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Post by straineryou on Jul 31, 2019 19:21:57 GMT -5
I think there is a difference in artists being political and the festival being political. The focus of the festival has been community and I would like to see that trend continue.
So, have come back to a lot of work and didn't have the opportunity to write up a more lengthy reflections post until now. Will try to avoid echoing what others have already written which, unfortunately, will take away from the tone being as full of awe and gratitude as it should. There were so many great sets of music which I enjoyed with a full heart, smiles and sometimes tears.
Musical moments that haven't been mentioned to the extent that I feel they deserve to be:
Jupiter & Okwess. I went to this set due to a colleague saying it would be worthwhile but I hadn't really attached to their music beforehand. Apparently that was the case with most of the festival as there were still open seats in the front section of the quad at the start of the show. Boy, was it the biggest surprise of the festival for me. From the first moment of their set, we were all on our feet and danced the entire time. They got people to fill the walkway in front of the stage about midway through (much to securities chagrin) and it was packed for the show. So much joy. It reminded me of Low Cut Connie's set last year.
Was the #1 surprise set for me. Went in with little expectations and ended up loving it and staying for the whole set.
People have mentioned Jeff Tweedy's humor. It was such a contrast to his attitude during the Wilco set two year's ago and I was so happy for him. Between his autobiography and two very reflective solo albums, it seems he has done a lot of work on himself and it showed with the ease and happiness that he carried himself. Also pretty amazing that one guy with a guitar can pull of the second to last set on Saturday on the Fort stage and do it well. I was surprised to not see any other mic's for guests and initially a little disappointed, but left really satisfied.
Our Native Daughters... a lot of people already commented on them. However, I have thought a lot about that set since seeing it so want to add to the discussion. On Friday we went from the Highwomen set to see Phil Lesh and the change in energy really hurt Phil in my eyes. We couldn't sit through it for more than a song and a half before bailing. After seeing Our Native Daughters we went to see Trey and the same thing happened. Which got me thinking to the parallels between the Highwomen and Our Native Daughters. They both feature four women who have very distinct personas that have songs that have a message at their core. It's just that Our Native Daughters did it with such authenticity and the songs are so good. SO good. Each song at that album is enjoyable. Was disappointed that they didn't include 'Better Git Your Learning' but wouldn't have taken anything out. 'Moon Meets the Sun' was so hopeful after the pain and suffering that was represented in 'Mama's Crying Long'. Also really welcomed their explicit political message around a number of things but particularly the statement around children at the border.
Phil's set just wasn't that good, I don't think it had to do with the energy. And I say that as a big Dead fan. Same with Trey. I just didn't get the vibe that either of them really wanted to be there. Trey seemed lost on stage and was struggling to play his guitar. Plus he's not exactly known for his solo acoustic work.
On that point... last year I wrote up a longish post on how Newport needed to work harder to represent women at the festival. Suggested a set at the museum curated by women. Talked about bringing young girls in to perform with acts. So, was so happy to see the fest this year and the incredible steps in that direction. As already discussed in the thread, there is still work to be done, but this was a big step in the right direction.
More work to be done??? This had to have been one of the most female heavy lineups of any festival I've ever been to.
But, I obviously think that my posts are like prayers that go straight to Jay's ears, so here goes my feedback based on this past weekend's experience. (* And I should say, the festival is really really good at taking feedback and constantly improving. It seems like each year you can see little tweaks that are improvements from the prior year. Take moving the food back to a different area as an example.)
So, here is my main gripe. There was too much talk of gardening as a metaphor.
Stay with me for a minute.
Preparing for the festival I added a lot of old Pete Seeger to my playlist. It was eye opening for me just how directly political so many of the songs he sung were. "What did you learn in school today", "We shall overcome", when he tells the story of "Guantanamenra", "Solidarity Forever", "My Dirty Stream". Couple that with the interview in the Bluegrass situation (https://thebluegrasssituation.com/read/pete-seeger-effecting-change-with-music-part-2-of-2/) about Jay's reverence for Pete and I was expecting this festival to be more directly political in that same vein. And, in today's world, with the state of the country, it feels like it is even more important to stand up and speak out.
Then, all through the first two days of the festival there was almost no direct reference to anything political. There was a lot of talk of gardening. Phil Cook's metaphor's on watering your garden, Haley Heyndericks had two songs on gardening, The Highwomen talked about gardening, and it was in at least two more songs. Gardening is fine and the metaphor about healing our souls and taking care of ourselves and our communities is all good and well, but I was looking for something more than entertainment. I think of Pete's work with the Freedom Riders and how it was about more than the songs, it was about action. The only references on those first two days about politics were from the older generation: Graham Nash's Songs for Beginners album had several moving political songs and Judy Collins Resist Necklace. It felt like a real opportunity in both the HighWomen and the Female Collaboration to directly address issues of equal pay and the lack of female headliners at festivals but the message was fairly anodyne if delivered at all.
Strong disagree here. The collaboration was one of my favorite Newport sets ever and it would not have been if there was some sort of direct address.
It wasn't until Our Native Daughters that it started to come more explicitly. And it came strong and people were on their feet shouting Amen. It carried over into If I Had A Song as well. So, there was some recovery on this front. Of course, this also could be just the fluke of the artists I selected. I didn't see the Warren Haynes set which sounded like it had some of what I am talking about.
Lucy Dacus had some explicitly political statements
That being said, I have some ideas for next year:
- Next year, instead of (or in addition to) having the artists select an organization to donate to, have them put out a call to action. For example, Lukas Nelson calls to action by raising awareness around the struggle of illegal immigrants. Phil Cook calls to action to plant community gardens. Brandi Carlisle calls you to enable music education for girls. Then, we, as fans, can take the action and send in our stories to the foundation. These stories can be featured on the screens between performances. The artists can share their favorite stories during their sets. Hell, they can even invite fans up on stage that went above and beyond. Then we can all have something more to talk to each other about when we are holed up in the holding pen before the running of the folk.
- Next year, similar to the series of Mavis birthday party shows, they should have a series of shows in swing states on Saturday's with special recognition of some sort for anyone who was out registering folks to vote during the day.
- Add a day of action before or after the fest where folks (including artists) engage in political activism... letter writing, phone banking, etc.. It would be exciting to phone bank alongside Phil Cook and would help build the community at the festival. - This is one of my favorite. "Folk the Polls"...Call on volunteers around the country to arrange a day of live performances at the polls on election day. Let's turn election day into a party with live music.
- For a special curated set, have it be "A letter to our current and future president". This doesn't have to name Trump in any explicit way and can be done every four years regardless of who is in office. But use the theme to bring people together to sing songs directed to who is in office today and who may be in office after the election. There are some great songs that come to mind. Anais Mitchell "Why do we build the wall", "Jumbo" - Punch Brothers, Kyle Craft's "Before the Wall", There are dozens more and more to come in the coming year.
I like the idea of using the music to communicate the message.
- A similar curated set that honors the influence of music from immigrants Guantanamera, Slave rooted music, Irish, Italian, Scottish, Jewish, etc. Would love to see Rhiannon Giddens curate that set.
Some of these ideas could be unified under the theme of "Folk the Vote". Though they might have issues with the Rock the Vote org.
As I thought of these ideas I found myself getting really excited for some of them. Maybe I am asking too much of a music festival, but I already feel like it is about more than entertainment. It is a community and it has a set of shared values. Those values can be made more explicit and we can celebrate them together.
If Jay or any of the hardworking foundation folks are reading this, it doesn't have to be you who puts the volunteer stuff together. Just call on the community to self-organize with your implicit endorsement.
Some other feedback that we thought of that isn't as cohesive or well thought out:
The rules (Be Open, Be Present, Be Kind, Be Together) are great. Really great. Maybe they already do this, but it would be good for these to be shared with the artists and their guests as well. We should think of it as a shared compact between us all. The best performances are when the artist brings their heart to it. This is what makes Newport completely different from any other event. Was frustrating to see so many people in the fort balconies and sides with their phones out during the sets. Would love to see the festival expand on the 'no phones out' message. Jay said it in his pre-fest speeches, but it should be on signs and repeated.
Also, while we are on the topic, tell people to be kind to short people in the fort pit. I am average but see so many tall dudes in the front that are completely oblivious to the short women behind them. This was particularly offensive during the Saturday night set.
Lol, what do you expect all these tall people to do?
Get Jay a better megaphone for his pre-fest speech.
Aftershow ticket sales were really frustrating. They all sold out while the system was glitchy in about ten minutes. Is there a better way?
This is one of my biggest issues. Though I can't think of a good solution other than finding larger venues for them.
I know the festival is doing more than other festivals to fight ticket resellers, but it still feels like the crowd is mostly one of relative privilege. It is expensive to stay in Newport that weekend so even if tickets are relatively affordable, the event itself is an indulgence that many can't afford. Can more be done to diversify and make it more accessible? One idea is to honor the regions best music teachers by giving them free passes.
NFF needs all the money it can get. I'd rather see the prices raised then give away passes to some random underprivileged group. How would you even determine the "best" music teachers.
Of course the crowd is privileged, the festival is located in the yachting capital of the northeast that also happens to be famous for it's Gilded Age mansions.
I love the festival. I obsess over it a little too much but it feels like one of the few areas where genuine magic happens in real life. Let's all do our part to keep making it special.
My responses are in bold.
I think NFF is plenty political and doesn't need anything more. The whole weekend is about bringing people together to share their love of good music. It sounds like you care more about pushing your political agenda then you care about enjoying the weekend. Politics are divisive and believe it or not, not everyone who attends NFF shares the same political beliefs.
So, have come back to a lot of work and didn't have the opportunity to write up a more lengthy reflections post until now. Will try to avoid echoing what others have already written which, unfortunately, will take away from the tone being as full of awe and gratitude as it should. There were so many great sets of music which I enjoyed with a full heart, smiles and sometimes tears.
Musical moments that haven't been mentioned to the extent that I feel they deserve to be:
Jupiter & Okwess. I went to this set due to a colleague saying it would be worthwhile but I hadn't really attached to their music beforehand. Apparently that was the case with most of the festival as there were still open seats in the front section of the quad at the start of the show. Boy, was it the biggest surprise of the festival for me. From the first moment of their set, we were all on our feet and danced the entire time. They got people to fill the walkway in front of the stage about midway through (much to securities chagrin) and it was packed for the show. So much joy. It reminded me of Low Cut Connie's set last year.
Was the #1 surprise set for me. Went in with little expectations and ended up loving it and staying for the whole set.
People have mentioned Jeff Tweedy's humor. It was such a contrast to his attitude during the Wilco set two year's ago and I was so happy for him. Between his autobiography and two very reflective solo albums, it seems he has done a lot of work on himself and it showed with the ease and happiness that he carried himself. Also pretty amazing that one guy with a guitar can pull of the second to last set on Saturday on the Fort stage and do it well. I was surprised to not see any other mic's for guests and initially a little disappointed, but left really satisfied.
Our Native Daughters... a lot of people already commented on them. However, I have thought a lot about that set since seeing it so want to add to the discussion. On Friday we went from the Highwomen set to see Phil Lesh and the change in energy really hurt Phil in my eyes. We couldn't sit through it for more than a song and a half before bailing. After seeing Our Native Daughters we went to see Trey and the same thing happened. Which got me thinking to the parallels between the Highwomen and Our Native Daughters. They both feature four women who have very distinct personas that have songs that have a message at their core. It's just that Our Native Daughters did it with such authenticity and the songs are so good. SO good. Each song at that album is enjoyable. Was disappointed that they didn't include 'Better Git Your Learning' but wouldn't have taken anything out. 'Moon Meets the Sun' was so hopeful after the pain and suffering that was represented in 'Mama's Crying Long'. Also really welcomed their explicit political message around a number of things but particularly the statement around children at the border.
Phil's set just wasn't that good, I don't think it had to do with the energy. And I say that as a big Dead fan. Same with Trey. I just didn't get the vibe that either of them really wanted to be there. Trey seemed lost on stage and was struggling to play his guitar. Plus he's not exactly known for his solo acoustic work.
On that point... last year I wrote up a longish post on how Newport needed to work harder to represent women at the festival. Suggested a set at the museum curated by women. Talked about bringing young girls in to perform with acts. So, was so happy to see the fest this year and the incredible steps in that direction. As already discussed in the thread, there is still work to be done, but this was a big step in the right direction.
More work to be done??? This had to have been one of the most female heavy lineups of any festival I've ever been to.
But, I obviously think that my posts are like prayers that go straight to Jay's ears, so here goes my feedback based on this past weekend's experience. (* And I should say, the festival is really really good at taking feedback and constantly improving. It seems like each year you can see little tweaks that are improvements from the prior year. Take moving the food back to a different area as an example.)
So, here is my main gripe. There was too much talk of gardening as a metaphor.
Stay with me for a minute.
Preparing for the festival I added a lot of old Pete Seeger to my playlist. It was eye opening for me just how directly political so many of the songs he sung were. "What did you learn in school today", "We shall overcome", when he tells the story of "Guantanamenra", "Solidarity Forever", "My Dirty Stream". Couple that with the interview in the Bluegrass situation (https://thebluegrasssituation.com/read/pete-seeger-effecting-change-with-music-part-2-of-2/) about Jay's reverence for Pete and I was expecting this festival to be more directly political in that same vein. And, in today's world, with the state of the country, it feels like it is even more important to stand up and speak out.
Then, all through the first two days of the festival there was almost no direct reference to anything political. There was a lot of talk of gardening. Phil Cook's metaphor's on watering your garden, Haley Heyndericks had two songs on gardening, The Highwomen talked about gardening, and it was in at least two more songs. Gardening is fine and the metaphor about healing our souls and taking care of ourselves and our communities is all good and well, but I was looking for something more than entertainment. I think of Pete's work with the Freedom Riders and how it was about more than the songs, it was about action. The only references on those first two days about politics were from the older generation: Graham Nash's Songs for Beginners album had several moving political songs and Judy Collins Resist Necklace. It felt like a real opportunity in both the HighWomen and the Female Collaboration to directly address issues of equal pay and the lack of female headliners at festivals but the message was fairly anodyne if delivered at all.
Strong disagree here. The collaboration was one of my favorite Newport sets ever and it would not have been if there was some sort of direct address.
It wasn't until Our Native Daughters that it started to come more explicitly. And it came strong and people were on their feet shouting Amen. It carried over into If I Had A Song as well. So, there was some recovery on this front. Of course, this also could be just the fluke of the artists I selected. I didn't see the Warren Haynes set which sounded like it had some of what I am talking about.
Lucy Dacus had some explicitly political statements
That being said, I have some ideas for next year:
- Next year, instead of (or in addition to) having the artists select an organization to donate to, have them put out a call to action. For example, Lukas Nelson calls to action by raising awareness around the struggle of illegal immigrants. Phil Cook calls to action to plant community gardens. Brandi Carlisle calls you to enable music education for girls. Then, we, as fans, can take the action and send in our stories to the foundation. These stories can be featured on the screens between performances. The artists can share their favorite stories during their sets. Hell, they can even invite fans up on stage that went above and beyond. Then we can all have something more to talk to each other about when we are holed up in the holding pen before the running of the folk.
- Next year, similar to the series of Mavis birthday party shows, they should have a series of shows in swing states on Saturday's with special recognition of some sort for anyone who was out registering folks to vote during the day.
- Add a day of action before or after the fest where folks (including artists) engage in political activism... letter writing, phone banking, etc.. It would be exciting to phone bank alongside Phil Cook and would help build the community at the festival. - This is one of my favorite. "Folk the Polls"...Call on volunteers around the country to arrange a day of live performances at the polls on election day. Let's turn election day into a party with live music.
- For a special curated set, have it be "A letter to our current and future president". This doesn't have to name Trump in any explicit way and can be done every four years regardless of who is in office. But use the theme to bring people together to sing songs directed to who is in office today and who may be in office after the election. There are some great songs that come to mind. Anais Mitchell "Why do we build the wall", "Jumbo" - Punch Brothers, Kyle Craft's "Before the Wall", There are dozens more and more to come in the coming year.
I like the idea of using the music to communicate the message.
- A similar curated set that honors the influence of music from immigrants Guantanamera, Slave rooted music, Irish, Italian, Scottish, Jewish, etc. Would love to see Rhiannon Giddens curate that set.
Some of these ideas could be unified under the theme of "Folk the Vote". Though they might have issues with the Rock the Vote org.
As I thought of these ideas I found myself getting really excited for some of them. Maybe I am asking too much of a music festival, but I already feel like it is about more than entertainment. It is a community and it has a set of shared values. Those values can be made more explicit and we can celebrate them together.
If Jay or any of the hardworking foundation folks are reading this, it doesn't have to be you who puts the volunteer stuff together. Just call on the community to self-organize with your implicit endorsement.
Some other feedback that we thought of that isn't as cohesive or well thought out:
The rules (Be Open, Be Present, Be Kind, Be Together) are great. Really great. Maybe they already do this, but it would be good for these to be shared with the artists and their guests as well. We should think of it as a shared compact between us all. The best performances are when the artist brings their heart to it. This is what makes Newport completely different from any other event. Was frustrating to see so many people in the fort balconies and sides with their phones out during the sets. Would love to see the festival expand on the 'no phones out' message. Jay said it in his pre-fest speeches, but it should be on signs and repeated.
Also, while we are on the topic, tell people to be kind to short people in the fort pit. I am average but see so many tall dudes in the front that are completely oblivious to the short women behind them. This was particularly offensive during the Saturday night set.
Lol, what do you expect all these tall people to do?
Get Jay a better megaphone for his pre-fest speech.
Aftershow ticket sales were really frustrating. They all sold out while the system was glitchy in about ten minutes. Is there a better way?
This is one of my biggest issues. Though I can't think of a good solution other than finding larger venues for them.
I know the festival is doing more than other festivals to fight ticket resellers, but it still feels like the crowd is mostly one of relative privilege. It is expensive to stay in Newport that weekend so even if tickets are relatively affordable, the event itself is an indulgence that many can't afford. Can more be done to diversify and make it more accessible? One idea is to honor the regions best music teachers by giving them free passes.
NFF needs all the money it can get. I'd rather see the prices raised then give away passes to some random underprivileged group. How would you even determine the "best" music teachers.
Of course the crowd is privileged, the festival is located in the yachting capital of the northeast that also happens to be famous for it's Gilded Age mansions.
I love the festival. I obsess over it a little too much but it feels like one of the few areas where genuine magic happens in real life. Let's all do our part to keep making it special.
My responses are in bold.
I think NFF is plenty political and doesn't need anything more. The whole weekend is about bringing people together to share their love of good music. It sounds like you care more about pushing your political agenda then you care about enjoying the weekend. Politics are divisive and believe it or not, not everyone who attends NFF shares the same political beliefs.
NFF needs all the money it can get. I'd rather see the prices raised then give away passes to some random underprivileged group. How would you even determine the "best" music teachers.
Of course the crowd is privileged, the festival is located in the yachting capital of the northeast that also happens to be famous for it's Gilded Age mansions.
My responses are in bold.
I think NFF is plenty political and doesn't need anything more. The whole weekend is about bringing people together to share their love of good music. It sounds like you care more about pushing your political agenda then you care about enjoying the weekend. Politics are divisive and believe it or not, not everyone who attends NFF shares the same political beliefs.
Should Pete Seeger not have advocated for civil rights and the working man because some people who attended Newport might be offended? That is the history of the festival. What did you think the Speak Out set was about a few years back.
If you want the prices raised, and are morally ok with just the well off getting in you're at the wrong festival.
Yes its and expensive area. I don't know a fair way for it to be more accessible to the less well off but it should be the goal. You want it made even harder for them. Thats not the newport spirit.
Its a not for profit and gives lots to the less well off. I assume you want them to charge more so they can help the less well off more. Least i hope so. They have donate buttons. There is a membership if you can afford more and that goes to help music education. Even that membership made me a little uncomfortable because it grants benefits to members that those who can't afford it can't get. But its a good cause and the number of memberhsips is limited. I don't know the best way.
I find this dynamic really interesting between the true spirit of what this festival was supposed to be and the just here for the music and socializing crowd. Not to say either are wrong. They're both big parts of this festival.
I think NFF is plenty political and doesn't need anything more. The whole weekend is about bringing people together to share their love of good music. It sounds like you care more about pushing your political agenda then you care about enjoying the weekend. Politics are divisive and believe it or not, not everyone who attends NFF shares the same political beliefs.
NFF needs all the money it can get. I'd rather see the prices raised then give away passes to some random underprivileged group. How would you even determine the "best" music teachers.
Of course the crowd is privileged, the festival is located in the yachting capital of the northeast that also happens to be famous for it's Gilded Age mansions.
My responses are in bold.
I think NFF is plenty political and doesn't need anything more. The whole weekend is about bringing people together to share their love of good music. It sounds like you care more about pushing your political agenda then you care about enjoying the weekend. Politics are divisive and believe it or not, not everyone who attends NFF shares the same political beliefs.
Should Pete Seeger not have advocated for civil rights and the working man because some people who attended Newport might be offended? That is the history of the festival. What did you think the Speak Out set was about a few years back.
If you want the prices raised, and are morally ok with just the well off getting in you're at the wrong festival.
Yes its and expensive area. I don't know a fair way for it to be more accessible to the less well off but it should be the goal. You want it made even harder for them. Thats not the newport spirit.
Its a not for profit and gives lots to the less well off. I assume you want them to charge more so they can help the less well off more. Least i hope so. They have donate buttons. There is a membership if you can afford more and that goes to help music education. Even that membership made me a little uncomfortable because it grants benefits to members that those who can't afford it can't get. But its a good cause and the number of memberhsips is limited. I don't know the best way.
At the end of the day it’s a music festival and as such is not a necessity.
Compared to the other iconic festivals in the US it’s an pretty cheap ticket (yes there are a few in its price range such as Shakey Knees).
Also, it’s not extremely expensive if you plan it out frugally. Yes, if you want to stay close to the venue then you’re paying a premium; I think that’s applicable to any festival though (exception perhaps being ones that have camping). I stayed about 50 minutes away for $250 for 4 nights though and I know of plenty of other options within that distance in that same price range.
—————————
As far as the political stuff goes, I think it’s a matter of what you’re talking about when you say political. If you’re talking about supporting and promoting progressive ideas then I think even this year was plenty “political” even if not having explicitly titled sets. Black Belt Eagle Scout, Lucy Daucus (sp?), Our Native Daughters, If I Had A Song, the gay country song the Highwomen performed (not to mention what Brandi talks about during all of her sets), The Collaboration (in both concept and content), and evening the sheer volume of female artists on this years lineup are all prime examples of political/progressive messages at this years festival and there were certainly others.
I don’t think I’ll stop shaking my head for about 1000 years after reading that Newport should increase prices instead of helping less privileged people experience it. I can’t connect that kind of thinking with anything that represents what Newport is all about.
Post by jorgeandthekraken on Aug 1, 2019 8:34:29 GMT -5
Sad state of affairs when booking a lot of women and some queer people - one of whom sang a song at which no one would bat an eye if a couple pronouns were different - counts as a progressive/political statement.
Sad state of affairs when booking a lot of women and some queer people - one of whom sang a song at which no one would bat an eye if a couple pronouns were different - counts as a progressive/political statement.
I don’t think I’ll stop shaking my head for about 1000 years after reading that Newport should increase prices instead of helping less privileged people experience it. I can’t connect that kind of thinking with anything that represents what Newport is all about.
If NFF raised prices by $100 that would be $1 million extra that could go towards helping underprivileged people via the foundation. I think that would go a lot further than letting a handful of people get into the festival for free.
Your first love may be the most memorable (2014), but wasn't this the most incredible three-days? I still get goosebumps and tears when I watch the videos.
I find this dynamic really interesting between the true spirit of what this festival was supposed to be and the just here for the music and socializing crowd. Not to say either are wrong. They're both big parts of this festival.
It is an interesting dynamic and one I am sure the festival organizers are careful to keep in balance.
I struggled with my language on the term 'politics.' It has so much baggage and gets so quickly associated with pundits and politicians. I also don't know that I would have called what Pete Seeger did as 'politics.' Maybe the right way to state it is having a set of clearly stated shared values. Values that are more than being present, open, kind, and together. The first thing that comes to mind is a shared desire to have a society that is more equal and more just. Sometimes that means engaging in political activism, and sometimes it means letting the short person behind you move in front of you.
In terms of whether this is what the festival is clearly "about", I don't think it is obvious.
History taken from Wikipedia but sourced from George Wein's autobiograpy:
In 1963, the Freedom Singers performed on the first night of the Newport Folk festival, and on the second night Joan Baez joined SNCC activists and roughly 600 festival-goers on a march through Newport. The crowd walked past the Bellevue Avenue mansions and into Touro Park, where SNCC's executive secretary James Forman and Freedom Singers leader Cordell Reagon delivered speeches, rallying support for the March on Washington scheduled for the following March
At the same time, the stated mission of the foundation is the following:
THE MISSION OF THE NEWPORT FESTIVALS FOUNDATION IS TO PRESENT ALL FORMS OF JAZZ AND FOLK MUSIC FROM YESTERDAY, TODAY, AND TOMORROW AND TO ENCOURAGE, PROMOTE, AND EDUCATE THE COMMUNITY ABOUT FOLK AND JAZZ MUSIC.
I don't know that changing the mission of the festival or foundation is right to ask. A lot of these ideas could be done under a separate non-profit that has a loose relationship with the foundation.
So, yes, in some ways I am wanting the festival to promote my personal political agenda of a more just and equitable society. Maybe that is too much to ask, but it is a big part of what draws me to this festival rather than, say, Boston Calling, Governor's Ball or Levitate.
On the subject of pricing. The organizers have already thought about this more deeply than I have. Many festivals have tiered pricing with an option for a VIP experience. This then allows them to have lower priced tickets for others but still reach revenue targets. This does not go well with the shared values of the festival. I love how Jay often speaks about trying to build in more equality of pay for the performers. The membership is a good way to approach the tiered pricing without being so egregiously unequal in the benefits received. The foundation gave away money to charity for each performer. The concept of having free passes to honor area music teachers is right in line with that same thinking.
The other thing that was stated was that the Festival needs all the revenue they can get from ticket sales. It is a little counter intuitive, but I would argue that the more the festival tries to monetize what they have, the more likely they are to be unsustainable. Due to the crowd capacity limitations, they are never going to be able to pay performers what they are getting on the market for festivals. In order to survive, they need to have a draw that is about something more than the music for both the artists to participate and the attendees to come. The shared values of the community and the festival's history is part of that draw. If they ever start to sacrifice those values for revenue, attendance will likely go down and they could risk losing the festival in its entirety.
In terms of my comment that there is still a ways to go on gender equality. Its already been mentioned several times that while the headliners were a strong step, there is still a gap in the back up bands. Not going to be solved overnight and that's OK. An example of something that could be addressed more quickly, the board of the Newport Festivals Foundation is 93% male (based on some assumptions around first names and gender.)
Lastly, Tall people. Just be aware if you are blocking someone shorter than you and allow them to step in front of you. It's not going to block your view at all and being a step further from the artist isn't going to significantly worsen your experience compared to the person behind you who can't see at all. It's about being considerate to the folks around you.
Post by thevagabond on Aug 1, 2019 15:53:14 GMT -5
I am done talking about this fest because it was just too perfect for me, but if you saw a guy jumping around with his shoes on his hands during Phosphorescent's Around the Horn, that was me.
If Newport really wanted to make the festival more accessible for all, they'd work with the local college to rent out the dorms at a low price to those who might not be able to afford the trip to Newport for lodging/financial reasons. No matter how much in terms of equality they do with ticket pricing and on site logistics (and I will say, the ticket is pretty affordable for 3 days of fantastic music), it never will be a diverse festival crowd because lodging in and around the city is just too expensive for the average person. (Thank you fawn and QC for taking me in my first year when I was a lowly poor grad student and giving me the chance to experience the fest with all you fine people. I love running into everyone while I am there.)
Last Edit: Aug 1, 2019 16:01:17 GMT -5 by k2b - Back to Top
I am done talking about this fest because it was just too perfect for me, but if you saw a guy jumping around with his shoes on his hands during Phosphorescent's Around the Horn, that was me.
Ha, I was like 5 feet behind you. You certainly looked like you were having fun.
Lastly, Tall people. Just be aware if you are blocking someone shorter than you and allow them to step in front of you. It's not going to block your view at all and being a step further from the artist isn't going to significantly worsen your experience compared to the person behind you who can't see at all. It's about being considerate to the folks around you.
I'm 6'0" and have had my spot taken over countless times by entitled short people. Every time I accommodate someone short I get pushed further back in the crowd and lose the sight line I'd been holding for an hour. Then I'm annoying the people behind me who I wasn't previously in front of. Plus I can't count on the short person to hold my old spot well. More people filter in and suddenly I'm five rows back from where I was.
If you're short either get there early, die, or gfy. If I'm at the edge of a crowd I have no problem moving and often even offer it. If I'm in the thick of it then it's not my fault that you have awful genes and should've been aborted. If it were up to me all short people would be shot on sight at every venue. I used to run an art space and have personally murdered over 50 people under 5'3".
I've been thinking about something all week. Why on earth was "Under My Thumb" listed (but not performed) in the 'If I Had a Song' songbook for the closing set honoring Pete Seeger? The info on the set posted by NFF states "This set will surround hate, and force it to surrender." I can't really think of any way in which this song fits that description. It stands in absolutely stark contrast to the other songs performed on Sunday.
I've been thinking about something all week. Why on earth was "Under My Thumb" listed (but not performed) in the 'If I Had a Song' songbook for the closing set honoring Pete Seeger? The info on the set posted by NFF states "This set will surround hate, and force it to surrender." I can't really think of any way in which this song fits that description. It stands in absolutely stark contrast to the other songs performed on Sunday.
Sounds like a song that Kyle Craft should have sung...
I tried to book a major artist that was already committed to Woodstock 50 when I heard there was a radius clause in the agreement. I immediately called Michael Lang, who said, “If you have any issues with artists who want to play both, let me know and I’ll make it so.” Anybody who thinks of Newport as an existential threat to their business model has never attended. I know for a fact some festivals stipulate the acts can’t play Newport because they’re paying them so much more than we do. My counter is, I don’t use their name to sell a ticket, so it’s not a fair comparison. I’m not pulling the artists’ fans from their market. I even agreed to hold off announcing those particular artists until their festival was over.
I've been thinking about something all week. Why on earth was "Under My Thumb" listed (but not performed) in the 'If I Had a Song' songbook for the closing set honoring Pete Seeger? The info on the set posted by NFF states "This set will surround hate, and force it to surrender." I can't really think of any way in which this song fits that description. It stands in absolutely stark contrast to the other songs performed on Sunday.
Sounds like a song that Kyle Craft should have sung...
Possibly, but this is the guy who sang Bowie's "Heroes" during the 'Speak Out' set in 2017 which is a great rock song and appropriate to the spirit of the set. That song was definitely one of the highlights of the set. If he wanted to contribute to the 'If I Had a Song' set, there had to be hundreds of rock songs that would have been more appropriate.
I tried to book a major artist that was already committed to Woodstock 50 when I heard there was a radius clause in the agreement. I immediately called Michael Lang, who said, “If you have any issues with artists who want to play both, let me know and I’ll make it so.” Anybody who thinks of Newport as an existential threat to their business model has never attended. I know for a fact some festivals stipulate the acts can’t play Newport because they’re paying them so much more than we do. My counter is, I don’t use their name to sell a ticket, so it’s not a fair comparison. I’m not pulling the artists’ fans from their market. I even agreed to hold off announcing those particular artists until their festival was over.
I wonder who it was...? Dead and Co. would make a lot of sense given what the final lineup ended up looking like. Lumineers, Raconteurs, Robert Plant, and Chance could have worked, too.
Post by itrainmonkeys on Aug 2, 2019 11:03:11 GMT -5
Anyone know a good way to download youtube videos? All the browser add-ons I used to use don't work or want me to sign up for some sketchy account and use sketchy software in order to get good quality.
Anyone know a good way to download youtube videos? All the browser add-ons I used to use don't work or want me to sign up for some sketchy account and use sketchy software in order to get good quality.
I tried to book a major artist that was already committed to Woodstock 50 when I heard there was a radius clause in the agreement. I immediately called Michael Lang, who said, “If you have any issues with artists who want to play both, let me know and I’ll make it so.” Anybody who thinks of Newport as an existential threat to their business model has never attended. I know for a fact some festivals stipulate the acts can’t play Newport because they’re paying them so much more than we do. My counter is, I don’t use their name to sell a ticket, so it’s not a fair comparison. I’m not pulling the artists’ fans from their market. I even agreed to hold off announcing those particular artists until their festival was over.
I wonder who it was...? Dead and Co. would make a lot of sense given what the final lineup ended up looking like. Lumineers, Raconteurs, Robert Plant, and Chance could have worked, too.
Are you sure it wasn’t Portugal the Man, who was booked for both?
Anyone know a good way to download youtube videos? All the browser add-ons I used to use don't work or want me to sign up for some sketchy account and use sketchy software in order to get good quality.
Nice, that looks like it could work. A little more time than it used to take but definitely the best option I'm aware of right now. Will use this until it eventually gets shut down
Post by itrainmonkeys on Aug 2, 2019 19:23:32 GMT -5
Speaking of.....does anyone know if people anywhere on the internets recorded the live streaming shows? Or if they'll be re-streaming them or are archived anywhere?
I’d expect someone at least recorded the Trey stream over on the Phish Subreddit, no?
Also, did anyone end up catching Angie McMahon? I’m bummed with how she seemingly came, played a quiet set on the Museum Stage, then disappeared. Would have loved to have seen her play a pop up somewhere or open one of the after shows. I didn’t hear her name whispered once during or after the fest and would love to get a review of her Museum set.
