Team Kimberlin Post of the Day

I spent some time yesterday evening nosing around in the older posts at the Kimberlin-related English-language Ukrainian news site empr dot media.* When I did a search on the term “Vindman,” I got a null response.

That seemed odd. Alexander Vindman was a born and Ukraine and was a key individual in one of the biggest international news stories of 2020, a story that involved the Presidents of both the U.S. and Ukraine. You’d think his name would have come up in the site’s coverage of the story. Vindman’s name is missing because any mention of the second Trump impeachment is missing.

I also couldn’t find any mention of Hunter Biden.

But there are several puff pieces about Joe Biden, including a post promoting a song called Dancing Hearts which celebrates the election of Joe Biden and Kamal Harris. The singer is Kelsie Kimberlin.


* The Dread Deadbeat Protector/Publisher Kimberlin change the legal name of his Velvet Revolution US not-for-profit to Protect Our Elections/EMPR Inc. in 2017. The IRS has since revoked the organization’s tax empt status, and it is no longer in good standing with the State of Maryland.

Team Kimberlin Post of the Day

Although The Dread Deadbeat Performer Kimberlin was never able to use his Justice Through Music Project not-for-profit to launch a music career for himself, he continues to use his Protect Our Elections/EMPR Inc. propaganda website empr dot media in his role as The Dread Deadbeat Promoter Kimberlin. He’s published several puff pieces about music videos by “Ukrainian – American singer Kelsie Kimberlin.”

Here are a couple of snippets from a recent post, Lviv Opera hosted Masterpiece (no, I won’t link to it):

To stress the urgency & importance of acting on our planet’s behalf immediately, Kelsie Kimberlin’s brand-new video supporting “Masterpiece” shows the beauty of our world in full bloom through the spectacular scenery available on location where it was filmed outside in the splendor of Kyiv, Ukraine, and within the artistic walls of its legendary Opera House in Lviv.

… and …

By reminding us all from sight to sound that the true wonders of the world are right there in front of us for all to enjoy, Kelsie has insightfully detailed a thought-provoking experience designed to stimulate discussion, awareness, and create the inspiration required for one & all to genuinely embrace and be proud of their responsibility to protect planet Earth. With wildly cinematic visuals and a full storyline video that has Kimberlin dreaming out loud & sounding as fantastic as ever through her brilliantly crafted lyricism, classic vibes, and remarkably passionate voice – “Masterpiece” is every bit as much of a work of art in what listeners will hear, as what viewers will see.

Both of those paragraphs are lifted from the promotional release put out by ActUpPublishing. Yesterday afternoon, the State of Maryland’s business entity search website showed this—At the end of an earlier post about the use of empr dot media to promote Miss Kimberlin career, I wrote the following:

In the past, I have avoided referring to Miss Kimberlin by name when she was a part the narrative in a post because she was a minor child. However, she is now 21 and promoting herself as a performer. I now feel free to write about her to the extent that she makes herself a public person. She has had a rough start in life as a child. I wish her well and hope that she finds a happy, rewarding, and productive future as an adult.

Team Kimberlin Post of the Day

Today is the the ninth anniversary of the most popular post ever published at Hogewash!— Review: “Nothing Else” by Epoxy (Brett Kimberlin).

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Back in 2002, Brett Kimberlin fronted a band named Epoxy and released a CD called Nothing Else. The story he spun promoting the album was that it contained songs that he had written while he was being held as a political prisoner in the federal prison system.

The band consisted of Brett Kimberlin on guitar and vocals, Wade Matthews on Bass, and Robbie White on Drums. The genre of the album is someplace between grunge and punk, neither of which are among my favorite musical forms.

Let me first comment on Mr. Kimberlin’s voice. I had heard his speaking voice in court, and I understand why some people refer to it as whinny. His singing voice reminds me of the silly voice that Weird Al uses on tracks such as Eat It. Mrs. Hoge, who listened through the CD with me, said, “Eddie Haskell.” On most of the tracks his voice was off key, usually flat.

Most of the songs could have been filler tracks on a generic grunge album. Some of the alienation in them seems to be more appropriate for a 17 year old, not someone 30 years older. Mr. Kimberlin was in his late 40s when the recording was made. However, three of the songs stood out. Vicegrip was actually interesting musically. Donuts had clever lyrics. It’s about lousy prison food and would probably get a nod of approval from G. Gordon Liddy.

Then there’s the last cut Keyhole. It was outstandingly bad. Mrs. Hoge and I met while we were in the music business, and during her career as a recording engineer, she recorded more gold and platinum records than I did. Her comment was, “If you’re gonna mike a guitar that close, you should use a better guitar and make sure it’s in tune. And get a better guitar player.”

While he didn’t do especially well with the acoustic guitar on Keyhole, Brett Kimberlin is actually a reasonably good guitarist. He probably couldn’t cut it in Nashville or LA, but could make a living in a minor market (such as Seattle) or playing the Holiday Inn circuit. Indeed, the world would be a better place if he did ignore the usual advice and give up his day job.

Nothing Else by Epoxy (Pollen Records, $16.04 from Amazon) is interesting because of who recorded it, but I can’t honestly recommend it for the musical experience it offers.

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There are still some Amazon sellers offering “used” and “collectible” CDs.

Team Kimberlin Post of the Day

The Dread Deadbeat Performer Kimberlin’s musical career has been the source of much pointage, laughery, and mockification over the years. Here’s the TKPOTD from eight years ago today.

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cameramanThe Justice Through Music Project house band Op-Critical has been putting out covers of old hits fondly remembered by baby boomers, For What It’s Worth and Paradise most recently. Now that they’ve got footage of a process server and cops that they can use, maybe they will favor us with their version of Indiana Wants Me. One of the members would be a natural for the lead vocal.


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It looks as if Op-Critical has been disbanded. The op-critical dot com website is gone and the server that had hosted it appears to have been disconnected from the Internet.

Maybe he can do a cover of the Ukrainian version.


Team Kimberlin Post of the Day

While scrolling through the empr dot media home page, I found this in the Discover Ukraine with EMPR section—A bit more poking around on the Internet turned up this information about the recording—

Produced and arranged by Vasyl Tkach/Brett Kimberlin
Mixed by Michael Brauer
Mastered by Joe LaPorta at Sterling Sound
Studio Engineers Steve Sachse, Oleksandr Sadovets
Piano Serge (Sergiy) Krutsenko
Electric Guitar Vitaly Rustamov
Organ Brian Simms
Acoustic Guitar Brett Kimberlin
Production Director Andrii Samerkhanov


Quote of the Day

Ich weiß für mich, daß ich, solang ich mein Erlebnis in Worten zusammenfassen kann, gewiß keine Musik hierüber machen würde. For myself I know that, as long as I can summarize my experience in words, I would certainly not make any music about it.

—Gustav Mahler

Multiwavelength Data Sonification: The Galactic Center

This reimagines combined x-ray, visible light, and infrared data from the Chandra X-Ray Observatory, the Hubble Space Telescope, and the Spitzer Space Telescope as sound rather than an image.

Video Credit: NASA

Golden Blasts From Out of the Past

Our basement cleaning project here at Stately Hoge Manor has uncovered a box of old DJ copy 45s leftover from my time as a radio announcer in Nashville. Everything in the box was at least 50 years old. Here are the four records that were on top of the stacks in the box.Click on the image to embiggen it. You can use your browser’s BACK button to return to this post.

The timings in red give the lengths of the instrumental intros which we routinely talked over back in the ’60s. The Xs identify the A-sides of the records. The small holes in label areas of a couple of the records identify them as not-for-sale DJ copies.