"I'm tired of hearing about street credibility," says Chuck. "It's far overblown and overrated. I think today's rappers have the basic skills, but promotional departments are just looking for lowest common denominator sales, and you really don't get creativity out of a situation that's forced. … When the stigma about the music makes a bigger statement than the music itself, it's time to re-evaluate…"

Without prompting, Chuck and Juice exhort open minds to think about what they are hearing, to search for real artistry. Their familiarity with all kinds of music is dizzying and captivating, and their passion for pure, sonic innovation is a tribute to the "top-of-their-game studio musicians who played together before multi-track machines made people lazy."

"You're never going to find a period like rock 'n' roll in its infant stage from '53 to '67. It's like a magical period," says Chuck. "What Nirvana and a lot of the grunge bands did in the early 90s was basically strip themselves down to the garage band style of the 60s, which was itself a stripped down version of the 50s. The British guys rebelled against the American pop sound, the psychedelics stripped down the British and added sound effects… Now we're looking at the next wave of rap and hip-hop so you at least want to have an open mind."

"Every genre has a way of cleaning itself," says Juice. "Unfortunately, hip-hop is making so much money right now that-that cleaning time period might have to wait a little while-while this supposed affluent time in hip-hop extends itself."

"Right, and that's the problem," says Chuck. "A true hip-hopologist would know records and musicians and all the contributors to a sound. But here we're looking at 22 years since hip-hop became a recorded form and people aren't tracing the timeline of samples or styles anymore. What you end up drinking is a hot cup of someone else's vomit."

With revolutionary albums such as It Takes Millions to Hold Us Back, Fear of a Black Planet, and Apocalypse 91 … The Enemy Strikes Black in their influential and controversial past, one would be hard pressed to label any Public Enemy contributor as less than supremely original. But, according to Chuck, today's hip-hop is more about "red-carpet Americana capitalism" than about powerful memorable music.

"Bob Dylan doesn't measure himself by what he has," says Juice. "He doesn't care about MTV Cribs … for him it's about telling a story and making people feel something real. Rappers are so narcissistic and self-centered that they don't care about anybody but themselves so eventually you don't care anything about them either."

It's not all doom and gloom. Both Chuck and Juice know that there are people out there making music with depth and substance. And Public Enemy is together again working on two new albums for release in 2004 - tentative titles are How Do You Sell Your Soul to the Soulless People Who Sold Their Soul, and New Whirl Odor. The group has started its 49th tour and by all accounts audiences haven't lost their hunger for the music Public Enemy serves up

"[With Public Enemy] it's a unique combination of a bigger picture," says Chuck. "We have four studios and many producers who actually direct and produce all the music making. Juice is one of those guys. I was fortunate enough to work with Juice when he was actually still a high school student. I kind of taught Juice some of the ropes. But now he is my teacher, but that's how it's supposed to be, you know? You bring somebody in, you show them a way. It's fortunate to be able to work full circle."

"Producers are supposed to guide artists to a vision," says Juice. "Great producers take the time to get to know their artists, find out what makes them tick and coach them to bring a project together that embodies what the person is. Public Enemy has always been a group that had theme-based albums. In my opinion those are the only albums that really work. Tribe Called Quest made theme-based albums; De La Soul has theme-based albums. You know, anybody that has an album based on a theme or tone and sense of tone … it works because you remember the body of work … you just don't remember a hot single."

Juice continued, describing each Public Enemy album as having an "underlying current of energy that is ready to explode." He talked about working with Chuck and the benefits of distance and e-mail. The Internet allows them to communicate without unduly influencing each other's pure reactions to what they are hearing. It keeps their approach and their perspectives fresh.

The Internet itself is irrevocably connected to Chuck D. In a 1999 landmark move, Public Enemy became the first multi-platinum selling act to distribute its album through the Internet before it was available in retail stores. He has also testified before congress in praise of the Internet's power and founded the global hip-hop community Rapstation.com, which broadcasts free original programming and downloads.

Now, five years after Chuck first began speaking out in support of digital distribution, pay-per-tune music downloads are all the rage and the major studios seem to have given up on blocking progress and vilifying Sean Fanning - but just barely.

"You gotta give Fanning the credit … [Napster] was popular," says Chuck. "Everybody's talking about Apple and Steve Jobs or whatever the hell as the Digital Jesus, but you gotta give credit to Sean Fanning and Napster for at least creating the possibility for iTunes."

"Yo, don't think we're knocking Apple, though," chimes in Juice. "Chuck and me both use a lot of Apple hardware and software or whatever. They're riding the waves of somebody else's innovation, but they doing a real good job of it."

Chuck also recounted that he covered the Grammys for Apple through a live web cast in 1996.

With war and scandal and social inequity continuing to plague humankind, the planet needs its dissenting minority voices to be loud and unmerciful. Whether right or wrong, through words or grooves, Chuck D and Johnny Juice are preparing funkified dissertations that will no doubt force all who listen to think.

With the help of Klipsch loudspeakers, The Children's Museum of Indianapolis continues to peak society's interest in these amazing creatures with its $25 million "Dinosphere: Now You're in Their World" exhibit that showcases what life was like when these prehistoric giants ruled the Earth.

Dinosphere, the largest, most immersive display of real juvenile and family dinosaur fossils in the United States, uncovers the history of the Cretaceous Period with three dramatic reenactment scenes, unique hands-on activities and innovative dinosaur theories.

The exhibit's centerpiece is 'Bucky,' a teenage Tyrannosaurus rex, the first juvenile T. rex on permanent display in a museum. He is also the first T. rex in which a "furcula" or wishbone has been discovered. Other species inside Dinosphere include a family of duck-billed Hypacrosaurs, a rare Leptoceratops and a nearly complete Gorgosaurus skeleton. A cousin of the T. rex, this Gorgosaurus is one of the most complete ever found.

By resting the carefully prepared fossilized bones of each dinosaur on custom-constructed steel armatures, these ancient wonders have returned to their life-size state and inhabit an environment full of convincing vegetation and rock formations.

A high-impact 20-minute sound and light show accompanies the scenes, providing insight into a typical day of "dino-life." Several compact, indoor/outdoor Klipsch loudspeakers are hidden throughout the reenactments to deliver the voice narration and ambient sounds of each environment.

In the areas surrounding the main exhibit space, families can experiment and explore at various interactive learning stations as they search for clues about dinosaurs and how they lived and died. These learning stations, designed to encourage an interest in science, will include activities such as touching real fossils, piecing together dinosaur anatomy, and sniffing for T. rex's "dinner." The computer-based learning stations utilize powerful Klipsch ProMedia 2.1 multimedia systems for sound reinforcement.

With several Pteranodons, or "flying lizards" hanging overhead, a dinosaur-inspired mural and ambient cricket chirp sounds, even the exhibit's entryway is a captivating experience. Klipsch in-wall speakers are positioned along the entryway corridor in a left/right stereo configuration to begin transporting visitors from the 21st century back to the Cretaceous Period.

"Klipsch has a solid reputation for delivering some of the best loudspeakers available so we are excited to be using their products inside Dinosphere," said Dr. Jeffrey H. Patchen, president and CEO of The Children's Museum of Indianapolis. "Klipsch acoustic engineers are world-class and they will be fine-tuning the sound environment in the Dinosphere."

Because audio plays such an important role in this exhibit, the Children's Museum relied on two locally-based A/V specialists to bring the exhibit to life. Charles Shriner, owner of MCSD Studio, produced and mixed the soundtrack for this exhibit based on scientific research to ensure that the Dinosphere reflects current theories of how these animals sounded and what the Cretaceous world was like. Ted Gregorek, owner of All Systems Go, was responsible for installing the audio equipment and making sure that visitors receive the full dynamic impact of this one-of-a-kind exhibit.

"Dinosphere is an extraordinary education-oriented and scientific-focused learning experience that will enrich the lives of children and their families," said Fred Klipsch, chairman and owner of Klipsch Audio Technologies. "This exhibit employs cutting-edge A/V technologies that will make it one of the top dinosaur experiences in the world and Klipsch is honored to be a part of it."

Dinosaurs may have died out 65 million years ago at the end of the Cretaceous Period, but their dynasty will certainly live on at The Children's Museum of Indianapolis, the largest children's museum in the United States. Make a point to come to Indianapolis, and experience this multi-sensory prehistoric adventure powered by Klipsch.

The legendary Tanya Tucker began singing at age six and by the time she was 13, Tucker hit stardom with her rendition of "Delta Dawn." After hearing her unique delivery of this complex and mature song, country music fans embraced Tucker as their own, elevating her to the honorable place she still holds as one of country music's "grande dames."

Today, Tucker has over 30 albums, 40 top 10 hits, including 10 number one singles. Last September, after a five-year hiatus, she released Tanya, which has received plenty of critical acclaim to date. This new record marks a major milestone in Tucker's career, not only because it is her 31st album, (released on her own label Tuckertime Records and distributed by Capitol Nashville Records) but because she was involved in every single aspect of making this record and it's "the best album that I have ever made in my life," she said.

Klipsch employee, Joshua Ryan Hall, had the opportunity to meet Tucker at her Southern-style mansion just outside of Nashville. He gained some insight on the new album and much more about this down-home, country gal.

History
Information gathered from www.tanyatucker.com and www.allmusic.com

Over the last 30 years, Tanya Tucker has built one of the most successful careers in country music history. Her determination and undeniable talent made her a star when she was just entering her teen years. Her singing flair placed her among the all-time, best-selling female vocalists in country music. In fact, she was one of the first singers to bring a rock 'n' roll bravado to country music.

Born in Seminole, Texas on Oct. 10, 1958, Tucker is one of the few child performers to mature into adulthood without losing her audience. Her part in starting a singing career meant wandering through Nashville with her father, trying to get someone to listen to her. She received harsh judgment from industry big shots, but she did not let the naysayers stand in her way. She kept on singing, and in 1972 her persistence paid off when she achieved critical and popular success with "Delta Dawn."

At the tender age of 15, Tucker released her first greatest hits collection and earned a Grammy nomination to boot. This teen sensation dedicated her life to singing and grew up to become a beloved country music legend. Some of her recent career highlights include becoming the first country artist to be featured in the Lifetime Television Network series, An Intimate Portrait; hosting the 30th annual Academy of Country Music Awards; being the youngest female in pop or country history to release a boxed set of career recordings; and being the first country artist to be inducted into Hard Rock Cafe's Walk of Fame.

The Interview

Klipsch employees Trey Cannon, Matt Whatley and I drove from Indianapolis to Tanya's place outside of Nashville. We arrived just after 12-noon and got right to work upgrading the crossover networks of Tanya's vintage Klipschorns®.

After a long day of radio interviews and album promotion, Tanya and her fiancé Jerry Lassiter arrived home. Jerry, an acclaimed singer/songwriter and producer of Tanya, greeted us first and he couldn't wait to crank up the upgraded Klipschorns® with his new favorite song - "Old Weakness Comin' On Strong."

Almost on cue, Tanya rode into the office/music room on a fire-engine red scooter (yes, a scooter INSIDE the house) with a smile that told us she approved of our work on the Klipschorns®. Listening to music on Klipschorns® is always an experience, but listening to music on Klipschorns® with the artist in the room is a once-in-a-lifetime experience. As we listened to parts of several tracks on a first-pressed copy of the new CD, I gained my composure and started asking my questions.

"What can you tell me about your new album?" I ask.

"We cut two of the songs right here in this office," says Tanya. "One of the songs was Oh What a Love. We made a vocal for it in the closet. I sat in there with the microphone, Jelly Roll brought his keyboards in and I sang in the closet like it was a vocal booth. We did it in two takes. I also put some strings on the song. I worked with an arranger who wrote down the notes as I hummed and then he brought it to life with a string quartet. It was rewarding to hear the sound I had been driving in my head for so long come out of the speakers. It was definitely something new."

Next, I asked Tanya if there was any type of overarching theme to the new album.

"We just wanted to cut the best album that I have ever made in my life," she says. "With Tanya we had a real clear perspective of what we wanted and that was to sing songs I felt comfortable singing. I have felt more comfortable with this album than I have with any others. I'm proud of all my records - there are a few things I would change, but not much. This new album, in particular, is different because from start to finish I was involved with every little part. Basically, I've got my fingers completely stuck in it. That is one thing I had never done before."

Switching gears, I point across the room to a framed copy of the 1974 Rolling Stone with Tanya on the cover and ask her if she remembers the special HI-FI issue insert on Klipsch and our late founder Paul W. Klipsch.

"That's right," she exclaims. "I also learned a lot about Paul Klipsch from my lawyer. I know a lot about Klipsch speakers because I own Klipschorns, Fortes, KG-1.5s, KG-.5s and Heresys. I would dig coming to your showroom to see and hear your newer speakers. It would be best for me to listen to my songs because I could really judge the quality - I know how I should sound."

I invite her to visit the Klipsch headquarters anytime and then ask her what she looks for in speakers.

"You know, I'm really not a technical person," says Tanya, "so just give me an on and off button. I want to be able to turn them on and jam it up a little now and then. I also want have the ability to turn the speakers up really loud and still have them sound great without distorting. I like listening to songs that I just cut so it is important and a real luxury to hear them with great clarity."

Over the last few years, country songs have made their way over to pop radio stations with artists such as Shania Twain, LeAnn Rimes and the Dixie Chicks. This has left many country music fans feeling like country isn't country anymore. In addition, some fans believe country music has fallen into a woeful state because country radio stations are focusing mainly on Top 40 hits and leaving out the more traditional varieties of country music. Since Tanya is a longtime pro in the genre, I ask, "What is your opinion on the state of country music today?"

"The state of country music? That's a hard one for me to answer because I don't know how to best explain it," she admits. "From what I understand, there are a lot of people that are disgruntled over today's 'country.' But you can either sit around and bitch about it or choose to do something about it. I prefer to be one of the ones that can hopefully do something about it. Music, people and times are constantly changing, and what people want to hear and see in performance today is much different than it was yesterday."

Wanting to know firsthand what life was like as a teenage superstar, I ask her about the part music played in her childhood and some of her early music memories.

"I was influenced mostly by male artists," says Tanya. "My big influences were Hank Williams Sr. and, of course, Elvis. My dad acted as my singing coach and made me practice a lot of Hank Williams' songs. These served as great examples for me because Hank sang them with such feeling, and I really needed to capture that concept. My dad would tell me when you perform you need to make people believe you've lived through whatever it is you're singing about. He said there's more to winning over an audience than smiles and laughs. Loretta Lynn and Tammy Wynette were also big icons for me, and now they are two of my best friends."

As is customary for my interviews, I ask Tanya to list her top five artists of all time.

"Number one would have to be Elvis. I like Julio Iglesias a lot. When I first heard him it was way before he hit the charts in America. I didn't know what he was singing because it was in Spanish, but I loved the way he was saying it. I figure it's a safe assumption it was something about love. Hank Williams Sr. would also make my list. Mozart would have to be another. Since I listened to Sinatra growing up, he would have to be five, but I think I should also throw Willy Nelson in somewhere."

I pointed out to the quintessential queen of country music that she just named ONLY men on her top five.

"Isn't that funny," she says. "I think Barbara Streisand should probably be in there, and Linda Ronstadt, too.

When many of us were growing up, including myself, we fantasized about being a famous movie star or musician. But Tanya was able to make that dream a reality while she was growing up. "Could you ever conceive a career that didn't include music?" I ask.

"I never really considered anything else," she says. "When I was little I knew I was going to grow up and be a singer. I guess if I had to pick something else it would have to be a veterinarian because I enjoy animals and I like to nurture them."

In showbiz today, there are a lot of fly-by-night performers so I ask Tanya, if she was talking to a new artist right now, what kind of advice would she give.

"I would say something about being true to yourself," she replies. "You see a lot of the artists kind of lose their footing, you know, and start thinking they are better than everyone else. It's unfortunate because, to me, having the ability to sing is a God given talent and I don't think you should be cocky about that. You should be appreciative, but with fame you lose all your privacy, which is automatic. Overall, I think the best advice is to be true to yourself, true to your family, and remember where you came from. Always remember what your goals were and continue resetting them. Also, when you think about others I think that you'll be thought of well."

Tanya definitely practices what she preaches because she is an advocate for the March of Dimes, the National Multiple Sclerosis Society, St. Jude's Children's Hospital in Memphis, The Doris Kupferle Breast Center and many more worthy organizations. She's also one of the most accessible country music stars around, making sure she shows her appreciation to her fans for their longtime and continued support.

A tenacious Midwestern work ethic and a bottomless compulsion to perform have kept John Hiatt writing, recording and touring for more than three decades. With 18 solo albums, countless production credits and a Grammy award behind him, Hiatt is just as excited about music now as when he first came to Nashville in 1969. Maybe more so.

"I really want to play - perform," Hiatt says. "I have a stronger desire to do it now probably than ever, really. There is no seduction of the road … that is completely gone, so the 22 hours that I am not on the stage - that's just work. I mean that is just work."

He's likeable and familiar. He seems relaxed in a simple black suit and white dress shirt. No tie. The photo shoot is over, make-up has been removed and the guitar is back in its case next to Hiatt.

"Well, you have to have the inspiration," he says. That's really what it boils down to. I mean, if that ain't there, you're pretty well screwed."

And that's how John Hiatt comes up with song. That's how Bonnie Raitt got Thing Called Love. That's what brought B.B. King and Clapton their Grammy-winning Riding with the King.

"It just kind of comes or it doesn't. I mean the muse has to show up - at least for me. Something has to set it off. Sometimes just the melody will be enough to get you going, you know? You come up with a melody and something will appear or somebody will say something and that will set you off. I think the truth is the truth, you know, and if you write about what you know it's going to ring true. I think people can recognize that."

Hiatt likes talking about music, his vocation of 34 years. He worked at a McDonalds, briefly, followed by a stock room job at an insurance company. But that was before the age of 18. After performing in a succession of bands during high school, Hiatt moved from his hometown of Indianapolis to Nashville. His third and final job would be a songwriter. He spent the early 70s penning hits for Conway Twitty, Three Dog Night and others. On a salary of $25 a week "the first four or five years were lean and mean."

He's heard every question more than twice, but he somehow listens without groaning and seems to genuinely care about his answers. He's asked every question more than twice, too. Sessions at West 54th, the PBS concert series that Hiatt hosted, has made him as good at giving interviews as he was at conducting them.

"I just wrote this song called Cold River. I wrote it in Austin. Every time I go to Austin on a tour stop, I write a song. And we stay in the same hotel by the Colorado River and that river always inspires a song. It's the river. I mean, I think it's because it comes from way out west and it carries so much of the country with it that there is so much in that river. I sat down and started playing the guitar and, you know, it's just the feeling. It just comes from the feeling. It just sort of bubbles up and next thing you know I was telling this story about a couple from another time. He was a pool hall hustler and she was a hooker. She got pregnant and they left the baby by the river and a widow found the baby and they went on to Chicago. I didn't even know the story was there. But that is the kind of stuff that happens if you are open to it."

"Are you thinking of a particular project you will use Cold River on?" I ask. "I'm going to make a solo acoustic record. In fact, I am going to try to get it out by late spring - May 2004. Just me and a guitar. I've always been messing with it and it just seemed like the time was right. And I got a few crucial pieces of recording gear together that are sort of old and the sound I'm getting out of them got me all excited to do this."

Hiatt works fast when it comes to recording. Beneath This Gruff Exterior with his band, The Goners, was recorded in just eight days. The older he gets, the less he cares about trying to share ideas. He is more interested in capturing the moment.

"I typically work pretty fast," Hiatt says. "I might spend a couple of weeks on a project but pretty much ever since, I'd say Riding with the King, the approach has been going and trying to capture a performance rather than create a studio creation … ideas are a dime a dozen. I'd rather capture a magic performance - a moment, a musical moment."

When it comes to the business of music, Hiatt describes himself as being "on the outside looking in." He has nothing to do with the corporate world, but I don't sense any animosity toward the record companies either. Hiatt and the other people who love music got out of the "business" a long time ago. He believes the music business is for the bottom-liners. They have been running it for a long while now. It's their domain so let them have it. The music folks are creating a whole new kind of industry.

"I think it's a great time just because there is so much [music] available," Hiatt says. You know, you can find any kind of music you want to find. It's unprecedented really, in that regard. You can find any type of ethnic music, any kind of world music, any kind of … there are kids making music that's never been made before."

Hiatt has great respect for his audiences. He looks up to them. He says "I've just always felt like they deserve my best." He is not sure if it was growing up around Midwestern sensibilities or his father's influence that taught him to appreciate the people who attend his concerts. Probably both.

"I have always tried to give people the best I can do, you know. So, I think that comes from my father and I think that comes from that era. That was just the way you did things, you know. And also, there is a certain tenacity, just the never give up kind of thing. Even if they tell you are never going to be able to do it, just kind of go ahead anyway. So I sort of have that. I call it Midwestern tenacity. It takes me a long time to do things, but I am tenacious. I won't give up. I'm slow, but I am tenacious."

Visit the official John Hiatt web site.

By Sarah Knight

Taking a more opened approach to one of America’s favorite pastimes, The Shops at La Cantera shies away from the claustrophobic indoor mall scene and adds a breath of fresh air to shopping.

Located in the northwest corridor of San Antonio, this outdoor retail center features upscale shops, tasty restaurants, beautiful architecture and landscaping and dynamic music – courtesy of Klipsch – to create a total sensory experience full of convenience for its customers.

When visiting this wonderfully unique destination, walking shoes are a must because its more than 150 retailers and eateries, which include Neiman Marcus, Ann Taylor, Ralph Lauren, Tiffany & Co., P.F Chang’s China Bistro, Kona Grill and Bravo Cucina Italiana, are sprinkled across 154 acres.

Over 250 Klipsch CA-525T and CA-650T full-range, 70-volt commercial loudspeakers are also harmoniously spread throughout the complex, delivering lively and engaging music that adds spring to everyone’s step.

Muzak was hired by the La Cantera property owners to design this outdoor sound system, which is zoned into four separate listening areas. For example, while light piano and guitar music plays near the upscale stores, modern music fills the space that attracts younger audiences.

Linda Rasch, account executive for Muzak, took great care in orchestrating the custom music programs and Klipsch speakers she recommended for General Growth Properties because the way a shopping environment sounds has a critical impact on the customer’s overall mood. Rasch said that with this project, because it required a seamless changeover from one listening zone to the next, it was key to choose speakers that provided both flexibility and controlled directivity on top of great sound.

“I get so many compliments on how well the Klipsch speakers transition from one music zone to the next. People know the music is changing but the amazing directivity of these speakers keep them from competing with each other,” said Rasch. “Klipsch was definitely a perfect fit for this shopping center. They are, by far, the best full-range speakers I’ve heard.”

According to Tom Morris, mall operator for General Growth Properties, unlike most shopping centers where music is either too soft or too loud, The Shops at La Cantera provides music to really enhance the experience. “Music brings you into mode and if you have to strain to hear it or block it out, it is no longer an experience,” he said. “To me, clarity is what feeds the music experience and Klipsch speakers are great at delivering it.”

Morris also said that his company is so pleased with the results that a corporate memo was distributed to its over 200 properties requesting sound system evaluations. When asked if he would use Klipsch again, his response, “Yes, most definitely.”

More than just a retail outlet, The Shops at La Cantera brings new vitality and sophistication to shopping. With its unprecedented retail and dining options, the center perfectly accommodates the personal needs of an increasingly put-upon consumer. So next time you are in South Texas, be sure to indulge.

While we haven't made it into this mega reference guide yet, if enough people made the word Klipsch part of their everyday vocabulary then it just might catch on with those editors over at Webster. Imagine using expressions such as "holy Klipsch," "Erin go Klipsch," "it's da Klipsch," "go Klipsch yourself," "may the Klipsch be with you," "grab the Klipsch by the horns," and "the whole Klipsch and kaboodle."

Because Klipsch is such a dynamic and multi-faceted term, it's important to expand on the three key words that give it such special meaning. 

Power
Don't you just love when you're at the movies and you can actually "feel" those massive car explosions, guns blazing and angry prehistoric beasts charging through the forest? Or what about when you "feel" the aggressive attack of the kick drum in your favorite song? That's just the kind of power and realism Klipsch speakers bring to your entertainment experiences.

Like a punch in the chest, Klipsch speakers deliver extremely powerful performances that are raw and direct. There's no holding back, you'll feel the impact every time you push play.

Completely unrestrained, Klipsch speakers guarantee you'll experience every heart-stopping, jaw-dropping moment at maximum intensity. And because our products are highly efficient, they can fill any size room with powerful concert hall quality sound, but without the distortion or coloration of conventional speakers. 

Detail
In order to capture the true essence of today's demanding soundtracks, you need a dynamic speaker to reveal every last drop of detail - that's where Klipsch comes in.

The imaging of Klipsch speakers is so incredibly accurate that they reveal surprising layers of detail, meaning you'll discover things in your favorite music and movies that you've never heard before. From subtle cricket chirps to glass-shattering explosions in movies and from the scrape of a violinist's bow to chugging guitar lines in music, you'll hear everything in its full glory, regardless of volume level.

If you're wondering what makes all of this crisp detail possible, every Klipsch speaker features genuine, professional-style horn-loaded technology, which delivers smooth, natural performances with unmatched precision. Horn technology reproduces a more genuine, lifelike sound and ensures every whisper of dialogue or wailing chorus is heard cleanly and accurately - just as the filmmaker or artists intended.

Emotion
If a sound system can't deliver the full potential of a perfectly tailored soundtrack, then it becomes difficult to grip the imagination. High-performance Klipsch speakers have the ability to stir the soul and leave an impression that lasts long after the closing credits or final power chord. Movie scenes and album tracks become so vivid and realistic that they are permanently etched in your emotional memory bank.

When it comes to film, the images on a screen only tell half the story. It's the sound that drives the action, creates the mood and brings a film to full circle. The guffaw, the lump in the throat, the jaw drop and the sigh are all emotional responses that emanate from a great sound experience.

Music is also capable of evoking an entire range of human emotions but if the delivery source falls short, then songs become nothing more than a compilation of "noise." A powerful song that's heard just as the artist intended can easily bring us to tears or make our spirits soar.

Whether it's a heartfelt drama, tender love song, edge-of-your-seat thriller or adrenaline-pumping tune, Klipsch speakers are designed to immerse you in the moment, adding intrigue and making movies and music more fun and entertaining.

1940s
Paul W. Klipsch, one of America's most celebrated audio pioneers, revolutionized the way people listened to recorded music when he founded our company on the promise of a corner horn-loaded speaker in 1946.

Unsatisfied with the sound quality of phonographs and early speaker systems, PWK used scientific principles to develop a "corner horn" speaker that sounded more lifelike. He called it the Klipschorn®.

The introduction of the patented Klipschorn set the standard for high sensitivity, wide dynamic range, low distortion, smooth frequency response and powerful bass. In addition to being the company's foundation product, this speaker contributed to the birth of "Hi-Fi" or the high-fidelity era.

Still manufactured and sold worldwide today, the Klipschorn represents a legacy that has guided Klipsch speaker engineering throughout the years. Every Klipsch loudspeaker is designed to the same live-sound philosophy that inspired the Klipschorn.

1950s
Considered the "Golden Age" of high fidelity, the 1950s brought better-quality sound from radio, records, and music reproduction equipment, such as loudspeakers and amplifiers.

Surprisingly, Paul W. Klipsch introduced his experimental Heresy loudspeaker in 1957, calling it the world's first center channel loudspeaker. He demonstrated it at the World's Fair in Brussels, Belgium in 1958.

1960s 
Originally designed by Paul W. Klipsch for Winthrop Rockefeller's Arkansas State gubernatorial campaign, the La Scala loudspeaker was widely used for sound reinforcement in commercial cinemas and nightclubs. It also became a favorite among college students and rock-n-roll fanatics because of its ability to play loudly with undetectable distortion.

1970s
Aside from introducing the Belle Klipsch, a more elegant version of the La Scala, for home use, Klipsch used this decade to officially launch its professional line of speakers.

Kicking things off with a very big and very powerful bang, Klipsch entered the commercial market with the 500-pound MCM speaker. Designed for touring sound and cinema applications, this colossal speaker had enough power to rock the house down.

To satisfy those pro customers needing high-performance sound but on a much smaller scale, the company also launched the pro Heresy speaker to serve as a compact PA rig or monitor.

1980s
While it is very possible that cinemas used the Klipschorn in the early 50s to wow audiences, Klipsch formally got into the professional theater business when it sold an MCM system to John Allen in 1980. Allen was responsible for doing the first ever "digital" audio presentation of a soundtrack using Klipsch speakers.

Klipsch has brought a lot to the movie-going experience since then. Today the company is considered a technology leader in the cinema industry with over 20 speaker offerings, including the first and only fully horn-loaded, THX-approved four-way cinema system. Additionally, one out of two new theaters choose Klipsch products to deliver the powerful, detailed soundtracks of today's demanding blockbusters.

As the 80s were coming to a close, Klipsch reached a major turning point. In 1989, at the age of 85, PWK sold the company to a cousin and Indianapolis businessman Fred S. Klipsch and his wife Judy. Business operations moved from Hope, Ark. to Indianapolis, Ind.

1990s
The 1990s brought a lot of growth and change to the company. With 5.1 home theater surround sound emerging, Klipsch began building its audio portfolio with the introduction of its first center channel speakers and powered subwoofers.

While not as popular as it is today, Klipsch started supplying the residential contracting market with two in-wall speakers in 1992 and introduced three more in 1995.

In 1999, Klipsch introduced the first computer speaker system in the world to be THX®-Certified. At $249, the ProMedia v.2-400 forever changed the way people thought about multimedia speakers.

Today
As the audio world evolves to accommodate the listening preferences of today's consumers, Klipsch is keeping up with the trends by delivering high-performance products that reflect society's demand for simplicity and minimalist design.

From exciting new speaker solutions for the Apple® iPod® to contemporary flat-panel products and from performance-leading satellite systems to over 30 innovative architectural speakers, Klipsch now has a product for every application, lifestyle and budget.

While Klipsch continues to stick to its audiophile roots by carrying on PWK's no-compromise spirit and engineering design genius, the company has significantly changed over the past 60 years.

What started out as a one-man show in Hope, Arkansas has evolved into a globally recognized speaker brand that employs over 300 employees worldwide, occupies 5,000 storefronts and is sold in 75 countries.

Memorable Years
1946 - Paul W. Klipsch founds company in Hope, Ark. with patented Klipschorn

1948 - PWK acquires first factory building and hires first employee

1957 - Experimental Heresy speaker is developed

1963 - PWK designs La Scala for Arkansas State gubernatorial campaign

1977 - Professional speaker line introduced

1978 - PWK receives Audio Engineering Society's prestigious Silver Medal Award

1980 - Klipsch formally enters professional cinema business

1984 - PWK inducted into the Audio Hall of Fame

1989 - Fred Klipsch (a cousin to PWK) and his wife Judy purchase company; business operations move to Indianapolis

1992 - First set of Klipsch architectural speaker launched

1993 - Klipsch taps into 5.1 surround sound with powered subwoofer and center channel lines

1997 - PWK inducted into the Engineering and Science Hall of Fame

1999 - Reference Series and ProMedia lines launched

2001 - Klipsch breaks ground on one of the Midwest's most advanced consumer audio research facilities

2004 - Klipsch THX Ultra 2 system launched; PWK inducted into Consumer Electronics Hall of fame

2005 - Klipsch acquires Jamo brand; iFi and iGroove systems wow iPod audiences

2006 - Klipsch celebrates sixty years of success; 60th Anniversary Klipschorn introduced; Klipsch acquires API

Late, as usual, I drive south on Indianapolis' Meridian Street running through questions scribbled on business cards and the corner of a Jazz Kitchen place mat. "I will stay away from questions about age," I promise myself. "Just focus on the music and for God's sake don't call him a 17-year old whiz-kid."

Aaron opens the door barefoot, wearing jeans with the long, tattered leg bottoms sweeping the floor as he walks. Belt in hand, he introduces himself. "I'm Aaron," he says. "I'm not quite ready, but please come on in." The home belongs to a supporter of the American Pianists Association, Aaron's host for two concerts in the "Circle City." From just inside the door, I'm able to see several grand pianos in the adjoining room before I notice what Aaron's wearing and start to laugh. Belt now buckled, he holds out the navy T-shirt and reads "Federal Witness Protection Program, You Don't Know Me." He flashes a subtle smile that tells me he gets the irony, too. Anonymity won't belong to Aaron Parks much longer.

"I haven't played them all, no," says Aaron, referring to the pianos. "But the ones I've played are great. I play piano, but I don't have this burning desire to test-drive every single one I see." This statement was the first of many by Aaron that illustrated how normal and down-to-earth he really is. I start the "official" interview with a softball pitch, asking Aaron to list his top five musicians. He doesn't pause. He simply responds by naming Keith Jarrett, Herbie Hancock, Brad Mehldau, Gonzalo Rubalcaba and Kenny Barron, an eclectic mix of new and seasoned jazz pianists. Before I have a chance to clarify that I don't expect him to limit his scope to the world of jazz, Aaron continues with Bjork, The Beatles and Radiohead.

"I used to really lock myself into only listening to Jazz," says Aaron. "More recently I've been getting myself away from that because I realize that there's a lot of really great music out there and there's no reason to deny myself exposure to it just because it's not necessarily the music that I play all the time."

I ask if the benefits of listening to music genres outside of jazz was a tip from Mr. Barron or something he discovered on his own.

"That's something that I pretty much figured out on my own," responds Aaron. "I figured that out by talking to people about it and everybody was talking about how great these bands were and I would think 'yeah but they're not jazz.' But then I heard some of them and I was just blown away. But there's a lot of music out there that I haven't been too interested in, like a lot of pop music today. I just haven't gotten that into it."

"You don't really care if Brittany and Justin stay together?" I ask.

"Exactly," answers Aaron. "But you know there is some music which is just so great it doesn't' need to fit into any category. I listen to a lot of classical music as well and I love Debussy and Ravel and Stravinsky, and I just started getting back into Bach."

I almost let it go. But it seems so out of place that I break my promise and ask him anyway. "Do you think it's unusual for a 17 year old in 2001 to say I just started getting back into Bach?"

"It's sort of natural, I mean it's natural to me," says Aaron. "I go through changes so much in what I listen to that I'll be listening to something completely different almost every week. I may get into one thing and then revisit it like a year later. And then I'll try to get it from a new perspective. I've listened to Bach, but I've never spent a lot of time really checking it out. I heard a Bach piece recently, I don't even know what piece it was, but it was one of the most beautiful things I'd ever heard."

I ask Aaron if he gets pressure from people who expect him to love anything and everything jazz.

"I don't know how much of that pressure I get," responds Aaron. "I do know that I don't love everything jazz. A lot of times I'll hear jazz and I'll be like, wow, this is sort of boring. I don't have a problem with smooth jazz per se. The only thing I have a problem with is the label 'jazz' being put on it because it's completely different from jazz. It does have improvisation, but it's much simpler in nature, very simple harmonic movement. It's valid music because it moves people, but I just feel a little bit strange calling it jazz. A lot of times I'd rather listen to somebody like Sting, who people have also tried to call jazz. But that's not jazz either. It's really great, but it's not jazz.

As we continue to chat about music that's labeled jazz vs. music that really is jazz, Aaron stands to stretch, walks around the room running his fingers through his hair, and finally repositions himself cross-legged on the floor. The conversation turns to Bjork and Radiohead and the dilemma of misunderstood artists. Hoping that my trick knee and knotted back muscles keep pace with the youthful prodigy across from me, I join Aaron on the floor and ask if he, as an artist, ever feels misunderstood.

"Sometimes," replies Aaron. "I'm really interested in playing music that's very rhythmic with very interesting harmonics, but I'm always labeled a 17-year-old whiz kid who's supposed to, you know, be able to play the standards and cover all the jazz bases. There are plenty of other people who are doing that and I don't really care to. I don't know if that necessarily means me being misunderstood. I just think I haven't had enough time to really decide on exactly what I want to do yet."

"Are you going to be a jazz musician?" I ask.

"Yeah, I am going to be a jazz musician. But I am going to be a jazz musician with influences by lots of different music," explains Aaron. "I am interested in pursuing stuff outside of jazz as well, but I am always going to be a jazz musician. That's my base; that's where I am coming from, not from classical music or anything else."

Turning back to my written questions, I steal from yet another Cusack film, High Fidelity, and quote Jack Black's two part question: "Can you list the top five musical crimes of Stevie Wonder during the 80s, and is it fair to criticize a formerly great artist for his latter day sins?" Clarifying, I ask: "Now that you are yourself a formidable artist, do you find former idols dull and wonder what it was that made them special to you at the time?"

"Not in the case of many of the greats," answers Aaron. "I don't think I have any right to criticize them because it's their music, not mine. But when it comes to players, I used to really be blown away by the sheer technique, the amount of chops that somebody had. Now, after listening to so many people, I've realized that anybody can get chops, but not everybody has something to say. When I hear somebody just like going on and on and frothing at the mouth, I just want to turn it off because it's boring. Yeah, it's technically impressive but that doesn't say anything to me. That's the only thing that's really changed in my viewpoint. In fact, one of the artists that I mentioned as one of my favorite piano players, Gonzalo Rubalcaba, has matured as I've matured. His earlier recordings were full of all this technique, just unbelievable, but they didn't really say anything to me. It was just all this technique all the time. Recently, he's developed a really amazing tone on the piano and is playing hardly anything most the time, very, very minimalist, and then every once in a while there's like a bolt of lightning coming out of it. I really respect his most recent music. That's sort of the opposite of the question, but I just find it hard to slam another musician."

Pointing out the profundity of this response, I paraphrase it and throw it back at him. "If people can scream at the top of their lungs while actually saying absolutely nothing, what it is it you're saying with your music?" I ask.

"I'm not sure what I'm saying. I'm just beginning to really develop my voice, you know?" says Aaron. "I'm just trying to make it. For a while I had the same problem with technique that I described others as having. I had tons of it and I used it all the time. I'm trying to change that and I think I am doing pretty well. I'm trying to build my solos more so they have more cohesiveness rather than a whole bunch of little things that don't have much to do with each other. I like to take an idea and milk it for all that it's worth. That's why I love playing with a group so much. I can hear something that somebody else does and it can give me an idea to go with for half a chorus. I'll turn it around, turn it inside and out, upside down and everything."

"What do you want out of all of this? What do you want to get out of it either for yourself or for your family or for jazz?" I ask.

"Well, it's not for money," responds Aaron, without remorse or sarcasm. "I don't make any money playing jazz. If I wanted to make money I would be a computer programmer, which I was thinking about doing for a while. And it's not to get famous, although being famous, if it happens; I don't have a problem with it. But I'm not going to change my music in order to make myself famous. I'm not going to sacrifice my music. So really the only reason that I play the music is because it makes me feel good. I know it's very selfish but that's the reason that I do it, it just feels so good."

I ask Aaron if he feels like he transfers some of that good feeling to people watching and listening.

"I hope I do. If I do then I've succeeded," says Aaron. "But I'd rather be playing in an empty room, just a musician having a great time than performing what's expected of me in a concert hall with people going crazy and me not enjoying it at all."

"Does fame frighten you at all?" I ask.

"I just don't deal with it really. Maybe I have to, I don't know," answers Aaron, half stating and half thinking. "I just think I'm gonna play my music and if people like it then they'll like it. I'm not going to try to get famous and then have somebody tell me what I should do to stay famous. Back in Seattle, fame never seemed anything strange to me. There was this Seattle Times article and I was on the front page and people started recognizing me. I thought it was amusing that people recognized me but it didn't frighten me, no."

For my final question I return to my broken promise and ask Aaron if he gets tired of people calling him a 17-year-old whiz kid.

"Yeah. I sort of wish it would just all go away. I mean, I don't feel seventeen at all. I don't think I've ever really felt like a teenager and I don't see any point in making a big deal because I'm seventeen. That doesn't make my music any better. If they like me it should be because of what I have to say not because of how young I am."

Bruce himself sums up his Hollywood career as having, "Small parts in big movies or big parts in small movies." Some of his smaller parts include his brief but electrifying role as the Surgeon General of Beverly Hills in Escape From L.A., or his "first person to die" role in Congo. Starring roles include Evil Dead I and II, Army of Darkness, Running Time and Maniac Cop. Whichever it may be, he packs a stunning presence, exploding with charm and wit and enough corny one-liners to make Arnold Schwarzenegger blush.

So what's all of this hoopla over the Evil Dead trilogy? For starters, the first movie was done on a shoestring budget and acted as a trial for a group of young friends testing their filmmaking talents. Bruce portrayed Ash, a shoot first and think later tragic hero who battles evil summoned from passages out of the Book of the Dead. All three films display imaginative camera work, over the top acting and a slapstick approach to horror. The evil may be dead, but the films sure aren't.

The trilogy has enjoyed a recent resurgence in popularity; it did not make much money at the box office, but video and DVD sales have been rampant. The fans, known as "Deadites," have a variety of DVD versions to choose from, many loaded with extra features such as the Evil Dead II limited edition, which features widescreen presentation, THX mastered Dolby 5.1 surround sound*, commentary by Bruce, director Sam Raimi and effects artists, a production featurette, video game preview, still photos, a poster replica and collector's booklet, all in a molded metal picture box.

If beefed up versions of the movies weren't enough, there is a video game, Evil Dead: Hail to the King** which plays similar to Resident Evil with Bruce voicing for Ash as he battles the evil forces with his sawed off shotgun and chainsaw. And if that weren't enough, Ash has been made into an Action Figure series by McFarlane toys. Currently, three versions of the plastic Ash are available including Army of Darkness' Evil Ash, complete with accessories.

Campbell's movies may not be A-list, but his first book, If chins could kill: Confessions of a B-movie Actor has been topping bestseller lists nationwide. The book is a detailed autobiographical look at his career, covering his humble 8mm beginnings, through his struggle in Hollywood and ending with his directorial work with Hercules: the Legendary Journeys and Xena: Warrior Princess. It chronicles Bruce's voyage into film with great detail and plenty of trivia accompanied by photos on almost every page. The newfound author feels that books are a way of establishing a direct connection with an audience while movies are interpreted by the writer, director and countless others. Bruce explained how he first started acting with his high school pals, most of which are still involved in the biz today. He omits no detail in revealing secrets behind the first Evil Dead installment, and spins tales of movie budgets, egos, the emergence of the Coen brothers and humorous run-ins with Charlton Heston. The tone of the book retains the charm and humor felt in many of Campbell's roles with a blood bath of memoirs and interviews.

Want to dig deeper into Bruce's head? Just hit one of the dates on his book tour. Aside from a few wisecracks, you will find that Bruce is just as charismatic in person as he is on film. He's quick witted and sarcastic but personable and attentive to the questions asked by those attending the event:

Attendee: "How long did the writing process take and do you have any rituals you use to prepare yourself to write?"

Bruce: "It took 4 years to write, because I was working all of the time. By rituals I'm not sure what you mean, I just fire up the computer… Word processing is the coolest thing, you just spew it out… then you chip away all of the crap."

Attendee: "What was the most uncomfortable situation you have been in with a female co-star?"

Bruce: "I know that there was an uncomfortable situation for the actress Kelly Rutherford from Brisco. There was one episode where we had to be in a manhole in the street and a wagon has to ride over the top of the manhole and then we would pop out of it. We were in there very tightly together. It was sort of like being in an airless box. You could just hear a rumbling in the ground and she thought we would not be able to go through so she punched me a little bit, but she was alright."

Attendee: "How did you get the role of Brisco County Jr.?"

Bruce: "I just auditioned, you know, just like anybody else, in front of a whole mass of people. I flipped myself in this guy's office because we had to do this sort of a fight scene. So I did not know what else to do so I hurled myself in his office and he like freaked out. Then they had me come back in front of the nationals and the guy said 'you gotta do that flip - we need that flip.' I had a total of six auditions where I had to do that flip… I had to sign a five year contract before I knew that I would get the role."

Attendee: "Were you kind of disappointed when you found out that Jack of all Trades did not last that long?"

Bruce: "No, it's the same thing being disappointed when Brisco got cancelled. You're screaming the whole time and physically it's not bad when it gets cancelled. That's what a TV show is, you have to sort of give it your best shot every day of the week. It is like working in a factory, though you guys might not believe that, it really does. Sometimes you have the feeling like you're shoveling coal."

Attendee: "I was wondering if there were any fond memories of Escape from L.A. you would like to share?"

Bruce: "Fond memories from Escape from L.A.? Do you have any fond memories from Escape from L.A.?"

Attendee: "Which movie did you like acting in the most?"

Bruce: "Since you forked out the cash, you tell me. You tell me what movie I should give you money back for. And what you owe me more money for."

Attendee: "Do you have any interest in directing a feature length film?"

Bruce: "Do you have any interest in financing a feature length film?"

The particular book signing I attended was at Net Heads in Indianapolis, which erupted into a marathon 24-hour event including an Evil Dead film fest, pig roast, arcade deathmatch and give-aways of the highly coveted THX®-Certified Klipsch 5.1 ProMedia system. Bruce even brought a couple of films with him, one that he produced about over-zealous festival attendees appropriately titled Fanalysis, and a film produced by his wife documenting the behind the scenes work of extras on the Xena series.

There were some intriguing facts about Bruce disclosed at the Q&A session that did not make it into his book. Bruce told how he was one of three finalists that auditioned for the role of Agent Doggett on the X-Files. The other candidates were Lou Diamond Phillips and Robert Patrick (who got the part). One attendee asked Bruce what his favorite Evil Dead one-liner was. Bruce proceeded to tell us about a fan at a bar in China who translated Bruce's phrase, "Gimme some sugar baby" and used it as a pick-up line. Needless to say, he got lucky that night.

The phrase, "Hail to the king" is already associated with Bruce, but it will have a whole new meaning upon the release of his new film where he portrays the King of Rock n Roll. Fans are anxiously awaiting the release of Bubba Ho-Tep, a sci-fi comedy where Bruce plays an elderly Elvis battling a Mummy alongside an African-American who thinks he is JFK. Sound outrageous? The screenplay is based on an award winning short story and is sure to shock and delight. Bruce remarked that the film might not make it to theatres, instead it may be a direct to video/DVD release. He does not mind skipping the big screen extravaganza, especially since most of his films make much more money on video than at the box office. In fact, Bruce exclaimed that the home movie experience may be better than at the multiplex; people have some really fantastic DVD and sound systems while actual theatres may have the film "run out of frame by a projectionist that doesn't give a rats ass."

What can we expect from the B-movie king in the future? Although not in a starring role, Bruce has a pivotal role in the upcoming Spider-Man movie. Long time friend and director Sam Raimi often puts Bruce in his films and this is no exception. Campbell plays the ring announcer in the soon to be blockbuster, the character that bestows the name "The Amazing Spider-Man" upon the fledgling web slinger. Although some scenes will be re-shot due to the recent change in the New York skyline, the comic-to-big-screen adaptation is scheduled to hit theatres in May 2002.

*Klipsch 5.1 surround sound speakers complete the theatrical experience when viewing THX approved DVDs like the Evil Dead II collectors edition.

**The Evil Dead: Hail to the King video game really comes to life with the highly acclaimed THX®-Certified Klipsch 5.1 ProMedia speakers.

Links:

www.bruce-campbell.com

www.bubbahotep.com

http://us.imdb.com/Name?Campbell,+Bruce+(I)

http://www.McFarlane.com/toyfair2001/catalog.mm18inch.page2.html

Rich Barker is a freelance graphic artist and accomplished musician. He has written for NUVO Newsweekly, Pond & Garden magazine and MP3 for Dummies Volume 2. He currently resides in Indianapolis.

As it turns out, Billy Bob's films aren't his only critically acclaimed creations. Jim Farber of the New York Daily News called his debut album Private Radio a skillful evocation of '70s hard country.

J.R. Griffin of Alternative Press magazine wrote: "Thornton's set of moody rock, blues, R&B and countr