran. He was even in the audience at Toronto’s Maple Leaf Gardens on March 4, 1984, when Duran Duran shot the video for “The Reflex.” “It was fantastic,” he said. “I was in the fourth row, and I walked out of there thinking I was going to be famous since I was in the crowd.”

His journey from concert audiences to concert stages was a long one, and it included pit stops like a very brief stint on the Jerry O’Connell children’s show My Secret Identity as a glorified extra, work at a martial arts school and a karaoke bar, and a short run as a truck driver. After nearly dying in a nasty truck accident, he joined the Canadian Army, where he worked as a radio operator for two years. “I got mixed up with the wrong crowd at the base,” he says. “I got into little fights. When my time was up, I got out of there.”

Throughout most of this time, Fortune was singing in various little bands around Canada. One of his groups almost inked a record deal, but the label changed their minds after 9/11 because they deemed the band’s song “American Way” too critical of America during that patriotic time.

Not long afterwards, Fortune found himself living in his car in Toronto near Cherry Street Beach with his pug, Presley. The only CD in his possession was Kick by INXS. And that very first night, he heard on the radio that the band was seeking out a new singer via a TV show produced by Survivor/The Apprentice creator Mark Burnett. “I looked at my dog and went, ‘Dude, I’m winning this fuckin’ thing,’” says Fortune. “And that’s exactly what I did.”

Tell me about the audition process for Rock Star.
Worldwide, I think about 50,000 people signed up. It was about 30,000 in America, and 20,000 throughout the rest of the world. So that was a bit daunting. You got 50,000 people that want the same job. The first day, my guitar player didn’t show up. It was horrific, just brutal.

One of the producers of the show had a microphone. He goes, “Are you OK up there?” I went, “I’m just going to sing a capella because my guy’s not here.” And he’s like, “You’re gonna sing without a guitar? OK.”

I started singing. Then I said, “Have you ever had a nightmare you can’t wake up from?” And then I put the mic back onto the stand. I walked out the door like everyone else. And I’m not kidding you, I was about 20 feet from my car, and out comes the producer running towards me. He’s got a piece of paper with an invitation to come back the next day for for further auditions. He said, “Yeah, I have had a nightmare I couldn’t wake up from. I’ll see you tomorrow.”

What song did you sing that first day?
I did an original that first day. Ballsy, right? It’s a song no one has ever heard of. I don’t think I’ve sang it since that day. And then the next day, I showed up again, no instruments again. And got up there and they said, “Are you going to do this again?” I said, “I don’t have anybody to play guitar.” Kirk Pengilly and Tim Farris were in the audience for the audition process. Kirk stood up, walked up to the guy behind me who had an acoustic guitar, and he said, “Can I borrow this, mate?”

He said to me, “What do you want to sing?” I said, “How about ‘Never Tear Us Apart?’” So there’s Kirk up there playing the song. I sang it. All I remember is him giving the guy the guitar back, and that guy was looking at me like, “Fuck you, man.” He was so pissed that one of the band members got up and played. I thought, “OK, well, that’s a novelty. Maybe he’s doing that for everybody.” But it turns out that not one band member did that for any of the other 50,000 people that tried out.

It’s pretty weird that they didn’t broadcast any of this. On American Idol, the auditions are about half the show. But Rock Star begins with the finalists walking into the mansion.
I always thought the real show would be the before and the after, when I got in the band. That transition was pretty full-on. You’re joining a band that had been together for years.

What was it like when you showed up at the mansion on day one?
We had to sign a contract over 600 pages long. It was everything from like, “If there’s an earthquake or a terrorist attack, you will not sue Mark Burnett.” It covered everything. “Just sign here and here and here…”

Having that sort of contract was a big step for me. Up until that point, I had just been with local bands. There was nothing even with national exposure. So I was like, “This is the big leagues. It’s time to start looking beyond the fishbowl that you’re in, and start looking at the ocean that’s on the other side of it.”

That’s what that very first week of that show was like. I just felt like every time I turned around, I was seeing something new, experiencing something new, trying to absorb it, hoping I wasn’t sent home.

Did they film you 24/7 in the house?
Oh yeah. They even had little cameras in the bedroom. If you’d move at night, the camera would follow you.

Was it hard to adjust to that kind of surveillance?
It took about two weeks, and then you didn’t even notice them at all. That was the dangerous part because you have these condenser mics on. When you’re whispering to somebody, it’s being picked up by five guys with cameras. You’re like, “Oh shit.” Then you have to be real nice. “Please don’t put that on TV.” But after about two weeks, the cameras just became part of the scenery.

They nearly sent you home in the first episode. Did that freak you out?
I thought I had my game. I thought, “I’m good.” And then to have people of that caliber, like Dave Navarro and INXS, say “Heeeey. Not so much.” It really woke me up. It made me look at who I was performing against, and who I wanted to be, and what band I wanted to be in, and how I wanted to perform for them. I wanted to be a powerhouse for them. I didn’t want them to take me for a ride. I wanted to ride together with them. They gave me a great opportunity to do that.

How did you grow as a singer as the weeks went by and you were living in that pressure cooker?
Your focus grows. You learn to control your focus, and you learn not to get distracted by trivial things. You’d usually get a song on Monday, and then you’re performing it on Wednesday, and you have one rehearsal. It’s daunting. It’s really daunting. Thank god for Paul Mirkovich and all the guys from the house band, because they were really patient with us.

I didn’t know it at the time, but I was approaching it like how I would approach being in any band. I’d go in like, “This is the song. This is how I like to sing it. This is the tempo I like to sing it in. This is the key I like to sing it in. Let’s put a few little bells and whistles here to make the song our own instead of doing a note-for-note cover.”

This is before social media really hit. You weren’t getting the instant feedback from the public you’d get today when the episodes aired.
Not until the following week, when they would show a clip of the edited show. The show aired three days a week in the summer. I think it was Tuesday, Wednesday, and Thursday.

Tuesday would be the mansion day and all of us messing around in there. Wednesday would be the performance. And then Thursday would be the elimination. You’ve got Friday, Saturday, Sunday where you know you’ve made it. Your brain goes, “I’m here for another week.” But then Monday hits, and they give you another song, and you’re doing the whole process over again.

It made us reach the next level of our own performances. We were getting stronger and stronger. Some of the contestants were falling by the wayside. The pressure was too much, so their performances became less than super strong.

Were you confident you were going to win when it came time to film the finale?
I did. I looked around when there was about five of us left. And I’m a huge INXS fan. I was thinking, “Who would I want to see front this band?” I was like, “Nope. Nope. Nope. I gotta be runner-up or something.”

On the last show, I did “You Can’t Always Get What You Want.” If you want to laugh, go back and watch it. As a joke, Kirk Pengilly from INXS… and I love him to death… I talk to him all the time. But he came back and he said, “We’re going to go with the other guy.” This is 10 minutes before I’m going on stage. Millions of people are watching on TV. And I was like, “Ah shit! So close!”

At that point, I had a choice. I could have been like, “Fuck this.” But I went out there and just blew it out. The angel on my shoulder said, “Go out there and compete. Go sing your ass off like you still have a chance.” And I did. And I won.

You fell to the ground in shock when they said that you won. What did that moment feel like?
It was great. My mother and father had flown in. At that point, I was 31 years old. It’s a little up there for wanting to start a new career in something. It felt like all the times…I had a teacher when I was younger that said to me, “Don’t sing. You’re a horrible singer.” Another teacher said, “Don’t close your eyes when you sing. You look ridiculous.”

I spent 9th grade singing with my eyes super wide open. I looked like a fool. Had I listened to those people, I wouldn’t have had that incredible experience with INXS.

Did any part of you worry it wasn’t real? It’s not like reality TV always gives the winners what they think they’re getting. Did you worry you’d do a concert or two, maybe a single, and that would be it?
It didn’t cross my mind. It went the other way. I thought I wasn’t ready for how much was coming. I thought, “OK, I won the show. We’ll be on the road. And in six months, nobody will care except the people that bought tickets to see us.”

But everywhere we went for a year and a half, they had the show in that particular country too. So I couldn’t get out of it. It’s now a year later and we’re in Scotland on a radio show. And they’re like, “So tell us, what’s it feel like being in INXS?” I was like, “For the last year, It’s been amazing.”

Tell me about the first time you were with the guys without cameras around. It must have been weird to leave the reality show and enter the actual world together.
Yeah. That was the studio experience. I won the show, got into the van, and there was literally a sheet of paper with letterhead on it on the coffee table of this place they rented for me to stay for four weeks while we recorded the album. “It was like, “Hey, congratulations. We love you. You’re the right choice. You’ll be in the studio tomorrow at 8 a.m.” [Laughs.]

The very first time I was alone with them was in Westlake Studios, which is where Michael Jackson recorded Thriller. So that was huge. I’m singing in the same booth that Michael Jackson recorded in. Everyone was gone. I think there were a couple of people that worked for INXS. I was still trying to get oriented. This is like four or five days after the show. It was just the six of us. It was like a dream come true.

They say, “Don’t meet your heroes.” But I’m glad I did, because those guys changed my life for the better. Without them, without that band, I wouldn’t have had any of the exposure that I had, and wouldn’t get to experience what it’s like to co-write with arguably some of the greatest songwriters in the business.

Let’s talk about some of the songs you helped write with INXS, starting with “Devil’s Party.”
That was Andrew Farris and myself. He had 45 seconds of a piece of music. He said, “What do you think of this?” I started writing some stuff around it. I think it was featured on the show. I went to Andrew and said, “I’ve got some ideas for this song.” And then we went out to two dinners. Literally, it was the coolest thing. He’d say, “Do you have any more lyrics for ‘Devil’s Party?’” And I’d say, “I’ve got these,” and I’d show him on a napkin. Then he’d write under what I wrote and send it back my way. We just kept doing that, and by the end of the meal, we had the lyrics. It was really cool.

How about “Pretty Vegas”?
Well, that was a juggernaut for me. That song was a rocket ship, but it’s a love/hate thing since I got sued by two of the members of the show for that song that had nothing to do with writing it. That stuck me right in the heart. You can see it in episode 16. The two of them say, “That’s J.D.’s song. We don’t want anything to do with it. He’s probably going home because of that. He’s writing it on his own. The assignment was to write it together.”

After they found out that “Pretty Vegas” was going to be the first single, they put a lien against it in California. They had absolutely nothing to do with it. There’s nothing more un-rock and roll, in my mind, than stealing someone’s song like that.

You also have a credit on “Never Let You Go.”
I was in the condo in L.A., and I was talking to beautiful John Farriss, the drummer. He’s like a Zen guru guy. Guys at that level just have percussion in them. They hear percussion in everything. And he suggested, “Why don’t you make the lyric sound like a beat instead of trying to sing along with the lyrics?” He had just gotten married, so he related to a couple of lines that I wrote. He said, “Why don’t you follow that a bit?” Within two hours, I had the whole song written. It was great.

What was it like the first time you walked onstage with INXS to play a legit show?
Brutal. It was in Las Vegas about a week after the show. I hadn’t started using in-ear monitors yet. I had no idea. I’d been in bands before, but not bands that played in front of 20,000 people in an arena. And they were so loud that it actually startled me when the fuckin’ song started. I was like, “Oh my God!”

I couldn’t hear anything. I blew my voice out by like the third song because I was trying to sing above the music, and trying to get my head as close to the monitors as possible. Now, keep in mind, this is before we actually rehearsed to go on a tour. This was a one-off. “INXS are playing in Vegas with their hit song ‘Pretty Vegas!’”

It was a big deal. I remember that night about 10 people walked out. They were like, “This guy can’t sing.” And to be honest with you, and I told the band, “I don’t feel well. I was just on this show for four months. I haven’t had a break. I’ve just recorded an album in the last four weeks. And now we’re playing a show in Vegas. Can we take a fuckin’ break?”

They were like, “We’re gonna get you to a doctor, and we’re gonna see what’s up.” And I had fluid in my lungs. I was gasping for air. I knew something was wrong. It wasn’t just having a couple too many beers one night, and having a little headache. I couldn’t get the air in to sing.

I think we postponed two shows. I went to Chicago, got to the hotel room, and they had set up a whole thing with plastic curtains and a humidifier and everything for me with antibiotics and steroids in the mist so I could breathe that into my lungs. And two days later, no problem.

How much were you trying to sing like Michael Hutchence, and how much were you trying to sound like yourself?
I’ve been lucky. When I’ve been thinking I was sounding like me, I’ve literally had people, including Michael’s own brother Rhett, say “Holy fuck, man. When I close my eyes, it sounds like Michael onstage.”

I don’t hear it. Even when I hear my voice back, I don’t go, “I sound like Michael Hutchence there.” I’ve never tried to sound like Michael. But I have tried to get the nuances and the inflections right because you’re talking about a band that had been together for almost three decades at that point. They’re like glue. They can anticipate each other’s moves onstage because they’ve been playing for so long together.

I never wanted to say, “Can we try that song again? Maybe I’ll do it better this time.” So I tried to get as much of the nuance that I could in my own voice. And I guess because I’m maybe similar in timbre and resonance, it sounded like Michael.

The Australian newspapers were always comparing us. “He puts his leg up on the monitor the same way. He holds the mic the same way.” You only have two hands, right? When I read that I was like, “Well, Frank Sinatra holds his mic the same way.” Instead of letting that get into my head, I just thought, “Keep doing what you’re doing.” And I did.

Michael Hutchence may not have been one of the all-time most famous singers in rock history, especially in America, but he was certainly one of the most charismatic. He could command the attention of an audience in a soccer stadium like Mick Jagger, Bono, or Dave Gahan. How intimidating was it having to stand in his shoes, and be compared to him over and over and over?
That’s a great question. It was incredibly, incredibly intimidating. It’s like replacing Elvis or Jim Morrison. I literally played shows where people seemed to be scowling during the first three songs. They were like, “You better be fuckin’ good, man.” By the end of the night, they were rockin’ and rollin’.

You did 142 concerts in 2006 alone. How hard was that on your body, mind, and voice?
It was three days on, one day off, three days on. That’s a lot. And that one day off is a travel day, but you’re traveling every day too. When you have a day off, you’re not sitting poolside. You’re in the back of the tour bus with a scarf around your neck, popping lozenges. I could sing three or four shows in a row. But when you take that day off, everything starts to heal. It’s like working out at the gym. You feel fine the next day, but it’s two days after when your muscles are like, “Holy shit. I really did a number on that.”

The same thing happens in your throat. You go, “Wow, I’ve been singing four days straight. I feel great.” And then you wake up the next morning like, “I’m a little raspy.” And then the second morning you’re like, [super-deep voice] “Holy fuck,” because your throat is trying to heal.

You did over 50 shows in 2007. It was just relentless.
And then there was the radio performances, the TV performances, corporate stuff that wasn’t listed on tour. We’d bounce over and do a corporate gig.

They would have the shows posted literally on a clipboard on the tour bus. I’d be flipping through and see four or five pages of shows. I was like, “Holy shit, man!”

Did you feel like a legit, full member of the band, or did you feel like a hired gun?
I felt like 100 percent a member. Those guys opened up their arms to me. I was a bit of a devil. I had some demons that I was working on. I was going through some really bad depression right when I won that show, especially having a couple of the cast members do that to me with the song “Pretty Vegas.” That just sent me down this really weird headspace. I was like, “Why am I doing this? How long do I have to do this until it gets better?”

I remember seeing headlines around 2009 that said, “INXS lead singer J.D. Fortune fired at the Hong Kong airport.” What happened there?
Well, I was never fired. I know the newspaper that said that. I’ve tried to get them to retract it, but they they’re just too big a newspaper. They basically told me to go get a lawyer.

What’s the actual truth?
So, I was in Hong Kong. I don’t know how the “fired in Hong Kong” thing started. But when I got back from Hong Kong to Toronto, I did an interview. And I think it was The Toronto Star. The reporter said, “Tell me about the last gig.” I said, “We played in Hong Kong, and some other places in Asia.” And then I said something like, “It’s all fun and games until you’re the last one at the gate in Hong Kong and your band is gone.”

I literally did a spit take when I saw the headline. I was like, “What the fuck?” At no point, did I say that [I was fired]. In fact, INXS was so cool that they put up a beautiful letter on their website. It basically said, “We love J.D. He’s great. At no point was he fired. We’re just taking a break.”

There were some songwriting differences. I wanted to go in one direction for the next album. They were thinking of redoing their older hits. I thought there was merit to that, but I thought we should be striking while the anvil is hot. We were on the road so long. It was such a trip. I was in Canada in 2006 and Madonna was Number Two, and then INXS was Number One on the video countdown. I was like, “Oh my God, we beat Madonna.” That was a big deal for me as a kid from the Eighties.

We were on the road so long with that album that I eventually saw, “Madonna’s new album just debuted at Number 39.” I was like, “Her new album? What the fuck! We’re still on this album!”

So you told the guys you wanted to write new songs and cut a new album?
Yeah. I think we were all sort of wondering what the idea was going to be. At that point, Andrew was working with an incredible songwriter, Ciaran Gribbin. I think they were working very closely on writing some stuff. I’ve never heard any of the any of their efforts.

I agreed to do the covers album [Original Sin, with was recorded with guest singers like John Mayer and Rob Thomas]. I was on two songs: “The Stairs” and “Love Is (What I Say).” That was one of my best vocal releases, but it wasn’t released on the album. That’s too bad since it’s classic INXS.

They were really busy. I was just burned out. I got to the point where even putting a microphone in my hand made me think, “I don’t want to be here.” It starts to hurt if you sing that much.

The public had the impression that you were out of the band for a period of time, and then they rehired you in 2010.
Yes. We got back together. We were in L.A. and we went out for lunch. It was sort of funny. We were talking about the media stuff and we were like, “If only there was a reporter here now that could see us and take a photo.” It would be like, “We got it all wrong. Look at them. They’re having a great time.”

But that didn’t happen. That moment of sitting there with Andrew and Gary and having some iced tea overlooking the ocean, they were saying, “We want to get back in the saddle, mate.” I was like, “Fuck yeah.” Like I said, they’re my favorite band. They are to this day. They’re my favorite band.

You’ve spoken in the past about your drug use during this time.
Yeah. That’s something I’ve been very forthright about. While I was going through that depression, I was trying to self-medicate. I used anything that was around, except for, like, heroin. I’m also not a hallucinogenic guy. I don’t like acid or anything like that. I definitely had a romance with cocaine, but it’s been over 10 years now since I have touched anything. That’s one of my proudest accomplishments.

Were you using hard drugs while touring with INXS?
Yeah. I would call it “running.” I would go for a “run.” We’d play Monday and Tuesday, have Wednesday and Thursday off, and then play Friday, Saturday, Sunday. Those two off days, I’d get whatever I could get my hands on and just lock myself away in a hotel room.

You did a tour with them in 2011. How was that one?
That was great. Some of that was in Australia. Australia, to me, is this mythical, magical place where I feel good. I love the air. I love the people. I love the music, especially.

That’s where I really became J.D. Fortune. It was when I was living in Australia and working with INXS. Until that time, J.D. Fortune was just an ethereal entity sort of floating around. And then INXS tent-pegged that name into the ground.

When I flew to Australia, I had a seven-hour sleep. Then I was performing on their biggest morning show the next morning, Sydney Sunrise. They were expecting about 1,500 people to show up, and over 6,000 people showed up. At that point, I thought we were fuckin’ U2. I was like, “I’m in a huge band right now.” These people went out of their way at 7:45 a.m. and flooded the streets of Sydney. It’s on YouTube. It’s fantastic.

What were your favorite older songs to sing in concert?
I love “Suicide Blonde.” I think that’s a good one. “Never Tear Us Apart” is very special too. Picture this, they were songs I adored when I was a kid. I got the opportunity to sing those songs, and then I would turn around and I would see the band. [Laughs.]

One DJ in Australia said to me, “What’s it like being in INXS?” I had been in the band for a while at that point. I still had no more to say than, “It’s fuckin’ awesome.” I sounded like the biggest rube. “It’s great!” It really was an awesome experience. Those guys were literally on my walls. I crossed over into that fantasy.

Your last show with them was in Atlanta in 2011. What do you remember about that night?
I think that was our second time playing in Atlanta. I remember a security guy was being let go from the band. I can’t mention any names, but he was sort of double-dipping from the band. We’d ask him to get batteries for our stage packs for mics and in-ears. He would buy 100 batteries, but charge us for 250 batteries. That was all happening right at that time. I was like, “See you later, gentlemen. Call me later if there’s ever a chance I can play with you guys again.”

A few weeks later, they announced that Ciaran Gribbin was taking over as lead singer. What happened?
If memory serves me correctly, they were going to start another album that was going to be a compilation of remastered hits. And so I think there was a bit of confusion and miscommunication as far as whether or not I wanted to participate. I didn’t really see me having a role in having anything to say about their previous work. That’s where I thought it was coming from.

The fact they got another singer, I really didn’t mind because, I gotta tell you, the commutes from L.A. to Australia are heavy. They are 15 hours each way. In one month, I did that flight about six or seven times. In a weird way, it was sort of a relief. But then I did the Home Alone thing of, “Oh my God! What just happened?”

Then never explained to you exactly why you were out and Ciaran was in?
That’s why I’m saying there was some miscommunication there. They were getting rid of a lot of people back then, and even changing management. They had re-hired their former manager, Chris Murphy, and I think he wanted to streamline the band and brings costs down. I was still like, “Let’s play some music, boys! We got it!”

I think they were caught between a rock and a hard place. I don’t think it had anything to do with them or me. I think it was purely from a management point of view.

They gigged with Ciaran for a few months, and then just totally ended the band to this day. Do you know what happened?
I talked to Kirk about a month ago. We were just reminiscing about some stuff. He was quite clear. He said, “I don’t think we’re going to be doing any gigs.” I don’t know if you know this, but Tim lost some fingers in an accident. That’s hard, man. That’s really hard. When you’re known as a world-famous guitar player, and now some of your fingers are missing, that’s hard. I pray that he’s doing alright.

But I’ve been writing songs and going out and doing some recording. I’ve got offers to do some touring that will take me to Australia. I’d love to be there singing my guts out to anyone that will come see the show. I will be doing some INXS songs. When I get to Australia, I’ll be contacting those guys and seeing if they want to jam, even if it is just us jamming.

In the years after you left the band, did you have a hard time finding your place in the world?
Yeah. Will Smith said it best back in the day, before the slap. He said, “It’s hard being famous. But it’s even harder being famous and broke.” And that’s where I was. I was open game for anyone that wanted to point a finger and say, “You fucked up.” It was all me for some reason. It’s easy to blame the new guy, I guess.

But the band never blamed me. It was more media. In fact, Gary Beers and Kirk Pengilly were really big supporters of mine. I did some demos with Gary, and played a few one-off gigs with him. And that felt good. It was just me and Gary. We did INXS songs with a really great pick-up band from Los Angeles.

I stayed at his house for about four nights. Prior to that, it had always been tour buses where we had our own little sections, or hotel rooms. This is after knowing him for about 10 years. He said, “J.D., you’re a pretty nice guy.” I said, “You’re just figuring this out now?” We had a pretty good laugh. I would play with those guys any day.

What have you been doing in the past ten years to pay the bills?
Everything and anything I could. I was lucky enough that some of the royalties from the first album I did with them lasted a few years. And then I moved back out to L.A., and was under a management company there. I got some funding to do some demos. That situation didn’t last because that man… I signed an NDA and can’t get into it, but he stole from me and that dissolved that. He was like, “How come you aren’t doing better?” I was like, “Because you’re taking my fuckin’ money, dude.”

I’ve been doing anything and everything. Basically, writing music and just getting in touch with who I am as an artist. There’s a difference between having something to say as an artist, and just writing about being angry, which is what I did before. I’m not angry at myself anymore. I’m angry about issues in the world now that impact all of us.

Did you take any non-music jobs at any point?
No. I’ve been lucky enough that I’ve been able to scrimp and save and keep my head afloat. I’ve had to sell a few things. That’s the thing they don’t tell you about in the rock world. You can buy these great, big, expensive guitars and amps and stuff like that. But then when your mortgage is due you’re like, “Fuck, I love that guitar. Well, see you later.” [Laughs.]

When exactly did you get off drugs?
New Year’s Eve 2010. It’s been 12 years. If only I could quit smoking. I quit that for five years, and then started again during the pandemic like an idiot. But getting off cocaine was…I don’t mean to sound pompous, but it was not as hard as it would have been was I an addict for a different reason. I purely used to self-medicate, to escape. I guess that’s what all drug addicts do. I wouldn’t go out to a party, have a few drinks, and be like, “Let’s have some cocaine!” It was more like, “Aw, shit is happening. I’m stuck in this hotel room for two days. I hate it. I can’t talk. My body feels gross…Let’s get high.”

You mentioned a tour of Australia next year?
These dates are all tentative, but I am starting in Australia and then doing a couple of shows in New Zealand. We’re gonna take it from there and see what happens. The reason why I chose going back there is because Australia opened me up as a person. It’s one of the greatest places in the world.

The people there are just so solid and non-nonsense. They take you at your word, and you better be a person of your word. I want to go back and show all of the fans that supported me in the past how far I’ve come and how much I enjoy this now, and how much different it’s going to be having a focused and sober, healthy motherfucker on that stage singing his goddamn guts out.

How much of the show will be your new songs, and how much of it will be INXS songs?
We’re just in the middle of discussing that now. I’ll probably touch on all the hits of INXS, but I have been busy writing my own stuff. What will be really cool is to be able to say one night, “Ladies and gentlemen, here is Kirk Pengilly from INXS,” and bring him up on stage. That would be a dream come true for me.

Tell me about your plan for these new songs. How are you putting them out?
Right now, I’m developing this music. Ironically, I think I got picked [for INXS] because of my songwriting skills, and I lean towards INXS’s style when I write. So some of it has almost a country feel, but it’s dirty. It’s not your grandma’s country song. It’s got some sway and some sex to it, and some dirt. I talk about drugs. I talk about my addiction. I talk about getting ripped off. I talk about getting sued. I talk about the current state of the U.S. and Canada.

When I joined INXS, I was isolated from all that stuff. When I was in the show, Hurricane Katrina hit. We didn’t know. We were sequestered in that house. They brought a newspaper in. It was like, “Oh my God. Thousands of people are dead? How come you didn’t tell us this two days ago when it happened?” They went, “Because you can’t know any of the outside news or else you’ll say something on the TV show.” Little weird.

It’s funny that the same production team that basically made Donald Trump president made you the singer of INXS.
I know, man. I met Trump in Toronto at a promotional event when Rock Star and The Apprentice were coming out. People from both shows came together to meet the corporate sponsors. Donald Trump was there and he gave a speech about The Apprentice. I got up to sing after that. I said, “I must be doing something right. I haven’t even won the show yet, and Donald Trump is my opener.”

I don’t think he liked that. After I sang, I went backstage and he was signing books in the dressing room. I said, “Mr. Trump, my uncle Graham is a big fan of your golf book. Can you sign it for him?”

I’m not kidding. He turned to me and said, “Graham? His name is Graham?” I go, “Yeah. It’s Graham. Thank you very much.” He goes, “No problem.” Then he gave me the book. I walked out and looked down and it was just his signature, no “Graham.” I was like, “Why did you ask me?”

If you’re driving in your car now and “Need You Tonight” or “Never Tear Us Apart” comes on the radio, how do you feel? Do you sing along? Do you change the station?
I melt. I just melt because I was there. I was right there. I had it all in my hand, and I couldn’t hold onto it. And when I hear INXS songs, I feel a sense of pride.

About a year ago, I was at the grocery store. “Need You Tonight” started playing, and I got recognized by a couple of people in line. I get up to the cashier, and she’s about 17. She was ringing my stuff up. I just said, “I was in this band.” Without missing a beat, she went, [totally deadpan and bored] “OK.” [Laughs.] It summed up my whole career.

You had a lot of rough patches and setbacks, but the whole thing was a one in a million chance. It’s a miracle.
Yes. It’s a miracle. What I’m doing now is also one in a million. I’m 49 years old. I feel like I’m 29. I’m getting ready to get into super-good shape, get myself rehearsed, and get out there and start touring again.

I know there might be a few people that think, “Why is he singing INXS songs?” But those people won’t understand how important that heritage and pedigree is to me as far as who I am as an artist. I’m always going to do INXS songs, for the rest of my life. Whether it’s with some of the guys in the band, or without, my biggest goal is to just do them with the honor that those songs deserve to be played, especially for Michael. Those songs, my god, those are timeless.

They do need to live, and there’s no better person to be out there singing them than you.
I feel that too. And I feel like I’m getting a second chance at this.

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Musicians Contribute to Abortion Access Benefit Compilation –

Roe v. Wade has been overturned, and this devastating Supreme Court decision will result in abortion being criminalized in half of U.S. states. Therefore, Good Music, in collaboration with Noise for Now, has announced a new fundraising compilation benefitting organizations facilitating abortion access to those people affected by restrictive regulations in their home states.

“Good Music to Ensure Safe Abortion Access to All” will be available for only 24 hours exclusively on Bandcamp this Friday, October 7, starting at 12 a.m. PST as part of the Bandcamp Fridays initiative.


The compilation features genre-spanning, previously unreleased recordings including never-before-heard new songs, covers, remixes, live versions, and unreleased demos. Artists contributing to the compilations include Amanda Shires x Jason Isbell, Bobby Weir & Wolf Bros, Cat Power, Daniel Rossen, David Byrne x Devo, Death Cab for Cutie, Fleet Foxes, Gia Margaret, Grouplove, King Gizzard & The Lizard Wizard, Mac DeMarco, Maya Hawke, Overcoats, Pearl Jam, PUP, The Regrettes, R.E.M., Sleater-Kinney, Soccer Mommy, Tegan and Sara, Thao x Tune-Yards, Ty Segall, Wet Leg and more, with the compilation’s cover art created by Kim Gordon.

“Every person faced with the choice to keep a pregnancy or not should have access to a safe and legal abortion, should they choose one,” Tegan and Sara say. “Their body, their choice.”

One hundred percent of the net proceeds will benefit nonprofit organizations working to provide abortion care access to all: Brigid Alliance, Noise for Now, and Abortion Care Network.


“Independent clinics provide the majority of abortion care in the U.S., yet these dedicated providers often lack the visibility and resources they need to keep their doors open,” says Abortion Care Network Communications Director Jay Thibodeau. “Donating to keep clinics open in every state makes a huge difference to those who need care, and bold, public support for indie providers is deeply meaningful. It also matters that people who have, provide, and support abortion know that they are not alone. Most people in the U.S. support the right to abortion, and we are less alone when we can see and join unified, unapologetic calls to liberate abortion.”

In addition to the compilation, T-shirts featuring Gordon’s “Liberate Abortion” artwork are now available to pre-order.

Photos courtesy of Kim Gordon

Denny Patterson is a St. Louis-based entertainment and lifestyle journalist who serves as OFM’s Celebrity Interviewer. Outside of writing, some of his interests include traveling, going out for food and drinks, reading (books and people!), and spending time with his husband and pets. Denny is also the Senior Lifestyle Writer and an editorial assistant for South Florida’s OutClique Magazine, and a contributing writer for Instinct Magazine and CULTURE Magazine. Connect with him on Instagram: @dennyp777.

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M People founder Mike Pickering condemns Liz Truss use of ‘Moving On Up’

M People founder Mike Pickering has condemned prime minister Liz Truss’s use of his band’s hit song “Moving On Up” at the Conservative Party conference.

Truss walked onstage to the sound of the 1993 dance-pop track, as she delivered her Conservative Party conference speech in Birmingham on Wednesday (5 October).

Many people watching the speech immediately pointed out both the irony of the song’s lyrics, as well as the fact that singer Heather Small’s son is a Labour councillor.

“So apparently we can’t stop Truss walking out to our song, very weird!” Pickering wrote on Twitter. “So sad it got used by this shower of a government. [By the way] Truss, Labour used it with permission in Nineties. I don’t want my song being a soundtrack to lies.”

In her speech, titled “Getting Britain Moving” Truss explained why she thinks her economic policies are the right decision, despite the chaos wrought on the UK economy by Kwasi Kwarteng’s botched mini-budget. 

Earlier this week, the chancellor blamed the “pressure” of the Queen’s death for the mistakes that have plunged the Tories into crisis.

You can follow along with our liveblog coverage of Truss’s Conservative Party conference speech here.

Since “Moving On Up” was played at the conference, many have shared their reactions on social media.

“Liz Truss walks out for her conference speech to the tune of ‘Movin’ on Up’ which I presume is a tribute to inflation and interest rates,” Liam Thorpe, political editor for the Liverpool Echo, joked on Twitter.

Others were quick to point out further irony beind the song choice, given that M People’s lead singer Heather Small’s son is a Labour councillor.

“Liz Truss walks onto stage to M People’s “Moving On Up”. (Trivia: Heather Small’s son was elected as a Labour councillor in May),” The Guardian’s political editor Pippa Crerar remarked.

Many took the opportunity to reference lyrics from the 1993 single: “You’ve done me wrong / your time is up / You took a sip from the devil’s cup / You broke my heart / there’s no way back / Move right out of here / baby, go on pack your bags.”

“Wonder who chose that,” one person asked.

Ahead of Truss’s speech at the conference, the public had been predicting what song she might walk onto.

“Break stuff by Limp Bizkit” guessed comedian Nish Kumar, while someone else suggested “Creep”, referencing the Radiohead classic.

“My lover’s got no money, he’s got his strong beliefs,” another said, quoting lyrics from the 1997 hit “Freed From Desire” by Gala Rizzatto.

Conservative Party leaders have raised eyebrows in the past for their song choices at conferences.

In 2018, then-prime minister Theresa May walked onto her keynote conference speech by dancing on to the stage to “Dancing Queen” by Abba.

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Elections will be held in Jammu and Kashmir with full transparency after voters’ list compilation: Amit Shah

Union Home Minister Amit Shah while addressing a public rally in Baramula, J-K (Photo: Twitter/Amit Shah)

Union Home Minister Amit Shah has said that the Assembly election in Jammu and Kashmir will be conducted with full transparency once the Election Commission completes the exercise of publishing the revised electoral rolls.

“We have started a political process. I want to assure you that once the work of publishing electoral rolls by the Election Commission is completed, elections will be conducted with full transparency and your own elected representatives will govern here,” he said while addressing a public rally in Baramulla district of North Kashmir on Wednesday.

The BJP leader said that earlier only three families — the Abdullahs, the Muftis and the Gandhis — used to be in power, but after delimitation “your own representatives” will win the elections.

Shah said Prime Minister Narendra Modi has almost ended the ecosystem of terrorism in J-K. “If anyone supports terror in your locality, please make him understand that Kashmir will not benefit from terrorism. Kashmir will benefit from democracy, from industries being set up here and other development works,” he said.

READ | From ‘Hindu Rashtra’ to population control policy to religious imbalance: What RSS chief said in his Dussehra speech

He also lashed out at those advocating dialogue with Pakistan. “Some people advise me to talk to Pakistan. But, I do not want to talk to Pakistan. I want to talk to Gujjars and Bakarwals of Baramulla and to the youth of Kashmir,” he said.

Appealing to youths to shun the gun, the Union home minister said they do not need to tread the path of militancy but of development.

(With inputs from PTI)

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M People attack Liz Truss over using their song as a ‘soundtrack of lies’

The writer of Moving On Up, the M People song chosen by Liz Truss as her conference walk-on song, has objected to it being used as a “soundtrack to lies”.

Mike Pickering, M People’s founder, said he was angry that the party had not asked for permission to use the track, which was a chart hit in 1993.

Ms Truss entered to the track’s famous chorus “Movin’ on up, nothin’ can stop me. Movin’ on up, you’re movin’ on out. Time to break free, nothing can stop me.”

But Mr Pickering said: “No permission given for that, we’re very angry… I don’t want my song being a soundtrack to lies.”

The band contacted their lawyers, but were advised that nothing could be done about the situation.

“So apparently we can’t stop Truss walking out to our song, very weird! So sad it got used by this shower of a government,” he added.

Mr Pickering said that the Labour Party had used the song “with permission” in the 1990s.

The former DJ at Manchester’s Hacienda club has previously called the Tories “a despicable shower of s—”.

Meanwhile the M People vocalist, Heather Small, is a supporter of the Care4Calais refugee charity and was pictured in August wearing one of its #StopRwanda campaign T-shirts.

Her son, James Small-Edwards, is a Labour councillor. He tweeted that the song’s “moving on up… moving on out” lyrics were “an apt choice” as “this tired and out of touch Tory Government is indeed moving on out.”

He added: “They (the band) are livid. Heather’s boy James is a Labour councillor. Hopefully most people will know that they have pirated it off us.

“She won’t be around to use it again for very long. I would imagine.

“I am absolutely gutted by it because they are killing the live touring of bands and artists… I am Mancunian and getting from Manchester to London these days is harder than getting on to continental Europe.”

“The rest of the band have rung me: ‘For God sake, how can we stop it?’

“And we just rang the lawyers and they went, ‘You can’t actually stop it. We can send a letter to cease and desist but you can’t do it’.

“They can play what they like, which seems a bit weird to me.”

Other observers pointed out that the lyrics were not a brilliant advert for Truss’s leadership:

You’ve done me wrong, your time is up

You took a sip from the devil’s cup

You broke my heart, there’s no way back

Move right out of here, baby, go on pack your bags

The Tories have a track record of choosing party conference songs by bands that hate them.

In 2017, Theresa May walked on to the Rihanna and Calvin Harris song This Is What You Came For. Harris tweeted: “I do not support nor condone happy songs being played at such a sad event.”

Last year the party chose Blue Cassette by Friendly Fires, who responded: “If we’d have intended them to use it, we’d have named the track Blue Bunch of Corrupt W—–s.”

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Elections to be held in J&K after voters’ list compilation, says Amit Shah | India News

BARAMULLA: In a major announcement, Union Home Minister Amit Shah on Wednesday said that the elections will be held in Jammu and Kashmir will “full transparency” as soon as the work of compiling the voters’ list is completed.
Shah said that manner in which delimitation has been done in the region, representatives of the people’s choice will be elected.
“As soon as the work of compiling the voters’ list is completed, elections will be held in J&K with full transparency. Earlier the delimitation was done in such a way that only the representatives from the three families would be elected, no matter what you do. The delimitation that Election Commission has done, your own representatives will win the elections and rule,” Shah said while addressing a rally in Baramulla on the last day of his three-day visit to J-K.
Assembly polls to elect the government in the Union Territory are due since the abrogation of Articles 370 and 35A on August 5, 2019. The Centre while abrogating the special status of the region, had said that the status of state will be given to Jammu and Kashmir at the appropriate time and the elections will be held after delimitation.
The orders of the Delimitation Commission were effective from May 20 with the Centre choosing the day for the move using powers of the Jammu and Kashmir Reorganisation Act, 2019.
As per the final Delimitation Order, out of the 90 Assembly Constituencies (ACs) in Jammu and Kashmir, 43 will be part of the Jammu region and 47 for the Kashmir region keeping in view the provisions of Section 9(1)(a) of the Delimitation Act, 2002 and Section 60(2)(b) of Jammu & Kashmir Reorganization Act, 2019.
The Delimitation Commission was entrusted with the work of delimiting the Assembly and Parliamentary Constituencies in the UT of Jammu and Kashmir on the basis of the 2011 Census and in accordance with the provisions of Part-V of the Jammu and Kashmir Reorganisation Act, 2019 (34 of 2019) and the provisions of Delimitation Act, 2002(33 of 2002).
Earlier today, Shah chaired a security review meeting with senior officials in Srinagar.
J-K Lt Governor Manoj Sinha and other senior officials were present at the meeting including J-K Director General of Police Dilbag Singh, top officials of the Army, paramilitary forces, state police and civil administration.
Before concluding his visit to the Union Territory, Shah will also launch and lay foundation stones for various development projects in Srinagar around 3.30 pm.
Earlier on Tuesday, the home minister visited the Shri Mata Vaishno Devi Shrine in Katra where he offered prayers. Notably, this was Shah’s first visit to the holy shrine after being appointed the Home Minister of the Modi government 2.0. His visit, during which he was accompanied by Jammu and Kashmir Lieutenant Governor Manoj Sinha and Union Minister Jitendra Singh, coincided with the ninth day of the ongoing Navratri festival.

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Kevin Hart Portland Tickets At Moda Center

Kevin Hart Portland Tickets At Moda Center

Thriving as a comedian/actor since 2001, Kevin Hart still has got what it takes to keep audiences laughing all night long. He has garnered fans worldwide, making every tour even more successful than the previous. If you’re excited about seeing him perform live in a location near you, we have good news!

Kevin Hart will perform in Portland at Moda Center on December 13, 2022. You can get your preferred tickets conveniently online if you look early. Since his shows are highly popular among standup comedy fans, we recommend checking out your options early.

Fri, Dec 2 at 8:00PM – Buy Tickets For This Date Here

Go As A VIP – Buy Tickets For This Date Here

Sat, Dec 3 at 7:00PM – Buy Tickets For This Date Here

Go As A VIP – Buy Tickets For This Date Here

Front row tickets offer a closer view of the stage and the performer for fans to enjoy every bit of the performance without distraction. On the other hand, cheap tickets to the shows are also available for those who don’t want to spend heftily. You can purchase the tickets based on your seating preferences and budget.

Besides performing standup comedy, Kevin Hart also appeared in numerous films, including Night School (2018), Jumanji, Think Like a Man (2012), and Central Intelligence (2016). Get ready to witness the hilarious multi-talented artist perform on stage as you book your tickets.

Kevin Hart has won many awards for his works, including four People’s Choice Awards, two Nickelodeon Kid’s Choice Awards, and one BET Award. The ongoing Reality Check Tour will stop soon in your city; you wouldn’t want to miss out on the event.

Frequently Asked Questions About Kevin Hart Portland Tickets

How Much Are Kevin Hart Moda Center Tickets?

Kevin Hart shows cost around $223 on average for general admission tickets. If you’re looking for affordable ways to see his live performances, you might want to look for cheap tickets that run at $75. the highest price to see a Kevin Hart show at Moda Center in Portland is $1032 per ticket. Check out the Kevin Hart tickets available to discover your best options.

How To Get Cheap Kevin Hart Portland Tickets?

Buying affordable tickets to see Kevin Hart shows in Portland isn’t an issue, as prices start at $75. Look for the tickets soon to catch the best deals before others do.

Is Kevin Hart Touring In Portland?

Yes, the Kevin Hart tour will come to your city and perform at Moda Center.

Are Kevin Hart Tickets Sold Out In Portland?

Tickets to see Kevin Hart on Tuesday, December 13, 2022, in Portland is still available if you wish to purchase.

Is Kevin Hart On Tour?

Kevin Hart is on tour and will perform soon at Moda Center as a part of it. Therefore, you can prepare to enjoy his hysterical performances this year.

Where Is The Next Kevin Hart Performance In Portland?

If you’re waiting for the next performance by Kevin Hart, you’ll be excited to learn that you can witness it soon at Moda Center at 1 North Center Court Street, Portland, Oregon.

When Is Kevin Hart Next Performance At Moda Center?

Kevin Hart will perform in Portland on December 13, 2022.

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CAMX 2022 exhibit preview compilation, Part 2

Photo Credit (clockwise): Qarbon Aerospace, SWORL, Technical Fibre Products (TFP) and The Fab School

This is Part 2 of a two-part compilation (see Part 1), which is comprised of solicited and received previews from CAMX 2022 exhibitors, showcasing the composites materials, processes, services and other technologies you can expect to see at the in-person event. Note that company names link directly back to the original preview article.

  • Macrodyne Technologies: A new, fully automated D-LFT system, and Macrodyne’s breadth of heated platen press offerings for thermoset and thermoplastic composite applications will be on display at CAMX 2022.
  • Magnum Venus Products: Rather than sealant tapes for infusion processes, Magnum Venus Products suggests the use of its Secure Vacuum Bag Seal, an inflatable seal designed to fit into a groove built into the perimeter of the mold.
  • Massivit 3D: The Massivit 10000 additive tooling system is designed to replace conventional digital tooling processes that are slow, costly and wasteful.
  • McClean Anderson: Ocelot, backed by more than 60 years of machine control systems, is McClean Anderson’s latest filament winding machine featuring the latest hardware and software technologies.
  • Metyx Composites: Metycalc is presented to the composites industry by Metyx Composites as a value-added support tool to aid in achieving stiffness, strength and weight goals for laminate designs.
  • Michelman: Michelman spotlights its Hydrosize flagship line for composite interface adhesion and Unyte technologies targeting technical textiles at CAMX 2022.
  • Microtex Composites: Microtex Composites presents Microtex-Style, a new composite fabric option to support creative part and structure customization for industry customers.
  • Mikrosam: Mikrosam presents automated, high-performance composites manufacturing equipment for filament winding, AFP/ATL, prepregs and towpregs, pressure vessels, slitting and rewinding.
  • Mito Material Solutions: Mito Material Solutions joins forces with a new sporting application customer to exhibit new applications for its graphene additive, E-GO, which is now available as a spray or for liquid dispersion.
  • Mokon: Mokon’s compact Full Range temperature control system provides self-supporting heating and cooling for composites-related applications.
  • Nabaltec AG: Visitors at Nabaltec’s booth will learn more about its specialized products based on aluminum hydroxide and aluminum oxide for composite formulations or applications.
  • NDT Solutions: NDT Solutions presents the AUSS Mobile, a portal C-scan inspection solution that incorporates ultrasonics, eddy current and bond testing in a single system for advance composite materials testing. 
  • NEXX Technologies: NEXX Technologies introduces a range of its modified epoxy and cyanate ester prepreg materials for a more streamlined prepreg manufacturing process.
  • Nouryon Chemicals: Nouryon’s copper-based accelerator, Nouryact CF12N, proves an efficient curative system for the bio-based fibers used in the “Smart Circular Bridge” project.
  • Olin Epoxy: Olin Epoxy offers a portfolio of epoxy systems for challenging applications. Litestone, Voraforce and Airstone aim to resolve problems and support customers’ business growth.
  • Pacific Coast Composites: Pacific Coast Composites is a stocking distributor that specializes in extensive material forecasting, stocking capabilities and short lead times for its composites customers.
  • Parabeam: Parabeam’s 3D E-glass woven fabrics, particularly ParaGlass and ParaTank, continue to advance composite sandwich structures with high flexibility, strength and application versatility.
  • Park Aerospace Corp.: Park Aerospace Corp. highlights its range of thermal protection system resin systems, structural polymer material systems and its services in structural design and composite strut fabrication for aerospace and space markets.
  • Pelican Wire: Pelican Wire designs and manufactures custom wire solutions to assist companies with wiring needs, including developing wires for specified resistance, temperatures and more.
  • PINFA North America: PINFA is a not-for-profit organization with the goal to educate about and support fire safety and sustainable chemistry.
  • Plataine: Digital thread solution delivers a holistic view of the process chain from raw material to end product in a fully automated, paperless process.
  • Polynt Composites: At the Composites One Demo Zone, Polynt is highlighting four resins that achieve excellent surface quality, dimensional stability, high strength, ease of processing and even resin flow visibility.
  • Polytek Development Corp.: Endurance Technologies brand, Custom Polymer Designs, demonstrates CPD 2110A/9234B capabilities in the Composites One and Closed Mold Alliance Demo Zone, alongside featured Polytek-brand tooling board. 
  • PPG: PPG Semco offers a range of products intended to store, mix, dispense and apply specialty chemicals like component adhesives, sealants, encapsulants and more.
  • Precision Measurements and Instruments Corp.: PMIC is an ISO/IEC 17025-accredited laboratory fulfilling materials and components testing services for a variety of end markets.
  • Propex Furnishing Solutions: Propex Furnishing Solutions reveals its newest developments in self-reinforced composite technology including polymer-based Curv, Curv Tactical thermoplastic composites and Curv-on-Core technology.
  • Qarbon Aerospace: Qarbon Aerospace exhibits its capabilities in manufacturing composite components and assemblies, highlighting its proficiencies in major assembly and systems integration, automated layup, hand layup, high-temp composites and core fabrication.
  • Radius Engineering: Radius Engineering enables aerospace customers to use qualified prepregs to produce net-shape composite structures out of autoclave via its SQRTM and RTM workcells.
  • Renegade Materials Corp.: Renegade Materials is promoting its high-performance prepreg, RTM resin and adhesive products for use in demanding aerospace applications. 
  • Rotaloc International: Rotaloc bonding fasteners come in a variety of baseplate styles, threads, sizes and materials for high-strength, nondestructive bonding with fiber-reinforced composites and thermoset/thermoformed plastics.
  • Roth Composite Machinery: Roth presents products and services including machines for wet and towpreg winding, and robotic filament winding for composite pressure vessel production.
  • Saint-Gobain Vetrotex: Saint-Gobain Vetrotex leverages its fiberglass manufacturing experience to provide tailored local and global solutions and customer support.
  • Schmidt & Heinzmann: Schmidt & Heinzmann optimizes the manufacturing process of composite materials through an integrated deburring cell. 
  • Schott & Meissner Maschinen- und Anlagenbau GmbH: Schott & Meissner sets its sights on economic, energy-saving solutions, offering machinery ranging from thermal bonding ovens, dryers, laminators, double-belt presses and other periphery equipment. 
  • Schuler North America: Schuler’s smart control systems are said to achieve high material savings by reducing waste throughout the material cutting, distribution and forming processes.
  • Scott Bader: Scott Bader North America showcases its Crestabond and Crestomer structural adhesives, Crestafix bonding pastes, Crestapol urethane acrylate resins and Crestamould tooling systems.
  • Sekisui Chemical: Japan-based Sekisui Chemical presents its various composites-focused divisions and the various materials, process technologies and services that are available through each.
  • SGL Carbon: SGL Carbon showcases its entire product portfolio, from carbon and oxidized fibers as well as textile semi-finished products to finished composite components for various industrial and automotive applications.
  • Smartech: Smartech underscores its industrial reusable vacuum bagging products for reduced waste, easy debulking and the capability to be used for complex projects.
  • Solvay: Fast-curing epoxy surfacing film SolvaLite SF200 generates a smooth surface and Class-A finish desired in composite automotive applications.
  • Specialty Material Inc.: Specialty Materials’ specialty composite materials deliver novel systems improvements including improved structural integrity, controlled thermal expansion and radiation shielding.
  • StateMix: StateMix’s VM-1000-VAC model can simultaneously mix with vacuum capabilities of up to 1,000 grams of material.
  • SWORL: SWORL’s lightweight spray fabricated reusable and sealing mechanisms are readily applicable for autoclave or infusion processes.
  • Symmetrix Composite Tooling: Symmetrix Composite Tooling highlights its high-quality sub-millimeter-accurate composite tooling services and its ability to undertake a wide variety of projects.
  • TE Wire and Cable: TE Wire and Cable creates high-performance temperature measurement, signal processing wire and cable solutions targeting aerospace and other industries.
  • Technical Fibre Products Inc.: TFP’s Optiveil, Optimat and Tecnofire range of materials are multifunctional, designed to overcome a number of challenges in composites with functionalities like EMI shielding, fire protection and corrosion resistance. 
  • Teijin Carbon America: Teijin Carbon America demonstrates its specialization in carbon fiber and other composite materials across industries, including Tenax, Pyromex OPF and Tenax Thermoplastics lines.
  • Teubert: Teubert highlights enhancements made to its continuous compression molding (CCM) system, including production scale-up, reducing required energy during production, live measurement of pressure distribution.
  • The Fab School: The Fab School, based in California, offers a blend of theory and real-time, hands-on classroom training in the fields of composites manufacturing, laminating and repair.
  • Thermal Equipment Corp.: TEC highlights its range of services and capabilities, including its Off-The-Shelf (OTS) Autoclaves which deliver robustness, quality and reliable performance.
  • Thermo Fisher Scientific: The company’s Avizo Software is an all-in-one image analysis platform for the visualization, processing and quantification of fibrous materials.
  • Thermwood Corp.: The LSAM Additive Printer 510 is on display at Thermwood’s CAMX booth to 3D print composite tooling, in addition to customer-created, large-scale tools exhibits.
  • Toray: The Toray Group’s specialized product portfolio includes the Torayca carbon fiber and advanced thermoplastic and thermoset composites materials used in a variety of aerospace, defense, industrial and automotive applications.  
  • UAMMI: The Utah Advanced Materials and Manufacturing Initiative (UAMMI) brings together academic and industry partners to promote composites industry growth in the state of Utah.
  • University of Dayton Research Institute: The University of Dayton Research Institute supports composite manufacturers from the beginning of the design process through first-article fabrication and subsequent testing.
  • Venango Machine Company Inc.: Venango’s MultiZone heating platens are said to reduce mold surface temperature variation by almost 400% during the compression molding process.
  • Walton Process Technologies: Walton Process Technologies highlights PCS, a software tool designed to assist with the thermal processing workflow from run setup to part production.
  • Wickert Hydraulic Presses USA: Wickert Hydraulic Presses showcases its custom hydraulic presses and fully automated press systems for demanding composite manufacturing solutions.
  • Wisconsin Oven: Composite curing ovens are designed to meet customers’ specific process requirements, featuring consistent temperature, quick heating and recovery rates, reduced maintenance and IoT capabilities.
  • Zünd America: Zünd developed the Heat-Sealing Module (HSM) for digital cutting systems to more cleanly seal, cut and handle thermoplastic composites.

Landscape Photo Credit: Technical Fibre Products (left) and The Fab School (right)


  • Taking the hand out of hand layup

    Hand layup has a long history in aerospace composites fabrication, but it’s not well suited for automotive composites manufacturing, where volumes are much higher. But the discrete placement of fiber reinforcements still has value. Research is pointing toward automated hand layup that might help this process bridge the aerospace-to-automotive divide.

  • Aerocomposites: The move to multifunctionality

    Designers envision aircraft components that do more than bear structural loads, but must first confront great complexities to actualize greater functional efficiency.

  • Ceramic matrix composites: Hot engine solution

    Disruptive designs for composites operation in 1093°C zones.

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