Photo: Daniel Mendoza/The Recording Academy
Amy Ray Talks New Indigo Girls Music & Achieving Equality In The Music Industry | Newport Folk 2019
"[Newport] s probably 50% women performers; that's a big deal. That's not happening at Bonnaroo and Coachella and all these other festivals, and it needs to happen everywhere," the contemporary folk figurehead tells the Recording Academy
Amy Ray has a long history with Newport Folk Festival. In addition to attending the fest with her family as a kid, the singer and solo artist played Newport a number of times with her GRAMMY-winning contemporary folk band, Indigo Girls, in the '90s.
Nowadays, Ray has six solo albums under her belt, including her most recent release, 2018's Holler, and she's playing Newport for the first time under her own name. The revered artist sat down with the Recording Academy on-site at Newport to talk about her admiration for the fest, new Indigo Girls music out early next year, what it was like to meet Bob Dylan at the GRAMMYs and what we have left to do in terms of achieving true equality in the music industry.
Is this your first Newport?
Yeah, with Indigo Girls I played here about 10 times, probably, in the '90s.
Is it first with the Amy Ray Band, though?
Yeah, yeah. First time. We're green.
What makes this festival special for you?
Just being around all the other artists, honestly, the community vibe, meeting new people, and doing collaborations. It's a very engaging event so you leave feeling inspired by writers that you meet and people that maybe have been around forever.
For me, because we played back in the '90s so much, The Indigo Girls did. We did a long stretch of probably like eight years in a row at one point. Some of the older people that are here working security and crew, I knew them from then and that's cool to me. So, there's a continuation and a thread. I like that. It's all volunteers and there's a lot of people working here that are young 18 year olds, all the way to people that are in their 70s.
It's kind of a family environment.
Yeah, my family used to always come here with me, my mom and dad and my siblings. Last time I was here, my dad was alive and he's not alive anymore and it's cool to remember him and how he was very into music. It was always great to be here with them.
You mentioned meeting other artists and collaborators, and one thing that struck me about about your latest solo album, Holler, was that you had a lot of great guests.
I got lucky, to be honest. Well, my band is great. We had Kofi Burbridge from Tedeschi Trucks, who is passed away now, but he came in and played keys for the record and was part of the band for a couple of weeks. He's a good friend and that was a treasure to have had that experience with him. Now he's gone, but he was a great man.
Alison Brown came in and played banjo. She's a virtuoso. I had the Wood Brothers, Vince Gill, Brandi Carlile, Ruth May Harris, Justin Vernon, Phil Cook. People did me favors. I just can't believe they would be willing to [do that] kind of thing.
It's been 30 years since the Indigos won their first GRAMMY. What do you remember about that moment for you to be recognized in that way?
We were so excited. Honestly, just being at the GRAMMYs was enough for us. Winning was like icing on the cake, but just getting to go. I met Bob Dylan. I met Flava Flav. I was sitting next to, I think, Patrick Stewart. Jean Luc Picard was sitting behind me. I was like, "This is crazy." Judy Collins was there. I was sitting at a table and I had on this hat, and Judy Collins had a similar hat on. Dylan leaned over and goes, "Judy, is that you?" I'll never forget that because I was like, "No. My name's Amy. I'm in a band called the Indigo Girls." He just goes, "Oh, yeah. Okay." And he walked away.
What's next for you in your band? You've got six solo albums now. Are you working on new music?
Indigo Girls are getting ready to put a record out in January or February. We have a record coming out that we're just about to finish mixing and master. My band and I, at this point, we've got like five more shows to play and then I'll go do some stuff with Indigos and I'll just go back and forth kind of between the two.
We just had The Highwomen in here and we were talking about gender equality in music. You've been playing in this industry for a long time, and I'm just curious if you're up for talking about what changes you've seen happen, and maybe what's left to be done in terms of achieving equality in the music industry.
There's a lot left to be done. There's a lot of progress though. Just this festival this, like Newport this year. It's probably 50% women performers. That's a big deal. That's not happening at Bonnaroo and Coachella and all these other festivals, and it needs to happen everywhere.
I think Brandy's doing a good job of pushing that and generally, she's doing a lot of different projects right now that push that agenda in a good way. That's important. I think we've come a long way, and I think people coming up, they have no concept of that kind of intolerance. They are going to be... We just need the old people to die off, honestly. Even me. We need to go away. I just mean the people that have old ideas, who are the gatekeepers still, some of them. They need to get out of the way for all the new people that have great ideas and are doing great things. There's still a lot of great old timers that were always open-minded that are good mentors and we need to honor them. There's a lot of work to do still. We still have a lot of racism to deal with. I think sexism and homophobia are one thing. I think racism is even harder. That's my feeling about it.
Rotimi On Performing At ESSENCE Fest, Growing Up African-American & More
The Nigerian-American singer and actor sat down with the Recording Academy to talk about what inspired his latest album, 'Walk With Me'
In 2015, Rotimi stepped into the New Orleans Superdome for the first time to experience the magic of ESSENCE Fest. Four years later, in 2019, the "Love Riddim" singer returned to the celebration as a performer, something he said was spoken into existence.
"Last year me and my manager had a conversation and I said, 'Listen, I'm going to be on the [ESSENCE] mainstage this year. 365 days later, we did it," Rotimi told the Recording Academy at the 25th annual ESSENCE Fest.
Rotimi, also an actor on Starz' "Power," has evolved since his last album, 2017's Jeep Music, Vol.1. The singer said he really hit home with its follow-up, the recently released Walk With Me, a project he worked hard for, putting in hours in the studio after filming on set.
"Walk With Me is the first time I actually felt like I was giving myself as an artist, and personally I feel like with everything else I have going on I wanted to show people that this is really what I do," he said. "I wanted people to understand who Rotimi is, who Rotimi was before, who I want to be and just understand my growth and the journey and my passion for what I do."
Part of why the album felt like such a representation of him is because it embodies beats of his African roots, something he said was very present growing up Nigerian-American.
"I grew up with a lot of Fela Kuti and I grew up with Bob Marley," he said of his musical roots. "But I also grew up with Carl Thomas and Genuine and Usher, so there was a genuine mixture of who I am and what I've grown up to listen to. The actual Walk With Me project was a mixture of influences of Akon and Craig David."
Joan as Police Woman
Quarantine Diaries: Joan As Police Woman Is Bike Riding, Book Reading & Strumming D'Angelo
As the coronavirus/COVID-19 pandemic continues to rock the music industry, the Recording Academy reached out to a few musicians to see how they were spending their days indoors
As the coronavirus/COVID-19 pandemic continues to rock the music industry, the Recording Academy reached out to a few musicians to see how they were spending their days indoors. Today, singer/songwriter Joan Wasser of Joan as Police Woman, whose forthcoming covers album, COVER TWO, includes tracks by The Strokes, Prince, Talk Talk, and more, shares her Quarantine Diary.
Thursday, April 2
[10 a.m.-12 p.m.] Went to bed at 4 a.m. last night after getting drawn into working on a song. Put on the kettle to make hot coffee while enjoying an iced coffee I made the day before. Double coffee is my jam. Read the news, which does not do much for my mood. Catch up with a few friends, which does a lot of good for my mood. Glad it goes in this order.
[12 p.m.-2 p.m.] Make steel cut oats with blueberries, raspberries, strawberries, fresh ginger, fresh turmeric, a sprinkling of cinnamon and cardamom, and of course, coconut butter to melt on top. If you’re not into coconut butter (sometimes marketed as coconut "manna"), I’d suggest just going for it and getting it (or ordering it) and putting it on your sweet potatoes, your oats, anywhere you’d put butter. I’m not vegan but I do enjoy hearing the tiny scream uttered by a strawberry as I cut into it.
Contemplate some yoga. Contamplate meditating. Do neither. Resume work on the song I want to finish and send today. I have a home studio and I spend a lot of my time working on music here. The song is a collboration sent to me from Rodrigo D’Erasmo in Milano that will benefit the folks who work behind the scenes in the music touring system in Italy.
[2 p.m.-4 p.m.] I traded in a guitar for a baritone guitar right before all this craziness hit but hadn’t had the time to get it out until now. I put on some D’Angelo, plugged into my amp and played along as if I were in his band. Micahel Archer, If you’re reading this, I hope you are safe and sound and thank you immensely for all the music you've given us always.
[4 p.m.-6 p.m.] Bike repair shops have been deemed "necessary," thank goodness, because biking is the primary way I get around and I need a small repair. I hit up my neighborhood shop and they get my bike in and out in 10 minutes, enough time to feel the sun for a moment.
I ride fast and hard down to the water's edge and take in a view of the East River from Brooklyn. There are a few people out getting their de-stress walks but it is mostly deserted on the usually packed streets.
[6 p.m.-8 p.m.] Practice Bach piano invention no. 4 in Dm very, very, very slowly. I never studied piano but I’m trying to hone some skills. Realize I’m ravenous. Eat chicken stew with wild mushrooms I made in the slow cooker yesterday. It’s always better the second day.
[8 p.m.-10 p.m.] Get on a zoom chat with a bunch of women friends on both coasts. We basically shoot the sh*t and make each other laugh.
Afterwards I still feel like I ate a school bus so I give into yoga. I feel great afterwards. This photo proves I have a foot.
[10 p.m.-12 a.m.] Record a podcast for Stereo Embers in anticipation of my new release on May 1, a second record of covers, inventively named COVER TWO. Continue to work on music (it’s a theme).
[12 a.m.-2 p.m.] Tell myself I should think about bed. Ignore myself and confinue to work on music.
[2 a.m.-4 a.m.] Force myself into bed where I have many books to choose from. This is what I’m reading presently, depending on my mood. Finally I listen to Nick Hakim’s new song, "Qadir," and am taken by its beauty and grace. Good night.
If you wish to support our efforts to assist music professionals in need, learn more about the Recording Academy's and MusiCares COVID-19 Relief Fund.
If you are a member of the music industry in need of assistance, visit the MusiCares website.
Hero The Band perform at the Recording Academy Atlanta Chapter Annual Membership Celebration
Photo: Marcus Ingram/WireImage
Report: Music & Culture Infrastructure Can Create Better "Future Cities"
How sound planning for a creative future in our urban areas makes all the difference for artists and musicians
The future, as they say, is now. And for music makers around the world, building a future for themselves often starts at home, in their local creative community and in the city where they live. While technology has expanded communication and made the world smaller, cities continue to grow, making planning for the future a critical cultural mission of the present.
To that end, a new report by global organization Sound Diplomacy titled "This Must Be The Place" examines, "The role of music and cultural infrastructure in creating better future cities for all of us." The 37-page deep dive into community planning and development highlights the importance of creative culture in what it calls "Future Cities."
"The government defines ‘Future Cities’ as 'a term used to imagine what cities themselves will be like," the report states, "how they will operate, what systems will orchestrate them and how they will relate to their stakeholders (citizens, governments, businesses, investors, and others),'"
According to the report, only three global cities or states currently have cultural infrastructure plans: London, Amsterdam and New South Wales. This fact may be surprising considering how city planning and sustainability have become part of the discussion on development of urban areas, where the UN estimates 68 percent of people will live by 2050.
"Our future places must look at music and culture ecologically. Much like the way a building is an ecosystem, so is a community of creators, makers, consumers and disseminators," the report says. "The manner in which we understand how to maintain a building is not translated to protecting, preserving and promoting music and culture in communities."
The comparison and interaction between the intangibility of culture and the presence of physical space is an ongoing theme throughout the report. For instance, one section of the report outlines how buildings can and should be designed to fit the cultural needs of the neighborhoods they populate, as too often, use of a commercial space is considered during the leasing process, not the construction process, leading to costly renovations.
"All future cities are creative cities. All future cities are music cities."
On the residential side, as cities grow denser, the need increases for thoughtful acoustic design and sufficient sound isolation. Future cities can and should be places where people congregate
"If we don’t design and build our future cities to facilitate and welcome music and experience, we lose what makes them worth living in."
For musicians and artists of all mediums, the answer to making—and keeping—their cities worth living in boils down to considering their needs, impact and value more carefully and sooner in the planning process.
"The report argues that property is no longer an asset business, but one built on facilitating platforms for congregation, community and cohesion," it says. "By using music and culture at the beginning of the development process and incorporating it across the value chain from bid to design, meanwhile to construction, activation to commercialisation, this thinking and practice will result in better places."
The report offers examples of how planners and leaders are handling this from around the world. For instance, the Mayor Of London Night Czar, who helps ensure safety and nighttime infrastructure for venues toward the Mayor's Vision for London as a 24-hour city. Stateside, Pittsburgh, Penn., also has a Night Mayor in place to support and inform the growth of its creative class.
What is a music ecosystem? We believe the music influences and interacts with various sectors in a city. We have designed this infographic to show how music ecosystems work and impact cities, towns and places: https://t.co/0DIUpN1Dll— Sound Diplomacy (@SoundDiplomacy) August 14, 2019
Diversity, inclusion, health and well-being also factor into the reports comprehensive look at how music and culture are every bit as important as conventional business, ergonomic and environmental considerations in Future Cites. Using the Queensland Chamber of Arts and Culture as a reference, it declared, "A Chamber of Culture is as important as a Chamber of Commerce."
In the end, the report serves as a beacon of light for governments, organizations, businesses and individuals involved in planning and developing future cities. Its core principals lay out guideposts for building friendly places to music and culture and are backed with case studies and recommendations. But perhaps the key to this progress is in changing how we approach the use of space itself, as the answer to supporting music may be found in how we look at the spaces we inhabit.
"To develop better cities, towns and places, we must alter the way we think about development, and place music and culture alongside design, viability, construction and customer experience," it says. "Buildings must be treated as platforms, not assets. We must explore mixed‑use within mixed‑use, so a floor of a building, or a lesser‑value ground floor unit can have multiple solutions for multiple communities."
Ice-T In 1993
Photo by David Corio/Redferns
Nearly 30 Years After Their Debut, Body Count's 'Carnivore' Is The Thrash-Metal Band's Most Fully Realized Album
Led by iconic rapper Ice-T, the L.A.-based seven-piece keep their socially conscious themes consistent and the music louder than ever on their seventh studio album
In early 1992 Ernie Cunnigan visited the Burbank office of Howie Klein. The guitarist (who goes by Ernie C.) and the then-president of Reprise/Warner Bros. Records were listening to the upcoming self-titled debut from Cunnigan’s band, Body Count, fronted by his Crenshaw High School buddy Tracy Marrow, already famous as rapper Ice-T. Ice, with the savvy creative connectivity that guides his multi-hyphenate media career to this day, introduced his forthcoming metal band in 1991 via tracks on O.G. Original Gangster, his fourth album.
It's not unusual for high school pals to form a band. What was unusual, though, was that Body Count was a hardcore thrash metal band comprised of all-black musicians, with point-blank lyrics that were both insightful and incite-ful concerning racial and social inequities and the climate of America. Listening to the 18-track debut, Klein praised it, while voicing concern about the lyrics of "Momma's Gotta Die Tonight," a song about the matricide and dismemberment of a racist parent. Turns out it was the last track, a ditty called "Cop Killer," that should have given the executive pause.
While Klein was and remains stridently opposed to censorship and is a dedicated free speech advocate, Body Count, per the era, was released with a parental advisory sticker (as was Original Gangster). Less than two months after Body Count dropped, Los Angeles exploded in fiery violence in reaction to the acquittal of four policemen in the beating of Rodney King, as well as the shooting death of black teenager Latasha Harlins by a Korean grocer. (The grocer was given only probation.) It was the worst possible climate for "Cop Killer," with lyrics including "F**k the police, yeah!" and shout-outs to then L.A.P.D. chief Daryl Gates, Ice's "dead homies" and King. The blowback went all the way up to then-President George Bush, and though Time Warner supported Ice-T in his fight against the song's opponents, he eventually pulled the cut from new pressings of the album.
Currently, streaming services including Spotify and Apple Music offer the version sans the group's most (in)famous song, replacing "Cop Killer" with "Freedom Of Speech" from Ice's 1989 solo album, The Iceberg/Freedom of Speech...Just Watch What You Say, edited to add samples of Jimi Hendrix's "Foxy Lady" and the voice of political punker Jello Biafra. On YouTube, "Cop Killer" has more than 1.5 million views, with most of the comments thoughtful and positive, understanding the intentionally incendiary messages Body Count was delivering. Ultimately, if Body Count isn’t a classic record in the way that critics consider Nirvana’s Nevermind or Public Enemy's It Takes A Nation Of Millions To Hold Us Back to be, it’s an important and groundbreaking one. As Ice-T has said, Body Count is: "a protest record,” not the norm in the metal world, but still the way BC's songs operate today.
Indeed, 28 years later, things haven’t changed. Biafra is also on Body Count's powerful new album, Carnivore. Police actions like "stop and frisk" (the NYC law enforcement program that was proven to disproportionally target black and Latino men) wasn’t legally discredited until 2014. Body Count’s one-time bassist, Lloyd "Mooseman" Roberts III, was murdered in South Central Los Angeles in 2001 in an accidental drive-by; in the last 12 months, 126 black men were killed by guns in L.A. County, as opposed to 23 white men. And Ice-T and Body Count are still raging against the machine.
Ice-T enjoys pushing buttons lyrically, and if they’ve sometimes been heavy-handed or misguided ("KKK Bitch" or "Bitch In The Pit"), Ice-T is a politically eloquent, passionate and personal songwriter, which can be too easily overlooked given Body Count's volume-heavy metal chops and Ice's delivery, a speedy vocal style that’s been traditionally more aggro-rapping than melodic singing.
That said, Carnivore is Body Count’s best album to date; it’s the most fully realized musically, and there’s a cohesion to the vocals and music that led Body Count bassist Vincent Price to lay out the band’s growth in a Metallica timeline: "Manslaughter  was basically Kill ‘Em All; Bloodlust  was our Ride The Lightning, and Carnivore’s our Master Of Puppets."
He's not wrong, and though Ice-T’s more than 20-year stint as detective Odafin "Fin" Tutuola on Law and Order: Special Victims Unit has precluded lengthy Body Count tours, the buzz is loud for this seventh album.
Ice-T may be the original gangster, yet he’s patient, articulate and fervent in explaining songs and motivations to audiences and the press alike. "When I'm Gone," featuring Amy Lee of Evanescence, was inspired by the killing of Nipsey Hussle. It’s a reminder, as he says in the tune, to "tell the people that you love, that you love them now. … Don't wait; tomorrow may be too f**king late."
His prolific musical social criticism and seemingly left-leaning views are thoughtful and targeted, despite the vitriol of so many Body Count songs. In the nearly 30 years since founding his revolutionary band, Ice-T observes, "I think you’ve got less racism; less people, but more avid racism. It’s unnerving to think that we’ve come so far but there’s still so far to go." As he advised in a 2017 interview, "Don’t just be angry. Know what you’re talking about so you don’t alienate someone who should be an ally."