The teddy bear effect refers to the phenomenon where a passive listener appears to impart wisdom to a speaker without doing anything other than listening. People who ask someone a question expecting to learn something from the answer often discover the answer for themselves simply through the act of phrasing the question verbally.
The listener is compared to a teddy bear because a stuffed animal (or other sufficiently anthropomorphic "listener") would have served the same purpose. The speaker, by analysing their problem to phrase a question in terms the listener can understand, frames the expected answer. For example, a "Why?" question generally has a "Because..." answer.
This is the opposite of talking to a brick wall, where the listener does not seem to be paying attention.
The listener is compared to a teddy bear because a stuffed animal (or other sufficiently anthropomorphic "listener") would have served the same purpose. The speaker, by analysing their problem to phrase a question in terms the listener can understand, frames the expected answer. For example, a "Why?" question generally has a "Because..." answer.
This is the opposite of talking to a brick wall, where the listener does not seem to be paying attention.
The Bridgeheads are a London-based alternative band formed in 2007 originating from Central Europe (Slovakia). The band's current line-up consists of Tomas dAsK (songwriting, vocals, guitar), Joseph Lemee (guitar), Michael Twisb (drums and percussion).
The Beginning
The band began life as The Bridge formed by Tomas during his art college studies. Since then the band have toured Europe constantly, playing over 150 shows to enthusiastic audiences in Berlin, Prague, Vienna, Budapest, Warsaw and numerous other cities. They have gained a cult status among loyal fans in Central Europe, thanks to their expressive, tense live performances.
In 2007 they moved to London and changed their name to The Bridgeheads, “From the beginning this city has had a deep effect on the music I write,” says Tomas.
After their well-received secret show in London, they went into the studio and recorded a moody apocalyptic set about the dark site of human existence and the city. From these recordings 3 songs "Things", "Animals" and "Expression" make up their new EP entitled "Things". This new EP amply demonstrates the breadth of dAsK's songwriting skills and clearly illustrates the band's considerable talents.
Sound and Art
The Bridgeheads` organic sound is a mix of rich guitar textures and a combination of intricate and linear drumming, woven together with intensely penetrating vocals. Their songs often deal with personal themes and the things that aren't so nice about life. dAsK's angst-ridden and ironic lyrics are brought to life by his unique voice using all of its elements, including falsetto. "For me sound is visual, and we as a band are literally drawing our music as if with a paintbrush ", explains Tomas, who keeps a tight leash on everything related to the band, from doing his own artwork to shooting the bands music videos, his attention to detail ensures the whole aesthetic of the band is true to them.
Fragile, tense and personable, The Bridgeheads` music is built in the mould of a long line of bands that see a beauty where the others can't.
Their new EP "Things" is released worldwide and for downloading on September 10th and the band strike out on a UK and European tour in October.
Discography
EP
Things (2007)
The Beginning
The band began life as The Bridge formed by Tomas during his art college studies. Since then the band have toured Europe constantly, playing over 150 shows to enthusiastic audiences in Berlin, Prague, Vienna, Budapest, Warsaw and numerous other cities. They have gained a cult status among loyal fans in Central Europe, thanks to their expressive, tense live performances.
In 2007 they moved to London and changed their name to The Bridgeheads, “From the beginning this city has had a deep effect on the music I write,” says Tomas.
After their well-received secret show in London, they went into the studio and recorded a moody apocalyptic set about the dark site of human existence and the city. From these recordings 3 songs "Things", "Animals" and "Expression" make up their new EP entitled "Things". This new EP amply demonstrates the breadth of dAsK's songwriting skills and clearly illustrates the band's considerable talents.
Sound and Art
The Bridgeheads` organic sound is a mix of rich guitar textures and a combination of intricate and linear drumming, woven together with intensely penetrating vocals. Their songs often deal with personal themes and the things that aren't so nice about life. dAsK's angst-ridden and ironic lyrics are brought to life by his unique voice using all of its elements, including falsetto. "For me sound is visual, and we as a band are literally drawing our music as if with a paintbrush ", explains Tomas, who keeps a tight leash on everything related to the band, from doing his own artwork to shooting the bands music videos, his attention to detail ensures the whole aesthetic of the band is true to them.
Fragile, tense and personable, The Bridgeheads` music is built in the mould of a long line of bands that see a beauty where the others can't.
Their new EP "Things" is released worldwide and for downloading on September 10th and the band strike out on a UK and European tour in October.
Discography
EP
Things (2007)
The Joneses formed as the Southern California Punk movement found new life at the beaches: Venice, Hermosa & Long Beach. After 1978-79, this 2nd generation of Los Angelean punk-rockers filled the breach caused by the demise or major label contract-signing of Hollywood punk role models The Weirdos, X and The Germs. Drawing from influences as diverse as Hank Williams and The Hollywood Brats, the Joneses arrival on the scene heralded much that was to follow in coming years. They were years ahead of their time in appearance and sound: both were the aftermath of a high-speed, head-on collision between an Exile-era Stones and The New York Dolls - with The Ramones riding shotgun and The Clash being pulled behind in a trailer. This, while surfers at the beaches finally cut their hair, only to chase and curse The Joneses and their ilk, yelling: "punk rock faggots!" and suchlike.
The Joneses first seven-inch, 45 rpm single was "Criminals in My Car" b/w "Jonestown." Less than 1,000 copies were pressed. They next released a pair of songs, "Graveyard Rock" and "Pillbox," on the seminal 1982 SoCal Punk, 1st BYO Records compilation, "Someone Got Their Head Kicked In." "Pillbox" has been critically acclaimed as one of founder and sole permanent member, Jeff Drake's, finest moments. "Pillbox" presaged many of the best of Drake's songs that were to follow. At it's finest, Drake's songwriting combined wicked hooks and melody with a world-weary, intelligent humor. His dirty Les Paul Jr. guitar, whining vocals and lean-though-potent instrumentation, started early references to the Joneses as "The Heartbreakers, West."
The EP "Criminals" was the Joneses next released recording.
Another essential L.A. punk rock compilation, "Hell Comes to Your House, Volume 2," included the three Joneses tracks: "I'm Bad," "She's So Filthy," "Black Cat Bone."
The Joneses were voted "Best Live Band" in the 1985 L.A. Weekly Readers' Poll. Arguably the best-loved incarnation of the Joneses, the 1985-86 line-up included, in addition to Drake, three ex- or future-ex members of The Mau-Mau's: Scott Franklin (the Cramps), Paul Black (L.A.Guns) and Johnnie Sage (Christian Death).
A full-length LP, "Keeping Up With The Joneses" was ultimately released. Unfortunately, as most critics noted, the version of the band that Drake assembled for the record was second-rate compared with previous incarnations. Furthermore, any mere recording of the Joneses material could never capture the tumultuous on-the-edge live performances of the Joneses at their peak. Their reputation was made and maintained on the barely controlled chaos of these shows. Bulky Steve Olson, rock-steady on bass; the whirling and twirling John James; Johnnie Sage careening around on -- sometimes falling off of -- the stage, never missing one of his G-string bending notes; and always, in the eye of this storm, Reverend Jeff Drake himself, regaling hundreds in his audience with wry humor and a dead-serious slide guitar.
In any case, the Joneses moment to break big had passed. Bands like Guns 'n Roses and L.A. Guns tried to use the Joneses singular look and sound as a template. To it they added guitar-hero pyrotechnics, self-serious lyrics and vocals, and a general excess of self-indulgence. What band from that time -- so close on the heels of the explosive Clash and Sex Pistols -- what band could cover Paul McCartney and Wings and still respect itself in the morning? To these bands, it was as if punk never happened. Their hair-metal music, it must be noted, while ridiculously profitable, was reminiscent of nothing if not mid-1970's Progressive rock. Prog-rock and it's attendant excesses caused punk to happen. The innovative collision of punk and blues that Drake and his Joneses perfected could not be duplicated by many would-be imitators.
It is commonly said that The Joneses were too far ahead of their time. Because of it, they were overlooked by the staid, conservative Corporation for Rock and Roll Recording and Profit-Making, Inc.
"Criminal History," released by "Sympathy for the Record Industry" 2/29/2000, is a 20 track retrospective of the Joneses recorded material.
As of this writing, Jeff Drake is a professor in northern California, Scott "Chopper" Franklin recently retired from the Cramps, Paul Black is a father in Hollywood and plays shows with "Paul Black's L.A. Guns" around the world and Johnnie Sage graduated from nursing school as an R.N. in 2007.
The Joneses first seven-inch, 45 rpm single was "Criminals in My Car" b/w "Jonestown." Less than 1,000 copies were pressed. They next released a pair of songs, "Graveyard Rock" and "Pillbox," on the seminal 1982 SoCal Punk, 1st BYO Records compilation, "Someone Got Their Head Kicked In." "Pillbox" has been critically acclaimed as one of founder and sole permanent member, Jeff Drake's, finest moments. "Pillbox" presaged many of the best of Drake's songs that were to follow. At it's finest, Drake's songwriting combined wicked hooks and melody with a world-weary, intelligent humor. His dirty Les Paul Jr. guitar, whining vocals and lean-though-potent instrumentation, started early references to the Joneses as "The Heartbreakers, West."
The EP "Criminals" was the Joneses next released recording.
Another essential L.A. punk rock compilation, "Hell Comes to Your House, Volume 2," included the three Joneses tracks: "I'm Bad," "She's So Filthy," "Black Cat Bone."
The Joneses were voted "Best Live Band" in the 1985 L.A. Weekly Readers' Poll. Arguably the best-loved incarnation of the Joneses, the 1985-86 line-up included, in addition to Drake, three ex- or future-ex members of The Mau-Mau's: Scott Franklin (the Cramps), Paul Black (L.A.Guns) and Johnnie Sage (Christian Death).
A full-length LP, "Keeping Up With The Joneses" was ultimately released. Unfortunately, as most critics noted, the version of the band that Drake assembled for the record was second-rate compared with previous incarnations. Furthermore, any mere recording of the Joneses material could never capture the tumultuous on-the-edge live performances of the Joneses at their peak. Their reputation was made and maintained on the barely controlled chaos of these shows. Bulky Steve Olson, rock-steady on bass; the whirling and twirling John James; Johnnie Sage careening around on -- sometimes falling off of -- the stage, never missing one of his G-string bending notes; and always, in the eye of this storm, Reverend Jeff Drake himself, regaling hundreds in his audience with wry humor and a dead-serious slide guitar.
In any case, the Joneses moment to break big had passed. Bands like Guns 'n Roses and L.A. Guns tried to use the Joneses singular look and sound as a template. To it they added guitar-hero pyrotechnics, self-serious lyrics and vocals, and a general excess of self-indulgence. What band from that time -- so close on the heels of the explosive Clash and Sex Pistols -- what band could cover Paul McCartney and Wings and still respect itself in the morning? To these bands, it was as if punk never happened. Their hair-metal music, it must be noted, while ridiculously profitable, was reminiscent of nothing if not mid-1970's Progressive rock. Prog-rock and it's attendant excesses caused punk to happen. The innovative collision of punk and blues that Drake and his Joneses perfected could not be duplicated by many would-be imitators.
It is commonly said that The Joneses were too far ahead of their time. Because of it, they were overlooked by the staid, conservative Corporation for Rock and Roll Recording and Profit-Making, Inc.
"Criminal History," released by "Sympathy for the Record Industry" 2/29/2000, is a 20 track retrospective of the Joneses recorded material.
As of this writing, Jeff Drake is a professor in northern California, Scott "Chopper" Franklin recently retired from the Cramps, Paul Black is a father in Hollywood and plays shows with "Paul Black's L.A. Guns" around the world and Johnnie Sage graduated from nursing school as an R.N. in 2007.
On December 23rd, Gerald Richardson crashed his Mazda mini-van through a wall of the WLS-TV news studio during a live airing of the 10 p.m. newscast in downtown Chicago. Richardson shouted “Ho!” after he partially crashed through a studio wall, interrupting news anchor Ravi Baichwal. Witnesses to the event saw Richardson make a series of u-turns before crashing into a section of thick bullet-proof glass, which did not shatter and prevented the van from proceeding into the studio. Following the crash, Richardson fought with police officers and asked what he had done wrong. Chicago police charged Richardson, who was 25 at the time and from , with criminal damage to property, reckless driving, driving without vehicle insurance, and two counts of resisting arrest. Richardson’s family told reporters that Richardson had a history of mental illness and had intended to submit him for psychiatric examination following the holiday season.