Mailbag

From: Russ Titelman
Subject: Christine McVie

Bob,

Thanks for writing about this album and reminding people about Christine.
We recorded it in Montreux, Switzerland at Mountain Studios. Charlie Chaplin's son was our assistant.
Flew to England to record Winwood at his house in Lower dean...(Eric played on The Challenge...we called him while we were in London and he came down) then flew back to finish. Foreshadowing?
First album I mixed in NYC at A&R. Moved to Redding Connecticut from Santa Monica during the making of.
If she had only written Songbird she would be in the pantheon of the best songwriters ever and she had the most soulful voice.

Unbelievable about Phil R

Best rt

___________________________________________

From: Andy Fraser
Subject: The Stealer

Bob -

Saw your comments, and have to say Andy Johns was one of my favorite people. Only a year older than me, we worked in the studio on a lot of FREE recordings both as teenagers. I loved his energy, always up, keen, ready to go, full of enthusiasm. As you know, he was the engineer the night we wrote, recorded and mixed 'The Stealer' in one session. Then ran up to the top floor where Chris Blackwell of Island Records had an apartment, woke him up, and said 'you gotta get down and hear this', which he did, and proclaimed it the next single. AJ called me only a few weeks ago, and now he's gone. Life is so fragile. Heartbreaking. He will be missed. Not sure if he ever learnt to drive. He would either take a cab, or I would drop him off at his place in St. Johns Wood, London after a session. Known a few like that. Frankie Miller, Robert Palmer - it's like "Me drive?, with my habits - I don't think so" - http://bit.ly/145kwUQ

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From: Tycobrahe Sound Co
Subject: Re: Rhinofy-Christine McVie

Thanks Bob.

Christine Perfect (her maiden name) brought more to Fleetwood Mac than her songwriting, vocal and instrumental talents. She was responsible for the change from Peter Green's blues band that we heard in '68 and '69, to the perfect blend of rhythm and tunes.

I saw "Peter Green's Fleetwood Mac" (as they were billed in '69), at The Olympic Auditorium in SF in December, and again in The Shrine Auditorium in LA in January, 1970.

In '71 I was contracted to provide a PA system for the band's West Coast tour, from San Diego Northward. In the meantime Christine had joined the band and married John McVie. She was Peter Green's replacement. No, she didn't play guitar, but she was the creative spirit that had been Peter.

In '72 the band failed to report when it was time to start an American tour. Mick was off in Africa studying native drums. None of the band had met to rehearse. Christine and John were not speaking.

Mick phoned from Africa, said he would be there, and asked his managers to get a band together without Christine and John, and he would play drums as usual. So musicians were hired, rehearsed the songs, and waited for Mick, who never showed up.

It was too late to cancel the first three dates. Money had been collected, ads had run and tickets had been sold. A substitute drummer was hired, and the band went on. It was not a successful deception. Probably wouldn't have worked even if Mick had shown up. After the second or third try, the remainder of the tour was cancelled, and the band sent home.

A lighting technician who worked on "the fake Fleetwood-Mac tour" told me that at both shows, someone in the audience shouted, "Where's the girl?"

Thanks, Christine, for coming back, again and again.

Note: The courts in England found the band had failed to honor their contractual obligations, and they were forced to pay for the costs of the aborted tour.

--Tycobrahe Tom

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From: Alexander Mair
Subject: RE: Advice

Amen, Bob. I was accepted at Harvard Business School when I was 48, having been a successful entrepreneur up to that time. I learned so much at Harvard that led me to increased independence, particularly financial.

I wanted both my children to go to private schools, but they wanted to be with their friends. Last year, my 36 year old daughter said to me, "I wish I had taken your advice and gone to the school we wanted her to attend." Fortunately, she's got a successful career in public relations in the documentary film business, but we both wish she had taken my advice.

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From: Saeed Jabbar
Subject: Re: Advice

Agreed! I'm a 20 year old college drop out in the tech/start up scene and no where is this ivy league network more prominent especially when it comes to raising venture capital.

Ever since the movie social network, many youths think they can just drop out and become the next zucks over night but that's far from reality. Even though i'm a college drop out i still recommend my friends stay in college or those going to college attend one where they can network their asses off.

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From: Heather Rafter
Subject: RE: Advice

Bob: loved this.

Mark Zuckerberg went to Exeter as well.

So did my two oldest kids. And me.

I believe I'm one of the few in the music industry with an Ivy League degree. I keep it a secret mostly since I thought it was uncool. But then again I am a lawyer which is even more unhip.

And the backlash on sending my boys to Exeter from California: "wait, don't you love your kids? Why are you sending them away?"

Response: "It's because I love them so much that I am. Ultimate act of unselfishness." But few agree.

Btw, I also agree TOTALLY that the Ivy League connection is insane. Kids out of Harvard with no particular merit other than that getting Wall Street job over $300K starting. Definitely a society of the haves getting more access to more money solely because of pedigree (pedegree?!). For good or bad, I have encouraged my Exeter grad sons, even Alex (the one now at Princeton), to give back to the world and not make money from money. There goes my retirement funding!!

Heather

Heather D. Rafter
Phillips Exeter '78
Princeton '82
Columbia '86 (J.D.)

(former General Counsel of Digidesign, now have my own law firm)

P.S. My daughter is heading to public high school next year!! Gasp! Her choice.

___________________________________________

From: Evan Bright
Subject: Re: Advice

Oy, not to write you a novel but, I certainly applied myself.

While in college in a southern city at a major music-related university, I interned with a major promoter for a year. I worked shows with arena/shed level artists. Pretty amazing for an 18 year old. I then interned with a major agency for over a year. I got a taste of how that side of things worked, which was great for someone who was hungry.

I followed that by interning with _______________ and his management company, _______________. Again, pretty amazing for a 21 year old-- learned a lot about management... and I got to go to Letterman with _______________!!

I also had internships at club venues around my college town at the same time. I did an internship with a music branding agency in NYC for a summer, and took classes in Clive Davis and Tisch while I was at it! I even picked up an internship at a South American label while I did a semester down there.

I guess my point is, it can be done for those who have the passion. I was (I think) kind of smart about it in that, I went about things in such a way as to "stick my foot in" as many "doors" as possible, simply because I knew I wanted to be in music, but just didn't know which part I wanted to be in, nor what I would be good at, not yet anyway.

As you stated, it is simply not a feasible ideal to be a Geffen or an Azoff(to gain monstrous success without a degree) nor a Zuckerberg(hit the entrepreneurial jackpot). Those are few and far between, and take equally as much work as the other option. It takes hard work to gain success in this industry though, no matter one's background. And I recognized that for my generation, internships are a means to an end. My vast internship experience, allowed me to have the experiences I NEEDED to have, to be able to qualify for the jobs I would want after graduation. This idea slips by my generation all too often, and that is the point of my message-- I think my generation has an issue with knowing what a hard day's work is. Everything's already been handed to them, including the BMW, the college degree, the iPhone, and the Coachella tickets!

I went to _______________. But that little tidbit was near the bottom of my resume that I sent out to people when looking for jobs! Because that's not what was important. You have to go to school. Sure, you might be able to squeeze by without it, but most companies won't even let you intern these days unless you are receiving college credit... thanks for that one, Barack(just kidding). Their only other option is to pay you... and we all know they aren't doing that!

Hope this all makes some kind of sense. I don't think you'd publish this or anything but if you do - I bolded everything(below included) I would prefer you to take out should you decide to do so. I have learned that reputation and relationships are everything, and I would never dare tarnish that in a missive to you.

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Subject: Re: Advice

Dear Bob,

As someone who came to America with my family so that my brother, my sister, and I could attend one of the nation's top prep schools, and as someone who was left unemployed due to one of last year's big buyouts in the music industry, I must say that your 'Advice' essay resonated with me.

I didn't fall into the world of the Rockefellers, etc. by happenstance - I was airdropped into it, like a freshly-drafted soldier, at my parent's guidance and instruction, not knowing what it would really be like until I hit the ground.

While I did spend virtually all of my boarding school experience in a state of culture shock, today I look back at those years as extremely valuable, because it was there where I became 'clued-in'. Many of the world's most fortunate kids work and live as if nothing was done for them, so why on earth would I?

So I agree completely with your point on the schism between the clued-in versus the clueless millennials. I'm 25, so you are practically talking about my friends, who fill both the entitled and the "enlightened" sides of the aisle.

The 'leg up' argument is also valid - last month my unemployed self was sitting in the office of one of the industry's most prominent independent label heads, strictly on the strength of my prep school network. So there I have to agree as well.

I do, however, draw a distinction between beating the system and becoming the system. For a long time, the preps and Ivys have been about continuing a tradition of CEOs and financiers begetting future CEOs and financiers, and guess what - they mostly still are. I take little issue with this. Our world needs this, to an extent.

It only becomes unfortunate when the 'clued-in' play it too safe. I have seen many of my extremely bright, talented, and adventurous peers ditch theater for JP Morgan, sustainable development for Deutsche, and photojournalism for PWC. Yes, there will always be the well-off renegades, the slackers, the nonconformists, but they're different, because they always knew that at the end of the day, they don't have to be clued-in if they can be bailed out.

I'm talking about the ones who want to be successful financially: they should have this desire, but they shouldn't define success only by financial gain. Zuckerberg's prep & Ivy come-up was essential in building his empire, I agree, but if he was only about the money, he would basically act, live, and look like a US Kim Dotcom.

I say get that top school advantage if you can, absolutely, but once you get there, once you learn, think! I believe that the pendulum has been swinging a bit too far in the opposite direction at these schools when it comes to the money-stacking vs. dream-chasing divide. True, Geffen was from a completely different era, but no amount of schooling could get you to think as he does.

Reading can teach you most of what I learned, anyway.

- Anonymous

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Subject: Re: Sennheiser Momentum

When I see Dan Patrick on ESPN wearing Beats, I think he's getting paid.

When I see somebody on the subway wearing Beats, I think he/she's a poser.

When I see someone in a recording studio wearing Beats...oh, wait. I
never do. Not ever.

Mike Errico

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From: Alon Goldsmith
Subject: Re: Electronic Music

I was just at Coachella with my 17 year old daughter. I managed to get my hands on some VIP passes from a sponsor I met at the box office. I gave two of them to my daughter and her friend. They didn't even use them. Now if that's not a sign of a paradigm shift, I don't know what is.

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From: Darwyn Metzger
Subject: Re: Coachella

Bob,

Coachella... What.. a.. weekend... My girlfriend and I both got roofied, I still have dirt coming out of my eyes from Sandmageddon on Sunday & yet my biggest complaint: The Rock acts... Too old & too irrelevant. Do you know which show had more people saying "WOW" than anything else? --- DOGBLOOD, the new EDM collaboration between Skrillex & Boys Noize. The Sahara tent has become the only stage that matters at Coachella. Substantive melodic performances are one of Coachella's most overrated faucets. It is all about where the party is. If anyone said that their favorite performance was the Red Hot Chili Peppers, they are lying. Just like the people last year who said that is was Radiohead (because it was actually Calvin Harris).

-Darwyn

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From: Michael Ross
Subject: Re: Coachella

Hello Bob, spot on article and agree with most of what you said. That was my 8th Coachella and I am hooked. I look forward to the bands when they are announced, but am in regardless. As a dude in my forties, I am glad they get a lot of bands from my era. I got to see New Order for the first time and loved it. The Sahara tent is a must see, amazing. As far the writer at the LA Times who has a hard on against RHCP, I say FU! I have seen them 10+ times and they always bring it. They knew why they were there and played 20 great tunes. No bs, just making sure the 60k watching were having a good time. As far as 2011, the answer is my Canadian brothers Arcade Fire.....peace

___________________________________________

From: Sandra Jimenez
Subject: Re: Coachella

My first time going to Coachella was in 2005. I was 14 years old, and I went with two other girlfriends. My mom dropped us off at the entrance and said "have a good time girls! call me when you want me to pick you up!". We had no idea what we were getting ourselves into. But I think that's where my love for music really started. That, and my awareness of drugs, over dose, and music junkies. When we went back to school we told everyone where we had gone, and they said "huh? what in gods name is coachella?" Those same kids are exactly the same suckers who are helping Coachella sell out. After 05, I went every year for the next 6 years. I stopped when I realized it just wasn't the same, and it was never going to be the way it was. Suddenly it was about playing the part. Hippie flower child. Everyone goes out to buy clothes to wear to a music festival so they can look as hip as possible. Music, what music? And companies are loving it, marketing festival style to all the rich kids who will cough up anything to look hipper than everyone else. It kind of sucks. But at least we still have Bonnaroo, where only true dedicated music fans will endure nasty weather, mud, not showering for 4 days, and disgusting port o potties. There are still people out there who make music part of their life, they go to shows on a daily basis, go out of their ways to go to amazing music festivals in the USA or abroad, not just some 3 day corporate sell out in the middle of the desert. If Coachella is all kids my age have to look forward to all year, then that really sucks.

___________________________________________

From: Casey Smith
Subject: Re: Coachella

Bob, here's the thing man - it IS about the music. Sure, a lot of kids go for the scene, but I would say there's a large portion of people like myself, who have been attending this festival annually since sometime in the mid 2000's that aren't there for EDM music. These people go for the underground rock, the experimental electronic, the unconventional Hip Hop.

Let me just say, with out Coachella Music & Arts Festival I would not be on the path that I am on in the music industry. It was this festival that opened my eyes and ears to a whole new world of music that was originally completely foreign to me and illustrated to me that you don't just have to book Macklamore to draw a crowd.

Sure most of the festival was at Bassnectar Friday night losing their minds, but the couple thousand of us that were at How To Destroy Angels saw a show so intimate, so special, that our Coachella was completely shaped by it. Sure Bass draws the crowd, but the reception toward Angels was the best of the festival. You felt the love. You felt the appreciation for the craft and the art - something I know didn't happen inside that airplane hanger during most of those EDM shows.
I see you have a lot of admiration for the festival - but asking to sell it self out even harder to make all the kiddies happy by just giving them candy is insane to me. You got to give them fruit and veggies too - you got to have a balanced diet so you can grow up strong one day.

Coachella is in a unique position right now - they have POWER. People are going to go no matter what because it's an amazing environment to be at a festival and the music is A+. Right now, they can either push out factory produced pop music, or they help cultivate the arts and music and create something that is truly monumental in our culture. I vote for the latter.

Help support Coachella's underground.
--
Casey H. Smith
PARADIGM
404 West Franklin Street
Monterey, CA 93940

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From: Andrew Delaney - Live Nation
Subject: RE: Coachella

It really is all about the hang.

Note the year: July 25, 1969 - TIME Magazine

"Instead, the festivals seem to have become an experience akin to the spring vacation at Fort Lauderdale, where swarms of beery or pot-high youngsters congregate for a bash to remember. Says Ray Riepen, president of the Boston underground radio station WBCN: 'A rock festival is like a football game now. It doesn't have anything to do with music any more. It's just a scene.'"

Source, hidden behind a pay wall: http://www.time.com/time/magazine/article/0,9171,901132,00.html

___________________________________________

From: Eric
Subject: Re: Benji From PledgeMusic

Thanks for the reality check Bob....is this why MusicXray is raking in my dough with zero results, except to tell me to keep submitting?

___________________________________________

From: Nakia
Subject: Re: Benji From PledgeMusic

Hi Bob,

I definitely have to sing the praises of the PledgeMusic folks. I had a very successful campaign with them and actually just released the EP just before SXSW. I never dealt with Benji personally, but the folks I did work with - Matt Lydon primarily - were stellar. They were able to help me gauge what was realistic and then set about showing me the best way to make it happen. Anytime there was a question or an issue, it was immediately addressed and resolved. The truth is that their backend system is very well done. I'm a bit of a techie and so I dug in and really tried my best to utilize all the tools available. I think one of the best things they help artists do is the way that you are actually marketing the release long before it comes out, is pretty brilliant. The fans get to watch as the songs grow from lyric or melody ideas into demos that become actual songs recorded and released. Overall, we ended up with a little more than what PledgeMusic guessed we'd end up with but what I felt like I ended up gaining that was more important than the money, was the fans who not only were invested in me financially, but who really understood what I was trying to do musically. These 500+ people are the folks that WILL come to a show and WILL buy a t-shirt and WILL tell their friends.

Could I have raised more money if I had launched a campaign in the heat of my 5 minutes of TV fame? Most definitely. The Voice was a big hit and everyone was talking about it at the moment, but cashing in isn't what I what I wanted. I want a career. I want to sing my songs. Just before The Voice tour began, I met Ron Stone who not only agreed to manage me, but came in the door knowing it was going to take time. He brought in Peter Wark to co-manage me and I got into the studio to work with songwriters and producers instead of rushing to get into the market. Ron kept reminding me that it was going to be a slow grind and the songs were everything. It was Peter who brought PledgeMusic to our attention after we kept running into walls with labels who wanted a more polished/pop/younger/thinner version of me instead of the Soul/Blues music I wanted to sing. Once I had a handful of songs that I wrote with guys in LA and ground up live with my band back in Austin, we went back to PledgeMusic to get started. Again - totally easy and simple. I posted my tongue-in-cheek video asking for money to make a record and followed up by posting scans of original lyric sheets, photos and videos from the studio, and made sure to be quick to reply to fan comments on the site and on social media. By the time it was done, we had even attracted enough attention to get distribution for the record when it was done.

SXSW happened just a week after the EP was out and we ended up signing with The Agency Group after one of my shows and now we are going to get in a van and get on the road with my new CD in hand and maybe a shirt or two to sell. That part of it hasn't changed and honestly I don't ever want it to. This is the part that I have been the most excited about - getting out in front of these folks who supported me and introducing them to my real live show with the amazing band that I have put together. With the data we got from PledgeMusic, I can have David Strunk route us through an area that has a few pledgers. I don't have any big illusions about selling out venues just yet, but I do have big dreams and I believe that the people who supported me during my first campaign will come along for the ride and be a part of those dreams with me. For me it truly is about the fans and the music. When I meet these people face to face who love the CD I know they're in it for the long haul because of the songs and the work I am doing, not because CeeLo and Blake Shelton turned their big red chairs around for me. Don't get me wrong - that experience is one that I am very proud of and I will cherish it and the relationships I have with CeeLo, my fellow singers, and the crew of the show for the rest of my life. I just don't want it to define who I am as an artist. PledgeMusic helped me put out a record with my fans that truly helped connect us in a new way and now it's up to me make it last. It's a slow grind and it's all about the songs.

Best,
Nakia
Listen to my new EP, Drown In The Crimson Tide.
http://nakia.me/drowninthecrimsontide

NAKIA.NET
YOUTUBE.COM/NAKIA

___________________________________________

From: Dan Navarro
Subject: Re: Crowdfunding and The CD

Re: Crowdfunding

Eric Lowen and I did it in 2003, way before it was mechanized, motivated
and organized by a friend with finance experience (he called it the
"Angels" program), to fund two albums (All The Time In The World in 2004
and Hogging The Covers in 2006) which covered the incumbent production,
personnel, pressing, advertising (including an ill-considered stab at
direct-market cable TV advertising), traditional publicity and Triple A
radio promotion.

We were kept at arms length from the gory details -- it seemed awkward and
impolite to know that Meredith had donated $100 while Donald had donated
$5,000 -- and we raised $166,000 from maybe 50 donors, $120,000 of it from
two donors (it was impossible to be at arm's length from those donations).
Some of the donations were pre-sells of signed and numbered CDs while some
were flat out donations in varying amounts. Their names were all listed on
the CD art. The first $40,000 came in six days.

I'm considering options for my own new album, coming in the summer, and
have been hesitant to go to the well once again, even though it has been
10 years and some folks are begging me to do it. Ellis Paul is a dear,
dear friend, so I've been watching his progress, and I am also affiliated
with Nimbit, so I am watching further. Frankly, I'm gonna have to get my
head around something, because it is just unaffordable for me to fund it
alone. Film at 11.

But I wanted to comment on the "Who Buys CDs anymore."

Who buys CDs anymore? Audiences at shows. My audience on 80-90 gigs a year
are not all older Luddites (shock!), but most don't want download cards or
thumb drives, even though most of them will still rip the CD when they get
home.

They are looking for a memento of the evening that includes the music, a
picture and has an autographing surface. And I will hang out and sign CDs
until the last fan is gone or the bar runs out of Guinness. I have seen
people buy CDs I know they already have to get a souvenir of the evening.

In fact, when L&N was going (until 2009) we recorded the shows, burned CDs
on the spot (organized by our road manager) and sold them to people
standing in line to get them signed. We did 250 units to a crowd of 800 in
Chicago in 2006, and on a fateful evening in October 2006, broke the house
record for merch in a single night, at the Birchmere in Alexandria VA,
probably the finest club in the country. We did $7200 to an audience of
500, because we had a new album, a new DVD and the live-on-site CDs (we
did 165 that night). Waaaaay past our heyday. But I digress.

If the old model is gone and we need to hit the highway and play live to a
devoted following, however small, in order to matter
(halle-f***ing-lluiah!) then CDs are a must.

I have done my best not to be like the six blind men describing an
elephant, limiting themselves to the world they experience (or dream of),
unaware of the rest of the landscape. Most of us who read you live on the
cutting bleeding edge of our communities, sometimes way more aware of the
horizon than the ground under our feet. And while it is vital to see where
we are going, the world is bigger and broader than that, and I dare not
ignore what is here and now.

My uncle Mike Navarro (Dave's dad), a very successful advertising man
since the 1960s, told me something once "Just when you are sick to f***ing
death of an idea, slogan, visual, trademark, whatever, that you can no
longer stomach it for another second, the rest of the world is
just-barely-catching-on." I try not to forget that.

All the new delivery options are just that -- options, alternatives,
parallel roads that can get us to where we are going. There is no reason
to travel only one road at a time. So I say bring it all on.

xx
dn

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From: Jon Ricci
Subject: Re: Using YouTube

RE: RADIO

Don't forget Satellite. Sirius XM gave Lansdowne a career, however niche it is.

The amazing people over at Octane (Kayla Riley, Lou Brutus, Grant Random especially) took a chance on unsigned rock and we grossed over $100k last year after spending years scraping change together just to afford our shitty tours. Not Justin Bieber numbers, but our hair isn't as good as his anyways. It's enough to keep developing and we are very grateful for the incredible rock fans listening on Octane.

Jon

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Subject: Re: Bedford Shoe & Luggage Repair

Here's one that brings the "unforgettable old joke" and the "timelessness of honest repair" full circle, kind of like M.C. Escher drawing his own hand. (I'm almost ashamed to say I remember this joke from my youth. I believe I first heard the version below from either Chico or Groucho.)

An ancient Greek goes to a tailor with a pair of torn pants.
The tailor says, "Euripides?"
The Greek replies, "Eumenides."

Too soon? Too late!

When I was growing up, one of my Dad's friends from India often talked about his adult son, who, beginning at the age of 10 (in early '40s Philadelphia), would repair the neighbors' radios. The kid was so good at it that word soon spread, resulting in a nice after-school business. However, fearing that no one would entrust his radio to a 10-year-old, the dad led the neighbors to believe that he was doing the repair work himself. ("Come back in a couple days. I'll have it fixed!" Which wasn't un-true. He just didn't say who'd be doing the fixing.) My Dad's friend was Noni Bose. His boy genius son, Amar, went on to found the Bose Corporation. Moral of the story: Not only is the art of repair lucrative, it can also be evolutionary. Repairing luggage may not make you a billionaire like Bose. But that ethic, instilled and passed on, can just as well be applied to succesively higher callings.

Raj Bahadur, NYC

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From: Jay Sweet
Subject: Re: End Of Night

Just on a side note: Newport Folk has very few corporate partners of any kind. Mostly because we try and live by the criteria, "if you aren't enhancing the experience, you're interrupting the experience; and if you are interrupting the experience you don't get it." When Sennheiser first came to Newport Folk they had a pretty clear idea of what THEY wanted to do. It was a small activation with a small budget and it went "ok" but not gangbusters. In the off season, instead simply looking at their bottom line ROI from the activation, they did something that a lot of corporate sponsors don't do, they went back to the drawing board using their previous year's experience, LISTENED to what our team experienced with their activation, and between both parties came up with a solution to a need. In other words it transformed from a Sponsorship to a Partnership.

If you don't think there's a difference you either aren't in the game or you are simply setting yourself to fail.

The end result being Sennheiser's activation the last two years has become an integral part of the overall festival experience. You get to hear intimate LIVE pop-up performances through wireless headphones in the middle of the festival.

http://www.pastemagazine.com/blogs/av/2012/09/live-from-newport-folk-dawes-and-ben-sollee-1.html Dawes & Ben Sollee

http://www.pastemagazine.com/blogs/av/2012/08/live-from-newport-blind-pilot---always-1.html Blind Pilot

Anyway, I wouldn't espouse a partnership if I didn't honestly think it was worth mentioning them as a template of how it's supposed to be done.

Even the New York Times noted it: Paragraph #17 http://www.nytimes.com/2012/07/31/arts/music/newport-folk-festival-with-arlo-guthrie-and-jackson-browne.html?pagewanted=all

But one thing that made the claim feel almost reasonable to me was the ingenuity of the site programming, which had artists playing not only on the three main outdoor stages but also in a chapel-like museum room, along the grounds and in an alcove within the fort's stone walls. The alcove, sponsored by Sennheiser, involved a signal broadcast through noise-canceling headphones, so you could hear a whisper-quiet set clearly even as another band thundered across the quad. At one point I forsook Iron & Wine for an intimate session with Deer Tick.......

-Have a good day
Jay
Newport Folk Producer

___________________________________________

From: Stephen Marcussen
Subject: Then/Now

THEN-TV advertised movies

NOW-Movies advertise TV


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