The Grateful Dead are hated, HATED by the hip kids, which might them ripe for reclamation by the hipper-than-all-of-us Fader magazine. Our favorite local acidheads are the centerpiece of Fader's annual Icon Issue. Fader DJ Mix of GD link here. What's the slant? Jerry was an ethnomusicologist before he was an ice cream. Too bad his homies sucked so bad. Did you know that the Dead's catalogue is owned by Universal? Way to keep it street. THE FADER IS DEAD The Fader Magazine Presents Its Annual Icon Issue: A Tribute To The Grateful Dead's Jerry Garcia, With Contributions From Jerry's Bandmates, Family, Friends & Peers, Plus The Voices Of The FADER Generation Of Artists
Mix TRACKLIST "Cryptical Envelopment" 3/1/69 - Fillmore West "Turn On Your Lovelight" 1/24/71 - Seattle Center Arena "New Speedway Boogie" 5/15/70 - Fillmore East "Tore Up Over You/Legion of Mary" 4/7/75 - Keystone, Berkeley "Candyman" 6-11-76 - Boston Garden "Terrapin Station" 12-29-77 - Winterland, San Francisco
New York, NY: The FADER magazine--the definitive voice of emerging music--releases its annual Icon Issue, this time taking an in-depth look at one of the most consistently relevant forces in popular music: Jerry Garcia. The Grateful Dead was an incredible musical force that defined its generation, with Garcia as its de facto leader, to the point that the band is almost synonymous with the '60s. Yet the Dead--and Jerry especially--remained an active force well into the '90s, and the band's power and influence has anything but diminished since their final show. In fact, Jerry and the Dead are as relevant now as they've ever been--a constant inspiration and obsession for the current generation of musicians that The FADER celebrates issue after issue.
It is also telling that The FADER's 46th issue hits newsstands on the 40th anniversary of the Summer of Love, and notable that The FADER's tribute focuses on the early years of the Grateful Dead, when Garcia was a young rocker obsessed with authentic American music like folk, bluegrass, the blues and the jug bands of the '20s. The photographs in the feature come exclusively from 1966, 1967 and 1968, including never before seen images. The entire feature is comprised of "as told to" style interviews full of untold stories and reflections on Garcia's life from those who knew him best, including Carolyn "Mountain Girl" Adams Garcia, the Grateful Dead's Bob Weir, Bill Kreutzmann and Mickey Hart, his friend David "Dawg" Grisman, his collaborator Ornette Coleman, his manager Richard Loren, and the Dead's legendary soundman Dan Healy, among others. Artists from The FADER generation also give accounts of their experiences with Garcia's life and music and the impact it has had on them. Contributors include Devendra Banhart, Brightblack, Modest Mouse, Animal Collective, Dungen, the Hold Steady, the Meat Puppets and many more.
"There are so many misconceptions and prejudices regarding Jerry and his legacy," said Alex Wagner, Editor in Chief of The FADER. "We wanted to dig deep and show our readers that he's an incredibly relevant and inspiring figure--an honest to goodness rock star who very much deserves his place in the canon of modern music."
As the Icon Issue also doubles as The FADER's Photo Issue this year, the rest of the feature well of The FADER's 46th issue focuses on extensive photo portfolios from some of the magazine's most dynamic contributing photographers. The photo features includes stories on underground eco leaders in Philladelphia, gang life in the shadow of Wounded Knee, South Dakota, and the golden days of the itinerant gypsy community known as the Roma. As always, F45 will also be available via iTunes in its entirety, with corresponding audio podcasts, and as a free download at www.thefader.com.
HIGHLIGHTS INCLUDE :: JERRY GARCIA, with contributions from:
Carolyn "Mountain Girl" Adams Garcia "There was an aspect of his playing that kind of reached through the dimensions and affected how people felt about things. There was a certain kind of musical catharsis going on sometimes when he played. After a while things became so fluid and sparkling and sort of gorgeous, I found it very touching and moving and loved it. I still do."
Bob Weir "We lived together in Watts...Everybody brought their own music for everybody else to enjoy...at the same time we were all listening to the radio and deconstructing what we were hearing. We just had no idea what we were up to, every possible direction was a possible direction. The world was full of endless possibilities."
Mickey Hart "I remember the end of it. We were sitting in a meeting saying, 'What are we gonna do?!' and Jerry drew this snake that was eating its tail. He said "This is us. We're eating ourselves.'
Richard Loren "I was riding a camel around the Pyramids and the Sphinx when suddenly I looked over to my left and saw a stage. It all kind of hit me. A light bulb went off in my head and I thought God, you know, the band should play here!"
Devendra Banhart "The Grateful Dead are the reliable band. They are the sonic, aural equivalent to warm water. They give you these options and choices and it's all a world of maybe. And the realm of maybe is what really makes a trip comforting. They are that comfort. Suddenly the water isn't going to boil and it isn't going to turn ice cold, it's going to stay warm."
Geologist, Animal Collective "There's also the parking lot. I try and say this to Animal Collective fans. In the indie world or whatever, there is a lot of pretension and exclusion in the attitude, like, 'This band and this music are mine, and I have no interest in anyone else being a part of it.' At Dead concerts, these old hippies would be like, 'Oh is this your first show? Welcome to the party! Congratulations, that's great!' One day I hope the parking lot of an Animal Collective Show will feel like the parking lot at a Grateful Dead show, just an overwhelming sense of fun and community."
About The FADER Founded by Rob Stone and Jon Cohen in 1998, The FADER magazine is the definitive voice of emerging music and the lifestyle that surrounds it. Through in-depth reporting and a distinct street sensibility, The FADER aggressively covers the most dynamic breadth of music and style emanating from the fringes of the mainstream to the heart of the underground, and was also the first publication in history to be released on iTunes. The FADER is the authority on what's next.
T The Merc has the sad story of Tony Hicks waiting hours for a Britney Spears no-show in SF last week. Dude, how fucking sad are you to wait for a fourteen-minute lip-synched show from quite possibly the nuttiest has-been in the world? Don't you understand that we all hate this woman? I mean, look what our music comic artist just did to her in this week's JACKED!
Brock concluded the band North American tour dates sober, thinner, buffer, and apparently with some new balls -- one drummer for each rejuvenated testicle.
Wherein Canadian and supposed comedian Tom Green ghost-rides the whip on a frighteningly flat and straight stretch of dirt road in the middle of Saskatchewan. Kinda lame, but an inadvertent shout-out to Oakland nonetheless.Tom Green Ghost Riding The Whip
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Twee melody follows nasty beats at an incestuous Knock Out Monday. Mission Creek Music Festival keeps it real intimate and cheap. -- By David Downs Summer mega-festival season can lick my balls. Give me a dead venue with a $5 cover, $2 drinks, and an eleven-inch stage I can walk right up to any night of the week.
The Mission Creek Music Festival lived up to its "intimate" and "unknown" vibe Monday night with enthralling sets from Dust Brothers worshippers Dusty Brown (I hope the name's a drug reference), and twee folk closers the Moore Brothers. In the middle were LA's the Lava Children; beloved?Not so much.
El Cerrito's the Moore Brothers Greg and Thom switched off playing a lone acoustic guitar as they harmonized their way through about a dozen folky, twee, G-rated songs that enraptured the thirty or so fans in the building. I mean, what were these hoodied and bearded and Vans-wearing men doing playing 1967 folk-pop? Where are the MPCs and the rapping? The bros channeled Brian Wilson more than Brian Burton (Danger Mouse) with songs about girls with awesome hair, girls overseas, and other boy-meets-girl tropes. They're working on their seventh album, and they seem to be mining the same vein that Rivers Cuomo mines, in terms of point of view, song structure, and simplicity. Refreshingly simple or twee as fuck? It comes down to taste.
Dusty Brown's badass-ness, however, cannot be disputed. Trashy beats and fem vocals did battle alongside some effects-laden guitar work in this Garbage-inspired, brother/sister setup from Sacramento. Beat maker Dusty Brown absolutely spazzed out behind a Moog Prodigy, laptop, and a big bank of knobs. He fucked with prerecorded drum and bass loops, twiddling knobs to tweak them out and blow them up while vocalist Jessica Brown channeled Portishead, and a guest guitarist focused on sets of three- or four-note flourishes to glaze the whole concoction. The trio covered their experimental bases with drum machine freakouts, but they also drove straight into the stadium for sing-along-friendly pop numbers complete with banging drums and overdriven guitar. (Hear the song "How's That"). Nine Inch Nails or Marilyn Manson should pay this band a lot of money to salvage their barren output.
The Chalk Marquee
The Lava Children
The KO Crowd:
Highlights from My So-Called Punk author Matt Diehl's interview about Green Day, Fall Out Boy, the Offspring, Epitaph, and more. Press Play column on neo-punk in this week's print issue. -- d2 * Diehl went to school for a degree in Art History and understands Deconstructionism.
* The book was originally a bio of the Distillers. "They actually wanted me to write a bio of the Distillers and I said to them, 'Well, I think that may be an awfully thin book. What I do think is exciting is sort of no one has really written about neo punk, in terms of commercial magnitude and cultural significance."
* Diehl's mom gave him Sex Pistols records at age 9.
* Sellouts like Yellowcard have just as much DIY cred as any other punk band: "Bands like Fall-Out Boy and Yellowcard have all the DIY cred in terms of touring the country, playing basements, playing all-ages, improvised venues, self-releasing, and then they became the commercial juggernauts. How do we balance the two who come from this DIY thing that seems like the essence of punk rock? Simple Plan - the most maligned of neopunk bands put in their dues in this band called Reset."
* Diehl is 38
* Punk rock is situationalist: "The one thing I hate more than anything is you know people from the previous punk rock generation who are like, 'The only good punk rock is old punk rock.' I hate that. Punk rock is chameleon, it can be reinvented a thousand times. .. Punk is an ideology, but a fluid ideology."
* Punk rock is a critic's genre "People like Mikal Gilmore, Lester Bangs, put their necks on the line for punk rock when nobody cared, they championed this music against all odds, in the '70s it was Fleetwood Mac or nothing."
* On why Diehl used the level-headed tone he did: "I was writing history, a cultural history. In my mind and it wasn't ... it still is subjective experience ... I used the first person a few times. I definitely talk critically about music and stuff, but I also didn't want to be like, 'This is my version of punk rock and it's right' 'cause the minute you put that line in the sand something will prove you wrong."
* On how his PunkNews.org response ended the discussion on the site about his book: "That just bummed me out."
* NorCal vs SoCal "I didn't get Green Day. My friend was writing their book Marcus Spits, so I think that was sort of simultaneous. Lawrence Livermore who started Lookout was an invaluable resource. If you go SoCal versus NorCal, the biggest punk bands arguably in the world arguably were East Bay to the core, but then in terms of commercial success, Epitaph, because Lookout didn't know how to scale. On the other hand Fat Wreck is sort of the Epitaph of the East Bay. ... On the other hand, I think Fat Wreck, they really do maintain an ethical stance, they own they're works, they've maintained running an empire. Fat Mike is like the conscience of the scene."
* The book's final analysis: "Punk is here to stay like the air we breathe. ... I feel like it's hard for me to come down and say, 'This was good and this was bad.' It's a living, changing, mutating thing. A thirteen-year-old kid that discovers Green Day and gets into them is probably going to be a better person. When I discovered the Clash, I became a far better person."
Pete Wentz of Fall Out Boy, he said, "Fuck racism, fuck homophobia, fuck sexism," and some woman complained to the media that she took her kids there and "I didn't want my kids to hear that." That's pretty punk rock, here's a band that sells millions of records and tours arenas and they're selling millions of records and telling people that homophobia is bad. If that's punk legacy, I'll take it. I don't hear Nickelback going onstage and saying it's bad. Maybe they are."
The UK singer invokes Janis and delivers the concert equivalent of a really good chick flick Tuesday at the Warfield. - Eric K. Arnold Covering "No Woman No Cry" can easily devolve into contrived cliche. But somehow British blue-eyed soul sensation Joss Stone pulled it off, her ten-piece band adopting a jazzy, uptempo arrangement that allowed her bold, brassy voice to shine. If she didn't exactly make the song her own, she at least put a distinctive stamp on it.
Stone's Bob Marley moment came at the finale of a ninety-plus-minute Warfield set in which she strutted to and fro in a cute lil' psychedelic minidress (think Liz Hurley in "Austin Powers"), coquettishly flirted with the audience in her between-song banter, and absolutely justified the Everest-sized mountain of hype quickly accumulating behind her with an impressive display of talent, chops, and fiery exuberance.
Stone's booming, at times almost overpowering, voice sounded like a cross between such legendary divas as Teena Marie, Aretha Franklin, and Janis Joplin. She's got Marie's trilling upper register, Franklin's breathy resonance, and Joplin's ability to dive headfirst into a song and not come up for air. Thankfully, Stone only slipped into Mariah Carey-esque overkill mode a couple of times.
It's no fluke that Stone's sold, like, ten gazillion albums (ed: 1.2 million of the new one as of March); her retro style suits her well, lending an air of maturity and depth to much of her material - okay, so "Put Your Hands on Me Baby" wasn't that deep -- which has apparently crossed over to her fan base as well. Most pop music ingénues attract audiences several years younger than themselves; Stone, who turned 21 just last month, skewed considerably older, her predominantly female following extending well into the forties and beyond. Some of the more seasoned folks looked as if they might have even watched Joplin herself (probably Stone's single most obvious influence) perform a take-no-prisoners set back in the days.
The concert's highlights were frequent and plentiful, from a sex-bomb rendition of the cheeky "I've Got a Right to Be Wrong" to hits like "Tell Me 'Bout It" to a surprise medley of Sly Stone, Luther Vandross, and Jill Scott tunes performed by the backing singers to a funky drum 'n' bass solo duet. "I'm Only Human," co-written with Oakland's Raphael Saadiq, started out bold and brassy, then swiftly turned mellow and vulnerable. "What were we thinking, baby? What do we do now?" Stone asked, playing the part of a character caught up in a passion play that's taken an unexpected emotional turn.
Before Stone even took the stage, support act Ryan Shaw channeled both Sam Cooke and Terence Trent D'Arby on his opening number, "A Change Is Gonna Come," adding James Brown-like intensity and tasteful Stax/Volt influences to several original numbers while not forgetting the Motor City with his closer, a cover of Junior Walker's "Shotgun." Stone is already a star -- on her way to becoming a superstar, perhaps -- but if what the Warfield saw Tuesday was any indication, Shaw might one day be headlining the venue himself.
Internet radio dies on July 16 thanks to gnarly new royalty rates reported on here. [Link to 'The Age of Dark Payola'] Now net radio needs your help. -d2 SaveNetRadio.org wants you to call/email your DC rep to voice support for two new bills that would nullify the Copyright Royalty Board's ruling. Does any artist think these rates are a good thing? Comment, bitches!
In other news: the esteemed writer John Nova Lomax in Houston investigates how non-artists pockets artist royalites when SoundExchange can't find the artists. Craaaaazy. [Link to Houston Press]
Released amidst reports of hyphy's demise, Mistah F.A.B.'s third album Da Baydestrian nevertheless stands as a testament to the erstwhile movement's infectious appeal. ... F.A.B. likewise transcends any notion of superficiality or faddishness with the closer, "100 Bars," a lyrical jaw-dropper which proves he's as skilled at MCing as he is at directing traffic. - By Eric K. Arnold Mistah F.A.B. The Baydestrian Faeva Afta/ThizzEnt/SMC Released amidst reports of hyphy's demise, Mistah F.A.B.'s third album Da Baydestrian nevertheless stands as a testament to the erstwhile movement's infectious appeal. The timing is certainly ironic: just as critics are penning eulogies blaming everything from sloppy business to industry apathy, here comes F.A.B. in his airbrushed T-shirts, sporting a scowling thizz-face like a tribal mask, still cooler than a polar bear in stunna shades, his yellow bus leaving skidmarks as he claims his props as Prince of the Bay. Let's be clear about one thing: Even if there was no movement -- which there is, with or without major-label involvement -- F.A.B. would still represent Oakland, and by extension the Bay Area, to the fullest. His Atlantic debut may have been pushed back, but his hustle can't be stopped.
Truthfully, Da Baydestrian is an indie-label album only where semantics are concerned; qualitywise, it holds its own with any recent rap album from any region. A gaggle of producers, including Gennessee, Sean T., Trackademicks, and Traxamillion, offer slaps galore and certified soundtracks for 3 a.m. sideshows (or ghost-riding the Volvo). F.A.B.'s agile vocals twist up phat verses, spit slang like a ghetto thesaurus, and reveal a depth that hyphy's scarcely hinted at before. For all the stupefying sturm-und-drang of "Baydestrian," "Sideshow," and "Dem Cars," the author paints a poignantly emotion-stirring, possibly autobiographical picture of 'hood reality on "Life on Track:" crack houses, black spouses, single mothers, four brothers/ informants, snitches, under covers, no gas, two blankets, no more covers/ mama lost three one morn there's no more brothers/ two sisters, eighteen and a step-dad/ torn-up mattresses, every night I slept bad. F.A.B. likewise transcends any notion of superficiality or faddishness with the closer, "100 Bars," a lyrical jaw-dropper that proves he's as skilled at MCing as he is at directing traffic. - Eric K. Arnold
Holy Thizz! People have Mac Dre tattoos. A lot of them. Thanks for the head's up, Mistah F.A.B. [Link to Thizz tattoos]