Fun With Insomnia Blog

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HEALTH

Posted By DR. GIFFORD-JONES

Posted 14 hours ago

Last week I reported that “dirty electricity,” generated by computers and other electrical devices, has been linked to unexplained aches and pains, depression, sleepiness, ringing in the ears, headaches, and a foggy brain. An international group of scientists believes that electromagnetic radiation (EMR) from dirty electricity can cause an increase in brain malignancy.

Dirty electricity is produced when transformers convert clean 60 Hertz household current into low voltage power for electronic devices. This creates micro surges of electricity that contain up to 2,500 times the energy of a conventional 60 Hertz system. This electrical pollution causes a negative effect on our health.

Dirty electricity is bad for everyone, particularly children. A Swedish study reported that teens who use cellphones have a five times greater chance of developing brain cancer than adult users. Since children’s skulls are thinner, cellphone radiation penetrates a far larger proportion of brain tissue.

In May 2010, the World Health Organization (WHO) released a 10-year study into cellphone use and cancer rates. The WHO recognized a significant correlation between malignant brain tumours and people who used their cellphones, wireless home phones or wificonnected for more than 30 minutes combined daily.

Since everyone, including children, will continue to use cellphones, what can be done to decrease the risk of dirty electricity? Parents can practice what is known in Europe as the “Precautionary Principle” which means using old-fashioned horse sense. For a start, it’s prudent not to expose your family to unnecessary radiation, such as purchasing a home near a transmission tower.

Replace all the dimmer switches in your home with regular ones. Even when turned fully on, dimmers contaminate an entire home’s electrical wiring with dangerous high frequency energy. Avoid low-voltage halogen tubes and energy-efficient compact flu-rescent lighting. Virtually all of these technologies create dirty electricity.

Replace your TV monitor and TV with a new LCD, as they emit much less EMR. If you can’t live without a microwave oven, stand at least 1.5 metres away when it’s on, or better still, get out of the kitchen. And get rid of cordless phones, which constantly emit dirty electricity even when not in use.

Teach your children to use cellphones like porcupines make love — very, very carefully. For instance, it’s ludicrous and dangerous that some teenagers are actually sleeping with cellphones under their pillows. This subjects them to radiation for hours at close quarters. Stress that it’s important to turn on cellphones only to check messages and return calls. And carrying a cellphone in a pocket can decrease sperm count.

Use the speaker on the cellphone to keep it away from your head, or buy compatible earphones that can attach to the device. Being just a short distance away can decrease radiation exposure from 1,000 to 10,000 times.

Remember that texting with a phone exposes a person to the same radiation as talking on the phone. This practice just radiates a different part of the body.

I’ve added another safeguard for my children and grandchildren. I’ve given them a xZubi device, a small, paper-thin, circular component to stick onto their cellphones. This tiny disc protects the body by a physical alteration of the cell phone signal and sells for under $24.95. It’s a cheap insurance policy to protect them against dirty electricity. Dr. Glen Rein, president of Quantum Biology Research, says that the xZubi device neutralizes the radiation emitted by cellphones.

For years I’ve urged readers to guard against the dangers of needless radiation. This has not made me popular with some organizations. But whether you’re dealing with cellphones or other medical problems, rule number one is to always practice prevention. So unless we get smart with cellphone use, we may have a tsunami of brain cancers years from now, as damaged DNA takes years to cause malignancy.

We can’t escape from all radiation exposure. But with millions of people using cellphones, the xZubi device can at least decrease the damaging effects of dirty radiation.

The xZubi device can be obtained by calling the toll-free number 1-877-809-7070, or see the web site www.xzubi.ca.

Dr. Gifford-Jones’ common sense-based medical column, offered with the occasional dash of humour, has been published in Canadian newspapers for 30 years.

The Canadian Food Inspection Agency is warning consumers to stay away from Leadbetters Foods Cowboy Beef Burgers because they may be contaminated with E. coli.

Affected Leadbetters Cowboy Beef Burgers were sold frozen in 2.27 Kg boxes. (Canadian Food Inspection Agency)The warning comes as CFIA, Health Canada and various Ontario public health agencies investigate an E. coli outbreak in Ontario.

The affected burgers are sold frozen in 2.27-kilogram cartons containing 20 burgers each. The UPC code on the packages is 8 73587 00003 5 and code 20169.

The manufacturer, Leadbetters Foods of Orillia, Ont., is voluntarily recalling the burgers from the marketplace.

The CFIA advises that food contaminated with E. coli may not look or smell spoiled, but can still cause serious illness.

Symptoms include severe abdominal pain and bloody diarrhea. Some people may have seizures or strokes and some may need blood transfusions and kidney dialysis.

Severe illnesses from E. coli could be fatal.

Guest editors Barbara J. Coffey, MD, MS, from the New York University Child Study Center, and Judith Rapoport, MD Chief, Child Psychiatry Branch, National Institute of Mental Health, NIH describe the current reality of these challenging neuropsychiatric disorders in the editorial, “Obsessive-Compulsive Disorder and Tourette’s Disorder: Where Are We Now?” They conclude that “studies are still few, and validated predictors, moderators and mediators of treatment response are still very much needed.”

Riluzole, a drug approved for treating patients with the neurodegenerative disease amyotrophic lateral sclerosis (ALS), has shown promise in psychiatric conditions such as OCD in children and is currently being studied in a clinical trial that will assess its efficacy and side effects in young people who have not benefited from standard-of-care treatments. Paul Grant, Jane Song, and Susan Swedo from the National Institute of Mental Health (Bethesda, MD) describe the potential for riluzole to help control OCD symptoms based on its ability to block the release of glutamate from nerve cells. Although the drug appears to be generally well tolerated at therapeutic doses, cases of pancreatitis in children, an uncommon adverse effect associated with riluzole use, are cause for concern, as the authors report in the article, “Review of the Use of the Glutamate Antagonist Riluzole in Psychiatric Disorders and a Description of Recent Use in Childhood Obsessive-Compulsive Disorder.”

James Leckman, MD, and colleagues from Yale University (New Haven, CT) and University of Groningen (The Netherlands) present a review of the literature describing the current understanding of how various brain circuits, neural networks, and chemical neurotransmitters are involved in causing the motor and vocal tics associated with Tourette’s disorder. In the article, “Neurobiological Substrates of Tourette’s Disorder,” the authors propose that improved imaging technology will help identify specific brain circuits that might be targets for new drug development.

Tanya Murphy, MD, Roger Kurlan, MD, and James Leckman, MD, from University of South Florida (Tampa), Overlook Hospital (Summit, NJ), and Yale University School of Medicine, explore the suspected role of infectious agents and, in particular, Group A Streptococcus, in OCD and TD. In the article “The Immunobiology of Tourette’s Disorder, Pediatric Autoimmune Neuropsychiatric Disorders Associated with Streptococcus, and Related Disorders: A Way Forward,” they review the evidence that points to pediatric autoimmune neuropsychiatric disorders associated with Streptococcus, called PANDAS, discuss the ongoing controversy regarding infectious triggers of these disorders, and call for the National Institutes of Health to convene a panel of experts to explore new treatment opportunities based on an infectious disease mechanism.

“We are proud that two of our Associate Editors and two of the nation’s leading experts, Drs. Judy Rapoport and Barbara Coffey, have edited this important issue on disorders that affect millions of children and adolescents in our country today,” says Harold S. Koplewicz, MD, Editor-in-Chief of Journal of Child and Adolescent Psychopharmacology, and President, Child Mind Institute, New York, NY, and Director of the Nathan S. Kline Institute for Psychiatric Research, Orangeburg, NY.

ScienceDaily (Sep. 9, 2010) — Taking medications to treat insomnia symptoms and anxiety increases mortality risk by 36%, according to a study conducted by Geneviève Belleville, a professor at Université Laval’s School of Psychology.

Details of the study are published in the latest edition of the Canadian Journal of Psychiatry.

Dr. Belleville arrived at these results through analysis of 12 years of data on over 14,000 Canadians in Statistics Canada’s National Population Health Survey. The data includes information on the social demographics, lifestyle, and health of Canadians age 18 to 102, surveyed every two years between 1994 and 2007.

During this period, respondents who reported having used medication to treat insomnia symptoms or anxiety at least once in the month preceding the survey had a mortality rate of 15.7%. Respondents who reported not having used such medications had a rate of 10.5%. After controlling for personal factors that might affect mortality risk, notably alcohol and tobacco consumption, physical health, physical activity level, and the presence or absence of depressive symptoms among participants, Dr. Belleville established that the consumption of sleeping pills or anxiety-relieving medications was associated with a 36% increase in the risk of death.

A number of hypotheses have been put forward to explain the link between use of these medications and increased mortality. Sleeping pills and anxiolytics affect reaction time, alertness, and coordination and are thus conducive to falls and other accidents. They may also have an inhibiting effect on the respiratory system, which could aggravate certain breathing problems during sleep. These medications are also central nervous system inhibitors that may affect judgment and thus increase the risk of suicide.

“These medications aren’t candy, and taking them is far from harmless,” commented Dr. Belleville. “Given that cognitive behavioral therapies have shown good results in treating insomnia symptoms and anxiety, doctors should systematically discuss such therapies with their patients as an option. Combining a pharmacological approach in the short term with psychological treatment is a promising strategy for reducing anxiety and promoting sleep.”

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Story Source:

The above story is reprinted (with editorial adaptations by ScienceDaily staff) from materials provided by Université Laval, via EurekAlert!, a service of AAAS.

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Journal Reference:

1. Geneviève Belleville. Mortality Hazard Associated With Anxiolytic and Hypnotic Drug Use in the National Population Health Survey. Canadian Journal of Psychiatry, 2010; 55 (9) [link]

When TV On the Radio guitarist and producer extraordinaire Dave Sitek decided to release an album to, in his word ‘get a bunch of pop music out of my system’, he decided his own singing wasn’t quite up to the task, so given his impressive connections he just flicked through his talent-filled Rolodex to give voice to his Maximum Balloon project.

Sitek himself produces a pretty consistent musical backing throughout the record, actually working within a relatively limited scope in terms of instrumentation: guitar, bass, synths, drum machines with the pretty odd album horn part thrown in. Basically the same sonic palette as TVOTR themselves, but texturally free of the more abrasive aspects of their sound, whilst also shying away from the weighty subject matter that sees critics treat each TVOTR album like a state-of-the-nation address. Guitars scratch out a classic Chic funk sound and the synths glisten or buzz in the style you would expect of a modern pop record, the whole sound bristling with a sexuality befitting its seductive rhythms.

The album opener sees Theophilus London plead “I want you to groove me baby over a punchy bass beat which thrusts purposely, while the trebly hi-hats are almost lustily breathless in themselves between the muted guitar and lively keyboard riffs. Lead single ‘Tiger’ works to similar effect. Without resorting to imagery of thrusting pelvises for every song, the beat and filthy synth belches really do engender a (t)humping motion, which Dragons of Zynth rapper Aku prowls his way around ( literally meowing at one point), before the song culminates in a slick disco face-off of guitar and parping horns. Model Daisy Lowe certainly saw the potential when she asked to use the song for the purposes of writhing around in her underwear for Esquire (ahem, this way gentlemen).

The record isn’t overly libidinous however, thanks to the ever-changing gender of the singers throughout. ‘If You Return�� throbs with intent whilst simultaneously providing a soft bed of sound for Yukumi Nagano, of Swedish electro-poppers Little Dragon, to coo sensually. It’s tracks such as this that demonstrate how liberated Sitek is by the notion of the record being a one off. Untrammelled by any concern for recreating the tracks in the live arena he has free rein to layer different sounds, predominantly synth sounds, as intricately and/or densely as he likes. Part of the thrill of tracks such as glistening disco-pulsed ‘Young Love’ is just how much he can pack into the song, yet Sitek knows when to strip a song back, letting the Moroder-esque disco foundation stretch out euphorically as Ford’s voice soars majestically on the outro.

When the more abrasive textures for which Sitek is better known do appear it’s quite appropriate that they do so in the company of Tunde Adebimpe. A metronomic beat is disrupted by messy cymbal splashes, the angular guitar hooks are gnarled and nasty, whilst synths bleep and buzz ominous melodies. Adebimpe sticks to the carnal theme however, “I’ll be your messenger, your minister, your morbid curiosity, in the hands of the night you’re a plaything“. While Adebimpe’s contribution sounds debased, fellow bandmate Kyp Malone’s appearance on ’Shakedown’ is merely debauched, although irresistibly so, recalling Prince with his breathy falsetto over fidgety funk and smouldering lounge effects all at a woozy tempo.

If it all sounds rather preoccupied with the pleasures of the body at the expense of the soul then thatâ€�s because it is really. The point of the record isn’t to tackles the same weighty political/social/personal matter that his full-time band do, but all the same the record could do with a dose of pathos. �™Lessons’ attempts a more sombre tone, but the melody lacks an interest which the over-processed beat canâ€�t compensate for, while the glitch-ridden ethereal strains of closer ’Pink Bricks’ suffers from the same problem, despite soothing vocals by the impossibly named Ambrosia Parsley. Somehow a beautifully sedate vocal from Karen O manages to imbue ‘Communion’ with a greater feeling than should really be possible given that she spends most of the song pleading â€�Gimme that beat”.

Of the big name vocal contributions only David Byrne disappoints. Not that there�€™s anything terribly wrong with ’Wrestling Apartments’ per se, but it is musically so indebted to post-Remain In Light Talking Heads that it just feels like Byrne is basking in his own influence, although it’s sort of fun all the same. Ultimately that’s a disclaimer that could apply to the record as a whole; although it’s never groundbreaking, it‘s a dizzyingly good pop record, and while the contributions from TVOTR members bode well for their next album, Maximum Balloon really about a great producer/songwriter exhibiting his considerable talents free from the pressure and expectation of his day job.

Bono, while getting ready for the resumption of the band’s mammoth 360 tour back in May, “suffered severe compression of the sciatic nerve”, as the German doctor who eventually rebuilt the 50-year-old explained.

The singer would require surgery, and extensive rehabilitation. The band would have to shelve the American leg of the tour and look to start again in Europe in August.

Fast forward to August 16. Tonight U2 will perform only their fifth show back – the second of two nights in a row at a smallish (“It’s not even 360,” drummer Larry Mullen Jr laments) football stadium in Horsens, Denmark.

Prince Frederik was in the house yesterday. Tonight it’s supermodel Helena Christensen passing for Danish royalty.

The double-header is clearly a test for Bono’s fitness – on stage he milks the audience of every last drop of energy to make it through the show.

Pre-show, Mullen says he’s surprised the frontman hadn’t done himself a serious injury a lot earlier in the band’s career.

“He’s fallen off the stage. He trips over on a regular basis and gets straight back up, never a problem. So I’m surprised… he normally bounces!”

The Edge is less likely to make wisecracks about Bono’s bung back. For the guitarist, it’s been more an existential crisis.

“We’re a band that play hail, rain or shine and no matter what’s going on physically, if somebody’s ill, got the flu, we just play. So it was a shock to me when we finally had to admit that actually we can’t perform,” he says. “Bono famously on the Joshua Tree tour fell and separated his shoulder, which is a serious injury and puts most, say, professional football players out of action for six months, yet he got strapped up and went on and we did every single show on that tour.

“So this was the first time that we went, ‘Oh wow, we’re actually not superhuman’. There is actually a human frailty involved in the band. We had to take that on board.

“The great news is he’s, I would say, 95 per cent back to full physical health, and every show he seems to be getting closer to top form, and the voice is as good as ever.”

What about The Edge’s vital bits – any RSI setting in?

“No, not that I don’t have the pretty odd album ache or pain, but nothing that’s that worrisome. This was just kind of a freak thing that occurred.”

“I’m not sure,” Mullen says, returning to Bono’s propensity for falling over. “I mean he’s totally abused himself over the years. When I thought about it, the amount of jumping off stages, the physical risks…”

“Much more in the early days too,” Edge agrees. “Early on, we took it for granted that Bono would by the end of the show be scaling the scaffolding, and on numerous occasions he scared the life out of not so much us – because we had this bizarre, unfounded confidence that he would be fine – but our touring personnel would be just quaking in their shoes.

“He on one occasion jumped from a second-floor balcony down into the crowd who grabbed him, and again I thought, ‘That was a bit much’, but our touring people just went absolutely nuts.

“I think part of the reason Bono’s never hurt himself during a show is the amount of adrenalin going through the system and he’s lost in the music so much that he’s got this resilience that no normal person would have.”

For all its magnificent runways, spider-like legs and that eye-melting, 43m-deep cylindrical television screen, for the band, the 360 playing surface is actually so small that if Bono is to fall over, he’d most likely trip on one of his bandmates. (Or perhaps he’d be momentarily blinded by the reflection off bassist Adam Clayton’s silver pants.)

The small stage area makes The Edge feel exposed – “We’re really out there in a way we’ve never been before.”

Mullen describes the stage as: “Actually quite intimate. It’s just with the other stuff around it, it looks a lot more intimidating than it actually is.

“It’s an amazing place to play. There’s a real connection with your audience that it’s hard to find in a stadium. It’s certainly the best stage I’ve ever played on. And I’m not that a—d either way, you know, like I get on, I’ll do my job, I’ll do what I have to do. But it’s nice to be on a stage where you feel, ‘Ooh, this is really something’.”

Perhaps the biggest surprise of the show is seeing the usually reluctant Mullen getting out from behind the kit, strutting the runways with a bongo drum. It’s hard to tell if he’s actually enjoying it, though.

“Sometimes hitting things for 30 years takes its toll, so the various grimaces on the face may not necessarily be to do with my dislike of what I’m doing, it might be that I’ve basically just pulled the other leg out,” the 48-year-old says with a wry smile.

“No, I like it, it’s a strange sensation. I’ve never done it before, not like that. I’ve done it being in the middle and then just running back up, but actually having to walk around and perform to people is different.

“You start to realise how crap you are at playing those drums when you’re standing in front of that many people – ‘S—, I’m really bad at this, I better go home and practise!’ “

On this European leg, the set has featured four songs from U2′s album of last year, No Line on the Horizon – Get on Your Boots, Magnificent, I’ll Go Crazy if I Don’t Go Crazy Tonight and Moment of Surrender.

Though none of the new songs have been hits to rival those they rub shoulders with in the set-list (think Mysterious Ways, Elevation, New Year’s Day, With or Without You), they really catch fire in the live show.

No Line on the Horizon has sold more than five million copies in a year and a half – that’s a disappointing result in U2 land. When Hit raises this lack of commercial success, Mullen, who had entered the room carrying his dinner (chicken and vegetables, in case you were wondering) drops his cutlery on his plate and makes to storm off.

“I won’t have it!”

A lesser band probably wouldn’t be cracking jokes. U2, however, are well in touch with the reality of the music business, and their place in it. The reception to the album hasn’t knocked their confidence.

“No Line on the Horizon, I’m still very proud of it and I think it’ll stand up against our best albums,” The Edge says. “But we probably underestimated in the environment in which we released it the importance of having maybe one song that caught fire.

“It’s reinforced that point that to puncture public consciousness right now for any music release is hard. So you’ve either gotta have some kind of platform, some massive thing strapped to your song, or it’s just gotta be such an absolute out-and-out smash hit that it does all the work for you… and I don’t think we had either of those.”

Will the next U2 release be a traditional album?

“We’re open,” Edge says.

“We’re open to whatever the music directs us to do. We feel a little frustrated that we’re constrained by this CD format when there are all these powerful opportunities to allow the work to get out there on the internet that we’re not fully making use of. But it comes down to some very fundamental questions of what’s best for the music, and we have record deals, we have publishing deals, we have to think about those agreements, and also how we’re gonna get paid,” he laughs.

“Nothing’s presented itself yet that says ‘This is it’, but I can only assume that very shortly there’ll be some very exciting new things to do in terms of the way music can be distributed using the internet and we’ll be right on it when they present themselves.”

Mullen believes the industry needs a “silver bullet” that will change everything, especially for fledgling artists.

“It doesn’t affect us, it’s too late for us, but it affects a lot of other people,” he says.

“Did the music business need a kick up the a—? Yeah, course it did. Did prices need to change? Yes of course. Are people entitled? Of course they are. But people are not entitled to have music for free. The drummer in Blur is part of this organisation to make it that everybody basically should be able to download music for free.

“That’s fine for him, he’s made enough money, he’s actually got a career, he’s actually doing very well thank you very much. A lot of artists don’t have that luxury. So it’s a little unfair and disingenuous.

“It’s an issue that’s going to come to a head over the next couple of years and hopefully somebody will find that thing and we will jump on the back of it… or maybe be on the front of it, which I’d prefer to be.”

If some teenage wannabe approached Mullen on the street, would the veteran warn him off a career in music?

“I wouldn’t warn them off, but I think they’d want to go into it with both eyes open.”

Talking to Mullen and The Edge, you get the feeling U2 will carry on regardless. The Irishmen are perpetually driven forward by a sense of discovery.

“We still get excited about being able to get into a room and actually make a piece of music that doesn’t sound really crap,” Mullen says.

“In the end, that’s what drives us, the idea that we can still get excited about this, and have fun, and feel we’re actually achieving – let’s try to be better, despite ourselves.

“Because none of us are… I mean Edge is probably pretty good, but the rest of us… I mean, we’re all good, we’re very good at being U2.”

“And the great thing is that’s all we have to be good at,” The Edge grins.

“Thankfully, because that’s probably all we are capable of being good at.”

SEE U2 with Jay-Z, ANZ Stadium, Dec 13, sold out; Dec 14, on sale tomorrow 1pm, $39.90 to $349.50, Ticketek.

Zoe Badwi walks into the interview room at Warner Music, and I’m instantly struck by how incredibly beautiful she is. Athletically slender, with tussles of dark blond hair, her rock chic leather jacket and studded boots compliment each other perfectly.

“Hi I���m Zoe,” she says. I’m definitely charmed. And I’m not in any way surprised that this dance music star with Middle Eastern-Irish heritage had also worked as an actress and model prior to her stellar music career.

“I’ve worked in a few different areas, but the moment I ventured into music, I knew it was where I wanted to be. It just brought together all the elements that I loved doing, and it comes naturally to me. It really makes me smile… and a lot of others too it seems,” she tells me.

We start by talking about her amazing new single Freefallin’ which premiered on Same Same recently. Over the weekend, it has become the #1 Club record in Australia. The #4 most-added track to radio in its first week, the uplifting floor-filler produced by Australia ’s Denzal Park has also found support at huge radio broadcasters around the country. She’s in love with the track, thoroughly enjoys performing it and is clearly chuffed it’s doing so well.

Check out the awesome video for Freefallin’ here.

From Sirens To Solo

Badwi began her foray into the music industry with the pop act Sirens, scoring 2 top 10 Aussie hits before becoming the lead singer of Black Dog, who she still performs with.

She also writes and records jingles. “I love doing them, as pretty odd album as it sounds,” she says. â€�In fact, not many people know this, but I record the jingles and adverts for AUStereo. They are so much fun… it’s one of my favourite jobs to do. Listen out! the next time you hear ‘MIX 101.1’ – thatâ€�s me!”

But it’s her work as a solo artist that that really skyrocketed her into the dance pop sphere. It was a solo career that came about as a result of a fortuitous encounter. Badwi was playing a gig with Black Dog, which TV Rock’s Grant Smilie saw. He was impressed, and after the show they talked about writing and collaborating. Badwi penned Release Me and TV Rock produced the track. The rest is history.

Badwi burst on to the scene in late 2008. Release Me shot straight to #1 where it reigned for a massive 7 consecutive weeks going on to pick up nominations at both the ARIA and APRA awards. The track’s appeal quickly took it beyond Australian shores – it was subsequently released in 26 countries around the world where it still fills dance floors over 18 months later. A-List producers the Freemasons called it their favourite track of 2009, saying that they still play it at gigs each week.

All up, that’s some pretty incredible success, especially considering that it’s only early days for this relatively new pop artist.

“It’s unreal, I know! I have to pinch myself sometimes. So much has happened so fast that I hardly have time to really get perspective on it. All I know is that Iâ��m here and that I’m loving every second of it. My music is taking me all over Australia and the world. I’m just about to head over to LA, New York, the UK… can you believe it!?”

International success and amazing gigs

Badwi’s tracks have been doing so well that it has resulted in some amazing local and international gigs over the past 12 months. As we talk about her career highlights so far she starts telling me about performing at the infamous Sensation White Party in Melbourne on New Year’s Eve 2008 alongside Erick Morillo and 40,000 punters. Then there was the time she played a gig in the Greek island of Mykonos, right on the beach front.

Just over a month ago, the singer performed in Brazil where Release Me has been the #5 most played track of the year. She was amazed by how much people – particularly those overseas where English isn’t the main language – have connected with her music.

“I was doing an amazing gig in Brazil just over a month ago… I was blown away by all the people singing my song in the crowd. Not just mouthing the words, but singing on the top of their lungs! It’s an amazing feeling to know that people connect with my music like that.”

The rainbow connection

Zoe Badwi is certainly no stranger to the gay community, having played at a number of our biggest dance parties and community events around the country. Most recently, she performed at the exclusive birthday of Rogue/Daywash party organizer Dean Murphy. And her songs have filled the dancefloors of every gay bar on our fair continent. So how exactly did her connection to the gay community begin?

“It really started when I met Sydney DJ Murray Hood,” she explains. “He had heard my track and invited me to sing it live at a gig he was organizing. My love for the gay community happened from the moment I walked into the gig and I felt all that amazing energy.

“It sounds tacky, and I’m sure everybody says it, but I really mean it… I love the gay community. They really get the music… they feel it. It’s like the whole world stops when a great track is on. The need to express yourself and dance and celebrate is just so present. And as a performer, giving it my all, I can really feel the love and appreciation back.”

Badwi has already performed at Sleaze, but says that she would love to perform at Mardi Gras, and to be given a second chance to perform at Harbour Party. She was invited to play at Harbour last year, but had to cancel at the last minute. It was a very disappointing situation for the singer.

“I was supposed to play at Harbour Party last year and I was dreadfully sick. It was the only time I’ve ever had to cancel a gig and I was totally devastated! I was so looking forward to it… the Mardi Gras crowd, the beautiful Harbour and Opera House… I really hope I get another chance to perform. That is still a gig I really want to do. I’ve never done Mardi Gras either… I would LOVE to do that!”

Her wish list and the debut album

As far as Australian producers go, Badwi has already worked with some pretty impressive names, both on production and remixes. She is currently working on her debut album, and with a stack of tracks to still write and produce, I wondered if she had any one in particular on her wish list to work with.

“I sure do have a wish list! Martin Sloveig and David Guetta are on it. It feels like a distant dream at this stage, but that is who Iâ��d really love to work with. Closer to home, I’d also really love to collaborate with the Nervo girls on some writing and tracks. I love their stuff. Just brilliant, and I think we’d do great things together.”

Warner PR tell me that we can expect Badwi’s hotly anticipated album around February next year, but the singer secretly whispers that we might have to wait a little longer than that.

“I think the record execs want the album out early next year, but I’m not in as much of a hurry… Maybe mid next year. I want to take my time and do it right.

“There’s nothing worse than an album with filler tracks. As a listener, you can tell… it feels forced and hollow, and I definitely won’t have a bar of that with my first album. I really want this album to be the best I can give. All killer, no filler.”

Does she have a particular musical direction that she feels is really her own?

“I’m personally drawn to soul, rock and pop, but I love it when it’s all just a little bit grungy. Dance is what I’m currently creating but I’ll always have those elements in the music I��m making… That’s just who I am.

“Everyone has an opinion about what you should and shouldn’t be doing as an artist, and it’s very easy to be swayed away from ‘who you are’ by what’s hot and in fashion. I think it’s really important to stay true to who I am and what I’m trying to create. I know that if I’m feeling it, if I believe in it, then I’m doing it right and I can deliver it with all I’ve got. I want to be me, bring the best of me, and be successful doing that.”

Freefallin’ is out now through Warner Music.

I’ve had my iPad for about a month now and the more I explore the available apps the more I realize iPad-optimized, high-resolution apps are a must. Some apps, still only available in iPhone format, just fall apart on the large iPad screen. I have a few I can live with because I use them infrequently, but Facebook is one I use every day. Can you believe it? Facebook still has not released an official iPad app. When you use the iPhone version on the iPad it looks horrible.

So I set out to see if there were any better apps for accessing Facebook on the iPad. I found two, Friendly and Social. Both are better than the official Facebook app but neither is the perfect solution.

   

Both apps are a major upgrade from using the iPhone Facebook app simply because they are designed for the high-res iPad screen They both have clean interfaces for easy navigation, with Friendly using navigation tabs at the top and Social using a navigation toolbar at the bottom.

   

Friendly is missing a lot of functionality. You can’t upload photos or create photo albums and you can’t create events or notes. You also can’t create a page or a group.

With Social you can’t use the new Places location feature in Facebook and the chat feature has bare-bones features and is labeled “experimental.” Despite those flaws, pretty much every other Facebook function is available. A cool, drop-down menu gives you shortcuts to post a new message, write a private message, upload a photo, create a photo album, create a group, create an event and create a page.

There is one really irritating thing about Social that gives me pause. When logging in you have to enter your Facebook information on two separate screens. The developers explain that the Social app uses a combination of the normal web page access to Facebook and the official Facebook API. This wouldn’t be as irritating if the app would retain your login info but it doesn’t do that consistently.

Both Friendly and Social display photo galleries very nicely. Friendly uses a nice slideshow interface which seems kind of pretty odd album, considering there isn’t a way to create galleries or import photos though the app.

  

As I said earlier, both apps are a major upgrade from using the low-res iPhone Facebook app on the iPad. Friendly ($.99) is more of a Facebook browser with limited functionality and a very clean interface. Social ($1.99) has a clean interface too with almost all the functionality you have in the normal web version of Facebook. If they fix the irritating double login issue, Social will be the clear winner.