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Kid Dies in Pumpkins Pit

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The Vancouver Sun reports that a 20-year-old guy has died “after he was dragged unconscious from a mosh pit” at a Smashing Pumpkins concert:

Vancouver police spokesman Const. Howard Chow said three or four young men dragged the victim out of the mosh pit toward security shortly after 9 p.m. Monday.

The victim was then taken to St. Paul’s Hospital, where he later died, Chow said in an interview tonight. […]

“It’s a challenge for police whenever we’re at events like this because of the lighting, because of the noise and because of all that’s going on,” Chow said.

Be careful out there, kids.

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Buddyhead Gossip Update

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Finally. After months of neglect, those mean brats at Buddyhead came back with a giant, 6,000-word gossip update and simultaneously reintroduced the word “jive” into the lexicon as the ultimate pejorative. Welcome back, fucktards!

Some highlights…

On Jesus and Mary Chain: “Well here’s the bummer part… Besides the Reid brothers openly admitting in the press that they’re still not on good terms with each other, and are only really doing the reunion for the dough, we’ve also heard that instead of going the obvious route and calling up Hope Sandoval to sing all the female vocal parts, William and Jim are letting Justin Timberlake’s slam piece, Scarlett Johansson, sing those songs. This is an obvious neglection of the very important “NO ACTORS ON STAGE” rule. Especially when said girl has a man voice, and was in Home Alone 3. If this rumor is true, and she does end up on stage with JAMC, Buddyhead will be rewarding anyone who can welcome that poser to rock n’ roll by tagging her with a cup of beer. We’re talking cash prizes here kids. Do us proud.”

More highlights after the jump…

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Jimmy Chamberlin: Life Begins Again

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Jimmy Chamberlin's life begins againOver the course of a few years in the mid-’90s, the Smashing Pumpkins grew from college rock buzz band to alternative rock institution. But just half a decade later, the group’s split was already a forgone conclusion to fans and critics alike. The shaping forces of mainstream acceptance had dug deep into the band’s flesh, afflicting its sound as well as its internal operations.

A devout Pumpkinhead since 1993’s Siamese Dream forever altered my understanding of what music could mean, I had followed the band through the glory days of their ambitious and commercially successful double-album Mellon Collie and the Infinite Sadness (still the best-selling double CD of all time) to the musically disparate, but still intimate and beautiful Adore, then on to the frustrating Machina: The Machines of God, and finally to the lost hooray, the “illegally” distributed and aptly-titled Machina II: The Friends and Enemies of Modern Music. When the announcement of the breakup came, I was chagrined, but not surprised. Mostly I looked forward to the future and imagined the treasures my favorite musicians would bestow upon me in years to come.

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