WBEZ | Music http://www.wbez.org/news/music Latest from WBEZ Chicago Public Radio en Talking with Matt Adell, Part Two http://www.wbez.org/blogs/jim-derogatis/2014-08/talking-matt-adell-part-two-110694 <p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/adell%202.jpg" style="height: 412px; width: 650px;" title="Matt Adell" /></div><p><a href="http://www.wbez.org/blogs/jim-derogatis/2014-08/talking-matt-adell-part-one-110693">As noted yesterday</a>, former Chicagoan Matt Adell has had a singular career in the new music industry. The one constant: his love for and support of electronic dance music throughout its development in the U.S.</p><p>In part two of our interview today, Adell talks about the current state of EDM, its massive and ever-growing popularity, and the changes wrought by corporatization, chiefly via SFX Entertainment&mdash;the new company launched by Robert F.X. Sillerman, who many say destroyed radio in this country when he created Clear Channel, <a href="http://www.wbez.org/blogs/jim-derogatis/2014-02/sfx-entertainment-buys-react-presents-109765">and who recently bought Chicago EDM promoters React Presents</a>.</p><p><strong>J.D.:</strong> <strong>We left off talking about the recent sale of Beatport, where you were CEO, to SFX, and that brings us to something I&rsquo;m really interested in: your perspective on where EDM is today, as a business and as a culture. I can square you being CEO at Beatport with the kid I met so long ago, proselytizing about life-changing raves. But a word that you used to use a lot was &ldquo;community,&rdquo; and the electronic dance scene today is a very different one.</strong></p><p><strong>M.A.:</strong> Well, my number-one headline at the broadest scope is &ldquo;dance music changed my life.&rdquo; I think it&rsquo;s changed millions of people&rsquo;s lives, and the more people that can be touched by it, the better. I genuinely believe that.</p><p><strong>J.D.:</strong> <strong>But what about the encroaching bro-ism, sexism, and racism&mdash;all of those things that it was never about, in the days before the leap from underground raves to stadium shows and massive EDM festivals?</strong></p><p><strong>M.A.:</strong> Those are the things that our larger society is about, right? And what&rsquo;s happening is that dance music is coming into the larger society. In fact, I think rather than look at it as larger society invading dance music, it&rsquo;s dance music that is invading larger society. There are more small, cool things for me to go see here, DJs in L.A., than ever before. Literally, I just don&rsquo;t go anywhere where there is a line; that&rsquo;s not my cup of tea.</p><p>But just as punk rock got digested by the Man, if you will, it didn&rsquo;t prevent lots of great music from still being made. In some cases, by major labels, but in most cases, on the independents. There are still plenty of different kinds of raves, for lack of a better word, that people can go to if you don&rsquo;t search for the word &ldquo;festival&rdquo; on Google, and avoid that word. The festivals aren&rsquo;t just part of an electronic dance music tradition, they&rsquo;re part of a state fair tradition, they&rsquo;re part of a circus tradition, that Europe and North America have both supported for generations.</p><p><strong>J.D.: Sure, and it was surprisingly late coming to America, before Coachella and Lollapalooza Mach II and those kind of big corporate events with rave tents.</strong></p><p><strong>M.A.:</strong> I mean, we&rsquo;ve had circuses in North America, and state fairs, and now we have EDM at them. And so with the bro-ism, the sexism, I would say that I don&rsquo;t think EDM has any greater problems with those things than society as a whole, especially among that generation. Let&rsquo;s not forget that you and I are 40-something men talking about people in their late teens and early 20s. But those things come with bigger crowds. And I say this at work&mdash;actually, it was part of my closing speech at Beatport&mdash;I know we&rsquo;re all concerned about the rave scene growing, but dance music changes lives, and can we think of anyone who need their lives changed more?</p><p><strong>J.D.:</strong> <strong>That&rsquo;s very idealistic. But I recall the early raves in Chicago in the <em>Reactor</em> days, at the roller rink on Clark Street and the go-cart track in Hixton, Wisconsin, and much like the early punk days or the early hip-hop days, there was a real sense of community there. If someone was having a bad time on some substance, others would take care of them, and if someone was pawing someone of the opposite sex, someone would step in. There was sex, there were drugs, there was wanton hedonism, but there was also a mutual respect. And it seemed to be that part and parcel of the &rsquo;90s American rave scene was, &ldquo;We&rsquo;re going to build a community along a certain set of values: no racism, no sexism, no homophobia, plenty of support for one another.&rdquo; That seems to be absent in the corporate festival scene.</strong></p><p><strong>M.A.:</strong> I don&rsquo;t disagree, but I would argue that it&rsquo;s broader: A very large crowd has a hard time behaving that way. In my travels, and going to clubs and smaller parties and after-parties, that core PLUR&mdash;peace, love, unity, respect&mdash;that sort of vibe is still there.</p><div class="image-insert-image "><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/spring%20awakening.jpg" style="height: 333px; width: 500px;" title="Promotional image for the Spring Awakening Festival hosted by React Presents/SFX at Soldier Field." /></div></div><p><strong>J.D.: But that&rsquo;s the underground, not the mainstream.</strong></p><p><strong>M.A.:</strong> Our culture&mdash;and I hate to sound like an old man&mdash;but I think our culture has gotten much more disconnected. Remember that the community you and I are talking about from the past predates widespread use of the Internet, and so physical companionship was social networking; that&rsquo;s what you had. And when we talk about Internet communities, what we&rsquo;re really talking about, if we want to use those words appropriately, is a shared interest group, and that&rsquo;s not really the same thing.</p><p><strong>J.D.: That&rsquo;s not a community, in the sense of people taking care of one another.</strong></p><p><strong>M.A.:</strong> I think there is a community on the scene in Berlin, and in the clubs there. As a matter of fact, I don&rsquo;t think that communities can be global; to some extent, they have to be local. There are regions and pockets that have a lot of this; Denver is a great example. When I got to Denver, I was blown away when I realized they never stopped raving, like old school-style raving. They never stopped, there was never a pause. And it was really because of those three guys who founded Beatport, because they also owned a club separately from Beatport, and are DJs. &nbsp;That vibe, that community vibe, was very much present there, and it was a benefit from being a smaller town.</p><p><strong>J.D.: But you said you don&rsquo;t think anything was lost by the dance scene getting as big as it&rsquo;s become.</strong></p><p><strong>M.A.:</strong> I&rsquo;ll say it slightly differently: A lot was lost as the market for the scene decayed, after the &rsquo;90s. But I wouldn&rsquo;t place a value judgment on that because what I see is, even though I see a bunch of bros, I&rsquo;m face to face constantly and in the crowd with kids who are having transformative moments in their lives. All the freakin&rsquo; time! And it might be different than the kinds of transformative moments I had, or that I would want for my kids now, but I see it all the time. So yeah, I still think it&rsquo;s worth it.</p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/pills_1.jpg" style="height: 300px; width: 450px;" title="" /></div><p><strong>J.D.: You said yesterday that there are things you said as a young man in <em>Reactor</em> that you wouldn&rsquo;t want to say to now, and I think you were talking in part about the celebration of the psychedelic experience. It <em>is</em> a big part of the EDM scene, except that now you have raves happening in Soldier Field or Union Park, sites owned the city, with hundreds of off-duty cops being paid extra for security. And that seems really weird to me! These big spaces also conflict with that Timothy Leary idea about controlling &ldquo;set and setting,&rdquo; to say nothing of these events now being taken public on Wall Street as SFX tries to dominate the live EDM market worldwide.</strong></p><p><strong>M.A.: </strong>It <em>is</em> fascinating. You know, I know next to nothing about the live music business, other than going to a lot of shows, and I know little about Wall Street, because I&rsquo;ve never engaged at that level. But what you&rsquo;ve just described is a rational thing to wonder about. However, I would say EDM is a moment, it&rsquo;s a genre, and what we&rsquo;re really experiencing is the end of the guitar and the beginning of the laptop as the most important new musical creative medium. And the market and the business around that, and the way those artists are going to reach their fans, is transformative and really different.</p><p><strong>J.D.: Really? I look at Skrillex, and I just see the EDM version of Journey or Poison. I mean, it&rsquo;s the same thing: corporate crap. He&rsquo;s using different tools, but it&rsquo;s still a sort of tawdry cult of pandering entertainment and celebrity.</strong></p><p><strong>M.A.:</strong> That&rsquo;s entirely possible. What I meant was the business route to him reaching his audience, and he&rsquo;s a great example, is that he reached and cultivated his fan base in a pretty unique, non-major label sort of way.</p><p><strong>J.D.: Well, major labels basically don&rsquo;t exist anymore. </strong></p><p><strong>M.A.:</strong> That&rsquo;s another interesting thing: There&rsquo;s no one left to invest in dance music; I laugh every time people want to talk about how the music business is in great shape. The live business is in great shape, but the recorded music business is 20-percent of what it once was, and that&rsquo;s where everyone&rsquo;s profits, including the artist&rsquo;s, came from in the past. What I mean is that this new breed of artists are reaching fans and developing their businesses and their careers very differently than traditional acts.</p><p>You were asking about big companies coming in. Live Nation has been throwing big events like this for a long time. In Europe, Camel cigarettes used to sponsor the Love Parade. So in fact, there is nothing new about this. Heineken has been the sponsor of giant stadium events for 20 years in Amsterdam, throwing these amazing large-scale parties. So, people have been doing that.</p><p>One of the things that I think is interesting about young people, and this is different from our generation, they literally don&rsquo;t even know what the term &ldquo;selling out&rdquo; means. And if we can get Heineken to pay for someone to have a transformative epiphany, who absolutely might not have had access to that some other way, then I can live with that.</p><p>But I&rsquo;m agreeing with your premise. I look back all the time to the Grateful Dead; we all knew what was going on. I was at those shows at Soldier Field, and everyone knew what was going on then and there. Grateful Dead shows were all-ages if I recall&mdash;I know I saw kids there&mdash;and I never felt unsafe. But I would bet that there were more people on psychedelic drugs at that Dead show at Soldier Field than the React Presents guys could ever get in there. I think also something really significant that&rsquo;s changed is the drugs themselves. I&rsquo;m no expert, but I think there&rsquo;s a really interesting story to be told there. When you hear about large groups of people dying in one place, there&rsquo;s two reasons for it: environment&mdash;meaning no shade, no water&mdash;or they were all taking some bad, adulterated drug. There are pills now, and kids don&rsquo;t know what they&rsquo;re taking, and that&rsquo;s really scary. They&rsquo;re playing Russian roulette with a Colombian drug lord.</p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/rave%20on.jpg" title="" /></div><p><strong>J.D.: I would say that another difference between the current festival rave scene and the Grateful Dead is that the Deadheads remained very much a community, at least until the last few years. Toward the end, there was encroaching bro-ism, and that morphed later into something like the Dave Matthews crowd. But for most of the long, strange trip with the Dead, if you were having a difficult time on your particular trip, there were people who were going to help you, and sexual assaults weren&rsquo;t tolerated, nor was racism or any prejudice, really. I don&rsquo;t know if Robert Sillerman and SFX are providing that kind of idealistic, nurturing environment.</strong></p><p><strong>M.A.:</strong> That is absolutely provided at all European festivals. In Europe there&rsquo;s an organization called <a href="http://www.dancesafe.org/">DanceSafe</a> that is available at lots of different festivals and clubs all over Europe, and they test your drugs for you on site. They scrape a little off, test it on site, and tell you what you&rsquo;re about to take in that pill. I&rsquo;m not suggesting that it&rsquo;s a good idea for the U.S., and I certainly can&rsquo;t imagine it ever happening...</p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/dancesafe.jpg" style="height: 350px; width: 350px;" title="The DanceSafe logo." /></div><p><strong>J.D.: Well, that doesn&rsquo;t square with taking your company public on Wall Street, advertising: &ldquo;We&rsquo;ll test your drugs before you swallow them!&rdquo;</strong></p><p><strong>M.A.:</strong> I won&rsquo;t speak to it, but&mdash;I don&rsquo;t know if you&rsquo;ve looked up in the [SFX] filings&mdash;there&rsquo;s a doctor on the board of the company, and there are safety statements and safety disclosures. As a public company, they have to be really up front about where their risks are and what they&rsquo;re doing about it. And I will tell you, from my experience, if 100,000 people go into Soldier Field for an experience like this, those guys in New York are equipped to run it, safely and with care.</p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/sfx%20logo.png" title="" /></div><p><strong>J.D.: That&rsquo;s one argument: With a global public corporation like SFX buying out the smaller promoters, like React Presents in Chicago, things are going to be safer and better-run. Whereas React was putting on shows at an unsafe venue, the Congress Theatre&hellip;</strong></p><p><strong>M.A.: </strong>And that&rsquo;s not going to happen anymore. And this is the one time I&rsquo;ll speak directly of the executive team at SFX. Beatport was the third company that SFX bought; the first two companies that they bought were ID&amp;T and Disco Donnie, and those were the greatest, most awesome, old-school, know-how-it&rsquo;s-done, keep-people-safe and throw-wild-parties people in the world. And from the very first meetings I went to, it was, &quot;How do we make sure people are safe and having a great time without being intrusive?&quot; and &quot;Can we give away water?&quot; which I believe is happening at almost every event in the world now where there is not a preexisting water contract. Water is free.</p><p>These aren&rsquo;t stupid people&mdash;which I know you&rsquo;re not suggesting&mdash;and they see these risks, too. But Bob [Sillerman] lived through rock &rsquo;n&rsquo; roll, and I think they see that as a challenge. And interestingly, almost all of the executives have kids in college who are massive EDM fans. All the main executives there, all their kids are at these events. They&rsquo;re not disconnected from it; their daughter is there!</p><p>But it <em>is</em> freakin&rsquo; weird. The whole thing is weird, but to me that&rsquo;s just a reflection of how freakin&rsquo; weird capitalism has gotten! Everything gets eaten and digested by bigger things, and I would say this isn&rsquo;t even a very good reflection of capitalism unchecked. Look at other things, like GM. But it <em>is</em> interesting. People invest in alcohol companies that have a risk associated with them, tobacco companies that have a risk associated with them. Dennis McNally, who used to be the publicist for the Grateful Dead, used to equate having these experiences with risky skiing: It&rsquo;s a big risk that adults can take.</p><p>For me personally&mdash;and I am willing to sound like a fuddy-duddy here&mdash;I don&rsquo;t believe these experiences are for anyone under 21. In the rave scene, it was all people of our age when we first got started, and then younger kids started coming in. I remember the first time I was dancing next to a speaker and I looked over and there was a 17-year-old, and I&rsquo;m 21, and that feel like it&rsquo;s a huge difference at that age. Even at 21, I looked over and thought, &ldquo;This is wrong. I can&rsquo;t do that with this young person.&rdquo; They can; more power to them. But that&rsquo;s when we all retreated to the clubs. That&rsquo;s when Shelter really took off, and all the events were happening in clubs then. That also, frankly, made it more of a community, and that&rsquo;s another interesting point worth bringing up. Young people are terrible at community at that age, or at being responsible. By definition, the brain is not responsible at 17. So, 25,000 17-year-olds is really different from 25,000 21-year-olds.</p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/sillerman-billboard-cover-650px_0.jpg" style="height: 298px; width: 450px;" title="" /></div><p><strong>J.D.: What about Sillerman&rsquo;s track record? What he built with Clear Channel and what it did to radio in America, he certainly sped up its death&mdash;its blandification, its loss of soul. As someone who&rsquo;s loved this music his whole life, you don&rsquo;t see that looming for EDM?</strong></p><p><strong>M.A.: </strong>I don&rsquo;t see it looming with SFX in particular, or Bob in particular, mostly because, frankly, I think if Bob&rsquo;s sole focus was to make tons of money, he&rsquo;d be doing something else. There is a labor of love here. Bob really believes, and I hope he doesn&rsquo;t mind me saying this, that rock &rsquo;n&rsquo; roll changed the lives of African-Americans and women for the better and permanently. And obviously we&rsquo;re not done with those evolutions, but he believes that rock &rsquo;n&rsquo; roll helped forward those people, and he believes that young people will make the same of this, and I do, too.</p><p>At the other end of it, does everything become different when it becomes a big business? Yes. So go to a smaller club.</p><p><strong>J.D.: But geez, that <em>Billboard </em>cover of Sillerman holding the world in his hands in the form of a disco globe with a &ldquo;F---You&rdquo; kerchief in the pocket of his leather jacket... I mean, what is that about?</strong></p><p><strong>M.A.: </strong>He&rsquo;s his own man, that&rsquo;s all I can say. But there have been a lot of other people entering into this market with huge amounts of money as well. I think that if it&rsquo;s Bob or someone else, it kind of doesn&rsquo;t matter.</p><p><strong>J.D.: If it wasn&rsquo;t him and SFX, it&rsquo;d be somebody else?</strong></p><p><strong>M.A.:</strong> I know that&rsquo;s such a cliché, and you can&rsquo;t saying that about everything in life, but the desire for electronic dance music and the market explosion was already happening. And before Sillerman was involved, there were people asking, &ldquo;What is the market size of this business?&rdquo; Because it happened sort of on the sidelines from traditional business, and it got huge. I think it was Electric Daisy Carnival that really highlighted that in North America. You know, money does what money does.</p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/Adell%204_0.jpg" title="" /></div><p><em><strong>Follow me on Twitter </strong></em><a href="https://twitter.com/JimDeRogatis"><strong><em><strike>@</strike>JimDeRogatis</em></strong></a><em><strong>, join me on </strong></em><a href="http://www.facebook.com/pages/Jim-DeRo/254753087340"><strong><em>Facebook</em></strong></a><em><strong>, and podcast </strong></em><a href="http://www.soundopinions.org/"><strong>Sound Opinions</strong></a><em><strong> and </strong></em><a href="http://jimcarmeltvdinner.libsyn.com/"><strong>Jim + Carmel&rsquo;s TV + Dinner</strong></a><em><strong>.</strong></em></p></p> Tue, 26 Aug 2014 07:00:00 -0500 http://www.wbez.org/blogs/jim-derogatis/2014-08/talking-matt-adell-part-two-110694 Talking with Matt Adell, Part One http://www.wbez.org/blogs/jim-derogatis/2014-08/talking-matt-adell-part-one-110693 <p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/adell%201.jpg" style="height: 400px; width: 650px;" title="Matt Adell" /></div><p>Former Chicagoan Matt Adell has had as unique a career in the new music industry as anyone I know, progressing from electronic dance music super-fan to fanzine editor, record store clerk, indie-record label employee turned label head, Internet radio and streaming audio pioneer, and finally executive at a top online music store.</p><p>The names of some of those companies alone chart the history of and the seismic changes in the industry during the last quarter-century: Wax Trax, Napster, Amazon, MusicNow, Beatport, SFX Entertainment.</p><p>Not only is Adell singularly poised to share the insights he&rsquo;s gleaned while following his remarkable career path&mdash;part one of our conversation today&mdash;but he has a unique and deeply informed viewpoint on the current state of EDM, its massive popularity, and the changes wrought by corporatization (part two of our interview tomorrow).</p><p><strong>J.D.:</strong> <strong>So, Matt, my recollection of our first meeting is back in the early &rsquo;90s, when you and David Prince and Gary &ldquo;Sir Real&rdquo; </strong><strong>Kuzminski were working on a fine dance-music fanzine called <em>Reactor </em>and really </strong><strong>proselytizing about the joys of the nascent American rave movement, as well as your big plans for Chicago.</strong></p><p><strong>M.A.:</strong> Yes! I don&rsquo;t remember the conversation, but that sounds like me. The magazine was published out of my house. You know, the nice thing about <em>Reactor</em> is none of it&rsquo;s on the Internet.</p><p><strong>J.D.:</strong> <strong>That&rsquo;s kind of sad, though. I remember some extraordinary interviews: early Moby and the Aphex Twin&hellip;</strong></p><p><strong>M.A.:</strong> Moby, Aphex Twin, Terrence McKenna, Tim Leary, a great conversation with the Stereo MCs about being Christian&hellip; there was just great stuff in there. &nbsp;You know, I lost my archive in a fire in Chicago. It was Christmas Eve of 2000. I went to the movies by myself&mdash;the <em>Star Trek</em> movie&mdash;got home, and I&rsquo;m like, &ldquo;Where the hell am I gonna park? There are fire engines everywhere!&rdquo; And then I realize it&rsquo;s my building that&rsquo;s on fire! Mercifully, my dog was fine, so the magazines I was happy to lose. But every now and then I see people reference <em>Reactor</em>, or with some of these rave archives, people have scanned the covers. But it might be just fine, frankly, that it&rsquo;s not fully available. It certainly is not [full of] the kinds of things that I would say to young people today.</p><p><strong>J.D.:</strong> <strong>How so?</strong></p><p><strong>M.A.:</strong> As a young person, I think young people can use certain language when they&rsquo;re speaking to each other, and it&rsquo;s different from adults. And so there&rsquo;s lots of stuff that I did growing up that I wouldn&rsquo;t tell other people I recommend. I don&rsquo;t have any regrets, but it doesn&rsquo;t mean I tell people things are a good idea.</p><p><strong>J.D.:</strong> <strong>Well, like I said, you guys were proselytizers&mdash;your generation&rsquo;s version of Tim Leary or Ken Kesey.</strong></p><p><strong>M.A.:</strong> Yeah, no s---!</p><div class="image-insert-image " style="text-align: center;"><div class="image-insert-image "><img alt="" class="image-original_image" src="http://llnw.wbez.org/styles/original_image/llo/insert-images/96evenfurthur.jpeg" style="height: 470px; width: 300px;" title="Flier for one of the largest raves in the '90s run by some of the Reactor magazine folks, though Adell had no part in this one." /></div></div><p><strong>J.D.:</strong> <strong>So what was the trajectory? How did you go from local electronic dance enthusiast into building a very successful career?</strong></p><p><strong>M.A.:</strong> Before I started my label, Organico, I was at Wax Trax Records, working for Jim Nash. I had gotten into Chicago dance music when I was working at a record store in San Francisco in the &rsquo;80s; I was out there for a bit going to school. Then I moved back to Chicago.</p><p>I started my label Organico after Wax Trax. It was a total labor of love, and to this day I&rsquo;m incredibly proud of it, especially the Derrick Carter record as Sound Patrol. And we put out stuff by Dub-tribe Sound System from San Francisco, and a great local act with Gary Sir Real in it called Squishy...</p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/carter%20ep.jpg" style="height: 253px; width: 350px;" title="Derrick Carter Sound Patrol EP on Organico." /></div><p><strong>J.D.: I remember all of those&mdash;great records, one and all! Were they successful commercially?</strong></p><p><strong>M.A.:</strong> It was a struggle, you know? These were the days when most of your revenue was in vinyl. You had to manufacture it, which was expensive, and you had to ship it, and in those days, independent record sales were all effectively consignment. So the label didn&rsquo;t get paid for, usually, at best, 180 days after shipping the record. Sometimes, if you were waiting for a check, you might get a box of records back instead, if the distributor had over-ordered. It was a nightmarish cash-flow business. I really admire Dan Koretzky [Drag City] and Bettina [Richards, Thrill Jockey] and what they did with their independent labels at the same time.</p><p><strong>J.D.: When did TVT come into the picture?</strong></p><p><strong>M.A.: </strong>TVT bought Wax Trax before I left Wax Trax. That was my time with TVT. I signed the KLF to Wax Trax, which was a <em>Billboard</em> No. 1 dance record, and still a record I love very much. You know, I think arguably you could say the Beatles, in their relatively short recording career, did everything that rock &rsquo;n&rsquo; roll had to offer. And KLF has changed dance music still to this day. I&rsquo;m not equating them with the Beatles, other than having, in a very short career, defined the entire growth curve of a genre. As a matter of fact, the KLF, they called their music &ldquo;stadium house,&rdquo; which at the time was a joke. But when you listen to their records, every single KLF record has a huge stadium-sized crowd sound in it, so it sounds like you&rsquo;re in a stadium. It sounds like you&rsquo;re at a contemporary festival.</p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/12in_KLF_chill-A.jpg" style="width: 350px; height: 350px;" title="" /></div><p><strong>J.D.: The group was prescient in a lot of ways, you&rsquo;re absolutely right. </strong></p><p><strong>M.A.: </strong>So I worked on that, and with Thrill Kill Kult, which I was incredibly proud of. Meanwhile, with my label, I worked on it for fits and starts as I could afford it for a number of years, and eventually the Internet happened. And I was lucky enough to be invited by a buddy of mine to join a company called RadioWave.com, which was Motorola-funded; it basically was Motorola investing in an incredibly nascent Internet radio station. RadioWave was one of the first big national Internet radio networks; we worked with terrestrial radio stations and companies like the Loop and Clear Channel, getting their signals online and replacing the ads with different ad inventory, and then we built the first really large network of programs for an Internet radio station. I built branded channels for Blue Note, the Smashing Pumpkins, and Vans Warped Tour, and there was a time when we were several of the Top 10 genre stations on the Internet, very early on. It was a really exciting time.</p><p><strong>J.D.: The company was ahead of its time.</strong></p><p><strong>M.A.: </strong>Really. We spent a lot of time pitching things that didn&rsquo;t go anywhere, and eventually Motorola shut it down, shortly after 9/11, if I recall.&nbsp; And then I was mercifully unemployed very briefly, until I went to work for a company in Chicago called MusicNow. Before Spotify, it was the first nationally deployed and licensed streaming and on-demand digital music service. And I fell in love&mdash;that&rsquo;s when I really, really fell in love with music on the Internet. Because what I enjoyed about record stores and what I enjoyed about DJing was sharing music with people, and getting the feedback of whether they loved it, instantly. And you can do that online through digital music services. You can learn instantly, and in great detail, if people like what they&rsquo;re consuming.</p><p>I remember the first time I saw a report showing me on our radio stations the most common songs people were skipping; my head exploded! It was so fascinating. If a song was a big hit, we were programming it a lot, but nobody wanted to hear it! I love that about the Internet. Because, you know, my personal taste is not a massive factor in my pleasure in helping other people find music they&rsquo;re gonna love. If it&rsquo;s not hate speech, and people love the record, then I&rsquo;m gold. Other people have much more important things in their lives to worry about than who the next cool band is; they&rsquo;ve got kids to take to soccer practice. I learned that working for Rick Addy at the Record Exchange in Evanston, and that stayed with me my whole career. And besides, what I like is f---ing weird!</p><p>Anyway, I worked at MusicNow for a while, and really dug in on the product side there. It grew from not just being a music programming creative thing, but also a user experience for digital music services at that time. That&rsquo;s where I got to know developers and started to understand how things work. And to be perfectly honest, digital music services haven&rsquo;t changed at all since then. They&rsquo;re all a giant pile of music, with a search box, a display area, and some sort of algorithmic listening. They&rsquo;re all the same&mdash;identical.</p><p><strong>J.D. We haven&rsquo;t seen the next generation, have we?</strong></p><p><strong>M.A.:</strong> Well, what really changed is that music subscriptions services did not matter until the Smartphone was predominant. That&rsquo;s why MusicNow was too early, and even why the legal Napster was too early, because the value to the consumer wasn&rsquo;t obvious until it was on your phone. And so with Spotify, their service is basically the same as everyone else&rsquo;s, but their timing, with the arrival of Smartphone culture, was impeccable.</p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/Napster.jpg" style="height: 300px; width: 450px;" title="" /></div><p><strong>J.D.: When did you go to Napster?</strong></p><p><strong>M.A.:</strong> After MusicNow in Chicago, I moved to Seattle to work at Amazon. When I was there, Amazon was interestingly organized; the team I was on had nothing to do with the music group. About six months into my time at Amazon, I got an offer I couldn&rsquo;t refuse: Come be the vice president of the music group at Napster, which meant all the licensing, all the programming, everything with music. I moved to L.A. to take that job and it was a blast.</p><p>It was a phenomenal experience, but it&rsquo;s a painful struggle to have the brand be both a help and a hindrance, which was the case at Napster. It was just like Spotify, the same technological techniques, the same value proposition for consumers, but it had been branded earlier [as &ldquo;illegal downloading&rdquo;]. Still, whatever it was named, it was too early, because Smartphones won.</p><p>While I was at Napster, we sold the company to Best Buy, which was a great exit for the folks who had been nurturing it. And shortly thereafter, I started thinking, &ldquo;What am I going to do next?&rdquo; I got a call from a headhunter one day, and the headhunter says, &ldquo;Would you ever consider working in Denver?&rdquo; And I said, &ldquo;Only if I could work at Beatport.&rdquo; And 90 days later, I am the COO of Beatport. That&rsquo;s really how that happened! Beatport was looking for more experienced executives to help the founders out, and I was really the only person I know of that they met with my experience who had a hardcore dance music background.</p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/beatport_logobox_large_blu.jpg" style="height: 233px; width: 450px;" title="" /></div><p><strong>J.D.: For people who don&rsquo;t know, explain what <a href="http://www.beatport.com/">Beatport</a> was and is.</strong></p><p><strong>M.A.:</strong> Beatport is the world&rsquo;s largest online record store for DJs. Some do it professionally, but I would say many of them to do it aspirationally. Like how many more people buy basketballs to play in their driveway than to play on the court. But they are all acting like DJs with the music. That&rsquo;s really a key differentiator: They&rsquo;re gonna use the music as a root element of creating something new.</p><p>It was already the most important brand in dance music when I arrived, it&rsquo;s just that dance music was not having its moment yet. But I do believe that in the time I was there we helped grow the dance music market globally&mdash;helped it reach a more mainstream or larger audience, I would say.&nbsp; And in my time there, we also doubled the size of the company.</p><p>What we did was really transform Beatport into a community hub. What we saw was that fans wanted to be where the DJs were, so they were coming to the record store and using the record store as a music-discovery engine. They knew, for instance, if they looked at the Top 10 charts, that was a reflection of what the most important DJs in the world were buying. So what we began doing then was a Beatport dance music news blog, remix contests, big social activity, live DJ broadcasts, so that we really became the connecting tissue between the DJ and the fan. For that fan who really wants what I would call the number-one experience of feeling most closely linked to their favorite artists&mdash;the super-fans, if you will&mdash;that&rsquo;s where they all comingled, and that grew Beatport&rsquo;s audience substantially.</p><p>By the time I became the CEO, which was about a year after I started, the directive from the board was to find a buyer. And I spent a lot of my time building a company and a process to make that happen. The company had already taken venture capital money a few years before I got there, so by the time I got there, it was very close to time for any venture capitalist to say, &quot;Hey, where&rsquo;s my money?&quot;</p><p><strong>J.D.: So it wasn&rsquo;t a surprise to you that Beatport was sold to SFX; it was part of your marching orders.</strong></p><p><strong>M.A.:</strong> Beatport had a very corporate board that I worked for, that I did not vote on, so Beatport was sold by the people who owned it. I&rsquo;m extremely proud of the results I achieved with them.</p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/Adell%204.jpg" style="height: 237px; width: 450px;" title="" /></div><p><strong><em>Tomorrow: Matt Adell on the current state of EDM.</em></strong></p><p><em><strong>Follow me on Twitter </strong></em><a href="https://twitter.com/JimDeRogatis"><strong><strike>@</strike>JimDeRogatis</strong></a><em><strong>, join me on </strong></em><a href="http://www.facebook.com/pages/Jim-DeRo/254753087340"><strong>Facebook</strong></a><em><strong>, and podcast </strong></em><a href="http://www.soundopinions.org/"><strong>Sound Opinions</strong></a><em><strong> and </strong></em><a href="http://jimcarmeltvdinner.libsyn.com/"><strong>Jim + Carmel&rsquo;s TV + Dinner</strong></a><em><strong>.</strong></em></p></p> Mon, 25 Aug 2014 07:00:00 -0500 http://www.wbez.org/blogs/jim-derogatis/2014-08/talking-matt-adell-part-one-110693 Enough with the ‘Footloose’/EDM nonsense http://www.wbez.org/blogs/jim-derogatis/2014-08/enough-%E2%80%98footloose%E2%80%99edm-nonsense-110684 <p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/EDM-electronicdancemusic.jpg" title="" /></div><div class="image-insert-image " style="text-align: center;">&nbsp;</div><p>As first reported by <a href="http://www.dnainfo.com/chicago/20140815/logan-square/edm-banned-from-congress-theater-for-current-future-owners">Darryl Holliday at DNAinfo.com</a>&mdash;and subsequently repeated by every other blog in town, most of which made superficial comparisons to the 1984 film <em>Footloose</em>&mdash;troubled Congress Theater owner Erineo &ldquo;Eddie&rdquo; Carranza has signed a city-crafted plan of operation for the venue that prohibits him or any future owner from hosting the sort of electronic dance music concerts that got the theater in hot water in the first place.</p><p>The 4,500-capacity, 88-year-old former movie palace in Logan Square lost its liquor license in May 2013, and that, coupled with numerous and serious building code violations and some hair-raising police reports, has kept it shuttered ever since.</p><p>Buried in the new, six-page plan of operation signed by Carranza and Chicago liquor commissioner Gregory Steadman is the stipulation that &ldquo;the licensee shall not allow any EDM shows/events at the premises.&rdquo; The plan adds that &ldquo;the sale of the business to other persons&hellip; does not void the conditions [and] any and all potential new owners of the licensed entity shall be subject to the same conditions.&rdquo;</p><p>As Holliday noted, the document includes a handy but pretty much clueless definition of EDM as &ldquo;any performance by a DJ or multiple DJs&hellip; incorporating electronic beats or prerecorded music,&rdquo; if the performers do not sing or play an instrument. Hence the snickering from hipsters and EDM fans.</p><p>Yet while Ald. Proco Joe Moreno (1<sup>st</sup>) initiated proceedings against the Congress in 2012 because of a long list of complaints from neighbors, he is the least tone-deaf member of the City Council, and possibly its biggest fan of underground music. He called the plan of operation &ldquo;a blunt instrument&rdquo; and defended EDM as a genre while maintaining that the long list of problems at the Congress were not the fault of the music but of venue owner Carranza, who partnered with promoters React Presents to hold some of the most problematic shows.</p><p><a href="http://www.wbez.org/blogs/jim-derogatis/2014-02/sfx-entertainment-buys-react-presents-109765">React since has been purchased by the giant global EDM corporation SFX Entertainment</a>, and it continues to throw massive dance concerts in Chicago at, among other venues, the city-owned Soldier Field and Union Park. So it&rsquo;s hardly as if Chicago is reverting to the draconian days of the anti-rave ordinance in the &rsquo;90s, much less turning into that small town in Oklahoma that tried to ban rock &rsquo;n&rsquo; roll and dancing in <em>Footlose</em>.</p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/footloose.jpg" title="" /></div><p><strong><em>So what really is going on here?</em></strong></p><p><a href="http://www.wbez.org/blogs/jim-derogatis/2014-01/sale-congress-theater-pending-109543">As this blog first reported in January</a>, Carranza is trying to sell the Congress to developer Michael Moyer, best known for restoring to its full 1920s glory the Loop showplace now known as the Cadillac Palace Theatre, and a lynchpin of Broadway in Chicago. But a troublesome lawsuit by React/SFX is blocking that sale and taking its time winding through the courts.</p><p>React/SFX and local rock promoters Jam Productions both claim to have the right of first refusal to buy the theater based on earlier agreements predating the one Carranza made with Moyer. However, sources say Jam is willing to step away, and that it&rsquo;s SFX that has been blocking the sale and slowing things down.</p><p>Moyer did not respond to a question on Wednesday about the status of the lawsuit. But the developer told this blog in June that he remains optimistic, adding: &ldquo;I am under contract and still working toward closing, [but] the litigation thing is arduous.&rdquo;</p><p>Said a city source close to the situation: &ldquo;What this really is about is convincing [React/SFX] to get out of the way and accept a settlement in its lawsuit so that this sale [to Moyer] can go through and the theater can be restored for the benefit of the neighborhood and everyone in Chicago.</p><p>&ldquo;When that happens, the city will reassess any act, including EDM performers, being able to perform there, because the theater finally is going to be run the right way. That&rsquo;s all that the neighbors or anyone else has ever wanted.&rdquo;</p><p>So, dance fans, fear not: There&rsquo;s no need to call Kevin Bacon to save the day for EDM in Chicago just yet.</p><p><strong><u>Here are some of the key reports in this blog&rsquo;s coverage of the Congress Theater:</u></strong></p><p><a href="http://www.wbez.org/blogs/jim-derogatis/2014-06/whither-chicago%E2%80%99s-historic-theaters-110273">June 3: Whither Chicago&rsquo;s historic theaters?</a></p><p><a href="http://www.wbez.org/blogs/jim-derogatis/2014-01/sale-congress-theater-pending-109543">Jan. 19: Sale of Congress Theater pending</a></p><p><a href="http://www.wbez.org/blogs/jim-derogatis/2013-08/jam-productions-block-rival-promoters-congress-theater-108505">Aug. 23, 2013: Jam Productions Blocks Rival Promoters at the Congress Theater</a></p><p><a href="http://www.wbez.org/blogs/jim-derogatis/2013-05/congress-theater-liquor-license-revoked-107360">May 24, 2013: Congress Theater liquor license revoked</a></p><p><a href="http://www.wbez.org/blogs/jim-derogatis/2013-05/congress-theater-safe-or-not-106931">May 1, 2013: Is the Congress Theater safe or not?</a></p><p><a href="http://www.wbez.org/blogs/jim-derogatis/2013-04/city-wants-congress-theater-shut-down-immediately-106698">April 17, 2013: City wants the Congress shut down immediately</a></p><p><a href="http://www.wbez.org/blogs/jim-derogatis/2013-01/congress-theater-liquor-hearings-begin-undercover-cops-testimony-104950">Jan. 16, 2013: Congress Theater liquor hearings begin with undercover cop&rsquo;s testimony</a></p><p><a href="http://www.wbez.org/blogs/jim-derogatis/2012-11/congress-theater-defaults-4-million-loan-104101">Nov. 29, 2012: Congress Theater defaults on $4 million loan</a></p><p><a href="http://www.wbez.org/blogs/jim-derogatis/2012-11/congress-theaters-new-security-chief-ex-cop-troubled-past-103611">Nov. 2, 2012: Congress Theater&rsquo;s new security chief: An ex-cop with a troubled past</a></p><p><a href="http://www.wbez.org/blogs/jim-derogatis/2012-10/congress-theater-police-calls-rank-soldier-field-united-center-103569">Oct. 31, 2012: Congress Theater police calls rank with Soldier Field, United Center</a></p><p><a href="http://www.wbez.org/blogs/jim-derogatis/2012-09/congress-theater-splits-development-partner-102451">Sept. 16, 2012: Congress Theater splits with development partner</a></p><p><a href="http://www.wbez.org/blog/jim-derogatis/2012-03-25/congress-theater-responds-complaints-97597">March 25, 2012: Congress Theater responds to complaints</a></p><p><a href="http://www.wbez.org/blog/jim-derogatis/2012-03-22/city-congress-theater-clean-your-act-97549">March 22, 2012: City to Congress Theater: Clean up your act!</a></p><p><em><strong>Follow me on Twitter </strong></em><a href="https://twitter.com/JimDeRogatis"><strong><em><strike>@</strike>JimDeRogatis</em></strong></a><em><strong>, join me on </strong></em><a href="http://www.facebook.com/pages/Jim-DeRo/254753087340"><strong><em>Facebook</em></strong></a><em><strong>, and podcast </strong></em><a href="http://www.soundopinions.org/"><strong>Sound Opinions</strong></a><em><strong> and </strong></em><a href="http://jimcarmeltvdinner.libsyn.com/"><strong>Jim + Carmel&rsquo;s TV + Dinner</strong></a><em><strong>.</strong></em></p></p> Thu, 21 Aug 2014 12:54:00 -0500 http://www.wbez.org/blogs/jim-derogatis/2014-08/enough-%E2%80%98footloose%E2%80%99edm-nonsense-110684 R. Kelly sued by the manager who always stood by him http://www.wbez.org/blogs/jim-derogatis/2014-08/r-kelly-sued-manager-who-always-stood-him-110682 <p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/R-Kelly-trial-in-Chicago_2_1.jpg" style="height: 741px; width: 650px;" title="Derrel McDavid trails R. Kelly as he arrives in court to face charges of child pornography. (WBEZ file) " /></div><p>For 13 years, through the darkest days of R. Kelly&rsquo;s trial for child pornography and the flood of revelations about what <em>The Chicago Sun-Times </em>always called the singer&rsquo;s pattern of abusing his position of fame and influence to pursue illegal sexual relationships with underage girls, the Chicago superstar&rsquo;s staunchest defender was his Oak Park-based manager Derrel McDavid.</p><p>McDavid began overseeing Kelly&rsquo;s career in early 2000, after Barry Hankerson, the music-business legend who steered the singer to the top of the charts, split with the musician after the first of numerous civil lawsuits filed against him by underage girls. (<a href="http://www.wbez.org/blogs/jim-derogatis/2013-07/timeline-life-and-career-r-kelly-107973">Kelly also illegally married and had a sexual relationship with Hankerson&rsquo;s niece, Aaliyah, who was 15 at the time the star produced her debut album, <em>Age Ain&rsquo;t Nothing But A Number</em></a>.)</p><p>Now, according to <a href="http://www.chicagotribune.com/entertainment/chi-r-kelly-sued-by-business-manager-20140818-story.html">a report by Michelle Manchir in <em>The Chicago Tribune</em></a><em>, </em>McDavid is suing Kelly for being late on payments in the settlement the two struck when McDavid broke with Kelly at the end of 2013. Manchir writes that Kelly failed to make his first monthly payment of $40,000 on Aug. 1.</p><blockquote><p>&ldquo;McDavid has suffered significant harm as a proximate result of Kelly&rsquo;s breach of the settlement agreement, and is entitled to recover from Kelly the full amount owed,&rdquo; the lawsuit says.</p><p>The total amount R. Kelly owes his former manager under the settlement agreement is about $1.3 million, according to the lawsuit, and the R&amp;B star already paid $300,000 when the agreement was initially executed, the lawsuit says.</p><p>The suit seeks payment from R. Kelly to his former manager of the total amount still owed from the agreement, attorneys&rsquo; fees and &ldquo;further relief as is just and appropriate,&rdquo; the lawsuit says.</p><p>Eric Macey, an attorney for Winkler &amp; McDavid. Ltd., said Monday that the lawsuit &ldquo;speaks for itself. Mr. Kelly promised to repay a substantial debt that he owes&hellip; and now has failed to keep his promise.&rdquo;</p><p>An attorney for R. Kelly could not immediately be reached.</p></blockquote><p>Though it rarely is the most insightful or reliable source on such matters, these sentences from <a href="http://www.tmz.com/2014/08/18/r-kelly-sued-manager-confidential-settlement-lawsuit/">TMZ.com&rsquo;s story on the dispute</a> stood out:</p><blockquote><p>Here&rsquo;s Kelly&#39;s big problem: We&rsquo;re told&nbsp;McDavid was deeply involved in Kelly&rsquo;s professional and personal life, and knows everything about the various disputes he&rsquo;s had with women and others going back 20 years. Sources connected with the case say Kelly could be playing with fire by stiffing McDavid.</p></blockquote><p><em><strong>Follow me on Twitter </strong></em><a href="https://twitter.com/JimDeRogatis"><strong><em><strike>@</strike>JimDeRogatis</em></strong></a><em><strong>, join me on </strong></em><a href="http://www.facebook.com/pages/Jim-DeRo/254753087340"><strong><em>Facebook</em></strong></a><em><strong>, and podcast </strong></em><a href="http://www.soundopinions.org/"><strong>Sound Opinions</strong></a><em><strong>.</strong></em></p></p> Thu, 21 Aug 2014 08:32:00 -0500 http://www.wbez.org/blogs/jim-derogatis/2014-08/r-kelly-sued-manager-who-always-stood-him-110682 Try to do something nice—and face a year in jail http://www.wbez.org/blogs/jim-derogatis/2014-08/try-do-something-nice%E2%80%94and-face-year-jail-110667 <p><div class="image-insert-image " style="text-align: center;"><div class="image-insert-image "><img alt="" class="image-original_image" src="http://llnw.wbez.org/styles/original_image/llo/insert-images/DARREN ROBBINS 2.jpg" title="Darren Robbins (photo courtesy Darren Robbins)" /></div></div><p>Though he&rsquo;s been living in a small town in Southwestern Michigan for the last few years, Darren Robbins is a familiar face in the Chicago music scene. The 48-year-old musician was the long-time leader of <a href="http://articles.chicagotribune.com/2008-11-14/entertainment/0811120110_1_clive-davis-bomb-stage-fright">Time Bomb Symphony</a>, a band that flirted with major-label success, and he still handles social media for <a href="http://superiorst.com/">Superior St. Rehearsal Studios</a>, which means that a heck of a lot of local artists hear from him regularly.</p><p>Robbins also is a cancer survivor; the former owner of a successful T-shirt business who was profiled in <em><a href="http://www.nytimes.com/2011/04/28/business/smallbusiness/28sbiz.html?_r=1&amp;adxnnl=1&amp;pagewanted=all&amp;adxnnlx=1408302181-u007bJyWozAGdjeUUcUSYQ">The New York Times</a>,</em> and a popular street artist who, inspired by Shepard Fairey and using the name <a href="http://www.lemmycornhole.com/">Lemmy Cornhole</a>, does a booming business selling cornhole boards and T-shirts adorned with the face of Marty Feldman in <em>Young Frankenstein. </em>He admits he also on occasion decorates skate parks and other spaces&mdash;when he&rsquo;s specifically invited by the property owners.</p><p>What Robbins is not is a reckless, property-trashing tagger, much less a menace to society. Yet the police in Dowagiac and the prosecutor in Cass County, Michigan are doing their best to demonize him as such, and they seem determined to punish him for &ldquo;Malicious Destruction of a Building, less than $200,&rdquo; which he was told at arraignment carries a maximum sentence of up to a year in jail and $2,000 in fines (penalties that are confirmed <a href="http://www.criminalpropertydamage.com/michigan/">by a state website</a>).</p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/MARTY_be_original.jpg" style="height: 432px; width: 450px;" title="" /></div><p>The trouble started on July 23 when Robbins, with the best of intentions, sprayed the message &ldquo;I love you Jolene&rdquo; on the side of a vacant building that happened to be on the route his friend had to take to the hospital to receive treatment for breast cancer. Here&rsquo;s how he tells the story:</p><blockquote><p>&ldquo;I was not thinking of myself, but of the fear and loneliness that she must have been feeling in those early morning hours. As a longtime romantic at heart, I have long been a fan of grand gestures, and I couldn&rsquo;t help ask myself, &lsquo;What would Lloyd Dobler do?&rsquo; Dobler, of course, was the teenage protagonist in the film <em>Say Anything</em>...</p><p>&ldquo;Whatever I was going to do, I knew it had to be big&mdash;something that there would be very little chance of missing as she drove by. A cheap can of spray paint would have done the trick, but that would have been permanent. Instead, I opted to spend 10 times what a can of spray paint cost and procured a few cans of marking chalk. I then spent a few days spraying the chalk on a multitude of surfaces to determine which was the most temporary and easiest to remove. Of the three brands I purchased, Krylon came off with a water hose, or a bucket of water and a brush. Worst-case scenario, the chalk disappears in the first rain storm, or fades altogether in a few weeks.</p><div class="image-insert-image " style="text-align: center;"><div class="image-insert-image "><img alt="" class="image-original_image" src="http://llnw.wbez.org/styles/original_image/llo/insert-images/Krylon.jpg" style="height: 1000px; width: 300px;" title="Says the manufacturer: Provides excellent temporary marking... easily removed from hard surfaces." /></div></div><p>&ldquo;Knowing my friend had to be at the hospital by 6 a.m., I left the message around 3 a.m. and promptly fell into bed around 4 a.m. with the intent of removing the message when I awoke. Of course, I never got the chance, because my slumber was interrupted by a visit from the police.&rdquo;</p></blockquote><p>Robbins has had many a sleepless night since his arrest contemplating the ramifications of what seems like over-zealous small-town justice. All that <a href="http://www.casscoprosecutor.com/Prosecutor">Cass County Prosecutor Victor Fitz</a> will say on the record is that he cannot comment on ongoing prosecutions. But local law enforcement is doing their best to spin a very different story from the one Robbins tells.</p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/Victor-Fitz.jpg" style="height: 408px; width: 450px;" title="Victor Fitz (Cass County Prosecutor's Office)." /></div><p>Officials portray Robbins as a &ldquo;stalker&rdquo; whose message to Jolene was most unwelcome; they add that the woman barely knows him, and doesn&rsquo;t even have cancer. They also say he&rsquo;s &ldquo;been tagging all over town,&rdquo; and that the punishment they&rsquo;re seeking is so stiff because he has a prior conviction in 2005 for tagging.</p><p>&ldquo;I was able to get the guy from the TV station to tell me what they told him and, believe me, it took me aback,&rdquo; Robbins says. &ldquo;But it did make me see exactly how comfortable they are in feeding half-truths to the media to scare off any press scrutiny.&rdquo;</p><p>In fact, Robbins says the 2005 conviction actually stems from a traffic accident in a neighboring town, and that Dowagiac officials &ldquo;have credited me with every unsolved tag or act of vandalism in this town from the dawn of time in hopes of getting the big one&rdquo;&mdash;the Jolene message and malicious destruction of a building&mdash;&ldquo;to stick.&rdquo;</p><p>As for Jolene, whose last name is being withheld in this report out of respect for her privacy, stalking is the last thing Robbins&rsquo; message brings to mind, and she is indeed battling cancer.</p><p>&ldquo;All I know is that I love what Darren did for me,&rdquo; she told me. &ldquo;How can anyone see saying &lsquo;I love you&rsquo; as a bad thing? I was in such a bad place&mdash;some days I still am&mdash;but when I think of seeing that message, I still get goose bumps. He is someone I love having in my corner.&rdquo;</p><p>Meanwhile, Robbins is angry&mdash;and worried.</p><p>&ldquo;I have come to realize that there is no end to the strong-armed idiocy displayed by prosecutors and law enforcement alike across the country,&rdquo; he says. &ldquo;I&rsquo;m not a teenage gang-banger, but a 48-year-old business man, musician, and artist who never thought a simple message in chalk could send me to jail for a year.&quot;</p><p>Indeed, his crime, if it is one, seems more akin to what kids regularly do with chalk in the school yard. But this ain&#39;t child&rsquo;s play: Robbins is due in court in Cassopolis, Michigan for a pre-trial conference on Sept. 22, with his jury trial scheduled to start at 9 a.m. the next morning.</p><p><em><strong>Follow me on Twitter </strong></em><a href="https://twitter.com/JimDeRogatis"><strong><em><strike>@</strike>JimDeRogatis</em></strong></a><em><strong>, join me on </strong></em><a href="http://www.facebook.com/pages/Jim-DeRo/254753087340"><strong><em>Facebook</em></strong></a><em><strong>, and podcast </strong></em><a href="http://www.soundopinions.org/"><strong>Sound Opinions</strong></a><em><strong> and </strong></em><a href="http://jimcarmeltvdinner.libsyn.com/"><strong>Jim + Carmel&rsquo;s TV + Dinner</strong></a><em><strong>.</strong></em></p></p> Mon, 18 Aug 2014 06:30:00 -0500 http://www.wbez.org/blogs/jim-derogatis/2014-08/try-do-something-nice%E2%80%94and-face-year-jail-110667 Bringing live music back to the South Side http://www.wbez.org/news/culture/bringing-live-music-back-south-side-110663 <img typeof="foaf:Image" src="http://llnw.wbez.org/main-images/music_140815_nm.jpg" alt="" /><p><p>A handful of musicians get a peek at the second-floor space they will soon be jamming in.</p><p>They&rsquo;re checking out a new club called The Promontory, an industrial space with a concrete floor and exposed beams. Oxblood red curtains and chandeliers grace the room.</p><p>&ldquo;The group is called South Side Big Band. And it&rsquo;s destined to play music on the South Side. I have no inspiration to play anywhere North,&rdquo; said arranger Tom Tom Washington. &ldquo;We&rsquo;ve been playing together for over 50 years, music all over the world. We&rsquo;re already known by everybody.&rdquo;</p><p>Individually, band members have played for some of the biggest soul, jazz &amp; R&amp;B artists from the last few decades.</p><p>Washington produced music for groups like the Chi-Lites and Earth Wind &amp; Fire. Some guys played with jazz giants -- from Charlie Parker to Dizzy Gillespie to Sun Ra. While others did session work for 1960s Chicago R&amp;B acts.</p><p>&ldquo;We like to have our young people look at us and sort of go back and do some kind of study and research and learn the history of jazz in America. As we play we hope to sort of continue the legacy,&rdquo; said tenor saxophonist Gene Barge, a former staffer for Chess Records.</p><p>To help keep the legacy alive, Washington formed the South Side Big Band in the 1990s.</p><p>He said they want to pay tribute to the old ballrooms and music clubs that featured jazz and R&amp;B on the segregated South Side. For a long time now it&rsquo;s been hard to find many live clubs playing this kind of music anywhere but the North Side.</p><p>But Jake Austen, The Promontory show booker, said Hyde Park is an area with a rich musical heritage that deserves more.</p><p>&ldquo;What we kinda want to do here is combine what they&rsquo;re successfully doing in other parts of the city like have this kind of legacy of successful rock clubs and music clubs and jazz clubs. But also respect the neighborhood and the South Side, the history and also what&rsquo;s happening now. It&rsquo;s diverse here, we can have all kinds of music here but you do not want to ignore the music here that&rsquo;s a real foundation,&rdquo; Austen said.</p><p>Upcoming shows include artists ranging from Roy Ayers and Stanley Clarke to Brokeback and the Eternals and country singer Kinky Friedman.</p><p>The Promontory&rsquo;s owners already have a successful track record with the music clubs Empty Bottle on the North Side and Space in Evanston. Clubs like the Shrine and Reggie&rsquo;s are South Side exceptions. But Austen said The Promontory wants to cater to an older crowd as well as local college kids.</p><p>&ldquo;I hope people would be willing to come to the South Side to see something because we&rsquo;ve all had to go to the North Side to see so many things,&rdquo; Austen said.</p><p>It&rsquo;s only fitting that the Promontory will kick things off with the 22-piece South Side Big Band.</p><p><em><a href="http://www.wbez.org/users/nmoore-0" rel="author">Natalie Moore</a> is WBEZ&rsquo;s South Side Bureau reporter. <a href="mailto:nmoore@wbez.org">nmoore@wbez.org</a> Follow Natalie on <a href="https://plus.google.com//104033432051539426343" rel="me">Google+</a>, &nbsp;<a href="https://twitter.com/natalieymoore">Twitter</a></em></p></p> Fri, 15 Aug 2014 10:31:00 -0500 http://www.wbez.org/news/culture/bringing-live-music-back-south-side-110663 Sinead O’Connor has some fun on her boss new album http://www.wbez.org/blogs/jim-derogatis/2014-08/sinead-o%E2%80%99connor-has-some-fun-her-boss-new-album-110662 <p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/front.jpg" title="" /></div><p>&ldquo;You know I love to make music/But my head got wrecked by the business,&rdquo; 47-year-old Sinead O&rsquo;Connor sings on &ldquo;8 Good Reasons,&rdquo; midway through her 10<sup>th</sup> studio album, and anyone with even a passing familiarity with her career in the new millennium knows that&rsquo;s the stone-cold truth. (It&rsquo;s also what she was trying to tell Miley Cyrus <a href="https://www.facebook.com/sineadoconnor/posts/600729603299365">in that controversial online exchange</a>.) But as frustrated as O&rsquo;Connor is with the machinery of pop stardom, and as turbulent as her personal life has been at times, her music rarely has suffered, and her voice never has diminished.</p><p>In recent years, the artist has dabbled with traditional Irish folk song (<em>Sean-Nós Nua, </em>2002), reggae (<em>Throw Down Your Arms</em>, 2005), and a combination of both (<em>Theology</em>, 2007). She took a turn back toward more familiar Sinead sounds on her last effort, <em>How About I Be Me (And You Be You)? </em>(2012). But one thing still was missing: any hint of the unqualified fun and (relative) glamor of her beloved early work in the late &rsquo;80s and early &rsquo;90s. (And hard to believe, but it&rsquo;s been nearly a quarter-century since &ldquo;Nothing Compares 2 U.&rdquo;)</p><p>From the diva-dominatrix cover art to the slicker, pop-rock production&mdash;courtesy of ex-husband John Reynolds, who also has worked with Belinda Carlisle and Damien Rice&mdash;O&rsquo;Connor sounds more loose and <em>au courant</em> than she has in years on <em>I&#39;m Not Bossy, I&#39;m the Boss. </em>Yet despite the bounty of hooks, the rollicking rhythms, a convincing attempt to get funky (with Fela Kuti&rsquo;s son Seun on &ldquo;James Brown&rdquo;), a resurgent sensuality bordering on unbridled horniness (the disc opens with the declaration, &ldquo;I wanna make love like a real full woman, everyday&rdquo;), and the assertion that this is &ldquo;just an album of&nbsp;love songs,&rdquo; the singer certainly isn&rsquo;t lightening up. We still get familiar rants about the things that anger her, including the hypocrisy and cruelty of the church (&ldquo;Harbour&rdquo;) and the absurdity of modern celebrity-worship (&ldquo;Where Have You Been?&rdquo;). But she also embraces the contradictions of loving life in a world that&rsquo;s sp horribly screwed up.</p><p>In addition to standing as one of her strongest tracks ever, the gospel-tinged &ldquo;Take Me to Church&rdquo; indicates that, at long last, the incredible, troubled, and very necessary voice has found a measure of peace, if only in making music. &ldquo;I&#39;m gonna sing/Songs of loving and forgiving/Songs of eating and of drinking/Songs of living,&rdquo; she wails. And we&rsquo;re lucky to hear and revel in them.</p><p><strong>Sinead O&rsquo;Connor, <em>I&#39;m Not Bossy, I&#39;m the Boss </em>(Nettwerk Music Group)</strong></p><p><strong>Rating on the 4-star scale: 4 stars.</strong></p><p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/jMzY_KQIKjU" width="560"></iframe></p><p><em><strong>Follow me on Twitter </strong></em><a href="https://twitter.com/JimDeRogatis"><strong><em><strike>@</strike>JimDeRogatis</em></strong></a><em><strong>, join me on </strong></em><a href="http://www.facebook.com/pages/Jim-DeRo/254753087340"><strong><em>Facebook</em></strong></a><em><strong>, and podcast </strong></em><a href="http://www.soundopinions.org/"><strong>Sound Opinions</strong></a><em><strong> and </strong></em><a href="http://jimcarmeltvdinner.libsyn.com/"><strong>Jim + Carmel&rsquo;s TV + Dinner</strong></a><em><strong>.</strong></em></p></p> Fri, 15 Aug 2014 08:26:00 -0500 http://www.wbez.org/blogs/jim-derogatis/2014-08/sinead-o%E2%80%99connor-has-some-fun-her-boss-new-album-110662 Get set for the Summer Music Film Festival http://www.wbez.org/blogs/jim-derogatis/2014-08/get-set-summer-music-film-festival-110643 <p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/musicfestival.jpg" title="" /></div><p>If you, like me, prefer your rock &rsquo;n&rsquo; roll at night in cool, dark places free of the broiling sun, drenching rain, and oppressive obnoxiousness of the festival scene, you&rsquo;ll be glad to hear that <em>Sound Opinions </em>has once again partnered with the venerable Music Box Theatre on Southport to present the fourth annual Summer Music Film Festival, starting Friday with Jonathan Demme&rsquo;s timeless Talking Heads concert film <em>Stop Making Sense </em>(with Greg Kot and me kicking things off) and running through Tuesday, Aug. 19.</p><p>Among my personal picks this summer: Prince&rsquo;s enduringly campy <em>Purple Rain; </em>Richard Lester&rsquo;s groundbreaking and still hugely influential <em>A Hard Day&rsquo;s </em>Night; the new documentary about the legendary Nigerian musician Fela Kuti, <em>Finding Fela, </em>and <em>The 78 Project Movie, </em>a film with Chicago roots about the all-consuming search for rare old 78 rpm discs.</p><p>The full schedule follows below, and a portion of the proceeds from all screenings benefit WBEZ/Chicago Public Radio. A five-admission pass is $45, individual tickets are $9 to $12, and more info can be found at <a href="http://www.summermusicfilmfestival.com">summermusicfilmfestival.com</a>.</p><p><strong><u>Friday, August 15</u></strong></p><p><strong><em>A Hard Day&rsquo;s Night,</em></strong><strong> 3 p.m.</strong></p><p><strong><em>Stop Making Sense</em></strong><strong>, 7 p.m. (hosted by Jim DeRogatis and Greg Kot) and 9:30</strong></p><p><strong><em>Purple Rain</em></strong><strong>, midnight</strong></p><p>&nbsp;</p><p><strong><u>Saturday, August 16</u></strong></p><p><strong><em>Finding Fela</em></strong><strong>, Chicago premier, 2:30 p.m. </strong></p><p><strong><em>The 78 Project Movie</em></strong><strong>, 7 p.m. (Midwest premier with director Alex Steyermark and producer Lavinia Jones Wright)</strong></p><p><strong><em>Good Vibrations</em></strong><strong>, 9:30 p.m.</strong></p><p><strong><em>Purple Rain, </em></strong><strong>midnight</strong></p><p><strong><em>The Rocky Horror Picture Show</em></strong><strong>, midnight</strong></p><p>&nbsp;</p><p><strong><u>Sunday, August 17</u></strong></p><p><strong><em>The 78 Project Movie</em></strong><strong>, 3 p.m. (with Alex Steyermark and Lavinia Jones Wright)</strong></p><p><strong><em>Rubber Soul</em></strong><strong>, 7:30 p.m. (Lennon interviews doc, with director Jon Lefkovitz)</strong></p><p><strong><em>A Hard Day&rsquo;s Night,</em></strong><strong> 9:45 p.m.</strong></p><p>&nbsp;</p><p><strong><u>Monday, August 18th </u></strong></p><p><strong><em>God Help the Girl</em></strong><strong>, musical feature directed by Belle and Sebastian&rsquo;s Stuart Murdoch, 7:30 p.m.</strong></p><p><strong><em>A Hard Day&rsquo;s Night, </em></strong><strong>9:45 p.m.</strong></p><p>&nbsp;</p><p><strong><u>Tuesday, August 19</u></strong></p><p><strong><em>Stop Making Sense</em></strong><strong>, 7 p.m.</strong></p><p><strong><em>Purple Rain</em></strong><strong>, 9:45 p.m.</strong></p><p>&nbsp;</p><p><em><strong>Follow me on Twitter </strong></em><a href="https://twitter.com/JimDeRogatis"><strong><em><strike>@</strike>JimDeRogatis</em></strong></a><em><strong>, join me on </strong></em><a href="http://www.facebook.com/pages/Jim-DeRo/254753087340"><strong><em>Facebook</em></strong></a><em><strong>, and podcast </strong></em><a href="http://www.soundopinions.org/"><strong>Sound Opinions</strong></a><em><strong> and </strong></em><a href="http://jimcarmeltvdinner.libsyn.com/"><strong>Jim + Carmel&rsquo;s TV + Dinner</strong></a><em><strong>.</strong></em></p></p> Wed, 13 Aug 2014 10:04:00 -0500 http://www.wbez.org/blogs/jim-derogatis/2014-08/get-set-summer-music-film-festival-110643 Solo treats from Wire's bassist http://www.wbez.org/blogs/jim-derogatis/2014-08/solo-treats-wires-bassist-110620 <p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/EGLphotocopy-350x350.jpg" title="" /></div><p><a href="http://www.wbez.org/blogs/jim-derogatis/2013-05/wire-rock%E2%80%99s-greatest-super-geniuses-after-eno-106948">The latest creative spurt in the long and intensely rewarding career of English art-punks Wire</a> happily extends to the new solo offerings from bassist, lyricist, and sometimes baritone vocalist Graham Lewis, who lately has tacked the &ldquo;Edvard&rdquo; at the front of his name. (He&rsquo;s living in Upssala, Sweden.)</p><p>Lewis always has had the most fluid and enigmatic role in Wire. If Colin Newman is the voice, the front man, and the &ldquo;pop&rdquo; craftsman, and now-retired guitarist Bruce Gilbert was the perverse noisemaker, art freak, and &ldquo;spanner in the works,&rdquo; Lewis was the Beat poet, the devilishly playful sex symbol, the charmingly eccentric but just a little scary weirdo, and the bridge between the band&rsquo;s sonic extremes and dueling aesthetics, as capable of producing a gorgeous and touching ballad (see: <a href="http://www.soundopinions.org/show/439">&ldquo;Rolling Upon My Day&rdquo; by Dome</a>, one of his many extracurricular side projects) as unleashing a tremendous amount of unfocused but intriguing clatter (witness significant stretches of Wire&rsquo;s recently reissued 1981 oddity <em><a href="http://www.amazon.com/Document-Eyewitness-1979-1980-Wire/dp/B00LID0PC6/ref=sr_1_1?ie=UTF8&amp;qid=1407508352&amp;sr=8-1&amp;keywords=wire+document+and+eyewitness">Document &amp; Eyewitness</a></em>), with plenty of forays into the industrial-dance underground along the way (as in his solo project He Said).</p><p>Strains of all of that work and more can be heard in the musician&rsquo;s new two-fer, his first solo releases in the new millennium. He describes <em>All Over </em>as &ldquo;a song-based album that resides amongst the cracks between narrative and song, sound and music&hellip; [which] conjures the spirit of Wire&rsquo;s experimental pop trajectory.&rdquo; Meanwhile, <em>All Under </em>is the Aphex Twin-like score to a 2003 film of the same name, plus a few other numbers in a similar vein. Really, though, the 16 tracks play as a satisfying whole, especially if you put them on shuffle, with the menacing clanking of alien death machines (the epic &ldquo;No Show Godot&rdquo;) nicely contrasting with skewed, almost optimistic art-pop (&ldquo;Bluebird&rdquo;) and even some Burroughs-like apocalyptic story-telling (via the musical short story &ldquo;The Eel Wheeled,&rdquo; and what a treat to hear that somber voice intone lines such as, &ldquo;Highly trained and horrendously willing, he perpetrated many random explosions in the tri-state area&rdquo;).</p><p>Lewis can introduce, explore, and abandon more ideas in one song than many bands have in a lifetime. Not all of them work, especially over such a broad canvas. But it&rsquo;s certainly fun and inspiring to accompany him as he putters about in the studio, a crazed combination of Victor Frankenstein and Salvador Dalí.</p><div class="image-insert-image "><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/ALLOVER.jpg" title="" /></div></div><p><strong>Edvard Graham Lewis, <em>All Over </em>(Editions Mego)</strong></p><p><strong>Rating on the four-star scale: 3.5 stars.</strong></p><p><strong>Edvard Graham Lewis, <em>All Under </em>(Editions Mego)</strong></p><p><strong>Rating on the four-star scale: 3 stars.</strong></p><p><em><strong>Follow me on Twitter </strong></em><a href="https://twitter.com/JimDeRogatis"><strong><em><strike>@</strike>JimDeRogatis</em></strong></a><em><strong>, join me on </strong></em><a href="http://www.facebook.com/pages/Jim-DeRo/254753087340"><strong><em>Facebook</em></strong></a><em><strong>, and podcast </strong></em><a href="http://www.soundopinions.org/"><strong>Sound Opinions</strong></a><em><strong> and </strong></em><a href="http://jimcarmeltvdinner.libsyn.com/"><strong>Jim + Carmel&rsquo;s TV + Dinner</strong></a><em><strong>.</strong></em></p></p> Fri, 08 Aug 2014 10:00:00 -0500 http://www.wbez.org/blogs/jim-derogatis/2014-08/solo-treats-wires-bassist-110620 Spoon has soul to spare http://www.wbez.org/blogs/jim-derogatis/2014-08/spoon-has-soul-spare-110608 <p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/spoon%20cover.jpg" style="height: 450px; width: 450px;" title="" /></div><p>While pretty-boy front man Britt Daniel garners most of the attention, the MVP throughout Spoon&rsquo;s 20-year, eight-album career always has been drummer Jim Eno, and not only because he has one of the coolest names in rock. The group long has been about stark, minimal, but consistently irresistible grooves, and those rhythms never have been more insistent or captivating than on the band&rsquo;s first album after a four-year hiatus, which Eno spent producing other bands, <a href="http://www.wbez.org/sound-opinions-divine-fits-104111">while Daniel moonlighted in Divine Fits with Dan Boeckner of Wolf Parade</a>.</p><p>To be sure, Daniel has plenty of support here in delivering his laconic, charmingly alienated vocals and slyly insinuating melodies: former Get Up Kid Rob Pope is the best partner Eno has had in this band&rsquo;s rhythm section; Alex Fischel proves himself a great addition on atmospheric keyboards and guitar, and Flaming Lips super-producer Dave Fridmann adds plenty of his trademark psychedelic touches and sonic punch (he&rsquo;s the first producer to really put his stamp on this band), without ever over-powering the basic Spoonishness of the proceedings.</p><p>But it&rsquo;s Eno who gets your body moving in sync time and again, whether it&rsquo;s on the herky-jerk undulations of &ldquo;I Just Don&rsquo;t Understand,&rdquo; the mechanical but human pulses of &ldquo;Rainy Taxi&rdquo; and the title track, or the retro New Wave dance beats of &ldquo;New York Kiss.&rdquo; Spoon isn&rsquo;t altering the basic sound it perfected on <em>Kill the Moonlight </em>(2002) or <em>Ga Ga Ga Ga Ga </em>(2005), but it&rsquo;s never sounded better, and it&rsquo;s reached a point lo these many years on where it&rsquo;s very consistency is its biggest asset, and in that regard, the band is second perhaps only to Yo La Tengo, which has another decade on it.</p><p><strong>Spoon, <em>They Want My Soul </em>(Loma Vista)</strong></p><p><strong>Rating on the four-star scale: 4 stars.</strong></p><p><em><strong>Follow me on Twitter </strong></em><a href="https://twitter.com/JimDeRogatis"><strong><em><strike>@</strike>JimDeRogatis</em></strong></a><em><strong>, join me on </strong></em><a href="http://www.facebook.com/pages/Jim-DeRo/254753087340"><strong><em>Facebook</em></strong></a><em><strong>, and podcast </strong></em><a href="http://www.soundopinions.org/"><strong>Sound Opinions</strong></a><em><strong> and </strong></em><a href="http://jimcarmeltvdinner.libsyn.com/"><strong>Jim + Carmel&rsquo;s TV + Dinner</strong></a><em><strong>.</strong></em></p></p> Wed, 06 Aug 2014 10:07:00 -0500 http://www.wbez.org/blogs/jim-derogatis/2014-08/spoon-has-soul-spare-110608