Saturday, November 29, 2008

The Obama Campagin & New Media: How they did it and why it matters


“Today’s problems cannot be solved if we still think the way we thought when we created them.”
--Albert Einstein


“Barack said to us, ‘I want this to be a grassroots campaign. I want to reinvigorate our democracy. I want to bring more people back into our government. First of all I think that’s the only way we can win and secondly I want to rekindle some idealism that together we can get things done in this country’.”
--David Axelrod, 60 Minutes


Barack Obama’s entire Presidential campaign was mounted on one simple premise: change. In and of itself, that fact is not remarkable—change has been a well-worn theme where political campaigns are concerned. What is remarkable is that “change” never became a tired cliché: in spite of its being the central message, change was a concept that was not only embraced but implemented by the Obama campaign on multiple levels. While the structure, substance, and even the style of his campaign could be classified as fairly traditional, where hope and unity functioned as central values, and logos and images hearkened back to another era, then the strategy of his campaign was where the Obama campaign radically departed from the norm. For even if Obama’s lofty aim to invigorate democracy by generating a grass-roots base seems like a quaint hope from a by-gone era, the challenge for his strategic team was to make that goal a reality by using 21st-century methods, and they did so precisely by making ‘change’ more than simply a slogan: by taking the noun and making it into a verb. They harnessed the transformative power of new media and communication methods to ignite the passions of the electorate and incite political action. They adopted change in their methods when they made the unprecedented decision to forgo federal public financing. And perhaps most importantly, they never wavered from the central tenet that Barack Obama was the agent that could more readily foresee, embrace, and create ‘change’.

In a campaign loaded with “firsts”, arguably the most important element of Obama’s strategy was his savvy use of technology and new media throughout his historical campaign, for it is the mantle upon which many other “firsts” were hung. In an era where a phone is not just a phone but a multi-media communication platform, messages today more often than not take flight digitally: whether they are spread via emails or text messages, across online social networking platforms or through viral videos on YouTube. The so-called Millennial Generation swaps information at a breathtaking clip (often in multimedia format), and carries on multiple ‘conversations’ across several platforms with ease. In order to engage this generation, Barack Obama would have to communicate with them in the manner to which they are accustomed to communicating, delivering his message to them by exploiting these very channels.

Left: Chris Hughes - Obama's Online Organzing Guru- photo courtesy NY Times

The Obama campaign made a wise decision in February 2007 to woo Chris Hughes, one of the four founders of Facebook, to head up their online strategy department. Hughes’ official title became “online organizing guru” and his central brainchild was the creation of www.myBarackObama.com, a pseudo-social networking website where a user would surrender their personal information to the campaign in exchange for a personalized online niche from within which they could document their own election experience. At MyBO.com (as it is affectionately known in campaign vernacular) a user can tabulate their contributions to the campaign in man facets, whether that means tracking their monetary donations, number of calls they have made on behalf of the campaign, or the amount of doors knocked on in the name of getting Obama’s message out. In short, they are given a small online portal within which they can explore and engage, giving them a sense of empowerment and offering a stake in the historical political battle at hand.

Certainly, implementing such a social networking strategy in and of itself amounts to a brilliant tactical move, and yet, it mirrors Obama’s very traditional desire to build a political base from the bottom up. The focus was never specifically to focus on inflating the numbers of participants, but to emphasize their engagement through the online platform. It was not enough to have someone register on the site: they wanted users to feel more ownership in the campaign by encouraging them to connect locally, talk to their neighbors, and make calls from their own homes, thus offering them a greater stake in the campaign and making them feel like they were an important component. As Joe Rospars, the campaign’s new-media director explained, “The point is not to have a million people [signed up],” although he fully expected to have over a million users on MyBo by Election Day. “The point is to be able to chop up that million-person list into manageable chunks and organize them.” Indeed, it is one thing to feel as though you are part of a large movement nationwide, happily anonymous in a sea of millions, but it is quite another to feel as though you and your neighbors are actually part of a crucial push to get the vote out in your own community, and to lending your physical presence to “putting a face” on the nationwide movement for change.

MyBo.com was the basis for the new media strategy: harnessing the power of online social networking to engage a modern version of a very traditional grass-roots movement. By sparking the imaginations of the idealistic youth and by encouraging tech-savvy young mavens to mobilize their own micro-networks, Obama was able to tap into the unbridled enthusiasm of the youth vote, exploiting their preferred channels of communication, all the while hammering home the “Yes, We Can” message.

Yet, the media strategy went much further than just MyBO.com. Obama rallied tech-savvy supporters to spread his message across media platforms of every available format. The campaign offered the opportunity to receive text messages that would allow one, for example, “to be the first to know who Barack selected as his Vice-Presidential running mate”; Facebookers were encouraged to use their status to get out the vote; an iPhone application called ‘Obama for America’ was even developed that was able to discern which contacts in the phone lived in swing states and thus, which contacts might benefit from a call from a long-lost friend, all in the name of ‘change’. In a bold move toward transparency, campaign manager David Plouffe gave regular strategy updates on YouTube, allowing field organizers to get direction straight from campaign HQ. The Obama campaign even pushed the envelope where old media was concerned, taking over-larger chunks of advertising space in order to more clearly state his stance on the issues, and wisely never injecting negative campaigning into said slots. Taking an unprecedented 30-minute portion of airtime, Obama’s “infomercial” was a new strategy aimed at spelling out his plan for America, never mentioning his opponent by name and instead allowing his undeniable charisma and intelligence to dispell the unsavory falsehoods put forth by the McCain camp about Obama’s character. Indeed, a whole section of Obama's website was devoted to "fighting the smears", and encouraged people to take action by reporting negative campaigning to the Obama camp, thereby"standing up for a new kind of politics".

This is not to suggest that John McCain’s camp overlooked such tech-forward strategies where using media was concerned, but it clear that McCain’s team fell remarkably short of what the Obama campaign was able to anticipate and activate. As of the days following the election, Obama had over 3 million “friends” on Facebook, McCain had just 600,000. Obama’s YouTube channel had been viewed an astonishing 20 million times, while McCain’s YouTube channel only logged 2 million visits. McCain's deputy campaign advisor, Mark Soohoo, claimed in June that "We don't need Facebook, they're not our voters". And while that statement is probably accurate, it proved that the Republican party was not making the effort to communicate with new voters, and to try to give rise to a new Republican voting base.

Of course, Soohoo is correct insofar as the logic that the quantity of ‘friends’, hits, or page views does not necessarily translate into votes. Here begins another key step in Obama's new media campaign, for equally important in Presidential campaigns as ‘getting the message out’ is getting the money to come in.

Here again, new media made possible another revolutionary aspect of Obama’s campaign strategy: small-donor fund-raising. It had been heretofore taken for granted that a candidate would accept public financing, taking the federal payment in exchange for agreeing to abide by a set of regulations, among them refusing private donations and adhering to what is considered a modest spending limit by campaign standards. Obama’s decision to forgo public financing

meant that he was not bound to a limit on fund-raising, and he framed that decision in such a way as to suggest that he was avoiding being bound to lobbyists and their lucrative donations, relying instead on the small donations of the common voter, whose interests he had at heart. The decision was touted as risky by the critics, for no one knew what kind of totals could be amassed by favoring grass-roots financing to lump sum donations. But by making repeated personalized appeals to his online database, and emphasizing that no donation was too small, Obama obliterated most expectations and raised over $640 million over the primary and general election period. What is perhaps just as significant as the total raised is the breadth of the donating base: according to reports in late October, over 90% of the donations that came in were less than $100, and there were over 3 million unique benefactors to the campaign.

This echoes the mobilization effect discussed previously, whereby ownership and sense of entitlement are spread broadly, in this case inviting people who have perhaps never contributed to a political campaign the chance to feel ownership in a movement to which they might have made the smallest contribution. The Obama campaign employed clever tactics made possible by this online database, such as recurring-payment programs where donors could donate something small like $25 each month to spread out their gift; or “Operation Give Again” where donors who had donated relatively large sums were called upon again and encouraged to reach their personal limit of $2,300. The success of such tactics resulted in the 2008 election being heralded as the first election where small individual donations trumped big money and corporate interests, and it is largely because of new media technology that Obama’s campaign was able to make that happen.

(Note: recent reports attempting to debunk the "small donor myth" do so on the basis that if a donor donates $50 five separate times, they exceed $200, which is the standard "small donor" limit. What these myth-busters may be overlooking is the fact that if the Obama small-donor machine hadn't been so well-oiled, those donors likely would have given money once or perhaps twice. It is Obama's return-again strategies that fueled more small donations. It is preposterous to propose that a donor who gave $250 can be equated to the big business lobby money that Obama's campaign tried to avoid.)

But as election day approached, with fund-raising records shattered, armies of volunteers weary from door-knocking, and inboxes flooded with appeals for more money, many still wondered whether these forward-thinking strategies would actually translate into
trips to the voting booth. The voting results bear witness to the remarkable mobilizing power of new media’s micro-networks: the youth vote targeted by such strategies showed up in numbers that topped turnout in any previous Presidential contest in history. Of the 5.4 million increase in voter turnout this year, two-thirds were young voters, and they preferred Obama over John McCain by a greater than 2:1 margin (66% vs. 32%). In contrast to previous recent presidential elections, a majority of young people voted in 2008 (53%), and in the competitive battleground states, youth turnout was even higher (59%). Such numbers prompted The Huffington Post to declare, “Their unified support for Barack Obama combined with their high turnout made the Millennial Generation the decisive force in his victory.”

In the end, what these strategies allowed Obama to do was to demonstrate that he was a leader capable of ‘changing with the times’: that he was able to see the potential in novel channels and exploit them with cunning. Young voters saw him as a man they could speak to on their own terms: indeed, it would be difficult to imagine a septuagenarian like McCain sending a text message or conversing on iChat, and, by extension, it would be easier to conclude that Obama would be better able to adapt to forces of change, not only in terms of technology or communication, but in any capacity. By proving himself more nimble in this area, he suggested to a legion of young followers that he will perform as adeptly when it comes to confronting change elsewhere on the horizon of the 21st century. Technology is at the heart of developments in both good and evil: it is as instrumental to developments in life-saving medicine as the development of a weapon of mass-destruction. By demonstrating that he has a team that can foresee and channel forces of change to their advantage, he is offering a reassuring vision to a generation that is keenly aware of the power of technology and the astonishing pace of change.

There is an implicit advantage in using online technology: the fact that the web is an inherently engaging medium. Where other presidents have forged ahead with communication technology in the past, it has largely up until now been one-way media.
Ranjit Mathoda, a lawyer who blogs at Mathoda.com, points out that “Thomas Jefferson used newspapers to win the presidency, F.D.R. used radio to change the way he governed, J.F.K. was the first president to understand television, and Howard Dean saw the value of the Web for raising money". However, Obama has engaged a whole generation of thinkers and voters by utilizing media that operates flow of information in two-ways. Mathoda continues, “[W]hile John F. Kennedy may have been the first television president, Ronald Reagan may have perfected speaking to the camera, and George W. Bush has utilized the power of a sympathetic television channel and talk radio hosts, each of these prior technologies have been largely one way mediums of communication channeled through media companies that distort the relationship a politician seeks to have with their constituency.”

Right: Facebook Graph courtesy techpresident.com

Enabling two-way communication increases the engagement and the ownership on the part of the voter: users were able to share their election experiences on MyBO.com; they left comments on his MySpace, Facebook, and YouTube pages; they were able to text message campaign headquarters with feedback. Creating room for dialogue allowed for an unprecedented wave of participation in the political landscape, and further, it helps to ensure that those who logged on during the campaign will
remain engaged down the road. As David Gergen, director of the Center for Public Leadership at the Kennedy School at Harvard, explained to Rolling Stone magazine, “The emergence of this millennial generation as a force in American politics is going to be one of the biggest stories in the country over the next 20 years or so. We know from past history that when young people vote for one party a couple of times, they tend to vote for that party during their adult lifetimes in disproportionate numbers… So this is an enormous potential asset for Democrats.”

What this means is that Obama has taken a very powerful step in circumventing traditional information flow in our society: where the Bush Administration was able to exert their power on mass media by doggedly remaining ‘on message’ and saturating the media outlets with pithy soundbites to echo to the masses, Obama now has a coalition of citizens who are connected directly to his agenda, and who will digest his messages without benefit of spin from a major network. During the campaign, for example, he was able to counter the negative personal attacks from the McCain camp by dispelling them directly in an email to his supporters.

Obama’s ability to communicate directly with his electorate not only allows for targeted delivery of a message without commentary from critics, but it does so instantaneously and in a cost-effective manner. Karl Rove’s targeted mail strategies in 2000 and 2004 were expensive and time-consuming. By contrast, the network that Obama currently has in place could prove to be a very effective tool for governing now that he has been elected: not only can he keep his electorate informed with the push of a button, but he can mobilize them in targeted ways, encouraging local networks to put pressure on their congressmen to support or oppose certain legislation. Indeed, the emergence of this technologically-connected base may prove to be an unprecedented tool for governing insofar as being able to co-ordinate citizens politically on a mass scale in expensively and instantaneously. Obama shows no signs of halting his exploration of using new media to keep the electorate engaged, already creating a web presence for his transition team at www.change.gov and inviting people to share their thoughts on what is important for his administration to address when they take office in January 2009.

By anticipating the massive impact that new media devices and networks could have in this historical campaign, the Obama team was able to come out on top, proving themselves the more adept party at harnessing the power of change. One might go so far as to say the role that Obama played in inner-city Chicago – a position for which he was mocked by his opponents-- was a harbinger of things to come, for by harnessing the power of new media, he proved that the internet and new media are the ultimate tools for community organizing, and he now has a community of millions that he can dispatch at will. It is not overstating the case to say that the strategic methods adopted by Obama team throughout his campaign are nothing short of revolutionary—indeed, revolutionary in the true sense of the word, for Obama was able to subvert traditional hierarchies of power and paths of information to create his own unified, engaged, and electrified electorate; a political base that is unprecedented in its diversity and fervor, and an electorate that has embraced politics in a manner that will change the face of democracy forever.

Monday, October 27, 2008

Rocktober gets its face rocked: Earl Greyhound

The penultimate (look that one up here, folks) spotlight for Shine A Light Productions falls to Earl Greyhound, a hard-rocking trio from Brooklyn who have been touring madly over the past couple of years to rock faces across the nation. They have packed houses in L.A., they have toured the whole continent opening for Chris Cornell, they have been featured in the NY Times Magazine as Fusionista style mavens to watch... in short, they have been kicking ass and it's time you knew why.

The videos featured at Shine A Light's Live Music page come from their appearance at 2008 Langerado Festival in Florida, and a recent concert they played at (le) Poisson Rouge (a newly-refurbished classy joint that used to be the hallowed Village Gate). Earl Greyhound was invited to play this Obama Fundraiser by none other than Living Colour, and the sights and sounds of these videos deliver the pure EG experience.

Earl Greyhound is currently criss-crossing the country, rocking faces on both coasts right through the end of November. They are touring with an arsenal of mighty new material which will get laid down in the studio in LA come December. They are sending word from the road in the form of video updates, like this one from Cleveland...



New Yorkers will get a very special trick or treat next FRIDAY the 31st when Earl Greyhound will be scaring you with their monster riffs and rhythms! Get your tickets to the Halloween Bowery Ballroom extravaganza before they disappear...

Saturday, October 11, 2008

Rocktober continues with the Incomparable Brad Barr

The second installment of ROCKTOBER from Shine A Light Productions presents The Slip frontman Brad Barr's solo work. The selections for this week come from Barr's performances at Pete's Candy Store last autumn (which served as the capper for a magnificent wedding weekend, which partially explains why Barr is in a suit and tie for this performance); at Sullivan Hall this past January where he opened on the final night of Marco Benevento's residency; and his recent appearance at the Bowery Ballroom where he graced the stage twice, first as a solo performer and later with his Slip bandmates backing Sonya Kitchell. You can view the videos HERE.

Barr's songwriting has become increasingly prolific and poignant, and the rare chance to catch him play solo is something not to be missed. His guitar chops are widely heralded, and here at Shine A Light Productions we don't think it's an understatement to call him the best guitar player of his generation, for he can deftly channel Chuck Berry or Jimmy Page, Django Reinhardt or Jimi Hendrix. Most importantly, he also can sound like Brad Barr, and that's something no other player out there can claim.

Barr's new solo album, The Fall Apartment (Tompkins Square Records), features 11 instrumental tracks, and if you visit the Tompkins Square release page, you can get a free mp3 of "Newst Flurries". The album features imaginative arrangements, including a haunting cover of Kurt Cobain's "Heart Shaped Box".

Barr is currently on tour with his Slip bandmates backing Sonya Kitchell, and Barr is oftentimes performing a solo set to open the show, so be sure to go early to catch these rare solo sets. Full tour dates and more information about Barr available on his MySpace page.

Friday, October 3, 2008

Shine A Light Productions Presents: ROCKTOBER

After a lengthy blogging absence, we are jumping back into the thick of things here at Shine A Light Productions, and we are going to be providing you with some of what we've been working on over the summer months.

Over the course of the next five weeks, we will release live footage of some of our favorite artists every Friday through a series we're deeming ROCKTOBER. These exclusive videos will be released via the Shine A Light Productions Live Music Page and through our Facebook page, so be sure to become a fan so you will receive updates announcing the latest live video releases.

October 3 - Surprise Me Mr. Davis
October 10 - Brad Barr solo
October 17 - Marco Benevento
October 24 - Earl Greyhound
October 31 - Nathan Moore and release of new Surprise Me Mr. Davis video




The first featured artist is Surprise Me Mr. Davis, an innovative electro-folk quartet which is comprised of singer-songwriter Nathan Moore and what is surely the most under-rated band in modern rock, The Slip. The story goes that Nathan was on the road as The Slip's merch guy when the acoustics in some hotel shower convinced the Boston-based trio that they should begin collaborating musically with Moore.

Many years later, we are lucky to be witnessing the bounty of this musical partnership in venues all across the country, and nowhere are the boys more at home than at the High Sierra Music Festival, where they have reigned as unofficial good times amabassdors for the last decade. Shine A Light was on hand at the 2008 festival to capture some of the many sets that these fellas offered, from the Davis performances at all hours of the day and night, two rare and hotly anticipated sets from The Slip, and solo sets from Nathan Moore (which didn't necessarily feature Mr. Moore... a late-in-the-festival troubadour timeslot saw Brad Barr fill in and play the songs of the vocally-overworked Nathan Moore).

The Davis boys did a quick run through the North-East in August, landing in New York during what was surely the most heavily-laden week of music in recent memory, with an All Points West Radiohead double-header sandwiched in between shows from Trey Anastasio, Wilco, and Bob Dylan. However, Union Hall played host to SMMD for a fantastic Sunday evening show, and the following day before the boys left town, Shine A Light caught up to the boys to shoot a music video for their new song, "I'm No Good At All'.



Surprise Me Mr. Davis doesn't have any tour dates on the radar until their huge New Years Eve show with their good friends the Benevento-Russo Duo at B.B. Kings in New York (conveniently located down the street from what promises to be a monster celebration at Madison Square Garden when My Morning Jacket rings in 2009). However, the Davis boys will be busy touring in other incarnations: the fall season will see The Slip touring with Sonya Kitchell all over the lower 48, and Brad Barr will be promoting his new instrumental album, The Fall Apartment, by doing solo performances to open most shows; Andrew Barr and Marc Friedman will appear in Marco Benevento's trio in November, and Nathan Moore will be the featured opener for a handful of these dates.

Rocktober's inaugural live release is featured below, and remember that you can only check out the rest of these exclusive (that means not on YouTube) videos at the Shine a Light Live Music webpage.

Tuesday, June 24, 2008

MMJ and other things that Make Me Proud

I won't try to hide the fact that I have thrown myself on the altar-- I'm an MMJ disciple. And because I cannot profess to being objective when it comes to this deliciously hard-rockin' Kentucky outfit, this is not necessarily a review. It's an opportunity to share the thought that this band going in an unexpected (but welcome) direction with the release of their latest record, Evil Urges.

I mean, it would be easy to expect more hair-raising, head-shaking, ear-splitting, southern-fried rock anthems from Jim James and crew, but am I the only one who thinks this record sounds more like the Bee Gees were hanging out playing bocce with Beck when their friend Prince came over and they all started to get their modern-day soul-jam on? A tune like Thank You Too! is just too luscious to be crafted in this decade, or so I thought. I'm happy to be proven very wrong.

The show that My Morning Jacket treated fans to last week at Radio City Music Hall was a show that was as classy, mature, and truly awe-inspiring as the venue itself. The newer tunes are indeed slower than some of the epics we've come to love (like Lay Low or One Big Holiday), but nary a moment is wasted on these new efforts, and the sparse arrangements are rich when one knows just how much could have been packed in between each note. Had I been seeing this newer soul-licious version of MMJ in a hockey arena with a flask in my pocket, I admittedly might have wanted more head-banging. Seeing it at Radio City felt perfect, however, as the band seemed to channel tones that have echoed through the venue in days gone by.

The theatrical venue inspired whimsical frontman Jim James to explore its upper reaches, as you will witness as he serenaded the first balcony with some searing guitar riffs during a powerful Steam Engine, from their 2003 album It Still Moves. This song is a perfect example of how their gentle songcraft can suddenly accelerate into a blistering crescendo (which is the moment when James took advantage of his wireless setup to do some stairclimbing).



(all MMJ RCMH photos courtesy Dino Perrucci)

And to offer some alternatives to those who still want their rock a little more, well, raucous, I will give you two extremes of rock, both hailing from my native country. The first is Canada's heir to the Tragically Hip throne, The Constantines, and just witness how they not only heartily endure a vicious hailstorm at the Gorge, but get the crowd whipped into an astonishing frenzy as they endure getting pelted. (Highlight comes at 2:45 when keyboardist Will Kidman climbs the rafters... thanks for this one, Mary!)



The other extreme is something that I fully expected to bring me shame-- the worst cover ever performed is by a Canadian? According to Total Guitar Magazine, Celine Dion's version of AC/DC's You Shook Me All Night Long gets top honors in the dregs department. But before you concur, just check it out and tell me if this clip doesn't define "guilty pleasure"... Maybe I love AC/DC too much, or maybe the hilarity of Celine and Anastacia changing the lyrics to describe a man are too good to hate. I mean, "knocking me out with his American thighs"? Let's begin with Celine not only air-guitaring her entrance, but then somehow combining the air guitar with a can-can on one stiletto-heeled leg? This woman is a brave, brave performer, and I deem this is too good to pass up. So sue me.

Tuesday, June 17, 2008

The "Lunatic Left" converge for Media Reform

Earlier this month, journalists such as Bill Moyers, Amy Goodman, and Dan Rather gathered in Minneapolis to share thoughts on Media Reform. Organized by FreePress.net, the National Conference on Media Reform encouraged people to strategize on how to take back media from powerful conglomerates.

The full run-down is here, but perhaps the most entertaining upshot of the conference is Bill O'Reilly's take on the whole affair: he calls the people calling for media reform 'facists', saying of the more than 3,000 participants that, "You know, clearly these are unstable people". That, coming from Bill O'Reilly, ladies and gentlemen.

You can hear the gems for yourself below, and then hear Bill Moyers take down a FoxNews producer during a heated exchange at the conference. Those who feel compelled may want to take action by sending word to FoxNews to tell Bill O'Reilly to 'stop pretending to be a journalist'...

Thursday, May 22, 2008

You Gots to Hear These Guys...

This is a new regular feature (ha!) of this blog devoted to discovery: we will present bands you probably haven't heard of, but that we suspect that you will feel deep gratitude for knowing once you come out the backside of this here scribbling. Shall we begin?

First (and not just in our hearts-- topping the charts in Canada! Take that, Brad Mehldau!) is Rabnett 5, a jazz quintet from the western reaches of the north country. The 5 used to make Vancouver homebase, but the guts of the operation, Rich Rabnett, opted to keep it über-heady by heading deep into the Kootenays (Nelson, B.C.) some years ago. There, he keeps busy playing in a duet called Drive If You Must, but he continues to make sexy jazz sounds with his Rab 5 pals Mike Kennedy (bass), Dan Gaucher (drums), Ian Cox (keys), and Kiyoshi Elkuf (tenor sax) when he can (and in fact, the quintet will be making a spin through western Canada this summer).

Last summer, Rabnett and the boys got a call from none other than Scott Harding (producer to the likes of MMW) to say that he was back in Vangroovy and had some time to record. Two very full days in the studio later, the 5 rabis emerged with Leopardism, an album so good that Ropeadope has jumped on board to release it digitally on June 3rd. Check out the lead track, Illegal Leopard: do it-- just click here, and tell me if it isn't just... oh, how do you say, irresistible?

The other band I need to tell you about is a band I never would have seen unless I had surrendered to the special kind of Jazzfest flow that is only possible in New Orleans. You start the evening at one show in the French Quarter, and on the advice of a friend or stranger ("You Gots to See These Guys!") you find yourself hopping in a cab solo and cruising to Les Bon Temps to squeeze in a quick session before heading to Tipitina's for the late show. Now, I will state up front that I have a bias: I have a small animal that I keep in the house called 'Good Times'. So when a friend told me I had to see Good Enough For Good Times, at Les Bon Temps, no less, well, I didn't need to be beaten over the head with too many more indications that I had to check them out.

But was it all just Good Times schtick? I am happy to report: hell, no. The cast of characters begins with a couple of white-man's funk veterans, Galactic's Robert Mercurio (bass) and Jeff Raines (guitar), and a duo of hep newbies rounds out the quartet: Simon Lott (whom you might have seen as the shades-wearing drummer for Charlie Hunter's trio) and Joe Ashlar (left), an organ player I'd never heard nor seen, but who truly made me praise the Lord.

Because it was Jazzfest, you'll forgive me if I'm low on details. I was too busy getting my sweaty groove on in that packed, awesome room with those tight and dirty funk lines that seem to be born in Nawlins. Suffice it to say that Raines' guitar is much better served in this lineup than in Galactic's neo-funk hip-hoppin' genre, and that it is always a delight to hear Mercurio (right) in a stripped down setting (although he always needs to be turned up, no?). Lott is a mind-blowing young talent with a just a teensy-weensy little penchant for making sure you know how mind-blowing he is, and Ashlar is just flat-out amazing. For a lady who spends a lot of time filling her ears with some other organ's output, I will just say that I could hardly wait to tell Marco about this kid. There was more than one point where the crowd nuzzled right up to his organ, holding their arms outstretched to just touch the machine and be healed. Ahhhhh, jazzfest. The gospel tent is, in fact, everywhere. If there's one thing I learned at Jazzfest 2008 (as my friends will attest), it's that it's not about us, it's about Jesus*! (*insert your own personal savior here...)

I ran into Jeff Raines (left) at JFK on the flip side of a narrow 7am escape from NOLA (narrow because of the necessary 5:15am victory lap at the Howlin' Wolf). Raines was in town to play Conan and headline the (won't you step into the teaser) Jammy Awards with Galactic, and filled me in on some of the GEFGT back story. He said that the moniker stuck after a couple of rehearsals, when they decided that their loose musicianship was passable considering the venue they were playing. Hence, Good Enough For Good Times was born. And that's sho good 'nuff fo me.

Conclusion: those in the north country, stay tuned to the rab5 dial. Those who are still swampin' it up down south, you get yourself to Les Bon Temps and get some Good Times while the gettin' is good. And people everywhere, legally download your own Illegal Leopard next week and keep the good times rollin'.


Saturday, May 10, 2008

kmmmusic... turns into kmmmusings...

Because there is more to life than music (gasp), kmmmmusic... will now include a monthly media news posting for your enlightenment. It is more important than ever that the average citizen remains alert with regard to where their news comes from, and as The New York Times recently reported, propaganda is not just an antiquated rallying technique for the masses employed by the likes of Hitler and Mao. Our current administration has long held a tight grip on conservative media outlets such as Fox News, but Bush's misinformation missions have grown into outright propaganda.

The Pentagon launched a "Military Analyst Program" whereby "experts" on military operations were planted in myriad mainstream media outlets and encouraged to assuage fears with regard to the war in Iraq and to generate favorable news coverage about the current administration's military strategy. The Times pointed out that, "most of the analysts have ties to military contractors vested in the very war policies they are asked to assess on air".



While The Times blew the lid on this effort to transform the media coverage of terrorism and the war from within the major TV networks and radio stations, there has been a media blackout in other media outlets concerning this story. The very media outlets that conformed to Bush's plan have refused to report on the exposé, and further, some outlets are still parading the pundits on the air (as you will see in the clip above). PBS is the only major outlet that has reported on the story, and in their piece they invited CNN, NBC, CBS, ABC, FOX News and MSNBC to participate, all of whom declined.

Free Press is leading a charge to have this story become public. Their website states, "The mainstream media’s silence illustrates the effects of corporate owners invested in stifling in-depth reporting and dissenting views. Not only is this a violation of every conceivable standard of journalism, but spreading "covert propaganda" is illegal under federal law." It is now up to independent media outlets such as Democracy Now! (whose piece appears below) and everyday citizens (and their blogs) to take action on this issue.



While it is news to nobody that the American media focus has always been enormously skewed toward reporting on domestic events, there is a very real danger that we are not receiving fair and balanced reporting in the US. The picture to the right shows a map of the world according to how it is reported on in US media outlets (where the swollen purple mass is the US and the green area represents an inflated Iraq). This graphic was featured as a part of a TED talk on why we know less than ever about the world, and the four-minute talk suggests that it is not for a lack of audience interest: thirst for international news is actually growing while domestic media feeds on trivial celebrity scandals like Britney Spears and Anna Nicole Smith. It falls to independent media outlets to keep the checks and balances in place, you might also benefit from checking out The Huffington Post, Stop Big Media, Democracy Now!, and Free Press if you are looking for the "rest of the story".

Wednesday, April 9, 2008

Can you tell me how to get... down?

5 reasons I liked this:

1. Because it doesn't get any cooler than Stevie Wonder.

2. Because a very close second in contention for the King of Cool is that kid freaking out on top of the stairs-- my word!! What a peaker!! I wonder where we might find this wee bastion of music appreciation today... I'll start my search down at Jazzfest.

3. Because not only is Superstition already a pretty bold selection for the Sesame Street set, but just when you think the song is going to end and they'll cut to commercial, Stevie and crew launch into a major Sesame Street JAM. Listening to the full 6 minutes is crucial. There's even a pump-fake at the 5-minute mark that they're going to wrap it up, but they go one more round. Amazing.

4. Because those HORNS! That funky band! I count no fewer than 8 people on that set, not including the pint-sized percussion section on the stairs.

5. Because I always did want to get to Sesame Street. This just confirms how much.

Tuesday, March 18, 2008

Langer-ruminations...

It had been just over 8 years since my last trip to Big Cypress Seminole Reservation, and as I drove up snake road I had many flashbacks to the 24-hour period of anguish and anticipation that I had endured on the same stretch of pavement in 1999. This time we were driving at speeds that cars normally go on highways and not staring at tail lights through the night. So that was a good thing. I hoped it was a sign that Langerado had made the right move by upping from Markham Park and heading further from the environs of Fort Lauderdale.

However, I think that Langerado’s leap to the swampy interior of Florida was perhaps premature. I felt that the size and scope of last year’s festival was ideal—I still claim that last year’s offering might have been the most perfect festival I’ve yet attended. Last year’s success can be attributed to the incredibly dense and diverse lineup, a perfectly-sized venue, and it goes without saying that Florida’s weather in early March is simply a wonderful way to awaken slumbering senses. Sadly, this year’s festival paled in comparison, as the size of the venue seemed larger than necessary, the lineup was thinner and less astutely arranged, and the combination of torrential rains, tornado warnings and a Saturday night cold front plagued the festival this year.

There were highlights, of course. Grace Potter’s Sunday afternoon set was one such gem: try as you might to dismiss her as a pretty face with hot red boots, there’s no way you can deny the vocal talents and showmanship that this girl is blessed with. Add to that firstly some charisma on the keys (indeed, she was playing Marco Benevento’s organ that day and fearlessly channeling his rock-neck expression) and secondly some chops on the guitar, and you’ve got a Grade A performer that is a delight to behold. The full-band drum breakdown was an entertaining indication of how Grace and her band-members interact playfully and intrepidly while creating music, and I would endorse their act to any fan of rootsy rock n roll--or to anyone who simply likes to watch babes in boots belt it out. (I think that's most of us...)



The Wood Brothers were my Saturday-in-the-sunshine pick, delivering some tunes from their forthcoming album, Loaded, along with some of the stellar tunes from Ways Not To Lose. Their harmonies and plucky breakdowns are candy to my ears: having seen their very first gig at Tonic in March of 2005, it is a real pleasure to see how they have grown ever-more comfortable making music together, and it is a sound that isn’t being played better by any duo out there.

American Babies had an early set on Saturday, but my fave musical offering of the Brothers Hamilton, Sir Russo, and Scott Metzger was a fortuitous stroll by the JamCruise tent where they were delivering an acoustic mini-set, and Russo invited Metzger up onto his lap for some brotherly love of his own. Danjaboots in action:



Bands I had hoped to see for the first time (and love thereafter) included Of Montreal, The National, and Ghostland Observatory. I was distracted by shaving cream and histrionic stage-wear at Of Montreal, and felt that their music wasn’t as compelling live as it was on my iPod (huh? I know… I, too, thought bands were supposed to be better live than on your F train commute). The National disappointed me by sounding like a thinner, less-spirited version of Arcade Fire, with all the live gusto of a dead legless lizard (see above). And Ghostland Observatory escaped me for scheduling reasons, as I was packing up gear from shooting the previous Chickee Hut pair, The Benevento-Russo Duo.

It is hard to evaluate the musical merit of shows that you are committed to capturing in other ways, so take my shout-outs to The Duo and Earl Greyhound with a grain of salt. But Joe and Marco delivered a truly solid set, in classic Duo form, and their large, enthusiastic crowd (on-stage as well as off) was surely treated to one of the best sets at the festival. Tommy Hamilton sat in for a trio of songs, and while at the time I was more concerned with capturing him in the frame than listening to his sonic output, I will say that he played harder and faster than I knew he was capable of, and I’m beginning to like the sound of the Duo with a guitar. But, hey, I like my breakfast cereal with a guitar, too.

Earl Greyhound had an opening slot on Friday that was well-attended considering the seemingly premature time slot for such hard rock. They have a sound that is very hard for most soundboards to translate: their intricate vocal harmonies need to be balanced with thundering drums and lightening quick electric guitar shredding, so the high winds and short soundcheck didn’t do EG any favors. But they delivered their Soft Targets standards tightly, and their newer songs show great promise in the Rock Your Face category.

Sierra Leone's Refugee All-Stars were a lovely Friday evening sunset feel-good dance party; Citizen Cope was a mellow but mellifluous surprise; the Beastie Boys were nothing but fun; Phil Lesh sounded kind of like every other Phil Lesh show I’ve seen before; Mickey Hart gave me nothing to complain about but nothing to blog home about either: hosting Steve Kimock and former Deep Banana Blackout front-woman Jen Durkin (whom I recognized solely from her signature spinning moves).

But the biggest surprise (read: disappointment) of the festival was R.E.M. Granted, their music isn’t exactly what I would have selected for a Saturday night headliner (you could never top last year’s Sat Night rocker from My Morning Jacket), and granted they had to deal with a brutal change in weather that severely stunted the festival revelry, but the morose and political set –even while peppered with those cool throw-backs like Orange Crush--was just not what the doctor ordered. And there was slim pickins for alternatives between 9-12, so patrons were pretty much forced to stick those sets out. Absolutely none of the late night options (Phix, Disco Biscuits, STS9 and the like…) were enough to tempt me to turn into a pumpkin, so this festy patron got two rare solid nights of sleep. I don’t regret for one moment missing any of the pre-dawn activity—my only regret is not making it to MMW and Scofield’s set post-Duo. That might have provided me with enough warmth to stick out Stipe and company.

It will be interesting to see how Langerado responds with next year’s festival: either they will need a deeper lineup to justify having such a large, remote location or they may have to consider a return to the safe haven of Markham Park. Unless the lineup sees a return to something rivalling last year’s highlights, I have reservations about returning to Big Cypress—pun intended.

All photots courtesy the lovely and talented Mercy Southam.