Commiphora myrrha tree, one of the primary trees from which myrrh is harvested.

Myrrh /ˈmɜr/ is the aromatic oleoresin of a number of small, thorny tree species of the genus Commiphora, which grow in dry, stony soil.^[1] An oleoresin is a natural blend of an essential oil and a resin. Myrrh resin is a natural gum.

When a tree wound penetrates through the bark and into the sapwood, the tree bleeds a resin. Myrrh gum, like frankincense, is such a resin. When people harvest myrrh, they wound the trees repeatedly to bleed them of the gum. Myrrh gum is waxy, and coagulates quickly. After the harvest, the gum becomes hard and glossy. The gum is yellowish, and may be either clear or opaque. It darkens deeply as it ages, and white streaks emerge.^[2]

Myrrh gum is commonly harvested from the species Commiphora myrrha, which is native to Yemen, Somalia, Eritrea and eastern Ethiopia. Another farmed species is C. momol.^[3] The related Commiphora gileadensis, native to Eastern Mediterranean and particularly the Arabian Peninsula,^[4] is the biblically referenced Balm of Gilead,^[5] also known as Balsam of Mecca. Several other species yield bdellium and Indian myrrh.

The oleo gum resins of a number of other Commiphora and Balsamodendron species are also used as perfumes, medicines (such as aromatic wound dressings), and incense ingredients. A lesser quality myrrh is bled from the tree Commiphora erythraea. Commiphora gileadensis (syn C. opobalsamum) oleo gum resin is known as Opopinax, a name it shares with the gum resin bled from a species of parsnip, Pastincea opobalsamum.

Fragrant "myrrh beads" are made from the crushed seeds of Detarium microcarpum, an unrelated West African tree. These beads are traditionally worn by married women in Mali as multiple strands around the hips.

The name "myrrh" is also applied to the potherb Myrrhis odorata, otherwise known as "cicely" or "sweet cicely".

Etymology[link]

The word "myrrh" derives from the Aramaic ܡܪܝܪܐ (murr), meaning "was bitter". Its name entered the English language from the Hebrew Bible, where it is called mor, מור, and later as a Semitic loanword^[6] was used in the Greek myth of Myrrha, and later in the Septuagint; in the Greek language, the related word μύρον became a general term for perfume.

So valuable has it been at times in ancient history that it has been equal in weight value to gold. During times of scarcity, its value rose even higher than that.^{[citation needed]} It has been used throughout history as a perfume, incense and medicine.

Attributed medicinal properties[link]

Balsamodendron ehrenbergianum

Traditional Chinese medicine[link]

In traditional Chinese medicine, myrrh is classified as bitter and spicy, with a neutral temperature. It is said to have special efficacy on the heart, liver, and spleen meridians, as well as "blood-moving" powers to purge stagnant blood from the uterus. It is therefore recommended for rheumatic, arthritic, and circulatory problems, and for amenorrhea, dysmenorrhea, menopause, and uterine tumors.

Its uses are similar to those of frankincense, with which it is often combined in decoctions, liniments, and incense. When used in concert, myrrh is "blood-moving" while frankincense moves the Qi, making it more useful for arthritic conditions.

It is combined with such herbs as notoginseng, safflower petals, Angelica sinensis, cinnamon, and Salvia miltiorrhiza, usually in alcohol, and used both internally and externally.^[7]

Ayurvedic medicine[link]

Myrrh is used more frequently in Ayurveda and Unani medicine, which ascribe tonic and rejuvenative properties to the resin.

Myrrh (daindhava) is used in many specially processed rasayana formulas in Ayurveda. However, non-rasayana myrrh is contraindicated when kidney dysfunction or stomach pain is apparent, or for women who are pregnant or have excessive uterine bleeding.

A related species, called guggul in Ayurvedic medicine, is considered one of the best substances for the treatment of circulatory problems, nervous system disorders and rheumatic complaints.^[8][9]

Western medicine[link]

Myrrh is a common resin in the Horn of Africa.

In pharmacy, myrrh is used as an antiseptic in mouthwashes, gargles, and toothpastes^[10] for prevention and treatment of gum disease.^[11] Myrrh is currently used in some liniments and healing salves that may be applied to abrasions and other minor skin ailments. Myrrh has also been recommended as an analgesic for toothaches, and can be used in liniment for bruises, aches, and sprains.^[12]

Mechanisms of action[link]

In an attempt to determine the cause of its effectiveness, researchers examined the individual ingredients of a herbal formula used traditionally by Kuwaiti diabetics to lower blood glucose. Myrrh and aloe gums effectively improved glucose tolerance in both normal and diabetic rats.^[13]

Myrrh was shown^[14] to produce analgesic effects on mice which were subjected to pain. Researchers at the University of Florence showed that furanoeudesma-1,3-diene and another terpene in the myrrh affect opioid receptors in the mouse's brain which influence pain perception.

Mirazid, an Egyptian drug made from myrrh, has been investigated as an oral treatment of parasitic ailments, including fascioliasis and schistosomiasis.^[15]

Myrrh has been shown to lower cholesterol LDL (bad cholesterol) levels, as well as to increase the HDL (good cholesterol) in various tests on humans done in the past few decades. One recent (2009) documented laboratory test showed this same effect on albino rats.^[16]

Religious ritual[link]

Myrrh was used by the ancient Egyptians, along with natron, for the embalming of mummies.^[17]

Myrrh was an ingredient of Ketoret, the consecrated incense used in the First and Second Temples at Jerusalem, as described in the Hebrew Bible and Talmud. An offering was made of the Ketoret on a special incense altar, and was an important component of the Temple service.

Myrrh was traded by camel caravans overland from areas of production in southern Arabia by the Nabataeans to their capital city of Petra, from where it was distributed throughout the Mediterranean region.^[18]

According to the book of Matthew 2:11, gold, frankincense and myrrh were among the gifts to Jesus by the Biblical Magi "from the East."

"While burning incense was accepted as a practice in the later Roman Catholic church, the early church during Roman times forbade the use of incense in services resulting in a rapid decline in the incense trade."^[19]

Because of its mention in New Testament, myrrh is an incense offered during Christian liturgical celebrations (see Thurible).

Myrrh is mixed with frankincense and sometimes more scents and is used in almost every service of the Eastern Orthodox, Oriental Orthodox, and traditional Roman Catholic Churches.

Myrrh is also used to prepare the sacramental chrism used by many churches of both Eastern and Western rites. In the Middle East, the Eastern Orthodox Church traditionally uses myrrh-scented oil to perform the sacraments of chrismation and unction, both of which are commonly referred to as "receiving the Chrism".

Myrrh is also used in Neo-paganism and Ritual Magick.

See also[link]

• Bdellium
• Chrism
• Frankincense
• Naturalis Historia
• Pliny the Elder

Footnotes[link]

References[link]

• Gibson, Dan (2011). Qur’anic Geography: A Survey and Evaluation of the Geographical References in the Qur’an with Suggested Solutions for Various Problems and Issues. Independent Scholars Press, Canada. ISBN 978-0-9733642-8-6.

Further reading[link]

• Massoud A, El Sisi S, Salama O, Massoud A (2001). "Preliminary study of therapeutic efficacy of a new fasciolicidal drug derived from Commiphora molmol (myrrh)". Am J Trop Med Hyg 65 (2): 96–99. PMID 11508399. 
• Dalby, Andrew (2000). Dangerous Tastes: the story of spices. London: British Museum Press. ISBN 0-7141-2720-5  (US ISBN 0-520-22789-1), pp. 107–122.
• Dalby, Andrew (2003). Food in the ancient world from A to Z. London, New York: Routledge. ISBN 0-415-23259-7 , pp. 226–227, with additions
• Monfieur Pomet (1709). "Abyssine Myrrh)". History of Drugs.  Abyssine Myrrh
• The One Earth Herbal Sourcebook: Everything You Need to Know About Chinese, Western, and Ayurvedic Herbal Treatments by Ph.D., A.H.G., D.Ay, Alan Keith Tillotson, O.M.D., L.Ac., Nai-shing Hu Tillotson, and M.D., Robert Abel Jr.
• Abdul-Ghani RA, Loutfy N, Hassan A. Myrrh and trematodoses in Egypt: An overview of safety, efficacy and effectiveness profiles. Parasitol Int. 2009;58:210–214( A good review on its antiparasitic activities) .

External links[link]

• History of Myrrh and Frankincense (www.itmonline.org)
• Myrrh article by James A. Duke (www.herbcompanion.com)

MF DOOM
MF Doom at the Hultsfred Festival 2011 in Sweden
Background information
Also known as	DOOM, King Geedorah, Metal Face, Metal Fingers, Viktor Vaughn, Zev Love X, Madvillain
Born	(1971-01-09) January 9, 1971 (age 41) London, United Kingdom
Origin	Long Island, New York
Genres	East Coast hip hop
Occupations	Rapper, hip hop producer
Instruments	Vocals, sampler, synthesizer, drum machine, Pro Tools
Years active	1988–1993 1997–present
Labels	Elektra (1988–1993) Sub Verse (1997–2003) Fondle 'Em (1997–2001) Metal Face (1997–present) Big Dada (2003) Naturesounds (2003–present) Rhymesayers (2004) Stones Throw (2004–present) Lex (2005–present)
Associated acts	KMD, Madvillain, Danger Doom, Madlib, MF Grimm, Ghostface Killah, J Dilla, Count Bass D, Aesop Rock, Jneiro Jarel, Gorillaz, Masta Ace, De La Soul
Website	Official website

Daniel Dumile (pronounced /ˈduːmɨleɪ/ DOO-mə-lay; born January 9, 1971) is a hip hop artist who has taken on several stage names in his career, most notably MF Doom, often stylized as MF DOOM, where the "MF" stands for metal face, but metal fingers when using his producing name. He has appeared in several collaborative projects such as Danger Doom (with Danger Mouse) and Madvillain (with Madlib).

History[link]

Early years with KMD[link]

Dumile was born on January 9, 1971, in London, England, the son of a Trinidadian mother and Zimbabwean father.^[1] He then moved with his family to New York and was raised in the city of Long Beach, New York on Long Island.

As Zev Love X, he formed the group KMD in 1988 with his younger brother DJ Subroc and another MC called Rodan. When Rodan left the group, Zev found another MC to replace Rodan named Onyx the Birthstone Kid.^[1] A&R rep Dante Ross learned of KMD through the hip hop group 3rd Bass, and signed the group to Elektra Records.^[2]

Dumile and KMD's recorded debut came on 3rd Bass's song "The Gas Face" from The Cactus Album,^[1] followed in 1991 with KMD's album Mr. Hood, which became a minor hit through its singles "Peachfuzz", "Who Me?" and heavy video play on cable TV's Yo! MTV Raps and Rap City.

Subroc was struck and killed by a car in 1993 while attempting to cross the Long Island Expressway before the release of a second KMD album, titled Black Bastards.^[1] The group was subsequently dropped from Elektra Records that same week. Before the release of the album, it was shelved due to controversy over its cover art,^[2] which featured a cartoon of a stereotypical pickaninny or sambo character being hung from the gallows.

With the loss of his brother, Dumile retreated from the hip hop scene from 1994 to 1997. He testifies to disillusionment and depression, living "damn near homeless, walking the streets of Manhattan, sleeping on benches.^[1][3]" In the late 1990s, he left New York City and settled in Atlanta. According to interviews with Dumile, he was also "recovering from his wounds" and swearing revenge "against the industry that so badly deformed him."^[1] Black Bastards had become bootlegged at the time, leading to Doom's rise in the underground hip hop scene.

Birth of MF DOOM[link]

In 1997, Dumile began freestyling incognito at open-mic events at the Nuyorican Poets Café in Manhattan, obscuring his face by putting a stocking over his head. He meanwhile had taken on a new identity, MF Doom, patterned after and wearing a mask similar to that of Marvel Comics super-villain Doctor Doom, who is depicted rapping on the cover of the 1999 album Operation: Doomsday. He wears this mask while performing and isn't photographed without it, except for very short glimpses in videos such as Viktor Vaughn's "Mr. Clean", "?", and in earlier photos with KMD.^[1] MF Doom's mask has undergone at least one design revision since its adoption (it is now an altered version of the mask worn by the character Maximus Decimus Meridius in the film Gladiator).

Early career[link]

Dumile released three singles on "Bobbito" García's Fondle 'Em Records, "Dead Bent", and "Greenbacks" (1997), and "The M.I.C." (1998). In 1999 Fondle 'Em released MF Doom's first full-length LP, Operation: Doomsday, which included these singles and their b-sides, and additional tracks. Dumile had used the spelling variant "M.F. DOOM" for the singles releases, but thereafter changed this to "MF DOOM".

Among the collaborators on these tracks were fellow members of the Monsta Island Czars collective (The M.I.C.), for which each artist took on the persona of a monster from the Godzilla mythos. Dumile went by the alias "King Geedorah," a three-headed golden dragon space monster, modeled after King Ghidorah, the Toho movie monster who was a three-headed dragon that often battled Godzilla. Some of his appearances on the LP are as, and are credited to this persona, instead of that of MF Doom. Dumile would revisit this character later under various name-spellings.

Guest appearances, production, and instrumental work[link]

In the years intervening before his next full-length solo release, and continually since, Dumile has appeared on several tracks on other artists' LPs and remixes, contributed one-off tracks to compilations, and done various guest production work.^[4]

In 2002, he appeared on the Sound-Ink's Colapsus collection,on a very hard to find track titled "Monday Nite at Fluid" featuring Kurious with production by King Honey, who also produced some tracks for Dumile's album Vaudeville Villain. DOOM also made an appearance in "November Has Come", a track on Gorillaz's 2005 album Demon Days, which reached #6 on the Billboard 200.^[5]

Besides the Viktor Vaughn album Dumile produces all the instrumentation tracks for his solo releases with very few exceptions.^[4]

Beginning in 2001, under the "Metal Fingers" moniker, Dumile began releasing his Special Herbs instrumentals series. Many of these beats can be heard as the instrumentation tracks throughout his body of work. A separate website catalogs for which tracks each instrumental has been used.^[6]

Ongoing career[link]

In 2003, Dumile released the King Geedorah album Take Me to Your Leader. Geedorah is credited as producer, but only appears as an MC on four tracks. The majority of vocal tracks feature guest MCs, and the album features several instrumental montages of sampled vocals from old movies and TV shows—a technique employed on most of Dumile's albums. Both Venomous Villain and Take Me to Your Leader feature appearances by MF Doom.

Also in 2003, Dumile released the LP Vaudeville Villain under the moniker Viktor Vaughn (another play on Doctor Doom, whose "real name" is Victor von Doom). In 2004 he released a follow-up LP, Venomous Villain (also called VV2).

And, in 2004, the second MF Doom album MM.. Food was released by the Minnesota-based label Rhymesayers Entertainment.

Mainstream recognition[link]

DOOM's first commercial breakthrough came in 2004, with the album Madvillainy, created with producer Madlib under the group name Madvillain. Released by Stones Throw Records, the album was a critical and commercial success. MF DOOM was seen by mainstream audiences for the first time as Madvillain received publicity and acclaim in publications such as Rolling Stone, The Washington Post, The New York Times, The New Yorker, and Spin. A video for "All Caps" and a four-date U.S. tour followed the release of Madvillainy. Additional videos for "Rhinestone Cowboy" and "Accordion", both directed by Andrew Gura, were released on the DVDs Stones Throw 101 and Stones Throw 102: In Living the True Gods, respectively.

MF Doom collaborated with Danger Mouse who together are known as DANGERDOOM.

Though still an independent artist, MF DOOM took a bigger step towards the mainstream in 2005 with The Mouse and the Mask, a collaboration with producer DJ Danger Mouse under the group name Danger Doom. The album, released on October 11, 2005 by Epitaph, was done in collaboration with Cartoon Network's Adult Swim and featured voice-actors and characters from its programs (mostly Aqua Teen Hunger Force). Danger Doom reached #41 on the Billboard 200.^[7] In 2006 DOOM hosted the Adult Swim Christmas special and he could be seen in between shows, usually talking about what was up next, and making jokes.

2006–2009[link]

MF Doom produced tracks for both of Ghostface Killah's 2006 albums Fishscale and More Fish, and the two are currently at work on a collaboration album titled Swift & Changeable. So far only track released from the album is "Angels", which appeared on a Nature Sounds compilation in late 2006, and later re-released in a different fashion on Doom's 2009 album Born Like This. Doom has also revealed plans for a second Madvillain album with producer Madlib, with one song, "Monkey Suite", first appearing on the Adult Swim/Stones Throw Records album Chrome Children, later it appeared on Madvillainy 2 - The Madlib Remix. Other potential projects mentioned by Doom include new albums from Danger Doom,^[8] KMD, as well as further albums under both his Viktor Vaughn and King Geedorah aliases. However, many such Doom projects have been rumored in recent years without materializing.

Despite no new Doom releases in 2006, Kidrobot and Stones Throw released an 8" tall Madvillain toy available to coincide with the release of the Chrome Children CD/DVD (hosted by Peanut Butter Wolf) which featured a DVD performance of Madvillain and several other Stones Throw artists. Doom also continued to work with Adult Swim doing voice-over work as Sherman the Giraffe on Perfect Hair Forever, being the voice for The Boondocks ads and previews and hosting their Christmas Eve 2006 programming.

In late January 2009, Lex records confirmed Doom's new album title to be Born Like This, and that the "MF" would be dropped from his name, now just "DOOM".^[9] The album was released worldwide on March 24, 2009.^[10] As a teaser, the track "Ballskin" was posted on Doom's Myspace page on January 13, 2009.^[11] Snippets of the entire album were made available for streaming on Doom's Myspace on the album's release date. The title for the album was inspired by the poem "Dinosauria, We" by poet and writer Charles Bukowski. Doom samples a performance of the poem by Bukowski on the track "Cellz". Previously, Doom used a Bukowski sample for a vocal interlude on 2004's "All Outta Ale.^[12] "Thom Yorke of Radiohead remixed the track "Gazillion Ear" which is available as an iTunes-only bonus track.^[13] June 26, 2009 Kurious released II which featured Doom on the song "Benetton".^[14]

2009-2012[link]

On May 26, 2010, the second single for the next Madvillain album "Paper Mill" was released through Adult Swim.^[15] Expektoration, a live Doom album, was released on September 14, 2010 through Gold Dust Media. In mid 2010, DOOM released the mix-tape "DOOM!", a collection of greatest hits, B-sides and rareties, including the theme for the video game Grand Theft Auto: Chinatown Wars featuring Ghostface Killah, and Biochemical Equation, featuring the RZA.

On July 27, 2011 DOOM and Ghostface Killah released the track "Victory Laps" from their long awaited collaboration project Swift & Changeable on the Nature Sounds label.

DOOM was chosen by Portishead to perform at the ATP I'll Be Your Mirror festival that they curated in July 2011 at London's Alexandra Palace.^[16]

DOOM will be the guest curator for Chapter 48 of Frank151's quarterly magazine. Chapter 48 will be released Summer 2012 and will feature a candid interview with DOOM on a variety of topics.^[17]

In September DOOM will be performing live as part of Bestival 2012 on the Isle Of Wight.^[18]

Live show controversy[link]

Dumile has become infamous for allegedly sending imposters to perform on his behalf.^[19] Doom initially countered such accusations by claiming that he lost weight and thus looked - and sounded - different,^[20] before his road manager described the move as an intentional choice made by Dumile.^[21] For his 2011 UK tour, a promoter for the Glasgow show - fearing reduced attendance from a cautious public - guaranteed on Twitter that Dumile would be appearing in person.

Discography[link]

Solo[link]

• 1999: Operation: Doomsday
• 2003: Take Me to Your Leader (as King Geedorah)
• 2003: Vaudeville Villain (as Viktor Vaughn)
• 2004: Venomous Villain (as Viktor Vaughn)
• 2004: Mm.. Food
• 2009: Born Like This (as DOOM)

Compilation Albums[link]

• 2009: Unexpected Guests

Collaboration Albums[link]

• 1991: Mr. Hood (as Zev Love X with KMD)
• 2001: Black Bastards (as Zev Love X with KMD)
• 2003: Escape from Monsta Island! (as King Geedorah with Monsta Island Czars)
• 2004: Madvillainy (with Madlib as Madvillain)
• 2005: The Mouse and the Mask (with Danger Mouse as DANGERDOOM)
• 2006: Occult Hymn (with Danger Mouse as DANGERDOOM)
• 2012: Son of Yvonne (with Masta Ace as MA DOOM)
• 2012: Key to the Kuffs (with Jneiro Jarel as JJ DOOM) ^[22]
• TBA: Swift & Changeable (with Ghostface Killah as DOOMSTARKS)

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Daniel Dumile

• MF Doom on Myspace
• Official website

The Organ was a Canadian indie pop band formed in 2001 in Vancouver, British Columbia. They officially broke up on December 7, 2006, due to illness and personal conflicts in the band.

Biography[link]

Early years[link]

The Organ were conceived in 2001 by frontwoman Katie Sketch, born Katie Ritchie, in Vancouver, BC. Sketch's musical training started at the age of three, when she began classical training on the violin. Her childhood was spent largely in ignorance of the underground sounds of The Smiths, The Cure, and Joy Division, whom The Organ would later often be favorably compared to. "Tiffany and Bon Jovi - that was my take on ’80s music."

Sketch has said of the time of the formation of the band, when she and the band members were in their early to mid-twenties. "I was in a musical lull, I couldn’t stand what I was listening to," naming Sleater-Kinney as one example. “The local scene was also pretty shitty, and of course the radio was brutal. Then, by total fluke, my mom’s friend’s husband, Ron Obvious, hired me to help with the audio wiring for a studio he was building for Bryan Adams.” Obvious introduced Katie to the world of independent music, and what she calls "that ’80s sound." He created mix-tapes of bands he thought she’d appreciate as a violinist (Roxy Music, Ultravox) and singers with an "amazing natural vocal pitch" (Siouxsie and the Banshees, Nina Hagen, Kate Bush)). This job also led Sketch to Tara Nelson, the engineer who would later record the Organ’s first EP.

It was at this time that Katie joined with her friends Sarah "Sketch" Efron (on bass and keyboards) and Barb "Sketch" Choit (Hammond organ, guitar, bass) to form the instrumental trio Full Sketch.

"I met Katie Sketch when we worked morning shifts at a wretched cinnamon bun shop," says Efron, "but we really became friends on a road trip where we ended up breaking down in the redneck town of Hermiston, Oregon. On this trip, we decided to form a band and call it Full Sketch." Katie, though she was already a proficient multi-instrumentalist, decided this would be a good time to try her hand at drums.

"The concept was, 'Let's start a band where you play an instrument that you've never played before.' It was basically drunken ridiculousness, but all of a sudden I felt like life made more sense. Sarah was involved in CiTR, and Barb was big into indie rock, so what started off as a joke got me out going to see shows. The way The Organ began was as an offshoot of Full Sketch—I wanted to take the same sound and do it with singing."

Efron was also the news director at UBC’s CiTR, where she, Sketch and Choit co-hosted a raunchy late-night call-in program called "The Dead Air Show."

After about a year, Barb Sketch left the band to focus on her career as an artist and Full Sketch ended. According to Katie Sketch, "Barb Sketch is now in suburban California. She’s long forgotten her Canadian roots and lives on a ranch with her man and a team of horses." [1] At this point, organist Jenny Smyth (born Genoa Smith), replaced Choit on keyboards. Together with Efron, they founded The Organ.

In 2001, a long audition process began. Eventually, Sketch "tired of auditions," and decided to "just hire some people." After finding a handful of like-minded musicians, Katie assigned them instruments and taught them to play. Taught is a relative term though—Debbie had been playing guitar for three years, and Sketch has expressed distaste in interviews when portrayed as a "music teacher" to the girls: "[The press seems] to think they had a lot of help or something, but mostly it's just the drive to be able to learn the instruments and play them," Sketch said. "[My teaching them] was maybe a half-an-hour, hour process."

[edit] Sinking Hearts EP

The full formation of the band that would appear on their first EP took three years. "It’s not like the five of us got together and spontaneously created this," Sketch once commented in an interview. "Jenny and I had a direction we wanted to go in and then we slowly recruited people. We could tell if someone didn’t get it, which is why we had to get rid of so many players. It’s funny, sometimes people say the band’s moving really quickly, but I feel like I’ve been doing this forever."

The original group eventually rounded out with Katie, Jenny, Sarah, drummer Shelby Stocks, and guitarist Debora Cohen. In summer 2002, The Organ made their debut with the release of the Sinking Hearts EP. The Canadian press and indie publications across America praised The Organ's dreampop-inflected presentation. By January, The Organ was signed to Chad Kroeger's 604 imprint and Mint Records. However, before the year was out, Efron would leave to focus on her journalism career and be replaced by Ashley Webber.

"The rock n’ roll lifestyle wasn’t for me," said Efron, who is currently working for the financial section of The National Post, a conservative Canadian newspaper.

Even with the band finally complete and their first EP released, it would take years before they would release their first proper album; the process of writing and recording (the album would end up being pieced together in four different studios) would take years—two, to be exact, to finish up as Grab That Gun, an album that barely breaks a half hour in length and recycles four of its eleven tracks from Sinking Hearts.

"We knew we had a problem when the album was being mixed," comments Cohen. "When we heard it, we knew that it didn't sound like us. It was too, I don't know, crisp."

After much agonizing, the Organ decided to scrap the Dahle sessions and rerecord the album with producer Paul Forgues, who Sketch knew from her days at the Warehouse Studio.

"It was a really, really hard choice to make," Stocks says. "We had a window where we could have just released something that we weren't totally happy with. There was so much hype at that time, but we were like, 'No way. Let's fuck the hype and start over.' And I think that we ended up with a great album. I know that people who like us for being amateur and really simple are going to get it."

[edit] Grab That Gun

Despite numerous set-backs, their five years of slow going had produced a relatively sizable fan-following, and their new material showed even more promise than their first EP, which had done very well indeed, especially for a record that had gone largely unpromoted. As such, Grab That Gun spent more time on top of the Canadian campus-radio charts than any other record released that year.

That December (2004), Ashley Webber left the band.

"I think it's the usual reasons," explained Sketch in an interview. "I mean, I love Ashley, but we had different ideas. And then she wanted to try being in other musical projects, and we support her in that ... [but our band has] got to be a high priority, I guess that's what it comes down to."

However, with their first international tour looming and no replacement in sight, Webber was asked back and subsequently rejoined the band in the new year.

The Organ began touring heavily across Canada, the United States and Europe. They also produced a music video for "Brother," (directed by Robert Morfitt) arguably the strongest of the seven new tracks appearing on the record. The video consisted of a fairly straightforward montage of the band performing on a moodily lit stage. A fictitious reenactment of the video shoot for "Brother" can be seen during season two, episode two of the Showtime original series The L Word. "Brother" also appears on The L Word's season two soundtrack.

Following the well received promotion of "Brother," The Organ began production on the far more ambitious "Memorize the City" video, which depicted a dizzying tour through a city of sound, light, and color. The higher artistic standard and production quality of this video reflects an amazing amount of growth for the band in a very short period, and is very impressive considering that it was shot at a time when the band was engaged in the biggest tour of their careers. That July (2005) the standalone 7" single, Let the Bells Ring, was released on Go Metric Records. The title track was paired with a remix of "Memorize the City" by Dustin Hawthorne. Later that year, a second remix appeared on the French CD release of Grab That Gun.

During another North American tour promoting Grab That Gun, Ashley Webber left for good. She was then replaced with Katie Sketch's sister, Shmoo, who affirmed that she was "definitely permanent in the band" before it broke up in 2006.

On November 14, 2005, The Organ appeared live on BBC6 Radio with their new bass player. They gave a brief interview and performed live renditions of the songs "Nothing I Can Do" and "Love, Love, Love." On the 27th, a little over a week later, The Organ announced via their website that they had just been signed to Too Pure Records, through which Grab That Gun would be available throughout the world in February 2006.

The album cover was design by David Cuesta at 7th Avenue house, and is based on a grid constructed around the Fibonacci sequence, to match musical scales. He also designed the logo based on sketches by Katie and Jenny.

Breaking Up[link]

On 23 August 2006, the band released a statement on MySpace saying they were canceling the remaining portion of their UK tour which included dates at the Reading and Leeds Festivals. The reason given was illness to a band member and they assured fans the band were not splitting up.

On 7 December 2006 the band released a statement on their MySpace and official site stating that they were breaking up. The statement read:

"We are sad to announce that we're breaking up. We want to thank our friends, fans, and family for all the support you gave to us. Thank you.

Shelby, Jenny, Katie, Debora, and Shmoo."

In an interview on CBC Radio 3 the following day, Jenny declined to discuss the reasons for the breakup saying that there were issues they preferred to keep private but implied that it had little or nothing to do with either geography or Katie's modeling career. "There were," she said, "so many reasons," she "wouldn't know where to start."

Two years later, Katie Sketch would later go on to detail the full story behind the break-up in a 2008 interview:

"When the band ended, I was really burnt out. I thought if I took a few months off then I wouldn't be burnt out, but now, when I think about it, I wouldn't have the energy to do touring right now. I just feel absolutely exhausted with it, and band politics, and all that stuff. I am still writing music, but it's not my first priority any more. [My first priority now is] getting my life back together. We'd been touring for so long and working so hard that I didn't know how to function on a daily basis. So just little things, like, I'm going to have breakfast today, or I'm going to the gym, or I'm going to get a job. I didn't really have any concept of how to do it any more [...] I spent the majority of my twenties wanting to be in a band and it's all I ever thought about. And by the time the band ended I was in really bad health. Like drinking was a problem, and not knowing how to deal with personal crises. I was in bad shape. [...] If a band is really supportive of one another and can help each other through things, it works really well, but at the end we were completely unable to communicate. We'd all become self-deprecating, we were fighting all the time... we were basically just drunk all the time. We had no time to separate, so it was like being in a bad domestic situation, all the time. [...] When you're five girls touring in really terrible circumstances, where you're all in the same van and all sleep in the same hotel room every night, and you're drinking a lot, you have a lot of really fun times, but there's always fighting, there's always something going on. Towards the end, where things were becoming irreparable, it got to the point where we should have been in therapy as a group. And we should have taken breaks. And I knew that, and I was pushing for that. But the way our career had gone, we released the record in Canada, then somewhere else, then somewhere else, touring the same record. It was staggered, so we were always touring where the fanbase was hearing it for the first time. We built it like that, which is how a lot of bands do it, but it was gruelling. [...] We were at that point where everyone in a band wants to get, right where the financial stuff isn't going to be such a big deal, where we'd be able to tour and take personal space, but our relationships had deteriorated so much by that point. [...] It's like, you're doing everything that you dreamed of your whole life, and yet you've never been more miserable. You can't get away from these people. It's like you're married to them, basically. And we had other problems as well. What I consider to be a major part of our break-up is that this whole entire time that we were touring and doing all the stuff, we were never signed in the States. And to not have a record label in the States is to not have a career. We live in Canada so it's right there, but whenever we'd play in the States it would be to nobody. So we worked really, really hard to get a label in the States and when we finally had label interest there, and a label we wanted to sign to, our Canadian record label, who own our record, wouldn't let us go with what we wanted to do. It felt like we'd been busting our asses for however long, and we felt like we had no control. So what was going to happen? We'd finally sign in the States when I was 35, and we'd do gruelling tours then? You know what I mean? That was a major knock-down for us.

[...] By the end, I feel like everybody in the band was mentally ill. [...] Quite frankly, I was not mentally well. [...] I needed to get away from it, or something really bad was going to happen. [...] We really needed a break and the record label, everybody, was pushing, pushing, pushing. And there's always the feeling that you're in financial debt too. The more you do it, the more money you make, and we felt like we owed it to people. And that's how management and the record company played it - "you kind of owe it to us to do another tour right now.

[After the breakup,] I moved to Toronto, had a mental breakdown, then I just got a job working for a doctor [...] I interview people with drug problems, and alcoholics. [...] Jenny the organ player just moved to Toronto and she and I bought a restaurant bar about two months ago. We're renovating it and we live above it in a teeny weeny apartment together. [...] It'll be a brunch place in the day, and we have a liquor license so it will be a bar at night. [Now that Jenny and I live together,] it's constantly like, "Remember the time when we..." and we'll laugh and it's hilarious. So the whole thing wasn't horrible. It's not like I'm saying "don't start a band". I'm just saying, you've got to set your personal boundaries, as far as touring goes. As far as the grind. It's really important to take a break and we never got one." [2]

[edit] Thieves EP

Less than two years after their breakup, the band released one last EP of unreleased material titled, Thieves, on October 14, 2008.[3] In the same October 16 interview where she would finally reveal the reasons behind the band's breakup, Katie Sketch would give insight into the motivating factors which caused the band to reunite in the studio one last time.

"I had heard a rumor that my record label was going to release songs that we hadn't released, from some demo recording we had done earlier. I was not happy with that. At all. Threatening isn't the right word, but I heard they were thinking about releasing it. So I freaked out, and during that freak-out period I realized that I really like the songs. People have been writing us, fans, asking about the songs, so I thought we should record them while we still remember them. [...] I can only speak for myself, but I found that [the recording process for the Thieves EP] was extremely emotionally draining. I made sure we did it under our own terms. I had a friend who engineered it and we did it at my mum's house in BC. She lives on this island, so it was really relaxed. And we did it in stages so the band was never there at the same time, so we couldn't fall back into the band dynamic because "the band" was never there. I gave my friend strict instructions, like, sit in the back seat and don't offer any opinion. We need it to be the easiest session ever, because people are really sensitive, and if one person says, "Fuck this, I'm leaving," then it won't work. So we did it like that. [Having to release the EP on the same record label] is fine. I've really separated myself from the situation. But that sort of thing, being bound by a contract, straight up, that's a major obstacle in my desire to do music any more."

Post-breakup solo projects[link]

Since the band's breakup in 2006, several of the members have gone on to pursue solo projects. Debora Cohen has begun making demo tracks available through her myspace under the name “Lovers Love Haters."[4] Shmoo has gone on to front Vancouver hardcore band, "Keep Tidy", whose EP is available free online.[5] A video of Katie Sketch performing with a new band called "Mermaids" as early as October 31, 2007 has surfaced on the internet. Sketch has publicly stated that she fully intends to release a solo effort, but that legal complications have thus far prevented the band from officially releasing any music. According to Sketch:

"I feel like, OK, so I'm going to write a solo record and pour every part of myself into it, and I won't have control over where it's released in the United States again? [With regard to the possibility of releasing solo material independently,] I'm arguably bound by contract. [...] It's seriously debatable and is being debated and has been for the last two years. I like to think that I'm not, and they like to think that I am. And that stress alone, honestly, keeps me from sitting down and working on music. I have no control over my own career. [...] I can play live, but when it comes to releasing a record, they've straight up said to me, if you release any music you will be sued. And that kind of pressure, after all the work that I've done, really isn't like anything I need in my life right now."

Katie Sketch is now performing with Gentleman Reg and has been seen in some shows at the Gladstone Hotel and the Beaver in Toronto, Ontario.

Discography[link]

Full lengths[link]

• Grab that Gun (2004)

Singles and EPs[link]

• "Full Sketch" (CD, 2000):

  "Picky" — "Cooler Than Clean" — "Steven Smith" — "Soundtrack" — "Sketchersize" — "Ice Fishing"

• "The Organ" (7", 2002):

  "It's Time to Go" — "We've Got to Meet"

• "Sinking Hearts" (CD, 2002):

  "We've Got to Meet" — "I Am Not Surprised" — "It's Time to Go" — "Sinking Hearts" — "There Is Nothing I Can Do" — "No One Has Ever Looked so Dead"

• "Memorize The City" (7", 2005):

  "Memorize The City" — "There Is Nothing I Can Do"

• "Memorize The City" (CD, 2005):

  "Memorize The City" — "There Is Nothing I Can Do" — "Memorize The City [Remixed by Simon Bookish]"

• "Let the Bells Ring" (7", 2005):

  "Let the Bells Ring" — "Memorize the City [Remixed by Dustin Hawthorne]"

• "Brother" (CD + 7", 2006):

  "Brother" — "Love Love Love" (Gideon Coe BBC 6 Music Session 14/11/05)

• "Memorize the City" (CD + 7", 2006):

  "Memorize the City"— "No One Has Ever Looked So Dead" (Gideon Coe BBC 6 Music Session 14/11/05)

• "Thieves" (CD, 2008):

  "Even In The Night" — "Oh What A Feeling" — "Let The Bells Ring" — "Fire In The Ocean" — "Can You Tell Me One Thing" — "Don't Be Angry"

Sources[link]

• / Full Sketch Interview with "The Ubyssey," February 1999
• / Interview with "Discorder," March 2002
• / Interview with "The Ubyssey," February 2003
• Interview with "Straight.com," May 6, 2004
• Interview with "Exclaim.ca," June 2004
• Interview with "Straight.com," December 2, 2004
• Interview with "Cokemachineglow.com," 2004
• Interview with "Sceneandheard.ca"

External links[link]

• Official Website on Archive
• The Organ 5x live videos Nov 2005
• Grab That Gun album review on Sound Generator
• Mint Records
• The Organ at Allmusic
• View "Memorize the City" music video
• The Organ on MySpace
• "Nothing to frown about hammond-heavy new-wave sounds" The Organ in Session at CBC Radio 3; story by Elianna Lev

See also[link]

• List of bands from British Columbia
• List of bands from Canada

The following is a list of significant men and women known for being the father, mother, or considered the founders mostly in Western socities in a field, listed by category. In most non-science fields, the title of being the "father" is debatable.

Church[link]

Games[link]

Humanities[link]

Military[link]

Nations[link]

Natural and social sciences[link]

Sports[link]