Ology Magazine, published by Omnibucket

For those who are familiar with the printed version of OLOGY magazine that has been in circulation for a year now, you will be happy to know that the cross media rockstars at Omnibucket ( you may remember them from such films as... ) have decided to increase accessibility by offering OLOGY magazine online.

So why should you care?

Well, if you are a reader the biggest reason is that in offering an online version, Omnibucket is able to bring you more creative connections and quality content much faster. If you are a contributor, you are now reaching a world wide audience instead of just the previous hardcopy audience in the Midwest and Bay Area. Since there is more room we will also be featuring the work of far more creatives, which means more contributions and chances for world fame. So, put on your party hats and let’s cut the cake, OLOGY is 1 year old!!

As Germany's biggest worldwide Rock export, do you think it was important for the songs to be in English? Do you see yourself as more of an English/American rock band rather than a German one?

Klaus Meine: I think when we started as a young band it was very important to work with English lyrics because in the end they were like tickets for a world career. It was always our vision as a young German band to go all over the world and play to that audience. We became a very international band, and especially in the 80s we almost became an American band. There's not so much of a German influence in our music since we were very much inspired by English and American artists.

Rudolf Schenker: At this time it was important to sing in English. We see ourselves more as a global band with the possibility to musically build bridges between different cultures, generations, countries and continents.

If there were anything you could change about the past (yours or someone else's), what would it be?

Klaus Meine: I think the way this trip went - it's been a long, long ride and everything turned out fine. But of course there are some things, when you look back, that you'd want to have done differently. In the 80s we had a financial advisor who became something like a manager and that was a big mistake. When we found a new manager and we started all over again with a whole new organization, we never made the same mistakes again.

I think that can happen easily - you always hear of trouble bands have with record companies or managers.

Klaus: Yea it's not so easy, especially when you're based in Germany and have a worldwide career. In the past 30 years there haven’t been many German artists with successful international careers like ours (Rammstein maybe).

Rudolf Schenker: Everything is good and right the way it is. We are subject to a learning process that drives us to solve the problems that haven't been solved yet.

What kind of artistic censorship did you have to endure (for example a lot of your album covers were very sexual), and how did you deal with it?

Klaus Meine: It was interesting - We ran into trouble with a lot of covers, especially in America. Some were really great, but looking back with today's point of view they were a little over the top. If you look at a cover like "Virgin Killer" today you’d think about child pornography and stuff like this, but there were many beautiful covers too and your dad was part of this artwork history of the Scorpions. "Blackout" was an amazing cover, it was so powerful, and it was a real piece of art. We were always interested in having rock n roll and art really close together. "Blackout" became a signature artwork for the Scorpions and it still is a classic to this day all over the world. It stands out as one of the best albums we did and we're very proud of it.

Rudolf Schenker: We always tried to grace our albums with unusual covers. Looking back on it now, sometimes we may have gone too far, especially with "Virgin Killer" - that's something we wouldn't do anymore today. It was a visual representation of the lyrics of the song.

What was it like for you growing up in post-war Germany? At that time, were you aware of the past or was it something no one really talked about?

Klaus Meine: We were definitely aware of the past. In the 50s and 60s they had this German "hit music" in Germany and the music we were inspired by was English and American music. After the war there was a kind of depression in Germany and the sad past with the holocaust was something that were always aware of. We see ourselves as a sort of musical ambassador to Germany, showing people that Germans can also bring something positive into the world.

Rudolf Schenker: Due to Germany's past we were plagued by a shadow of guilt and we grew up without patriotic pride. We were careful to present ourselves in a positive way when we were in other countries, and to musically turn around the German picture and show people that not only war but also good music can come out of Germany (which has been proven many times in the history of music).

At what point in the history of the Scorpions did you get your big worldwide breakthrough and what was that like? Animal Magnetism ('80), Blackout ('82) or another time?

Klaus Meine: "Love Drive" at the end of the 70s was a very powerful and successful album, then of course "Blackout" was the next step that put us up there and made us headliners in stadiums and areas all over the world, it became a multi-platinum album. Japan went totally crazy for the Scorpions and then America was just ready. We started touring as special guests with many bands from Aerosmith and Ted Nugent to AC/DC and then with "Love at First Sting" a young band by the name of Bon Jovi became our opening act. In the early days we had an underground following in the states in the 70s, but when we played in Japan the word was out that the Scorpions were an international band. Our first show was a big festival in Cleveland, in front of 70,000 people. We were the opening act of course, and we supported Ted Nugent and AC/DC - we learned how to play big arenas and entertain people, so by the time "Blackout" came out we were ready to take the headliner position.

Rudolf Schenker: Our first feeling that we achieved a breakthrough was 1978 on our Japan tour, which was the first time we were celebrated as stars. Then, of course, the breakthrough in America and worldwide with albums like "Blackout" and "Love at First Sting". It was an incredible feeling but also hid many dangers, which could only be overcome through teamwork.

What were your feelings in 1981 when Klaus Meine lost his vocal chords? Besides the vocal chord operations, what helped you overcome it?

Klaus Meine: It was a very difficult time but I had very strong support from my family and from Rudolf. I had my Vienna connection, not only with your father but also with a wonderful Dr. Kirsten. After 2 operations he helped me build up my vocal chords and gave me the confidence to use my voice the way I was used to. When I was really depressed and told Rudolf to look for a new singer, he said "No way! Do everything for your voice and we'll wait for you until you get it back." It was an amazing triumph of friendship. It could have been the end of the road for me, but really it was just the beginning of a career that was taking off to the next level. Vienna played a big part in it, not only the album, which was a very strong record, but also that everything worked out. I remember meeting your dad for the first time and we were all so excited and out of that came something very special that still stands out today.

Rudolf Schenker: Friendship and a belief in each other.

The power of art and music cuts through everything else that is "humanoid". As the first foreign rock band to play behind the iron curtain in 1988, do you think you had something to do with the fall of communism and the end of the cold war?

Klaus Meine: I know music definitely has its share in changing the world. When we went over to the former Soviet Union, we played 10 shows in Leningrad in '88. Fans came from all over the USSR, even Siberia, to see a western rock band. It was still in the days when the KGB was everywhere and they were watching us 24 hours a day. You could feel there was a young audience and there was change in the air. A year later, when we played at the now legendary Moscow Music Peace Festival with Bon Jovi, Skid Row, and several Russian and German bands, we all went down the Moskva river in a boat one night and it was like a vision - the whole world in one boat, talking the same language - music. It was just beautiful and when we played in front of 100,000 at the Lenin stadium (they even lit up the Olympic fire), you could feel that the time of the cold war was possibly coming to an end. We knew the world was about to change - those people in Moscow were screaming and going crazy for rock music and peace. It was an inspiration for one of our biggest hits "Winds of Change" which I wrote on the way back from Moscow, a few months later the Berlin wall came down. I'm not a prophet all, but we all could feel that the old communist days were over.

Rudolf Schenker: We wrote the soundtrack for a peaceful revolution. An incredible change had occurred. Music played a subconscious role here, but it was not the underlying cause.

What do you think about contemporary pop music?

Klaus Meine: I like all kinds of stuff - I listen to whatever gives me a good feeling -Coldplay, the Arctic Monkeys, U2, Johnny Cash, AC/DC, David Gilmore, Metallica, Mark Knöplfer and Emmylou Harris' new album.

Rudolf Schenker: There is only good and bad music. In contemporary pop music there are also very good songs and music, but my heart lies in rock music.

What was the last CD you bought?

Klaus Meine: A best of from Janis Joplin.

Rudolf Schenker: Red Hot Chili Peppers, Stadium Arcadium.

Bands like Bon Jovi, Metallica, Iron Maiden and Def Leppard were your supporting acts. How did you influence each other, did you learn things from them and they from you?

Klaus Meine: When Bon Jovi was supporting us we were on top of the world, playing venues like Madison Square Gardens, the Forum and all those places. Doc McGee, who was their manager and later on became our manager in America, told Jon and the guys "You stay here and watch the Scorps and I want you to watch every move they make", and sure - they learned a lot in those days because we were on top of the game. Same with young bands like Def Leppard when they supported us on a couple tours. Metallica was supporting us on the Monsters of Rock tour when we co-headlined with Van Halen many shows from east to west. They were the young kids, the new generation, and what we learned from them was that it was the end of the 80s and the beginning of alternative music. They came on stage not dressed up at all, just jeans and t-shirts. It's was the end of the hard rock heavy-metal mania with all the hair bands going crazy with all their stage outfits. Looking at those pictures now you go "wow, what the hell is this?" You could feel something new; it was not only the new look but also new music. They were down to earth and not dressed up like Las Vegas. We're still good friends with Bon Jovi, AC/DC and Metallica, whenever they come around we go to see them. A while ago we bumped into AC/DC in New York and they invited us into the studio and Brian Johnson said "you guys sit in the control room and now AC/DC will play just for you".

Rudolf Schenker: Subconsciously we all influence each other, so it's hard to say who gives what to whom.

What special advice can you give to young people who want to become artists?

Klaus Meine: No matter where you come from, you can make it if you just follow your heart and really believe in yourself and don't listen to people who tell you some bullshit. If you have the dream, you can do it.

Rudolf Schenker: Believe in yourself, be patient and practice a lot.

How did you overcome the difficulty of being away from your family when you toured and was it something that created problems?

Klaus Meine: Touring as much as we did and still do, it's a miracle that I'm still together with my wife Gaby. So many relationships with band members didn't make it. It's not easy to have your family and to have your rock n roll family out there, so you have to have a partner that's very supportive and understands that rock music and what you do means so much and is the love of your live. If you have the right partner it really works and I'm a lucky man.

Rudolf Schenker: Meditation.

What are your plans for the future?

Klaus Meine: We're about to play the first show in our hometown (Hannover) for many, many years. We're playing for the opening game of the World Cup. They've built a big 40,000-seat area with huge monster screens for the people who can't get tickets for the game area and we are playing a show for the opening. Then we go to Russia, and at the end of the month we go to America, Cypress, Germany again and then for the first time to Mongolia. In fall we will hopefully go back into the studio for a new album for 2007.

Rudolf Schenker: Currently we are on a world tour, we're working on a new album and we are searching for more big challenges that make our world seem colorful.

World Cup prediction?

Klaus Meine: I’m hoping for Brazil and Germany in the finals. Germany has a very young team, but they are strong and maybe they can give us a surprise. When you watch Brazil play, it's like they are from another planet.

Thank you for the interview.

Klaus Meine: It was a pleasure; say hi to your family.

Rudolf Schenker: Greetings to your dad.

To learn more about The Scorpions, get a clue, cuz they rule! Or just visit www.the-scorpions.com.
To learn more about Cyril Helnwein, please visit www.cyrilhelnwein.com.

The first book of the God's Acre series is almost complete, so these cookbook entries should hopefully be looking more and more like completed pieces.

An illustrated storybook for adults, God's Acre's "stories within stories" will follow two children into a graveyard full of secrets to eventually unearth the lessons buried within. It is also an ongoing example of collaborative publishing whereby multiple artists and writers are able to flex their muscles within a single compelling narrative. Here's a quick preview...

"OK, that's enough, time to go, Izzy," Norman interrupts. "I think I can see where he's going with this and I don't like it, so we're going home," he commands, having had enough of Cephus' indulging of her imagination.

"What? Noooo! He's not done with the story!" she protests.

"Nevermind, Izzy, we've gotta get back. We're pushing out luck as it is, Granny's going to kill us if she finds out we're gone," responds Norman.

"Oh, there's plenty more of this story, little one, but don't worry, I'm sure you'll be back here again, heh heh heh!" answers Cephus with a resounding chuckle towards Isabel who is mesmerized by his every word.

"Not if I have anything to say about it, she won't," Norman objects and continues to gain control of his sister's attention "You've had quite enough of this place, Izzy, now!" he sternly commands.

"Oh. Fiiiine Normy," she complies, snapped out of her brief trance."Ok, bye bye Cephus!" she smiles and waves at the old man once more before turning towards her brother and skipping back up the path.

"Toodle-oo, little one," he answers with a wink from under the leather of his dark and misshapen hat. Norman has absolutely no idea how he's going to break his sister of her infatuation with a loon like that.

"la la la la...Norman... la la la... forty young ravens..." hums Isabel again, skipping and continuing her song as they make their way back up the path towards the house.

"Great, now you're singing songs about ravens," scowls Norman back at her. "You just make that one up too?" he asks.

"No, silly, it's the same song... duuuuhhh...." she chides him, irking Norman. "And I think I heard it from a birdie."

"It figures. If you ask questions about make-believe songs, you get make-believe answers," he mutters aloud, giving up the line of questioning. "Suit yourself, Izzy."

To learn more about God's Acre please visit www.omnibucket.com/godsacre.

He's Canadian eh?

So... you ask, what the heck is there to do on those long, cold, winter nights in the frosty depths of the Canadian tundra? Well apparently, rocking the art scene with kick ass drawings is a major pastime, at least for Omnibucket's latest rising star. That's right folks, Tyler Landry is coming at you through Omnibucket with "The Book of Clav". This full color, perfect bound, compilation of amazing art and thoughts is fresh from one of the best artists out there today. Look for more of Tyler's work from Omnibucket in late 2006 and don't say we didn't warn ya when your blood runs all maple and stuff.

Right. Obviously we know nothing about Canada, but we know excellent work when we see it and very soon, you will too.

Movie Reviews....of the future! (by "Peanutbutter Jones" Cordell)

Transformers

There is an audible squishy sound as the geek fanboys in the theater have simultaneous orgasms.
Defining moment: The Decepticon known as Tranny-bot reveals that she's "more than meets the eye."

Wolverine

In his first solo adventure, Wolverine finds out the government gave him his metal bones and used him as a living weapon. Still no clue who gave him that ridiculous haircut.
Defining moment: The loving and tasteful back-shaving scene.

Please fill out the form below and we'll give you something for free.
No, it's not pneumonia...it's something better.

Why are there so many damn songs about rainbows?
We don't know, but what we do know is that you take care of the people that take care of you, like these two.