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After leaving rehab, Goldstein began attending raves and using MDMA and nitrous oxide. He also started deejaying; he broke into a friend's home while he was away for the weekend to practice on his turntables and eventually went on to practice freestyle deejaying every day for a whole summer. Goldstein started using crack cocaine by the age of 20. He said that taking the drug and deejaying were "about all he did" for the next four years of his life. He would often disappear from friends and family for days at a time. In 1997, he attempted suicide; the gun jammed in his mouth as he pulled the trigger.
In an interview with Glamour in 2008, Goldstein said that while he had been sober for nine years, he had to remind himself every day that he was still a drug addict, saying: "At any given moment, I'm five seconds away from walking up to someone, grabbing their drink out of their hand and downing it. And if I do that, within a week, tops, I'll be smoking crack." Following the plane crash, Goldstein was prescribed painkillers and anti-anxiety medication. Celebrity doctor Drew Pinsky said it was those prescriptions which opened the "floodgates" to Goldstein's relapse. A friend of his reached the same conclusion, saying: "I think the plane crash killed him, it just took a year for it to do it." As a result of the plane crash, Goldstein developed a fear of flying, and continued taking anxiety medication to help deal with the regular flights his lifestyle required.
Goldstein was struggling with his former addiction during the filming of Gone Too Far. He held a crack-pipe during one episode. BJ Hickman, an intervention expert who appeared in two episodes, noticed Goldstein "had a moment" holding the crack pipe, and later felt the need to call his sponsor. Goldstein later said of the experience: "I realized my palms were sweaty and I was like, wait a minute, this is not smart for me to be holding this." In another episode, a police officer shows Goldstein confiscated drugs, including a bag of crack cocaine. Shortly thereafter, Goldstein leaves the building, informing the camera crew that he felt so tempted to consume the drugs that it was not safe for him to remain there.
Goldstein was found dead in his New York City apartment on August 28, 2009. Drug paraphernalia, including a crack pipe and a bag of crack, were found nearby. The New York medical examiner subsequently determined that Goldstein's death was an accident caused by "acute intoxication" from a combination of cocaine, oxycodone, hydrocodone, lorazepam, clonazepam, alprazolam, diphenhydramine, and levamisole. Haley Wood denied rumors that an alleged recent separation from Goldstein had contributed to his relapse, saying they had still been together at the time.
The DJ AM Memorial Fund, an organization designed to help people struggling with drug addiction, was launched in his memory. In November 2009, 800 pairs of Goldstein's sneakers were listed on eBay to raise funds for the organization. In August 2010, the fund made a donation to the Los Angeles' Phoenix House Academy to help rehab patients develop musical talents. Goldstein's sister Lara, who founded the fund, died from cancer in May 2011.
As president and CEO of Graham Windham, Kimberly Hardy Watson oversees children and family services at 12 sites across Manhattan, Brooklyn and the Bronx, serving over 4,500 youth and their families. The organization is a leading provider of foster care and foster care prevention services, offering a range of programs from college readiness to family support. Watson has received citations for her work from then-Brooklyn Borough President Eric Adams, academic institutions and various publications.
It should be no surprise at all to any Selway fan that drums and bass take precedent at a live Philip Selway show. As the lights go down and Quinta starts in on the organ for Weatherhouse cut "Miles Away", Vatalaro's drums split the air with a piercing crack and Selway just looks over and smiles. Adem soon adds to the foundation with a riveting bass line, before Selway himself adds to it with dual shakers underneath his vocals. With Weatherhouse, Selway upped the scale of his solo work, taking the muted, living room feel of Familial to grander heights. But in the live setting, the ceilings only get higher, and the sound gets bigger and bigger until it feels like an arena show at a venue ten times the size. Selway is refreshingly comfortable with a stage of any size (he's been at Coachella both weekends playing the same material as well), and he does it all with a brilliant humility, just loving the performance and loving the warm reactions from a head-over-heels audience.
For this tour, Selway chose to retrofit selections from Familial with the new, gigantic Weatherhouse sound. The mixture of Selway's spacious vocals with the impossibly big drum sounds and the lush bass and organ gave the whole thing a bit of a trip-hop feel. Later, more organic Massive Attack efforts like Heligoland felt like they might sandwich some tracks nicely. Elsewhere, the sound maintained a wonderfully British air about it. Playing bountiful, lush chords on a beautiful Gretsch over the churning brightness of "Coming Up For Air", Selway chuckled. "I feel like Noel Gallagher playing that one", he laughs. But it all feels appropriate, somehow. Between the ghosts of a country home on Familial and the introspective city wanderings of Weatherhouse, Selway brought us a wonderful and expansive taste of the London trademarks in brilliant form. And not only that - he does it with brilliant instrumentation. Quinta played the saw on numerous occasions (always a crowd favorite). Adem alternated between a number of instruments and percussion pad setups. At one point, Chris played live drums with both feet and one hand, while setting off more drum triggers with his free hand on a laptop to his side. All as humble as can be, Selway's band wowed anyone in the crowd with their eyes open. With an incredible band giving him support and a catalogue that only a veteran instrumentalist and songwriter could provide, Philip Selway made his solo Seattle appearance a timeless, priceless blessing.
I understand that Black Adam is a new character for audiences, and those who have never cracked open a comic book may know next-to-nothing about him or the Justice Society, but this film sure does like to drone on a lot. Some of the exposition goes on, and on, and on, and then when you think it is done, it goes on some more.
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