Cam's Unlikely Journey from the Bay Area to Country Music Stardom in Nashville
Country Music and Race: Something Seems Missing in Ken Burns’ Latest
Ken Burns' Top 5 Song Discoveries While Making 'Country Music'
Country Music Awards Vote on Whether to Nominate Lil Nas X's 'Old Town Road'
Ken Burns Visits San Quentin to Preview 'Country Music' Documentary For Inmates
A Cup Of Ambition And Endurance: '9 To 5' Unites Workers Across Decades
'Country Music' by Ken Burns Chronicles the Evolution of a Truly American Music
'Old Town Road' is Country Music for the 21st Century
Under the Full Moon, a Roots Music Scene Grows in Oakland
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But a conversation with her quickly reveals that she’s a Bay Area girl through and through.\u003c/p>\n\u003cp>A UC Davis grad raised in the Contra Costa County suburb of Lafayette, Cam (born Camaron Ochs) got her start playing in venues like Berkeley folk music haven the Starry Plough and Oakland dives the Stork Club and \u003ca href=\"https://www.eastbayexpress.com/oakland/last-days-of-mama-buzz/Content?oid=3069004\" target=\"_blank\" rel=\"noopener\">Mama Buzz Cafe\u003c/a>. (Mama Buzz, a now-shuttered all-ages venue, was where Oakland’s now-famous First Fridays coalesced in the late 2000s, when the tourist-friendly street fair was still a tiny, DIY block party.)\u003c/p>\n\u003cp>Cam, raised on Patsy Cline, Bonnie Raitt, Ray Charles and Joni Mitchell, had felt the Bay Area’s economic pressure to get a full-time job rather than work on music. Though she knew audiences had a hunger for what she calls “acoustic guitar-driven stories,” the Bay Area didn’t—and still doesn’t—have much of a country music scene.\u003c/p>\n\u003cp>But Cam’s anxieties were quickly dispelled. “If I had a show, people packed it out,” she says in a recent phone interview. “So whatever people say of support for different genres, the community \u003cem>loves\u003c/em> music.”\u003c/p>\n\u003cfigure id=\"attachment_13866628\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/CAM_press-photo-800x800.jpg\" alt=\"A portrait of Cam as she looks out a window and into the distance. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/CAM_press-photo-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/CAM_press-photo-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/CAM_press-photo-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/CAM_press-photo-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/CAM_press-photo-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/CAM_press-photo.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cam. \u003ccite>(Sony Music Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cam’s path to becoming one of country music’s most exciting voices was a winding one. Although she had always dreamed of a life in music, after graduating from UC Davis, she worked in psychology research at UC Berkeley and Stanford, waitressing on the side and playing shows on the weekends. While working at Stanford’s \u003ca href=\"https://culture-emotion-lab.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Culture and Emotion Lab\u003c/a>, where Cam co-authored two papers, she mulled over whether to pursue music as a career. During a moment of doubt, her boss, Professor Jeanne Tsai, posed a question that put everything in perspective: “Picture yourself 80 years old,” she said. “Looking back on your life, what would you regret missing out on: psychology research or music?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It just clicked, it was clear,” says Cam. “I would beat myself up if I didn’t give it a shot.”\u003c/p>\n\u003cp>So Cam packed her bags and moved to Portland—to “retire young” from working a day job, she tells me jokingly, and to focus exclusively on music. There, she began to write “Burning House,” the heartbreaking ballad that put her on the map as a solo artist. Evoking the crushing feeling of wanting to save someone who can’t be saved, the sweetly strummed song showcases Cam’s quietly profound lyrical abilities.\u003c/p>\n\u003cp>In a decade of ironic, detached pop, Cam went in the opposite direction, writing earnest lyrics about how much she cares—about love, relationships, her dreams. The approach proved to be refreshing for listeners. In addition to becoming certified double platinum in 2018, “Burning House” peaked at No. 2 on Billboard’s country chart and No. 29 on the Hot 100, and earned Cam a Grammy nomination in 2016.\u003c/p>\n\u003cp>https://youtu.be/uyGSe76rAJc\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">R\u003c/span>ealizing she needed to relocate to take her career to the next level, Cam left Portland for Los Angeles, where her close collaborator Tyler Johnson introduced her to Jeff Bhasker, a songwriter and producer for pop royalty like Beyoncé, Alicia Keys and Kanye West. With Bhasker and Johnson’s help, she began crafting what would become her first major album, \u003ca href=\"https://music.apple.com/us/album/untamed/1055442148\" target=\"_blank\" rel=\"noopener\">\u003cem>Untamed\u003c/em>\u003c/a>, released in 2015 on Sony Music Entertainment.\u003c/p>\n\u003cp>While \u003cem>Untamed\u003c/em> was still in the works circa 2012, a friend of a friend promised to pass some of Cam’s demos to Faith Hill. (“Word to the wise, for everyone who’s starting out in the industry: they don’t know Faith Hill,” Cam says, chuckling at her naiveté at the time.) The demos ended up in the hands of an artist manager in Nashville who had previously worked with the Dixie Chicks and Tim McGraw, and he bought the rights to one of Cam’s songs for a new artist he was developing.\u003c/p>\n\u003cp>Ecstatic that people with industry clout saw her potential as a songwriter, Cam decided to move to Nashville in 2012. But shortly after arriving, she turned down a publishing deal as a behind-the-scenes writer, setting her sights on her own solo career.\u003c/p>\n\u003cp>“It always feels so statistically impossible to make it in music, so whenever anything happens you get so overjoyed,” Cam says of the difficult decision to turn down the offer. “I’m glad I was a little older at that point, and I had some savvy, Bay Area ‘I know what things cost in real life.’ I knew I was worth more than this.”\u003c/p>\n\u003cp>She was right—as the success of \u003cem>Untamed\u003c/em> would later prove.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s Cam worked on \u003cem>Untamed\u003c/em>, her profile as a songwriter continued to grow. She co-wrote “\u003ca href=\"https://youtu.be/RcYXDISiJuA\" target=\"_blank\" rel=\"noopener\">Maybe You’re Right\u003c/a>” for Miley Cyrus’ 2013 album \u003cem>Bangerz\u003c/em>, pairing lovelorn lyrics sung in a contemporary country croon with Johnson’s anthemic, kick drum-driven pop beat. Cam was accustomed to solo writing sessions with her acoustic guitar, and had never written lyrics to an already-finished pop instrumental. Not to mention, she had attempted to keep up in the “smoking department” with some of the rap producers Cyrus enlisted for the album, she remembers.\u003c/p>\n\u003cp>“They closed me in the vocal booth and just put the song on loop. It felt like it was hours, but I’m sure it was five minutes,” she says. To Cam’s surprise, Cyrus loved what she came up with.\u003c/p>\n\u003cp>Following the success of \u003cem>Untamed\u003c/em>, Johnson invited Cam into the studio to work with another high-profile client, Sam Smith. The British hitmaker was instantly charmed by the warm, sparse melody Cam strummed on her Gretsch Falcon guitar, as well as her lyrics about how falling in love, no matter the outcome, is “never a waste of time.”\u003c/p>\n\u003cp>The track they collaborated on ended up becoming “Palace” for Smith’s 2017 \u003cem>The Thrill of It All\u003c/em>, and the album hit No. 1 on Billboard. Smith invited Cam open for them on their 2018 tour (Smith \u003ca href=\"https://www.billboard.com/articles/news/pride/8529910/sam-smith-they-them-pronouns-change\" target=\"_blank\" rel=\"noopener\">uses they/them pronouns\u003c/a>), where the two musicians sang “Palace” as a duet in arenas across North America. “To have Sam Smith sing your words back to you is nuts!” Cam says excitedly.\u003c/p>\n\u003cp>https://youtu.be/4ANgUxbeXUc\u003c/p>\n\u003cp>Cam’s reached crucial milestones of music-industry success, and in keeping with the Bay Area’s tradition of activism, she uses her position to advocate for social change. She’s a member of the Recording Academy’s Task Force on Diversity and Inclusion. And although she’s pleased that conversations about gender are opening up in country music (honoring the genre’s women trailblazers, Carrie Underwood, Dolly Parton and Reba McEntire host this November’s \u003ca href=\"https://www.rollingstone.com/music/music-country/2019-cma-awards-host-carrie-underwood-dolly-parton-reba-873257/\" target=\"_blank\" rel=\"noopener\">Country Music Awards\u003c/a>), she’s quick to note how country’s gatekeepers have all but erased many of the genre’s black originators. “It was a segregated country, so it’s a segregated genre,” Cam says. [aside postid='arts_13866441']\u003c/p>\n\u003cp>Drawing on her psychology background, she holds a long view of music as a crucial part of human brain development, identity and cultural groups. For Cam, music is not just entertainment—which is why she says it’s important to advocate for a more inclusive industry. “It’s a record of stories, and it’s a confirmation that your story is real, and you’re hearing people who sound like you going through things that you’ve gone through,” she says.\u003c/p>\n\u003cp>“It’s just so important for community healing and growth. If you aren’t giving space for everyone to participate, the community is gonna suffer, the culture is gonna suffer.”\u003c/p>\n\u003cp>https://youtu.be/zScLQPhj_0Q\u003c/p>\n\u003cp>This year, in addition to performing at country music festival Stage Coach, Cam has kept busy working on new music for a forthcoming album (no release date yet) and trying out different directions herself. “So Long,” Cam’s new single with super-producer Diplo, is a bit of a crossover oddity, but its fiddles weirdly work over the sleek, house-pop beat. With her sweet, sincere voice front-and-center, Cam pleads with a problematic lover to an earworm of a tune.\u003c/p>\n\u003cp>Much like the willingness to take a chance on love Cam conveys in her lyrics, her approach to her music career has been similarly built on faith—in her musical abilities, her work ethic and her storytelling.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And so far, she’s placed a winning bet on herself.\u003c/p>\n\n","blocks":[],"excerpt":"Once a psychology researcher at Stanford, Cam took a chance on her music career and became a platinum-selling country star. ","status":"publish","parent":0,"modified":1705022130,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1527},"headData":{"title":"Cam's Unlikely Journey from the Bay Area to Country Music Stardom in Nashville | KQED","description":"Once a psychology researcher at Stanford, Cam took a chance on her music career and became a platinum-selling country star. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Cam's Unlikely Journey from the Bay Area to Country Music Stardom in Nashville","datePublished":"2019-09-18T22:00:55.000Z","dateModified":"2024-01-12T01:15:30.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13866382/cams-unlikely-journey-from-the-bay-area-to-country-music-stardom-in-nashville","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ith a double-platinum country single and songwriting credits for Sam Smith and Miley Cyrus, the country singer \u003ca href=\"https://www.camcountry.com/\" target=\"_blank\" rel=\"noopener\">Cam\u003c/a> has made a name for herself as a full-fledged Nashville star. But a conversation with her quickly reveals that she’s a Bay Area girl through and through.\u003c/p>\n\u003cp>A UC Davis grad raised in the Contra Costa County suburb of Lafayette, Cam (born Camaron Ochs) got her start playing in venues like Berkeley folk music haven the Starry Plough and Oakland dives the Stork Club and \u003ca href=\"https://www.eastbayexpress.com/oakland/last-days-of-mama-buzz/Content?oid=3069004\" target=\"_blank\" rel=\"noopener\">Mama Buzz Cafe\u003c/a>. (Mama Buzz, a now-shuttered all-ages venue, was where Oakland’s now-famous First Fridays coalesced in the late 2000s, when the tourist-friendly street fair was still a tiny, DIY block party.)\u003c/p>\n\u003cp>Cam, raised on Patsy Cline, Bonnie Raitt, Ray Charles and Joni Mitchell, had felt the Bay Area’s economic pressure to get a full-time job rather than work on music. Though she knew audiences had a hunger for what she calls “acoustic guitar-driven stories,” the Bay Area didn’t—and still doesn’t—have much of a country music scene.\u003c/p>\n\u003cp>But Cam’s anxieties were quickly dispelled. “If I had a show, people packed it out,” she says in a recent phone interview. “So whatever people say of support for different genres, the community \u003cem>loves\u003c/em> music.”\u003c/p>\n\u003cfigure id=\"attachment_13866628\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/CAM_press-photo-800x800.jpg\" alt=\"A portrait of Cam as she looks out a window and into the distance. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/CAM_press-photo-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/CAM_press-photo-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/CAM_press-photo-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/CAM_press-photo-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/CAM_press-photo-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/CAM_press-photo.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cam. \u003ccite>(Sony Music Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cam’s path to becoming one of country music’s most exciting voices was a winding one. Although she had always dreamed of a life in music, after graduating from UC Davis, she worked in psychology research at UC Berkeley and Stanford, waitressing on the side and playing shows on the weekends. While working at Stanford’s \u003ca href=\"https://culture-emotion-lab.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Culture and Emotion Lab\u003c/a>, where Cam co-authored two papers, she mulled over whether to pursue music as a career. During a moment of doubt, her boss, Professor Jeanne Tsai, posed a question that put everything in perspective: “Picture yourself 80 years old,” she said. “Looking back on your life, what would you regret missing out on: psychology research or music?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It just clicked, it was clear,” says Cam. “I would beat myself up if I didn’t give it a shot.”\u003c/p>\n\u003cp>So Cam packed her bags and moved to Portland—to “retire young” from working a day job, she tells me jokingly, and to focus exclusively on music. There, she began to write “Burning House,” the heartbreaking ballad that put her on the map as a solo artist. Evoking the crushing feeling of wanting to save someone who can’t be saved, the sweetly strummed song showcases Cam’s quietly profound lyrical abilities.\u003c/p>\n\u003cp>In a decade of ironic, detached pop, Cam went in the opposite direction, writing earnest lyrics about how much she cares—about love, relationships, her dreams. The approach proved to be refreshing for listeners. In addition to becoming certified double platinum in 2018, “Burning House” peaked at No. 2 on Billboard’s country chart and No. 29 on the Hot 100, and earned Cam a Grammy nomination in 2016.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uyGSe76rAJc'\n title='//www.youtube.com/embed/uyGSe76rAJc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">R\u003c/span>ealizing she needed to relocate to take her career to the next level, Cam left Portland for Los Angeles, where her close collaborator Tyler Johnson introduced her to Jeff Bhasker, a songwriter and producer for pop royalty like Beyoncé, Alicia Keys and Kanye West. With Bhasker and Johnson’s help, she began crafting what would become her first major album, \u003ca href=\"https://music.apple.com/us/album/untamed/1055442148\" target=\"_blank\" rel=\"noopener\">\u003cem>Untamed\u003c/em>\u003c/a>, released in 2015 on Sony Music Entertainment.\u003c/p>\n\u003cp>While \u003cem>Untamed\u003c/em> was still in the works circa 2012, a friend of a friend promised to pass some of Cam’s demos to Faith Hill. (“Word to the wise, for everyone who’s starting out in the industry: they don’t know Faith Hill,” Cam says, chuckling at her naiveté at the time.) The demos ended up in the hands of an artist manager in Nashville who had previously worked with the Dixie Chicks and Tim McGraw, and he bought the rights to one of Cam’s songs for a new artist he was developing.\u003c/p>\n\u003cp>Ecstatic that people with industry clout saw her potential as a songwriter, Cam decided to move to Nashville in 2012. But shortly after arriving, she turned down a publishing deal as a behind-the-scenes writer, setting her sights on her own solo career.\u003c/p>\n\u003cp>“It always feels so statistically impossible to make it in music, so whenever anything happens you get so overjoyed,” Cam says of the difficult decision to turn down the offer. “I’m glad I was a little older at that point, and I had some savvy, Bay Area ‘I know what things cost in real life.’ I knew I was worth more than this.”\u003c/p>\n\u003cp>She was right—as the success of \u003cem>Untamed\u003c/em> would later prove.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s Cam worked on \u003cem>Untamed\u003c/em>, her profile as a songwriter continued to grow. She co-wrote “\u003ca href=\"https://youtu.be/RcYXDISiJuA\" target=\"_blank\" rel=\"noopener\">Maybe You’re Right\u003c/a>” for Miley Cyrus’ 2013 album \u003cem>Bangerz\u003c/em>, pairing lovelorn lyrics sung in a contemporary country croon with Johnson’s anthemic, kick drum-driven pop beat. Cam was accustomed to solo writing sessions with her acoustic guitar, and had never written lyrics to an already-finished pop instrumental. Not to mention, she had attempted to keep up in the “smoking department” with some of the rap producers Cyrus enlisted for the album, she remembers.\u003c/p>\n\u003cp>“They closed me in the vocal booth and just put the song on loop. It felt like it was hours, but I’m sure it was five minutes,” she says. To Cam’s surprise, Cyrus loved what she came up with.\u003c/p>\n\u003cp>Following the success of \u003cem>Untamed\u003c/em>, Johnson invited Cam into the studio to work with another high-profile client, Sam Smith. The British hitmaker was instantly charmed by the warm, sparse melody Cam strummed on her Gretsch Falcon guitar, as well as her lyrics about how falling in love, no matter the outcome, is “never a waste of time.”\u003c/p>\n\u003cp>The track they collaborated on ended up becoming “Palace” for Smith’s 2017 \u003cem>The Thrill of It All\u003c/em>, and the album hit No. 1 on Billboard. Smith invited Cam open for them on their 2018 tour (Smith \u003ca href=\"https://www.billboard.com/articles/news/pride/8529910/sam-smith-they-them-pronouns-change\" target=\"_blank\" rel=\"noopener\">uses they/them pronouns\u003c/a>), where the two musicians sang “Palace” as a duet in arenas across North America. “To have Sam Smith sing your words back to you is nuts!” Cam says excitedly.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4ANgUxbeXUc'\n title='//www.youtube.com/embed/4ANgUxbeXUc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cam’s reached crucial milestones of music-industry success, and in keeping with the Bay Area’s tradition of activism, she uses her position to advocate for social change. She’s a member of the Recording Academy’s Task Force on Diversity and Inclusion. And although she’s pleased that conversations about gender are opening up in country music (honoring the genre’s women trailblazers, Carrie Underwood, Dolly Parton and Reba McEntire host this November’s \u003ca href=\"https://www.rollingstone.com/music/music-country/2019-cma-awards-host-carrie-underwood-dolly-parton-reba-873257/\" target=\"_blank\" rel=\"noopener\">Country Music Awards\u003c/a>), she’s quick to note how country’s gatekeepers have all but erased many of the genre’s black originators. “It was a segregated country, so it’s a segregated genre,” Cam says. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13866441","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Drawing on her psychology background, she holds a long view of music as a crucial part of human brain development, identity and cultural groups. For Cam, music is not just entertainment—which is why she says it’s important to advocate for a more inclusive industry. “It’s a record of stories, and it’s a confirmation that your story is real, and you’re hearing people who sound like you going through things that you’ve gone through,” she says.\u003c/p>\n\u003cp>“It’s just so important for community healing and growth. If you aren’t giving space for everyone to participate, the community is gonna suffer, the culture is gonna suffer.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zScLQPhj_0Q'\n title='//www.youtube.com/embed/zScLQPhj_0Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This year, in addition to performing at country music festival Stage Coach, Cam has kept busy working on new music for a forthcoming album (no release date yet) and trying out different directions herself. “So Long,” Cam’s new single with super-producer Diplo, is a bit of a crossover oddity, but its fiddles weirdly work over the sleek, house-pop beat. With her sweet, sincere voice front-and-center, Cam pleads with a problematic lover to an earworm of a tune.\u003c/p>\n\u003cp>Much like the willingness to take a chance on love Cam conveys in her lyrics, her approach to her music career has been similarly built on faith—in her musical abilities, her work ethic and her storytelling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And so far, she’s placed a winning bet on herself.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13866382/cams-unlikely-journey-from-the-bay-area-to-country-music-stardom-in-nashville","authors":["11387"],"categories":["arts_69","arts_235"],"tags":["arts_7534","arts_7535","arts_1118"],"featImg":"arts_13866627","label":"arts"},"arts_13866441":{"type":"posts","id":"arts_13866441","meta":{"index":"posts_1591205157","site":"arts","id":"13866441","score":null,"sort":[1568672398000]},"guestAuthors":[],"slug":"in-ken-burns-country-music-an-optimistic-handling-of-race","title":"Country Music and Race: Something Seems Missing in Ken Burns’ Latest","publishDate":1568672398,"format":"standard","headTitle":"Country Music and Race: Something Seems Missing in Ken Burns’ Latest | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Over its 16-hour run time, Ken Burns’ documentary \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Country Music\u003c/em>\u003c/a> lends dignity and credibility to a genre often denigrated. And just as importantly, it elevates lesser-known figures, delving into a deeper history of country beyond its household names.\u003c/p>\n\u003cp>But what will surely have people talking is the way the documentary treats race in country music. Specifically, its genesis as a cross-cultural collaboration across racial lines. Within the first five minutes of the debut episode, the documentary credits both enslaved people and those living in border barrios as sources of country music, and emphasizes that the banjo—a key instrument in the genre—came to the southern United States from Africa.\u003c/p>\n\u003cp>“It’s not like we discovered that there’s deep roots that include black music that are part of country,” said Dayton Duncan, Burns’ writer and co-producer on the film, when I met with him and Burns in San Francisco. “It’s just there, in plain sight. But the common stereotype of country music is that it is only white music for white people. It’s become so encrusted. And I hope our film will show us that’s just as much of an unfair stereotype as any other unfair stereotype.”\u003c/p>\n\u003cp>Still, from the start of \u003cem>Country Music\u003c/em>, there’s a power imbalance. We learn that one of the music’s biggest stars, Fiddlin’ John Carson, performed at Ku Klux Klan rallies. When record producer Ralph Peer went to Atlanta after the success of Mamie Smith’s “Crazy Blues” to record more black artists, he instead was encouraged to record Carson, a white man, singing “Little Old Log Cabin in the Lane,” a song romanticizing slave life. Meanwhile, Stephen Foster wrote songs for minstrel shows with blackface performers that sold a sentimental version of the antebellum South. Emmett Miller, a blackface performer, recorded the first version of Hank Williams’ hit “Lovesick Blues.”\u003c/p>\n\u003cfigure id=\"attachment_13862150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862150\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-800x450.jpg\" alt=\"Documentary filmmaker Ken Burns backstage at the Palace of Fine Arts in San Francisco, July 24, 2019.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Documentary filmmaker Ken Burns backstage at the Palace of Fine Arts in San Francisco, July 24, 2019. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What to do with all of this? For Ken Burns, it means asking a handful of black artists to comment about it on camera: Charley Pride, Rihannon Giddens, Darius Rucker, Wynton Marsalis. Much of what they say in the film is about the uniting power of music, and not about the dividing nature of systemic racism in America.\u003c/p>\n\u003cp>When I met with Burns and Duncan, I wanted to know, especially after watching the documentary’s first episode: \u003cem>What happened?\u003c/em>\u003c/p>\n\u003cp>Country music is an almost entirely white genre now. The number of high-charting black country artists can be counted on one hand, and some of them, most recently \u003ca href=\"https://www.kqed.org/arts/13854359/old-town-road-lil-nas-x-billy-ray-cyrus\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Nas X\u003c/a>, have faced overt resistance from the country music establishment. How did the African American influence in the music, and its help in creating its coalesced sound, give way so easily to overwhelmingly white country stars?\u003c/p>\n\u003cp>The answer, not fully explored in the remaining 14 hours of \u003cem>Country Music\u003c/em>, falls mostly to marketing, according to Duncan.\u003c/p>\n\u003cp>“Once music became commercialized, it was easier to say, ‘Oh, here are the race records,’ which meant this is music made by African Americans for an African-American audience, and ‘here is the hillbilly music,’ and that’s made by white artists for white people. On those two styles of music in particular, it was bifurcated really early,” Duncan said. “The truth is that it was more for commerce and convenience. We create certain categories, and we try to organize it a certain way. And some of that is necessary, some of it is good, and some of it can be distorting and bad, and even evil.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burns has first-person experience with those categories, having worked in an Ann Arbor record store when he was younger, filing albums into different genre sections dictated in part by race. But he clearly did not want to make the scourge of racism a greater issue in the film than the salve of music’s back-and-forth conversation.\u003c/p>\n\u003cp>“We know the history of the United States has not been exemplary with regard to race. So I don’t think we need to be too shocked anytime you find that African-American influence isn’t acknowledged,” said Burns. “Saying that race is an issue in America is not a banner headline. To me, the banner headline—which has run through all our work—is that for a population that hovers around 13 or 14 percent, it has had a disproportionate effect on our arts, particularly our music.”\u003c/p>\n\u003cp>It’s no surprise to learn, given Burns’ non-cynical nature, that he wants to focus on the better parts of humanity. The viewer sees it in the quotes he chooses. “You have a lot of opposites that create this richness,” comments Marsalis. Giddens is shown adding to this viewpoint: “It starts going back and forth,” she says, “and becomes this beautiful mix of cultures.”\u003c/p>\n\u003cfigure id=\"attachment_13866447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866447\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-800x581.jpg\" alt=\"Uncle Dave Macon, the first star of the Grand Ol' Opry, performed songs and stage moves from the black tradition.\" width=\"800\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-768x558.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Uncle Dave Macon, the first star of the Grand Ol’ Opry, performed songs and stage moves from the black tradition. \u003ccite>(Wiki Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, the film’s first episode is titled “The Rub,” named for the commingling of black and white in the South that gave birth to country music. Over the course of the subsequent seven episodes, we learn about the many black figures behind the scenes, helping white stars become famous. Gus Cannon for Johnny Cash. Rufus “Tee Tot” Payne for Hank Williams. Lesley Riddle for A.B. Carter. Arnold Shultz for Bill Monroe.\u003c/p>\n\u003cp>But is this true cross-pollination, or is it a siphoning? We learn about the banjo player Uncle Dave Macon, descended from Confederate soldiers, becoming a celebrity by taking songs and stage moves from the black tradition. We learn about Jimmie Rodgers picking up field hollers from black crews in the railroad yards where he worked as a water boy, and then performing in blackface for medicine shows before becoming the wealthiest country singer of his time.\u003c/p>\n\u003cp>Again: isn’t this theft? Not just theft of cultural production, but—when royalties are involved—actual money?\u003c/p>\n\u003cp>“I don’t want to say we \u003cem>stole\u003c/em> it—that’s a pretty strong word. But I will say that we adapted it,” says Nashville studio guitarist Harold Bradley at one point in the first episode. He’s talking about lifting melodies from the British Isles, but his comment resonates with the overall charitable approach that Burns takes in \u003cem>Country Music\u003c/em>.\u003c/p>\n\u003cp>“At the end Wynton says, ‘Art tells the tale of us coming together,’” said Burns. “We’ve categorized music, forgetting that for the artist, there’s no border. It’s a wonderful two-way street.”\u003c/p>\n\u003cp>It’s a nice thought, the two-way street. But, as many viewers watching \u003cem>Country Music\u003c/em> this week will surely recognize, the traffic never really flows equally both ways.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Country Music’ premieres on Sept. 15 on PBS stations, including KQED 9. \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The new PBS documentary offers a too-charitable reading of power and privilege in country music.","status":"publish","parent":0,"modified":1705022138,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1235},"headData":{"title":"Country Music and Race: Something Seems Missing in Ken Burns’ Latest | KQED","description":"The new PBS documentary offers a too-charitable reading of power and privilege in country music.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Country Music and Race: Something Seems Missing in Ken Burns’ Latest","datePublished":"2019-09-16T22:19:58.000Z","dateModified":"2024-01-12T01:15:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13866441/in-ken-burns-country-music-an-optimistic-handling-of-race","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over its 16-hour run time, Ken Burns’ documentary \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Country Music\u003c/em>\u003c/a> lends dignity and credibility to a genre often denigrated. And just as importantly, it elevates lesser-known figures, delving into a deeper history of country beyond its household names.\u003c/p>\n\u003cp>But what will surely have people talking is the way the documentary treats race in country music. Specifically, its genesis as a cross-cultural collaboration across racial lines. Within the first five minutes of the debut episode, the documentary credits both enslaved people and those living in border barrios as sources of country music, and emphasizes that the banjo—a key instrument in the genre—came to the southern United States from Africa.\u003c/p>\n\u003cp>“It’s not like we discovered that there’s deep roots that include black music that are part of country,” said Dayton Duncan, Burns’ writer and co-producer on the film, when I met with him and Burns in San Francisco. “It’s just there, in plain sight. But the common stereotype of country music is that it is only white music for white people. It’s become so encrusted. And I hope our film will show us that’s just as much of an unfair stereotype as any other unfair stereotype.”\u003c/p>\n\u003cp>Still, from the start of \u003cem>Country Music\u003c/em>, there’s a power imbalance. We learn that one of the music’s biggest stars, Fiddlin’ John Carson, performed at Ku Klux Klan rallies. When record producer Ralph Peer went to Atlanta after the success of Mamie Smith’s “Crazy Blues” to record more black artists, he instead was encouraged to record Carson, a white man, singing “Little Old Log Cabin in the Lane,” a song romanticizing slave life. Meanwhile, Stephen Foster wrote songs for minstrel shows with blackface performers that sold a sentimental version of the antebellum South. Emmett Miller, a blackface performer, recorded the first version of Hank Williams’ hit “Lovesick Blues.”\u003c/p>\n\u003cfigure id=\"attachment_13862150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862150\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-800x450.jpg\" alt=\"Documentary filmmaker Ken Burns backstage at the Palace of Fine Arts in San Francisco, July 24, 2019.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KenBurns.GabeMeline.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Documentary filmmaker Ken Burns backstage at the Palace of Fine Arts in San Francisco, July 24, 2019. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What to do with all of this? For Ken Burns, it means asking a handful of black artists to comment about it on camera: Charley Pride, Rihannon Giddens, Darius Rucker, Wynton Marsalis. Much of what they say in the film is about the uniting power of music, and not about the dividing nature of systemic racism in America.\u003c/p>\n\u003cp>When I met with Burns and Duncan, I wanted to know, especially after watching the documentary’s first episode: \u003cem>What happened?\u003c/em>\u003c/p>\n\u003cp>Country music is an almost entirely white genre now. The number of high-charting black country artists can be counted on one hand, and some of them, most recently \u003ca href=\"https://www.kqed.org/arts/13854359/old-town-road-lil-nas-x-billy-ray-cyrus\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Nas X\u003c/a>, have faced overt resistance from the country music establishment. How did the African American influence in the music, and its help in creating its coalesced sound, give way so easily to overwhelmingly white country stars?\u003c/p>\n\u003cp>The answer, not fully explored in the remaining 14 hours of \u003cem>Country Music\u003c/em>, falls mostly to marketing, according to Duncan.\u003c/p>\n\u003cp>“Once music became commercialized, it was easier to say, ‘Oh, here are the race records,’ which meant this is music made by African Americans for an African-American audience, and ‘here is the hillbilly music,’ and that’s made by white artists for white people. On those two styles of music in particular, it was bifurcated really early,” Duncan said. “The truth is that it was more for commerce and convenience. We create certain categories, and we try to organize it a certain way. And some of that is necessary, some of it is good, and some of it can be distorting and bad, and even evil.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burns has first-person experience with those categories, having worked in an Ann Arbor record store when he was younger, filing albums into different genre sections dictated in part by race. But he clearly did not want to make the scourge of racism a greater issue in the film than the salve of music’s back-and-forth conversation.\u003c/p>\n\u003cp>“We know the history of the United States has not been exemplary with regard to race. So I don’t think we need to be too shocked anytime you find that African-American influence isn’t acknowledged,” said Burns. “Saying that race is an issue in America is not a banner headline. To me, the banner headline—which has run through all our work—is that for a population that hovers around 13 or 14 percent, it has had a disproportionate effect on our arts, particularly our music.”\u003c/p>\n\u003cp>It’s no surprise to learn, given Burns’ non-cynical nature, that he wants to focus on the better parts of humanity. The viewer sees it in the quotes he chooses. “You have a lot of opposites that create this richness,” comments Marsalis. Giddens is shown adding to this viewpoint: “It starts going back and forth,” she says, “and becomes this beautiful mix of cultures.”\u003c/p>\n\u003cfigure id=\"attachment_13866447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866447\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-800x581.jpg\" alt=\"Uncle Dave Macon, the first star of the Grand Ol' Opry, performed songs and stage moves from the black tradition.\" width=\"800\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/UncleDaveMacon-768x558.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Uncle Dave Macon, the first star of the Grand Ol’ Opry, performed songs and stage moves from the black tradition. \u003ccite>(Wiki Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, the film’s first episode is titled “The Rub,” named for the commingling of black and white in the South that gave birth to country music. Over the course of the subsequent seven episodes, we learn about the many black figures behind the scenes, helping white stars become famous. Gus Cannon for Johnny Cash. Rufus “Tee Tot” Payne for Hank Williams. Lesley Riddle for A.B. Carter. Arnold Shultz for Bill Monroe.\u003c/p>\n\u003cp>But is this true cross-pollination, or is it a siphoning? We learn about the banjo player Uncle Dave Macon, descended from Confederate soldiers, becoming a celebrity by taking songs and stage moves from the black tradition. We learn about Jimmie Rodgers picking up field hollers from black crews in the railroad yards where he worked as a water boy, and then performing in blackface for medicine shows before becoming the wealthiest country singer of his time.\u003c/p>\n\u003cp>Again: isn’t this theft? Not just theft of cultural production, but—when royalties are involved—actual money?\u003c/p>\n\u003cp>“I don’t want to say we \u003cem>stole\u003c/em> it—that’s a pretty strong word. But I will say that we adapted it,” says Nashville studio guitarist Harold Bradley at one point in the first episode. He’s talking about lifting melodies from the British Isles, but his comment resonates with the overall charitable approach that Burns takes in \u003cem>Country Music\u003c/em>.\u003c/p>\n\u003cp>“At the end Wynton says, ‘Art tells the tale of us coming together,’” said Burns. “We’ve categorized music, forgetting that for the artist, there’s no border. It’s a wonderful two-way street.”\u003c/p>\n\u003cp>It’s a nice thought, the two-way street. But, as many viewers watching \u003cem>Country Music\u003c/em> this week will surely recognize, the traffic never really flows equally both ways.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Country Music’ premieres on Sept. 15 on PBS stations, including KQED 9. \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13866441/in-ken-burns-country-music-an-optimistic-handling-of-race","authors":["185"],"categories":["arts_2303","arts_835","arts_74","arts_69"],"tags":["arts_2767","arts_7534","arts_7535","arts_1118","arts_2041","arts_3650"],"featImg":"arts_13866519","label":"arts"},"arts_13864417":{"type":"posts","id":"arts_13864417","meta":{"index":"posts_1591205157","site":"arts","id":"13864417","score":null,"sort":[1566338410000]},"guestAuthors":[],"slug":"ken-burns-top-5-song-discoveries-while-making-country-music","title":"Ken Burns' Top 5 Song Discoveries While Making 'Country Music'","publishDate":1566338410,"format":"image","headTitle":"Ken Burns’ Top 5 Song Discoveries While Making ‘Country Music’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>How could anybody, after years spent working on a 16-hour country music documentary, pick just five important country songs out of thousands?\u003c/p>\n\u003cp>When I propose the idea to Ken Burns, he calls it “the impossible Top 5,” and with good reason. The documentary series \u003cem>\u003ca href=\"https://www.pbs.org/kenburns/country-music/\" rel=\"noopener\" target=\"_blank\">Country Music\u003c/a>\u003c/em>, premiering Sept. 15 on PBS, is \u003cem>full\u003c/em> of songs. Timeless songs. Songs with incredible backstories. Songs interwoven into the fabric of America. “Crazy.” “Lovesick Blues.” “I Walk the Line.”\u003c/p>\n\u003cp>[aside postID='arts_13862081' label=''Country Music' at San Quentin']\u003c/p>\n\u003cp>But those aren’t the songs I want. When I sit down with Burns in July, after \u003ca href=\"https://www.kqed.org/arts/13862081/ken-burns-visits-san-quentin-to-preview-country-music-documentary-for-inmates\" rel=\"noopener\" target=\"_blank\">a visit to San Quentin\u003c/a> to screen clips of the film for inmates, I ask for the lesser-known songs. Personal discoveries of songs that he’d never heard before he started working on \u003cem>Country Music\u003c/em>, or that he heard in a whole new light. Songs that, once discovered, perhaps even guided the documentary down a different path.\u003c/p>\n\u003cp>After some thought, Burns is game. He makes a list.\u003c/p>\n\u003cp>“Basically, the constituent building blocks of our work is biography, it’s really mostly about people,” he explains. “But what’s so wonderful, and I don’t think we were completely prepared for, is just how powerfully emotional some of these songs are.”\u003c/p>\n\u003cp>What follows is Ken Burns’ personal picks of five key underdog songs from \u003cem>Country Music\u003c/em>—in chronological order, and in his own words.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SQ0ppOZ967k\u003c/p>\n\u003ch2>‘Mule Skinner Blues,’ Jimmie Rodgers\u003c/h2>\n\u003cp>“Mule Skinner Blues” is a wonderful, wonderful song. You can see the twinkle in the eye when Merle Haggard sings part of it for us in our first episode. What’s amazing is that “Mule Skinner Blues” resurfaces again and again and again as three other rebirths in our film. \u003c/p>\n\u003cp>Bill Monroe, when he’s asked to debut at the Grand Ole Opry, plays a new version of it. I don’t think I could quite call it bluegrass, but it’s taking “Mule Skinner Blues” and doing something else with it, and it’s a wonderful thing. Later on, we’re out in the Central Valley of California with Maddox Brothers and Rose, and they do an uptempo, incredible, kick-ass version of “Mule Skinner Blues.” And then one of Dolly’s debut songs on \u003cem>The Porter Wagoner Show\u003c/em> is “Mule Skinner Blues,” which she calls an heirloom. These things that are passed down from generation to generation to generation. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R1qz3CW5GE4\u003c/p>\n\u003ch2>‘Little Darling Pal of Mine,’ the Carter Family\u003c/h2>\n\u003cp>This is actually the second song you hear in our film. As we researched it, we found this amazing story, which is that it had begun, the melody or the rough approximation of a melody, as a 19th-century Protestant hymn. It got taken by an African-American minister into the black church, and was turned into a kind of almost gospel stomp called “When The World’s On Fire.” The Carter Family, listening to everybody, including African-American music, loved what they heard. Maybe it was Lesley Riddle, the guitarist, who brought “When The World’s On Fire” to them, but they changed it into “Little Darling Pal Of Mine,” which is one of their really big hits.\u003c/p>\n\u003cp>Well, Woody Guthrie heard it, and he wrote a song called “This Land Is Your Land.” Now, all of them, the original hymn, “When The World’s On Fire,” “Little Darling Pal of Mine,” and “This Land is Your Land,” all have the same melody, and all have a place in our film. I love the fact that a melody can undergo extraordinary transformation. I think I had learned once that “The Star-Spangled Banner” was an old English drinking song!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WnpLFrCIjdA\u003c/p>\n\u003ch2>‘Holding Things Together,’ Merle Haggard\u003c/h2>\n\u003cp>In the film, Dwight Yoakam sings part of this wonderful Merle Haggard song, which snuck up on me. Something I \u003cem>certainly\u003c/em> never heard, even though I knew a lot of Merle stuff. It stops Dwight Yoakam dead in his tracks, this great performer used to being in front of an audience. And suddenly he’s recalling his favorite Merle Haggard song: the unusual circumstance where it’s not the man who’s left the family but the woman who’s left the family, and the father’s left trying to hold it together. Dwight sings a part of it, then starts going into the next part and can’t get through it. Stops and really pauses, for a really long time.\u003c/p>\n\u003cp>It’s very poignant. It’s not awkward in any way because the emotion’s so genuine, and then he kind of talks his way through the rest of it, undone by how powerful Merle Haggard, the poet of the common man, is. I’ve seen it 500 times in our film, and I cry every time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nl5Uog-MDGo\u003c/p>\n\u003ch2>‘Where’ve You Been,’ Kathy Mattea\u003c/h2>\n\u003cp>So John Vezner’s married to Kathy Mattea. He’s at the Bluebird Cafe, and he’s singing this song that he and Don Henry had written, about his grandparents. His grandfather had been a salesman, and his grandmother was the salesman’s wife who waited for him to come home at the end of every day. She slips in her old age into forgetfulness, and one day they’re in different parts of the hospital for different reasons. She’s been unresponsive, and he’s wheeled into her room, and she looks up and she says, “Where’ve you been?” And it just… apparently, at the Bluebird, people were sobbing by the first or second verse.\u003c/p>\n\u003cp>It seemed too long and too maudlin of a song, nobody was going to record it. But Kathy Mattea said, “I want to do this,” and it won two Grammy awards. I’d never heard of it. It’s one of those requested songs in the canon of country music that is just so poignant. None of us are untouched by age-old love, and the fact of what happens to them is common to so many families. You can endow the ordinary with the extraordinary by just telling a good story. And “Where’ve You Been” is a great story.\u003c/p>\n\u003cp>I’m getting mushier and mushier. My final one is totally sentimental. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4xPQ16Asyoo\u003c/p>\n\u003ch2>‘I Still Miss Someone,’ Johnny Cash\u003c/h2>\n\u003cp>This is one of the last songs we hear in the film. Rosanne Cash sings it a cappella when asked about one of Johnny Cash’s favorite songs. She sang it at his memorial service at the Grand Ole Opry, and it’s amazing. The second verse is so spare and plain: “I go out to a party to have a little fun, but I find a darkened corner, because I still miss someone.” And it’s just… it’s all about longing. \u003cem>Do you think she’s sorry for what we once had?\u003c/em> It’s just so poignant, and it’s as simple as “I’m So Lonesome I Could Cry.” \u003c/p>\n\u003cp>It was a revelation to me. I thought I knew all about Johnny Cash. I worked in a record store in the late ’60s in Ann Arbor, Michigan. I knew Merle Haggard stuff, and not just “Okie From Muskogee,” and I knew all these other country people. I knew Johnny Cash more than anyone, because he crossed over more than anyone else. And I didn’t know this song. It just really, really gets me.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Country Music’ premieres on Sept. 15 on PBS stations including KQED 9. \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The filmmaker chooses five key songs that he discovered while working on his country music documentary.","status":"publish","parent":0,"modified":1705022279,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1390},"headData":{"title":"Ken Burns' Top 5 Song Discoveries While Making 'Country Music' | KQED","description":"The filmmaker chooses five key songs that he discovered while working on his country music documentary.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Ken Burns' Top 5 Song Discoveries While Making 'Country Music'","datePublished":"2019-08-20T22:00:10.000Z","dateModified":"2024-01-12T01:17:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13864417/ken-burns-top-5-song-discoveries-while-making-country-music","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>How could anybody, after years spent working on a 16-hour country music documentary, pick just five important country songs out of thousands?\u003c/p>\n\u003cp>When I propose the idea to Ken Burns, he calls it “the impossible Top 5,” and with good reason. The documentary series \u003cem>\u003ca href=\"https://www.pbs.org/kenburns/country-music/\" rel=\"noopener\" target=\"_blank\">Country Music\u003c/a>\u003c/em>, premiering Sept. 15 on PBS, is \u003cem>full\u003c/em> of songs. Timeless songs. Songs with incredible backstories. Songs interwoven into the fabric of America. “Crazy.” “Lovesick Blues.” “I Walk the Line.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13862081","label":"label=''Country Music' at San Quentin'"},"numeric":["label=''Country","Music'","at","San","Quentin'"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But those aren’t the songs I want. When I sit down with Burns in July, after \u003ca href=\"https://www.kqed.org/arts/13862081/ken-burns-visits-san-quentin-to-preview-country-music-documentary-for-inmates\" rel=\"noopener\" target=\"_blank\">a visit to San Quentin\u003c/a> to screen clips of the film for inmates, I ask for the lesser-known songs. Personal discoveries of songs that he’d never heard before he started working on \u003cem>Country Music\u003c/em>, or that he heard in a whole new light. Songs that, once discovered, perhaps even guided the documentary down a different path.\u003c/p>\n\u003cp>After some thought, Burns is game. He makes a list.\u003c/p>\n\u003cp>“Basically, the constituent building blocks of our work is biography, it’s really mostly about people,” he explains. “But what’s so wonderful, and I don’t think we were completely prepared for, is just how powerfully emotional some of these songs are.”\u003c/p>\n\u003cp>What follows is Ken Burns’ personal picks of five key underdog songs from \u003cem>Country Music\u003c/em>—in chronological order, and in his own words.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SQ0ppOZ967k'\n title='//www.youtube.com/embed/SQ0ppOZ967k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Mule Skinner Blues,’ Jimmie Rodgers\u003c/h2>\n\u003cp>“Mule Skinner Blues” is a wonderful, wonderful song. You can see the twinkle in the eye when Merle Haggard sings part of it for us in our first episode. What’s amazing is that “Mule Skinner Blues” resurfaces again and again and again as three other rebirths in our film. \u003c/p>\n\u003cp>Bill Monroe, when he’s asked to debut at the Grand Ole Opry, plays a new version of it. I don’t think I could quite call it bluegrass, but it’s taking “Mule Skinner Blues” and doing something else with it, and it’s a wonderful thing. Later on, we’re out in the Central Valley of California with Maddox Brothers and Rose, and they do an uptempo, incredible, kick-ass version of “Mule Skinner Blues.” And then one of Dolly’s debut songs on \u003cem>The Porter Wagoner Show\u003c/em> is “Mule Skinner Blues,” which she calls an heirloom. These things that are passed down from generation to generation to generation. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/R1qz3CW5GE4'\n title='//www.youtube.com/embed/R1qz3CW5GE4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Little Darling Pal of Mine,’ the Carter Family\u003c/h2>\n\u003cp>This is actually the second song you hear in our film. As we researched it, we found this amazing story, which is that it had begun, the melody or the rough approximation of a melody, as a 19th-century Protestant hymn. It got taken by an African-American minister into the black church, and was turned into a kind of almost gospel stomp called “When The World’s On Fire.” The Carter Family, listening to everybody, including African-American music, loved what they heard. Maybe it was Lesley Riddle, the guitarist, who brought “When The World’s On Fire” to them, but they changed it into “Little Darling Pal Of Mine,” which is one of their really big hits.\u003c/p>\n\u003cp>Well, Woody Guthrie heard it, and he wrote a song called “This Land Is Your Land.” Now, all of them, the original hymn, “When The World’s On Fire,” “Little Darling Pal of Mine,” and “This Land is Your Land,” all have the same melody, and all have a place in our film. I love the fact that a melody can undergo extraordinary transformation. I think I had learned once that “The Star-Spangled Banner” was an old English drinking song!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WnpLFrCIjdA'\n title='//www.youtube.com/embed/WnpLFrCIjdA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Holding Things Together,’ Merle Haggard\u003c/h2>\n\u003cp>In the film, Dwight Yoakam sings part of this wonderful Merle Haggard song, which snuck up on me. Something I \u003cem>certainly\u003c/em> never heard, even though I knew a lot of Merle stuff. It stops Dwight Yoakam dead in his tracks, this great performer used to being in front of an audience. And suddenly he’s recalling his favorite Merle Haggard song: the unusual circumstance where it’s not the man who’s left the family but the woman who’s left the family, and the father’s left trying to hold it together. Dwight sings a part of it, then starts going into the next part and can’t get through it. Stops and really pauses, for a really long time.\u003c/p>\n\u003cp>It’s very poignant. It’s not awkward in any way because the emotion’s so genuine, and then he kind of talks his way through the rest of it, undone by how powerful Merle Haggard, the poet of the common man, is. I’ve seen it 500 times in our film, and I cry every time.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nl5Uog-MDGo'\n title='//www.youtube.com/embed/nl5Uog-MDGo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Where’ve You Been,’ Kathy Mattea\u003c/h2>\n\u003cp>So John Vezner’s married to Kathy Mattea. He’s at the Bluebird Cafe, and he’s singing this song that he and Don Henry had written, about his grandparents. His grandfather had been a salesman, and his grandmother was the salesman’s wife who waited for him to come home at the end of every day. She slips in her old age into forgetfulness, and one day they’re in different parts of the hospital for different reasons. She’s been unresponsive, and he’s wheeled into her room, and she looks up and she says, “Where’ve you been?” And it just… apparently, at the Bluebird, people were sobbing by the first or second verse.\u003c/p>\n\u003cp>It seemed too long and too maudlin of a song, nobody was going to record it. But Kathy Mattea said, “I want to do this,” and it won two Grammy awards. I’d never heard of it. It’s one of those requested songs in the canon of country music that is just so poignant. None of us are untouched by age-old love, and the fact of what happens to them is common to so many families. You can endow the ordinary with the extraordinary by just telling a good story. And “Where’ve You Been” is a great story.\u003c/p>\n\u003cp>I’m getting mushier and mushier. My final one is totally sentimental. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4xPQ16Asyoo'\n title='//www.youtube.com/embed/4xPQ16Asyoo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘I Still Miss Someone,’ Johnny Cash\u003c/h2>\n\u003cp>This is one of the last songs we hear in the film. Rosanne Cash sings it a cappella when asked about one of Johnny Cash’s favorite songs. She sang it at his memorial service at the Grand Ole Opry, and it’s amazing. The second verse is so spare and plain: “I go out to a party to have a little fun, but I find a darkened corner, because I still miss someone.” And it’s just… it’s all about longing. \u003cem>Do you think she’s sorry for what we once had?\u003c/em> It’s just so poignant, and it’s as simple as “I’m So Lonesome I Could Cry.” \u003c/p>\n\u003cp>It was a revelation to me. I thought I knew all about Johnny Cash. I worked in a record store in the late ’60s in Ann Arbor, Michigan. I knew Merle Haggard stuff, and not just “Okie From Muskogee,” and I knew all these other country people. I knew Johnny Cash more than anyone, because he crossed over more than anyone else. And I didn’t know this song. It just really, really gets me.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Country Music’ premieres on Sept. 15 on PBS stations including KQED 9. \u003ca href=\"https://www.pbs.org/kenburns/country-music/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13864417/ken-burns-top-5-song-discoveries-while-making-country-music","authors":["185"],"categories":["arts_69"],"tags":["arts_7534","arts_7535","arts_1118","arts_2041"],"featImg":"arts_13862150","label":"arts"},"arts_13864261":{"type":"posts","id":"arts_13864261","meta":{"index":"posts_1591205157","site":"arts","id":"13864261","score":null,"sort":[1565905894000]},"guestAuthors":[],"slug":"country-music-awards-vote-on-whether-to-nominate-lil-nas-xs-old-town-road","title":"Country Music Awards Vote on Whether to Nominate Lil Nas X's 'Old Town Road'","publishDate":1565905894,"format":"standard","headTitle":"Country Music Awards Vote on Whether to Nominate Lil Nas X’s ‘Old Town Road’ | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>Though Lil Nas X has broken chart records and become a streaming juggernaut with his breakout country rap hit “Old Town Road” with Billy Ray Cyrus, the song faces an uphill challenge to get a nomination for a CMA award.\u003c/p>\n\u003cp>Ballots have gone out for nominations for the Country Music Association Awards, but some voters are struggling to decide how to recognize the musical phenomenon of the year, which has become the longest-running No. 1 song in the history of Billboard’s Hot 100.\u003c/p>\n\u003cp>Billboard decided “Old Town Road” wasn’t a country song and pulled it off country charts early on, but the song made enough of an impact anyway that it became eligible for a number of CMA categories this year, including single of the year and song of the year. CMA voters, which include musicians, producers, songwriters, touring professionals, country radio employees and others, vote in three ballots with the final nominations typically being announced in late August or early September. The award show will air Nov. 13.\u003c/p>\n\u003cp>But there are already signs that the song isn’t getting wide support. It failed to get enough votes in the major song categories. The song only earned enough votes to be considered in the musical event category on the second ballot, which went out to voters Monday.\u003c/p>\n\u003cp>Shane McAnally, one of country’s biggest hit-makers who has written for Sam Hunt, Kacey Musgraves, Kenny Chesney and more, said he’s been impressed with the way the song has resonated with fans, but it never felt country to him.\u003c/p>\n\u003cp>[aside postID='arts_13862433,arts_13854359,arts_13859988' label='Read More on Lil Nas X']\u003c/p>\n\u003cp>“I just think country people do not see that as a country song,” said McAnally, who is co-president of Monument Records and one of three producers on NBC’s song competition series, “Songland.” ″Pop listeners think it’s a country song.”\u003c/p>\n\u003cp>The song’s genreless approach by mixing trap beats with a Nine Inch Nails sample and Western-themed lyrics appealed to millennials on TikTok but took Nashville’s music industry by surprise. While pop, rap and rock artists have gotten CMA nominations before, it’s a lot harder to earn a nomination without broad support among Nashville’s labels and country radio.\u003c/p>\n\u003cp>Nelly was nominated for a musical event in 2013 with Florida Georgia Line for “Cruise,” but that was a country song with a rapper added to the remix. Nelly’s earlier collaboration with Tim McGraw on “Over and Over” in 2004, which was primarily promoted as a rap song, did not earn any nominations from the CMAs.\u003c/p>\n\u003cp>“I will be shocked if it makes the final ballot,” McAnally said of “Old Town Road.”\u003c/p>\n\u003cp>Still, McAnally pointed out that non-country acts can still surprise at the CMA Awards, such as when John Denver, largely considered a pop-folk artist, won entertainer of the year in 1975, prompting Charlie Rich to set fire to the card with Denver’s name during the broadcast.\u003c/p>\n\u003cp>David Macias, president of Nashville-based entertainment company Thirty Tigers, which works with Americana artists like Jason Isbell and John Prine, said Billboard’s decision to not classify the song as country probably just reinforced CMA voters who weren’t inclined to vote for it anyway.\u003c/p>\n\u003cp>“I haven’t really decided what I am going to do where that’s concerned,” Macias said. “There’s no doubt it’s the musical cultural phenomenon of the year. I am on the fence on whether or not it sits in there. It deserves some recognition, and frankly no matter what happens on the voting part, it will be interesting to see what the CMA does.”\u003c/p>\n\u003cp>[aside tag='hip-hop' label='Music Coverage You Might Like']\u003c/p>\n\u003cp>Hunter Kelly, a veteran country music journalist, was surprised that the song didn’t get enough early votes for single of the year, but he said its qualifications for the musical event category seemed undeniable.\u003c/p>\n\u003cp>“If you talk about a musical event, it’s still 19 weeks at No. 1,” Kelly said. “It’s the all-time No. 1 on the Hot 100, so as a musical event, it totally deserves a nomination.”\u003c/p>\n\u003cp>During the voting period, labels or management agencies often engage in lobbying efforts that include advertisements in music industry publications. Representatives for Lil Nas X’s label, Columbia Records, did not respond to the AP for comment about the CMA voting.\u003c/p>\n\u003cp>Kelly said that since “Old Town Road” didn’t originate in Nashville and Lil Nas X is not signed to a Nashville label, there are fewer voters emotionally or financially invested in seeing it nominated.\u003c/p>\n\u003cp>At the very least, “Old Town Road” has proved that lightning can strike twice in the same place with the re-introduction of Billy Ray Cyrus to a new generation, McAnally said. The mullet-wearing Cyrus was last nominated for a CMA in 1992 when he won single of the year for his own ubiquitous, danceable hit “Achy Breaky Heart.”\u003c/p>\n\u003cp>“That’s pretty crazy,” McAnally mused. “He wasn’t going away. You can’t discount that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Lil Nas X created a musical phenomenon with his song “Old Town Road” with Billy Ray Cyrus, but many in Nashville are trying to decide whether to nominate it for a country music award. Voting is under way now for nominations for the Country Music Association Awards, held on Nov. 13, but the song faces an uphill challenge.","status":"publish","parent":0,"modified":1705022308,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":913},"headData":{"title":"Country Music Awards Vote on Whether to Nominate Lil Nas X's 'Old Town Road' | KQED","description":"Lil Nas X created a musical phenomenon with his song “Old Town Road” with Billy Ray Cyrus, but many in Nashville are trying to decide whether to nominate it for a country music award. Voting is under way now for nominations for the Country Music Association Awards, held on Nov. 13, but the song faces an uphill challenge.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Country Music Awards Vote on Whether to Nominate Lil Nas X's 'Old Town Road'","datePublished":"2019-08-15T21:51:34.000Z","dateModified":"2024-01-12T01:18:28.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Kristin M. Hall, Associated Press","path":"/arts/13864261/country-music-awards-vote-on-whether-to-nominate-lil-nas-xs-old-town-road","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though Lil Nas X has broken chart records and become a streaming juggernaut with his breakout country rap hit “Old Town Road” with Billy Ray Cyrus, the song faces an uphill challenge to get a nomination for a CMA award.\u003c/p>\n\u003cp>Ballots have gone out for nominations for the Country Music Association Awards, but some voters are struggling to decide how to recognize the musical phenomenon of the year, which has become the longest-running No. 1 song in the history of Billboard’s Hot 100.\u003c/p>\n\u003cp>Billboard decided “Old Town Road” wasn’t a country song and pulled it off country charts early on, but the song made enough of an impact anyway that it became eligible for a number of CMA categories this year, including single of the year and song of the year. CMA voters, which include musicians, producers, songwriters, touring professionals, country radio employees and others, vote in three ballots with the final nominations typically being announced in late August or early September. The award show will air Nov. 13.\u003c/p>\n\u003cp>But there are already signs that the song isn’t getting wide support. It failed to get enough votes in the major song categories. The song only earned enough votes to be considered in the musical event category on the second ballot, which went out to voters Monday.\u003c/p>\n\u003cp>Shane McAnally, one of country’s biggest hit-makers who has written for Sam Hunt, Kacey Musgraves, Kenny Chesney and more, said he’s been impressed with the way the song has resonated with fans, but it never felt country to him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13862433,arts_13854359,arts_13859988","label":"Read More on Lil Nas X "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I just think country people do not see that as a country song,” said McAnally, who is co-president of Monument Records and one of three producers on NBC’s song competition series, “Songland.” ″Pop listeners think it’s a country song.”\u003c/p>\n\u003cp>The song’s genreless approach by mixing trap beats with a Nine Inch Nails sample and Western-themed lyrics appealed to millennials on TikTok but took Nashville’s music industry by surprise. While pop, rap and rock artists have gotten CMA nominations before, it’s a lot harder to earn a nomination without broad support among Nashville’s labels and country radio.\u003c/p>\n\u003cp>Nelly was nominated for a musical event in 2013 with Florida Georgia Line for “Cruise,” but that was a country song with a rapper added to the remix. Nelly’s earlier collaboration with Tim McGraw on “Over and Over” in 2004, which was primarily promoted as a rap song, did not earn any nominations from the CMAs.\u003c/p>\n\u003cp>“I will be shocked if it makes the final ballot,” McAnally said of “Old Town Road.”\u003c/p>\n\u003cp>Still, McAnally pointed out that non-country acts can still surprise at the CMA Awards, such as when John Denver, largely considered a pop-folk artist, won entertainer of the year in 1975, prompting Charlie Rich to set fire to the card with Denver’s name during the broadcast.\u003c/p>\n\u003cp>David Macias, president of Nashville-based entertainment company Thirty Tigers, which works with Americana artists like Jason Isbell and John Prine, said Billboard’s decision to not classify the song as country probably just reinforced CMA voters who weren’t inclined to vote for it anyway.\u003c/p>\n\u003cp>“I haven’t really decided what I am going to do where that’s concerned,” Macias said. “There’s no doubt it’s the musical cultural phenomenon of the year. I am on the fence on whether or not it sits in there. It deserves some recognition, and frankly no matter what happens on the voting part, it will be interesting to see what the CMA does.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"tag":"hip-hop","label":"Music Coverage You Might Like "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hunter Kelly, a veteran country music journalist, was surprised that the song didn’t get enough early votes for single of the year, but he said its qualifications for the musical event category seemed undeniable.\u003c/p>\n\u003cp>“If you talk about a musical event, it’s still 19 weeks at No. 1,” Kelly said. “It’s the all-time No. 1 on the Hot 100, so as a musical event, it totally deserves a nomination.”\u003c/p>\n\u003cp>During the voting period, labels or management agencies often engage in lobbying efforts that include advertisements in music industry publications. Representatives for Lil Nas X’s label, Columbia Records, did not respond to the AP for comment about the CMA voting.\u003c/p>\n\u003cp>Kelly said that since “Old Town Road” didn’t originate in Nashville and Lil Nas X is not signed to a Nashville label, there are fewer voters emotionally or financially invested in seeing it nominated.\u003c/p>\n\u003cp>At the very least, “Old Town Road” has proved that lightning can strike twice in the same place with the re-introduction of Billy Ray Cyrus to a new generation, McAnally said. The mullet-wearing Cyrus was last nominated for a CMA in 1992 when he won single of the year for his own ubiquitous, danceable hit “Achy Breaky Heart.”\u003c/p>\n\u003cp>“That’s pretty crazy,” McAnally mused. “He wasn’t going away. You can’t discount that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13864261/country-music-awards-vote-on-whether-to-nominate-lil-nas-xs-old-town-road","authors":["byline_arts_13864261"],"programs":["arts_1272"],"categories":["arts_69","arts_235","arts_75"],"tags":["arts_7534","arts_7112","arts_7535","arts_7108"],"featImg":"arts_13864275","label":"arts_1272"},"arts_13862081":{"type":"posts","id":"arts_13862081","meta":{"index":"posts_1591205157","site":"arts","id":"13862081","score":null,"sort":[1564023850000]},"guestAuthors":[],"slug":"ken-burns-visits-san-quentin-to-preview-country-music-documentary-for-inmates","title":"Ken Burns Visits San Quentin to Preview 'Country Music' Documentary For Inmates","publishDate":1564023850,"format":"standard","headTitle":"Ken Burns Visits San Quentin to Preview ‘Country Music’ Documentary For Inmates | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Ken Burns, the prolific documentary filmmaker, addressed roughly 100 inmates at San Quentin State Prison on Wednesday with a message about redemption, destigmatizing incarceration and country music.\u003c/p>\n\u003cp>Country star Merle Haggard, Burns explained, was once reluctant to acknowledge his stint at prisons including San Quentin, fearful it would hurt his professional reputation. But Johnny Cash, well-known for concert recordings at Folsom State Prison and San Quentin, urged Haggard to be open about his time behind bars, and to draw on his experiences.\u003c/p>\n\u003cp>What Cash knew, and country music affirms, Burns said, is that “the value of a human being does not end when you walk in the front door of a place like this,” adding, “I know I’m preaching to the choir.”\u003c/p>\n\u003cfigure id=\"attachment_13862094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862094\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1555-800x450.jpg\" alt=\"Rahsaan Thomas, Ear Hustle co-host and San Quentin News contributor, speaks with Ken Burns. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rahsaan Thomas, ‘Ear Hustle’ co-host and San Quentin News contributor, speaks with Ken Burns. \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The occasion was a preview of \u003cem>Country Music\u003c/em>, Burns’ forthcoming eight-part, 16-hour series on the “uniquely American art form.” He played clips from the series, focused on Cash and Haggard’s ties to California’s penal system, before fielding questions from Rahsaan Thomas, “inside” co-host of \u003cem>Ear Hustle\u003c/em> and a contributor to \u003cem>San Quentin News\u003c/em>, plus other incarcerated audience members. \u003cem>Country Music\u003c/em> airs on PBS stations, including KQED, from Sept. 15–25.\u003c/p>\n\u003cp>The event, which general population inmates attended voluntarily, occurred in a 373-capacity protestant chapel next to a neatly landscaped courtyard where men in blue denim mowed lawns. In addition to Cash, the prison has hosted musical acts including Metallica, Crime and, most recently, Queens of the Stone Age.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The clips, together running a half hour, followed Haggard from his impoverished Central Valley upbringing to his time in prison (he witnessed Cash’s performance at San Quentin in 1959, while an inmate), and the development of his “outlaw” persona. Cash, meanwhile, is seen struggling with methamphetamine addiction before the concert recordings at Folsom and San Quentin draw acclaim and restart his career.\u003c/p>\n\u003cfigure id=\"attachment_13862096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862096\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1720-800x450.jpg\" alt=\"Curly Ray Martin (L), who once shared a cell with Merle Haggard, sits next to Country Music writer and co-producer Dayton Duncan (R).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Curly Ray Martin (L), who once shared a cell with Merle Haggard, sits next to ‘Country Music’ writer and co-producer Dayton Duncan (R). \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dayton Duncan, \u003cem>Country Music\u003c/em>‘s writer and co-producer who took questions alongside Burns and co-producer Julie Dunfey, described San Quentin as central to Haggard’s story. “You know, how important was Valley Forge to George Washington?” he said.\u003c/p>\n\u003cp>Duncan, choking up, then acknowledged the presence of an 80-year-old inmate named Curly Ray Martin, who once shared a cell with Haggard. “Merle taught me how to play bass,” said Martin, who performed with West Coast artists such as Rose Maddox before being incarcerated 52 years ago. “Listenin’ to Merle in here, his songs, everybody knew he was destined to be a big star,” he said.\u003c/p>\n\u003cp>Thomas, who chatted with reporters about Robert Mueller’s congressional testimony that morning (“You’d be surprised by the political savvy on the yard,” he said), brought up Burns’ 2012 documentary \u003cem>The Central Park Five\u003c/em>, about five teenagers wrongly imprisoned after being coerced to confess to rape in 1989. Thomas asked the filmmaker about his views on criminal-justice reform.\u003c/p>\n\u003cfigure id=\"attachment_13862095\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862095\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1660-800x450.jpg\" alt=\"San Quentin News reporters interview Ken Burns.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Quentin News reporters interview Ken Burns. \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Burns responded that interrogation practices deserve scrutiny. Mentioning \u003cem>College Behind Bars\u003c/em>, a forthcoming Lynn Novick documentary he executive produced, Burns stressed the role of education in reducing recidivism. “This is the time,” he said, noting such reforms have bipartisan support. “It can’t come too soon.”\u003c/p>\n\u003cp>More than a dozen incarcerated audience members stepped up to a microphone to ask questions, almost all of them professing intimate knowledge of Burns’ work. (PBS is one of few channels available in prison.) One of them, a FirstWatch filmmaker, noted the “Ken Burns effect,” a style of panning and zooming, available to use through iMovie.\u003c/p>\n\u003cp>Laughing, Burns replied, “You have to thank Steve Jobs for that one.”\u003c/p>\n\u003cp>Anthony Evans, an inmate, asked how the film addresses the “symbiotic relationship between country and the blues.” Duncan responded that the documentary traces the international roots of country, and examines the former market division between “race” and “hillbilly” music. Burns similarly noted the debate over how to categorize Lil Nas X’s “Old Town Road” reflects how black people’s contributions to country have long been minimized or ignored.\u003c/p>\n\u003cp>“It’s appropriate we’re in a chapel,” Burns said. “I want to share with you the gospel of country music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"The prolific documentary filmmaker delivered a message about redemption and destigmatizing incarceration.","status":"publish","parent":0,"modified":1705022492,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":803},"headData":{"title":"Ken Burns Visits San Quentin to Preview 'Country Music' Documentary For Inmates | KQED","description":"The prolific documentary filmmaker delivered a message about redemption and destigmatizing incarceration.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Ken Burns Visits San Quentin to Preview 'Country Music' Documentary For Inmates","datePublished":"2019-07-25T03:04:10.000Z","dateModified":"2024-01-12T01:21:32.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13862081/ken-burns-visits-san-quentin-to-preview-country-music-documentary-for-inmates","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ken Burns, the prolific documentary filmmaker, addressed roughly 100 inmates at San Quentin State Prison on Wednesday with a message about redemption, destigmatizing incarceration and country music.\u003c/p>\n\u003cp>Country star Merle Haggard, Burns explained, was once reluctant to acknowledge his stint at prisons including San Quentin, fearful it would hurt his professional reputation. But Johnny Cash, well-known for concert recordings at Folsom State Prison and San Quentin, urged Haggard to be open about his time behind bars, and to draw on his experiences.\u003c/p>\n\u003cp>What Cash knew, and country music affirms, Burns said, is that “the value of a human being does not end when you walk in the front door of a place like this,” adding, “I know I’m preaching to the choir.”\u003c/p>\n\u003cfigure id=\"attachment_13862094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862094\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1555-800x450.jpg\" alt=\"Rahsaan Thomas, Ear Hustle co-host and San Quentin News contributor, speaks with Ken Burns. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rahsaan Thomas, ‘Ear Hustle’ co-host and San Quentin News contributor, speaks with Ken Burns. \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The occasion was a preview of \u003cem>Country Music\u003c/em>, Burns’ forthcoming eight-part, 16-hour series on the “uniquely American art form.” He played clips from the series, focused on Cash and Haggard’s ties to California’s penal system, before fielding questions from Rahsaan Thomas, “inside” co-host of \u003cem>Ear Hustle\u003c/em> and a contributor to \u003cem>San Quentin News\u003c/em>, plus other incarcerated audience members. \u003cem>Country Music\u003c/em> airs on PBS stations, including KQED, from Sept. 15–25.\u003c/p>\n\u003cp>The event, which general population inmates attended voluntarily, occurred in a 373-capacity protestant chapel next to a neatly landscaped courtyard where men in blue denim mowed lawns. In addition to Cash, the prison has hosted musical acts including Metallica, Crime and, most recently, Queens of the Stone Age.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The clips, together running a half hour, followed Haggard from his impoverished Central Valley upbringing to his time in prison (he witnessed Cash’s performance at San Quentin in 1959, while an inmate), and the development of his “outlaw” persona. Cash, meanwhile, is seen struggling with methamphetamine addiction before the concert recordings at Folsom and San Quentin draw acclaim and restart his career.\u003c/p>\n\u003cfigure id=\"attachment_13862096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862096\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1720-800x450.jpg\" alt=\"Curly Ray Martin (L), who once shared a cell with Merle Haggard, sits next to Country Music writer and co-producer Dayton Duncan (R).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Curly Ray Martin (L), who once shared a cell with Merle Haggard, sits next to ‘Country Music’ writer and co-producer Dayton Duncan (R). \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dayton Duncan, \u003cem>Country Music\u003c/em>‘s writer and co-producer who took questions alongside Burns and co-producer Julie Dunfey, described San Quentin as central to Haggard’s story. “You know, how important was Valley Forge to George Washington?” he said.\u003c/p>\n\u003cp>Duncan, choking up, then acknowledged the presence of an 80-year-old inmate named Curly Ray Martin, who once shared a cell with Haggard. “Merle taught me how to play bass,” said Martin, who performed with West Coast artists such as Rose Maddox before being incarcerated 52 years ago. “Listenin’ to Merle in here, his songs, everybody knew he was destined to be a big star,” he said.\u003c/p>\n\u003cp>Thomas, who chatted with reporters about Robert Mueller’s congressional testimony that morning (“You’d be surprised by the political savvy on the yard,” he said), brought up Burns’ 2012 documentary \u003cem>The Central Park Five\u003c/em>, about five teenagers wrongly imprisoned after being coerced to confess to rape in 1989. Thomas asked the filmmaker about his views on criminal-justice reform.\u003c/p>\n\u003cfigure id=\"attachment_13862095\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862095\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1660-800x450.jpg\" alt=\"San Quentin News reporters interview Ken Burns.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Quentin News reporters interview Ken Burns. \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Burns responded that interrogation practices deserve scrutiny. Mentioning \u003cem>College Behind Bars\u003c/em>, a forthcoming Lynn Novick documentary he executive produced, Burns stressed the role of education in reducing recidivism. “This is the time,” he said, noting such reforms have bipartisan support. “It can’t come too soon.”\u003c/p>\n\u003cp>More than a dozen incarcerated audience members stepped up to a microphone to ask questions, almost all of them professing intimate knowledge of Burns’ work. (PBS is one of few channels available in prison.) One of them, a FirstWatch filmmaker, noted the “Ken Burns effect,” a style of panning and zooming, available to use through iMovie.\u003c/p>\n\u003cp>Laughing, Burns replied, “You have to thank Steve Jobs for that one.”\u003c/p>\n\u003cp>Anthony Evans, an inmate, asked how the film addresses the “symbiotic relationship between country and the blues.” Duncan responded that the documentary traces the international roots of country, and examines the former market division between “race” and “hillbilly” music. Burns similarly noted the debate over how to categorize Lil Nas X’s “Old Town Road” reflects how black people’s contributions to country have long been minimized or ignored.\u003c/p>\n\u003cp>“It’s appropriate we’re in a chapel,” Burns said. “I want to share with you the gospel of country music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13862081/ken-burns-visits-san-quentin-to-preview-country-music-documentary-for-inmates","authors":["11091"],"categories":["arts_74","arts_69","arts_235"],"tags":["arts_7534","arts_7535","arts_1118","arts_2041","arts_746","arts_596","arts_1985","arts_5891"],"featImg":"arts_13862097","label":"arts"},"arts_13861201":{"type":"posts","id":"arts_13861201","meta":{"index":"posts_1591205157","site":"arts","id":"13861201","score":null,"sort":[1562968231000]},"guestAuthors":[],"slug":"a-cup-of-ambition-and-endurance-9-to-5-unites-workers-across-decades","title":"A Cup Of Ambition And Endurance: '9 To 5' Unites Workers Across Decades","publishDate":1562968231,"format":"standard","headTitle":"A Cup Of Ambition And Endurance: ‘9 To 5’ Unites Workers Across Decades | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>This year at the Grammy Awards, backed by a chorus of contemporary Nashville stars, \u003ca href=\"https://www.npr.org/artists/15750509/dolly-parton\">Dolly Parton\u003c/a> brought the house down with a song older than most of the performers onstage. It’s the same song Elizabeth Warren walked out to when she announced her presidential run in February. The story of that song begins decades ago, behind a desk.\u003c/p>\n\u003cp>“It was the kind of job where you were just not seen.” Karen Nussbaum has spent most of her career as a labor leader and organizer, but she started in the early 1970s as an office worker, in a job she says she does not remember fondly. “You were just part of the wallpaper,” she says. “I remember sitting at my desk one day and a student came in — I worked at a university — and looked me dead in the eye and said, ‘Isn’t anybody here?’ It was those kinds of things that just got under your skin a lot.”\u003c/p>\n\u003cp>Nussbaum and some friends got together to talk about their frustrations. The result was a new organization with the mission of supporting women in the workplace, which they called \u003ca href=\"https://9to5.org/\">9to5\u003c/a>. When their story made its way to Jane Fonda, whom Nussbaum knew through the antiwar movement, it helped inspire something else: A movie starring Fonda, Lily Tomlin and Dolly Parton as three fed-up working women, with Dabney Coleman as their insufferable boss.\u003c/p>\n\u003cp>\u003cem>9 to 5\u003c/em> was a revenge fantasy for women who felt overworked, underpaid and disrespected. The film hit No. 2 at the box office in 1980, beaten only by \u003cem>The Empire Strikes Back\u003c/em>. But its \u003ca href=\"https://www.youtube.com/watch?v=UbxUSsFXYo4\">original theme song\u003c/a>, written and performed by Parton, had a life of its own, reaching No. 1 on three different Billboard charts and earning an Oscar nomination. It begins with a sound like a typewriter, which Parton happened on by clicking her fingernails.\u003c/p>\n\u003cp>https://youtu.be/UbxUSsFXYo4\u003c/p>\n\u003cp>“I think the song is brilliant,” Nussbaum says. “It starts with pride: ‘Pour myself a cup of ambition.’ It goes to grievances: ‘Barely getting by.’ It then goes to class conflict: ‘You’re just a step on the bossman’s ladder.’ And then it ends with collective power: ‘In the same boat with a lot of your friends.’ So in the space of this wildly popular song with a great beat, Dolly Parton just puts it all together by herself.”\u003c/p>\n\u003cp>Rebecca Traister, a \u003cem>New York\u003c/em> magazine writer who comments frequently on feminism and politics (her most recent book, \u003cem>Good and Mad\u003c/em>, is about the power of women’s anger), says the song had a similar effect on her when she worked as an administrative assistant. Though the song was more than 20 years old by then, she and her friends would still sing along to it on the local bar’s jukebox when work left them stressed out and feeling stuck.\u003c/p>\n\u003cp>“It’s a song that contains complaints about so many frustrations and inequities and injustices within a workplace — some of them gendered, some of them capitalist, some of them about how power is so unequally distributed,” Traister says. “It is simultaneously a song of angry complaint and immense good cheer. And there is something about that combination that makes it kind of addictive and fun.”\u003c/p>\n\u003cp>A different take on the song emerged last spring, when \u003cem>This American Life\u003c/em> commissioned Merrill Garbus of \u003ca href=\"https://www.npr.org/tags/578943585/tune-yards\">Tune-Yards\u003c/a> to record \u003ca href=\"https://www.thisamericanlife.org/extras/9-to-5-by-merrill-garbus-of-tune-yards\">a cover of “9 to 5”\u003c/a> for an episode dealing with workplace harassment. Garbus, who was a secretary, cleaned houses and stocked grocery shelves on her way to a music career, says Parton’s lyrics capture so much about the reality of workers’ daily lives — and their dreams.\u003c/p>\n\u003cp>https://youtu.be/AqUKOV27tAM\u003c/p>\n\u003cp>“How much dreaming it takes to get through some of those days, some of those miserable days that feel dehumanizing, cleaning up other peoples’ messes and generally being treated like trash, how much dreaming is needed in those times to get up the next morning and do it all again,” she says.\u003c/p>\n\u003cp>Garbus’ version of the song ends abruptly on the line “It’s a rich man’s game, no matter what they call it,” leaving things on a far more pointed note than the original. “I felt like I didn’t want to be cute with it,” she explains. “I wanted it to end with a period, exclamation point, question mark.”\u003c/p>\n\u003cp>Whether one is ending it with a question mark, belting it out in a bar, organizing labor or running for president “9 to 5” is a song that pretty much anyone who’s ever had to work for a living can relate to — especially women.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Dolly Parton's classic singalong aims a catchy beat at a serious point, listing the ways the daily grind exploits and exhausts people — some more than others.","status":"publish","parent":0,"modified":1705022544,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":858},"headData":{"title":"A Cup Of Ambition And Endurance: '9 To 5' Unites Workers Across Decades | KQED","description":"Dolly Parton's classic singalong aims a catchy beat at a serious point, listing the ways the daily grind exploits and exhausts people — some more than others.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Cup Of Ambition And Endurance: '9 To 5' Unites Workers Across Decades","datePublished":"2019-07-12T21:50:31.000Z","dateModified":"2024-01-12T01:22:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Lynn Neary","nprStoryId":"738587297","nprApiLink":"http://api.npr.org/query?id=738587297&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/07/11/738587297/a-cup-of-ambition-and-endurance-9-to-5-unites-workers-across-decades?ft=nprml&f=738587297","nprRetrievedStory":"1","nprPubDate":"Thu, 11 Jul 2019 13:43:00 -0400","nprStoryDate":"Thu, 11 Jul 2019 05:22:00 -0400","nprLastModifiedDate":"Thu, 11 Jul 2019 13:43:22 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/07/20190711_me_a_cup_of_ambition_and_endurance_9_to_5_unites_workers_across_decades.mp3?orgId=1&topicId=613820055&aggIds=622671774&d=418&p=3&story=738587297&ft=nprml&f=738587297","nprAudioM3u":"http://api.npr.org/m3u/1740608364-539f26.m3u?orgId=1&topicId=613820055&aggIds=622671774&d=418&p=3&story=738587297&ft=nprml&f=738587297","audioTrackLength":428,"path":"/arts/13861201/a-cup-of-ambition-and-endurance-9-to-5-unites-workers-across-decades","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/07/20190711_me_a_cup_of_ambition_and_endurance_9_to_5_unites_workers_across_decades.mp3?orgId=1&topicId=613820055&aggIds=622671774&d=418&p=3&story=738587297&ft=nprml&f=738587297","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>This year at the Grammy Awards, backed by a chorus of contemporary Nashville stars, \u003ca href=\"https://www.npr.org/artists/15750509/dolly-parton\">Dolly Parton\u003c/a> brought the house down with a song older than most of the performers onstage. It’s the same song Elizabeth Warren walked out to when she announced her presidential run in February. The story of that song begins decades ago, behind a desk.\u003c/p>\n\u003cp>“It was the kind of job where you were just not seen.” Karen Nussbaum has spent most of her career as a labor leader and organizer, but she started in the early 1970s as an office worker, in a job she says she does not remember fondly. “You were just part of the wallpaper,” she says. “I remember sitting at my desk one day and a student came in — I worked at a university — and looked me dead in the eye and said, ‘Isn’t anybody here?’ It was those kinds of things that just got under your skin a lot.”\u003c/p>\n\u003cp>Nussbaum and some friends got together to talk about their frustrations. The result was a new organization with the mission of supporting women in the workplace, which they called \u003ca href=\"https://9to5.org/\">9to5\u003c/a>. When their story made its way to Jane Fonda, whom Nussbaum knew through the antiwar movement, it helped inspire something else: A movie starring Fonda, Lily Tomlin and Dolly Parton as three fed-up working women, with Dabney Coleman as their insufferable boss.\u003c/p>\n\u003cp>\u003cem>9 to 5\u003c/em> was a revenge fantasy for women who felt overworked, underpaid and disrespected. The film hit No. 2 at the box office in 1980, beaten only by \u003cem>The Empire Strikes Back\u003c/em>. But its \u003ca href=\"https://www.youtube.com/watch?v=UbxUSsFXYo4\">original theme song\u003c/a>, written and performed by Parton, had a life of its own, reaching No. 1 on three different Billboard charts and earning an Oscar nomination. It begins with a sound like a typewriter, which Parton happened on by clicking her fingernails.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UbxUSsFXYo4'\n title='//www.youtube.com/embed/UbxUSsFXYo4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I think the song is brilliant,” Nussbaum says. “It starts with pride: ‘Pour myself a cup of ambition.’ It goes to grievances: ‘Barely getting by.’ It then goes to class conflict: ‘You’re just a step on the bossman’s ladder.’ And then it ends with collective power: ‘In the same boat with a lot of your friends.’ So in the space of this wildly popular song with a great beat, Dolly Parton just puts it all together by herself.”\u003c/p>\n\u003cp>Rebecca Traister, a \u003cem>New York\u003c/em> magazine writer who comments frequently on feminism and politics (her most recent book, \u003cem>Good and Mad\u003c/em>, is about the power of women’s anger), says the song had a similar effect on her when she worked as an administrative assistant. Though the song was more than 20 years old by then, she and her friends would still sing along to it on the local bar’s jukebox when work left them stressed out and feeling stuck.\u003c/p>\n\u003cp>“It’s a song that contains complaints about so many frustrations and inequities and injustices within a workplace — some of them gendered, some of them capitalist, some of them about how power is so unequally distributed,” Traister says. “It is simultaneously a song of angry complaint and immense good cheer. And there is something about that combination that makes it kind of addictive and fun.”\u003c/p>\n\u003cp>A different take on the song emerged last spring, when \u003cem>This American Life\u003c/em> commissioned Merrill Garbus of \u003ca href=\"https://www.npr.org/tags/578943585/tune-yards\">Tune-Yards\u003c/a> to record \u003ca href=\"https://www.thisamericanlife.org/extras/9-to-5-by-merrill-garbus-of-tune-yards\">a cover of “9 to 5”\u003c/a> for an episode dealing with workplace harassment. Garbus, who was a secretary, cleaned houses and stocked grocery shelves on her way to a music career, says Parton’s lyrics capture so much about the reality of workers’ daily lives — and their dreams.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AqUKOV27tAM'\n title='//www.youtube.com/embed/AqUKOV27tAM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“How much dreaming it takes to get through some of those days, some of those miserable days that feel dehumanizing, cleaning up other peoples’ messes and generally being treated like trash, how much dreaming is needed in those times to get up the next morning and do it all again,” she says.\u003c/p>\n\u003cp>Garbus’ version of the song ends abruptly on the line “It’s a rich man’s game, no matter what they call it,” leaving things on a far more pointed note than the original. “I felt like I didn’t want to be cute with it,” she explains. “I wanted it to end with a period, exclamation point, question mark.”\u003c/p>\n\u003cp>Whether one is ending it with a question mark, belting it out in a bar, organizing labor or running for president “9 to 5” is a song that pretty much anyone who’s ever had to work for a living can relate to — especially women.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13861201/a-cup-of-ambition-and-endurance-9-to-5-unites-workers-across-decades","authors":["byline_arts_13861201"],"categories":["arts_69","arts_235","arts_75"],"tags":["arts_7534","arts_7535","arts_4088","arts_1962","arts_2388","arts_2639","arts_6013","arts_596"],"affiliates":["arts_137"],"featImg":"arts_13861313","label":"arts_137"},"arts_13858679":{"type":"posts","id":"arts_13858679","meta":{"index":"posts_1591205157","site":"arts","id":"13858679","score":null,"sort":[1559326738000]},"guestAuthors":[],"slug":"country-music-by-ken-burns-chronicles-the-evolution-of-a-truly-american-music","title":"'Country Music' by Ken Burns Chronicles the Evolution of a Truly American Music","publishDate":1559326738,"format":"standard","headTitle":"‘Country Music’ by Ken Burns Chronicles the Evolution of a Truly American Music | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Step back in time and journey through the compelling history of a truly American art form when \u003cem>Country Music\u003c/em>, a new documentary series directed by Ken Burns, premieres on KQED 9 beginning Sunday, Sept. 15, 2019. Over eight two-hour episodes, the series chronicles country music’s early days, from southern Appalachia’s songs of struggle, heartbreak and faith to the rollicking western swing of Texas, California’s honky-tonks and Nashville’s “Grand Ole Opry.” The film series follows the evolution of country music over the course of the 20th century as it eventually emerges to become “America’s music.” \u003c/p>\n\u003cp>Produced by Burns and his long-time collaborators Dayton Duncan and Julie Dunfey, the series asks: What is country music? And where did it come from? Focusing on the biographies of the fascinating trailblazers who created and shaped it—from the Carter Family, Jimmie Rodgers, Bill Monroe and Bob Wills to Hank Williams, Patsy Cline, Johnny Cash, Merle Haggard, Loretta Lynn, Charley Pride, Willie Nelson, Dolly Parton, Emmylou Harris, Garth Brooks and many more—the series tells unforgettable stories of hardships and joys shared by everyday people and the times in which they lived. \u003c/p>\n\u003cp>https://youtu.be/p80gOBTWASc?list=PLzkQfVIJun2I1nBMl6PTyv4vH-3NfoN0n\u003c/p>\n\u003cp>Although the Bay Area is not the first region most music fans think of when they think of country music, the area has made its own quirky contributions to the genre. Over the next few months through the premiere of \u003cem>Country Music\u003c/em>, KQED will share profiles and several of the stories that highlight the Northern California’s unique intersection with this American art form. \u003c/p>\n\u003cp>\u003cem>Country Music\u003c/em> premieres Sunday, Sept. 15 through Wednesday, Sept. 18, and Sunday, Sept. 22 through Wednesday, Sept. 25 at 8pm on KQED 9 and will be available for streaming on the PBS Video App and \u003ca href=\"https://video.kqed.org/\" rel=\"noopener\" target=\"_blank\">online at video.kqed.org\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The documentary airs Sept. 15–25 on KQED 9 and on streaming.","status":"publish","parent":0,"modified":1705026112,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":328},"headData":{"title":"'Country Music' by Ken Burns Chronicles the Evolution of a Truly American Music | KQED","description":"The documentary airs Sept. 15–25 on KQED 9 and on streaming.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Country Music' by Ken Burns Chronicles the Evolution of a Truly American Music","datePublished":"2019-05-31T18:18:58.000Z","dateModified":"2024-01-12T02:21:52.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Peter Cavagnaro","path":"/arts/13858679/country-music-by-ken-burns-chronicles-the-evolution-of-a-truly-american-music","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Step back in time and journey through the compelling history of a truly American art form when \u003cem>Country Music\u003c/em>, a new documentary series directed by Ken Burns, premieres on KQED 9 beginning Sunday, Sept. 15, 2019. Over eight two-hour episodes, the series chronicles country music’s early days, from southern Appalachia’s songs of struggle, heartbreak and faith to the rollicking western swing of Texas, California’s honky-tonks and Nashville’s “Grand Ole Opry.” The film series follows the evolution of country music over the course of the 20th century as it eventually emerges to become “America’s music.” \u003c/p>\n\u003cp>Produced by Burns and his long-time collaborators Dayton Duncan and Julie Dunfey, the series asks: What is country music? And where did it come from? Focusing on the biographies of the fascinating trailblazers who created and shaped it—from the Carter Family, Jimmie Rodgers, Bill Monroe and Bob Wills to Hank Williams, Patsy Cline, Johnny Cash, Merle Haggard, Loretta Lynn, Charley Pride, Willie Nelson, Dolly Parton, Emmylou Harris, Garth Brooks and many more—the series tells unforgettable stories of hardships and joys shared by everyday people and the times in which they lived. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/p80gOBTWASc'\n title='//www.youtube.com/embed/p80gOBTWASc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Although the Bay Area is not the first region most music fans think of when they think of country music, the area has made its own quirky contributions to the genre. Over the next few months through the premiere of \u003cem>Country Music\u003c/em>, KQED will share profiles and several of the stories that highlight the Northern California’s unique intersection with this American art form. \u003c/p>\n\u003cp>\u003cem>Country Music\u003c/em> premieres Sunday, Sept. 15 through Wednesday, Sept. 18, and Sunday, Sept. 22 through Wednesday, Sept. 25 at 8pm on KQED 9 and will be available for streaming on the PBS Video App and \u003ca href=\"https://video.kqed.org/\" rel=\"noopener\" target=\"_blank\">online at video.kqed.org\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13858679/country-music-by-ken-burns-chronicles-the-evolution-of-a-truly-american-music","authors":["byline_arts_13858679"],"categories":["arts_69","arts_990"],"tags":["arts_7534","arts_7535","arts_13672","arts_1254","arts_2041"],"featImg":"arts_13858682","label":"arts"},"arts_13854359":{"type":"posts","id":"arts_13854359","meta":{"index":"posts_1591205157","site":"arts","id":"13854359","score":null,"sort":[1554482980000]},"guestAuthors":[],"slug":"old-town-road-lil-nas-x-billy-ray-cyrus","title":"'Old Town Road' is Country Music for the 21st Century","publishDate":1554482980,"format":"standard","headTitle":"‘Old Town Road’ is Country Music for the 21st Century | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>When Billboard \u003ca href=\"https://hiphopwired.com/playlist/lil-nas-x-old-town-road-billboard/\" target=\"_blank\" rel=\"noopener\">removed\u003c/a> Lil Nas X’s “Old Town Road” from its country charts last week—stating, essentially, that the song wasn’t country enough—the decision \u003ca href=\"https://www.npr.org/2019/04/05/710021098/lil-nas-x-country-musics-unlikely-son-sparks-conversation-on-genre-and-race\" target=\"_blank\" rel=\"noopener\">sparked a debate\u003c/a> about whether black artists have the same leeway to push genre boundaries as white artists.\u003c/p>\n\u003cp>The country-trap bop, which incorporates banjos, rural lyrics and a Southern twang over trap drums, doesn’t fall squarely into the country \u003cem>or\u003c/em> the rap camp, instead fusing elements of both for a very 2019, genre-agnostic sound.\u003c/p>\n\u003cp>https://youtu.be/w2Ov5jzm3j8\u003c/p>\n\u003cp>Critics quickly \u003ca href=\"https://www.npr.org/2019/03/29/708170981/does-country-music-have-room-for-new-sounds-in-its-genre\" target=\"_blank\" rel=\"noopener\">raised the fact\u003c/a> that white artists like Taylor Swift and Jason Aldrean don’t encounter the same pushback from country music gatekeepers for incorporating pop and rap elements in their work. Meanwhile, experimental artists such as FKA Twigs and Moses Sumney have long spoken about the ways black artists get \u003ca href=\"https://pitchfork.com/thepitch/black-musicians-on-being-boxed-in-by-randb-and-rap-expectations-we-fit-in-so-many-things/\" target=\"_blank\" rel=\"noopener\">boxed into rap and R&B categories\u003c/a>, even when their music has more kinship with electronic artists such as Björk.\u003c/p>\n\u003cp>Yesterday, Lil Nas X got a little help from another country star who faced pushback in his heyday: Billy Ray Cyrus. Cyrus’ hit “Achy Breaky Heart” stirred controversy in the country world when it came out in 1992; singer \u003ca href=\"https://theboot.com/country-musics-biggest-feuds/\" target=\"_blank\" rel=\"noopener\">Travis Tritt\u003c/a> called it “frivolous” and said he didn’t want country music to turn into an “ass-wiggling contest.” (Lol.) That didn’t stop “Achy Breaky Heart” from hitting No. 1 in four countries and going triple Platinum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/billyraycyrus/status/1113531625336385536\u003c/p>\n\u003cp>“Only Outlaws are outlawed. Welcome to the club!” Cyrus tweeted to Lil Nas X on April 3. The next day, the two went into the studio to record an “Old Town Road” remix, which dropped last night at midnight, and surprisingly slaps even harder than the original. Cyrus, who’s lived the Hollywood lifestyle for decades, flexes as hard as Migos when he sings, “Baby’s gotta have her diamond rings and Fendi sports bra / Driving down Rodeo in my Maserati sports car.”\u003c/p>\n\u003cp>https://twitter.com/billyraycyrus/status/1114029371168313344\u003c/p>\n\u003cp>The playful, intergenerational and genre-crossing collaboration is a lot of fun, and there’s not a huge difference between Lil Nas X and Cyrus’ cadences. The seamless way their styles fit together points to the shared roots of rap and country: blues. In fact, most American music, from house to rock ‘n’ roll, started with the innovations of African-American artists. It makes perfect sense that a young black artist would put his own spin on country in the 21st century.\u003c/p>\n\u003cp>Just as genre lines are dissolving, the landscape of America is changing. As large cities become gentrified, and as communities of color migrate to suburban and rural areas, music once classified as “urban” isn’t necessarily being made in urban environments. These demographic changes are redefining America’s cultural landscape, and leading to new creative directions.\u003c/p>\n\u003cp>At this time of cross-pollination, when the internet exposes us to unexpected influences and collaborators, the genre categories of yore do a disservice to gloriously unclassifiable music like “Old Town Road.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/7ysFgElQtjI\u003c/p>\n\n","blocks":[],"excerpt":"The genre-agnostic \"Old Town Road\" makes perfect sense in America's shifting social landscape. ","status":"publish","parent":0,"modified":1705026372,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":551},"headData":{"title":"'Old Town Road' is Country Music for the 21st Century | KQED","description":"The genre-agnostic "Old Town Road" makes perfect sense in America's shifting social landscape. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Old Town Road' is Country Music for the 21st Century","datePublished":"2019-04-05T16:49:40.000Z","dateModified":"2024-01-12T02:26:12.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13854359/old-town-road-lil-nas-x-billy-ray-cyrus","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Billboard \u003ca href=\"https://hiphopwired.com/playlist/lil-nas-x-old-town-road-billboard/\" target=\"_blank\" rel=\"noopener\">removed\u003c/a> Lil Nas X’s “Old Town Road” from its country charts last week—stating, essentially, that the song wasn’t country enough—the decision \u003ca href=\"https://www.npr.org/2019/04/05/710021098/lil-nas-x-country-musics-unlikely-son-sparks-conversation-on-genre-and-race\" target=\"_blank\" rel=\"noopener\">sparked a debate\u003c/a> about whether black artists have the same leeway to push genre boundaries as white artists.\u003c/p>\n\u003cp>The country-trap bop, which incorporates banjos, rural lyrics and a Southern twang over trap drums, doesn’t fall squarely into the country \u003cem>or\u003c/em> the rap camp, instead fusing elements of both for a very 2019, genre-agnostic sound.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/w2Ov5jzm3j8'\n title='//www.youtube.com/embed/w2Ov5jzm3j8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Critics quickly \u003ca href=\"https://www.npr.org/2019/03/29/708170981/does-country-music-have-room-for-new-sounds-in-its-genre\" target=\"_blank\" rel=\"noopener\">raised the fact\u003c/a> that white artists like Taylor Swift and Jason Aldrean don’t encounter the same pushback from country music gatekeepers for incorporating pop and rap elements in their work. Meanwhile, experimental artists such as FKA Twigs and Moses Sumney have long spoken about the ways black artists get \u003ca href=\"https://pitchfork.com/thepitch/black-musicians-on-being-boxed-in-by-randb-and-rap-expectations-we-fit-in-so-many-things/\" target=\"_blank\" rel=\"noopener\">boxed into rap and R&B categories\u003c/a>, even when their music has more kinship with electronic artists such as Björk.\u003c/p>\n\u003cp>Yesterday, Lil Nas X got a little help from another country star who faced pushback in his heyday: Billy Ray Cyrus. Cyrus’ hit “Achy Breaky Heart” stirred controversy in the country world when it came out in 1992; singer \u003ca href=\"https://theboot.com/country-musics-biggest-feuds/\" target=\"_blank\" rel=\"noopener\">Travis Tritt\u003c/a> called it “frivolous” and said he didn’t want country music to turn into an “ass-wiggling contest.” (Lol.) That didn’t stop “Achy Breaky Heart” from hitting No. 1 in four countries and going triple Platinum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1113531625336385536"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Only Outlaws are outlawed. Welcome to the club!” Cyrus tweeted to Lil Nas X on April 3. The next day, the two went into the studio to record an “Old Town Road” remix, which dropped last night at midnight, and surprisingly slaps even harder than the original. Cyrus, who’s lived the Hollywood lifestyle for decades, flexes as hard as Migos when he sings, “Baby’s gotta have her diamond rings and Fendi sports bra / Driving down Rodeo in my Maserati sports car.”\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1114029371168313344"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The playful, intergenerational and genre-crossing collaboration is a lot of fun, and there’s not a huge difference between Lil Nas X and Cyrus’ cadences. The seamless way their styles fit together points to the shared roots of rap and country: blues. In fact, most American music, from house to rock ‘n’ roll, started with the innovations of African-American artists. It makes perfect sense that a young black artist would put his own spin on country in the 21st century.\u003c/p>\n\u003cp>Just as genre lines are dissolving, the landscape of America is changing. As large cities become gentrified, and as communities of color migrate to suburban and rural areas, music once classified as “urban” isn’t necessarily being made in urban environments. These demographic changes are redefining America’s cultural landscape, and leading to new creative directions.\u003c/p>\n\u003cp>At this time of cross-pollination, when the internet exposes us to unexpected influences and collaborators, the genre categories of yore do a disservice to gloriously unclassifiable music like “Old Town Road.”\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7ysFgElQtjI'\n title='//www.youtube.com/embed/7ysFgElQtjI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13854359/old-town-road-lil-nas-x-billy-ray-cyrus","authors":["11387"],"categories":["arts_69"],"tags":["arts_7112","arts_7535","arts_1118","arts_7108","arts_596"],"featImg":"arts_13854363","label":"arts"},"arts_13853114":{"type":"posts","id":"arts_13853114","meta":{"index":"posts_1591205157","site":"arts","id":"13853114","score":null,"sort":[1552946450000]},"guestAuthors":[],"slug":"long-road-society-oakland-run-with-the-moon-desiree-cannon","title":"Under the Full Moon, a Roots Music Scene Grows in Oakland","publishDate":1552946450,"format":"standard","headTitle":"Under the Full Moon, a Roots Music Scene Grows in Oakland | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>When the \u003ca href=\"http://www.starlinesocialclub.com/StarlineSite/\" target=\"_blank\" rel=\"noopener\">Starline Social Club\u003c/a> opened in Oakland in 2015, Lisa Pezzino started playing records there on Wednesdays. “I’d end the night with a set of sad country—\u003ca href=\"https://www.youtube.com/watch?v=gBn6w5BSxjs\" target=\"_blank\" rel=\"noopener\">Blaze [Foley]\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=3hrfjSaW8TQ\" target=\"_blank\" rel=\"noopener\">Townes [Van Zandt]\u003c/a>,” she says. The selections resonated with a server, Desiree Cannon, who was writing songs in a similarly plaintive, roots style. The two became friends and, later that year, booked a show for New York songwriter Feral Foster, with Cannon as the opener.\u003c/p>\n\u003cp>Many of the attendees were fellow songwriters. While Cannon was still on the clock, \u003ca href=\"http://longroadsociety.com/artists/hollow-bones/index.html\" target=\"_blank\" rel=\"noopener\">Hollow Bones\u003c/a> frontman Kit Center tested the speakers. “He didn’t fill up the space with notes,” she says of his impromptu performance. “There was room for feeling.” By the end of the night, the show-goers were passing a guitar. The next gig, booked for a pair of train-hopper friends who play banjo and fiddle, happened in the small side room. Cannon lit candles and decorated the stage with roses.\u003c/p>\n\u003cp>“We couldn’t have a campfire, couldn’t be sitting in the grass, but it was the next best thing,” Cannon says.\u003c/p>\n\u003cfigure id=\"attachment_13853156\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853156\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Desiree-Cannon-3-800x450.jpg\" alt=\"Run With the Moon host Desiree Cannon grew up shuttling between San Francisco and her grandfather's cattle ranch in San Benito County.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Desiree-Cannon-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Desiree-Cannon-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Desiree-Cannon-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Desiree-Cannon-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Desiree-Cannon-3-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Desiree-Cannon-3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Run With the Moon host Desiree Cannon grew up shuttling between San Francisco and her grandfather’s cattle ranch in San Benito County. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Center recalls being struck by the focus and stillness in the room. “You could hear a pin drop,” he says. “We’d been feeling the absence of a place for this kind of music for a long time.”\u003c/p>\n\u003cp>The shows were the first installments of what became Run With the Moon, a popular showcase of local and touring songwriters that anchors the record label \u003ca href=\"http://www.longroadsociety.com/\">Long Road Society\u003c/a> and a country-folk scene in Oakland. Named for a song by Van Zandt (who Pezzino called “our patron saint”), it occurs every full moon (they hold dates a year in advance) and is hosted, salon-style, by resident songwriters Cannon, Center and Sarah Rose Janko of Dawn Riding.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pezzino, who co-organizes the night and plays drums in Hollow Bones, spoke recently in the living room of her home, which doubles as a recording studio, on a hill above Glen Echo Creek in Oakland. Center tended to logs in the fireplace. Run With the Moon, which officially started three years ago this month, attracted songwriters “like moths to a flame,” she says. “I felt surrounded by talent, but they were all at the beginning of their careers—no debut albums.”\u003c/p>\n\u003cfigure id=\"attachment_13853160\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853160\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/L-to-R-Hall-McCann-Sarah-Rose-Janko-Jasmyn-Wong-of-Dawn-Riding-800x450.jpg\" alt=\"Left to right: Hall McCann, Sarah Rose Janko and Jasmyn Wong of Long Road Society act Dawn Riding.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/L-to-R-Hall-McCann-Sarah-Rose-Janko-Jasmyn-Wong-of-Dawn-Riding-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/L-to-R-Hall-McCann-Sarah-Rose-Janko-Jasmyn-Wong-of-Dawn-Riding-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/L-to-R-Hall-McCann-Sarah-Rose-Janko-Jasmyn-Wong-of-Dawn-Riding-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/L-to-R-Hall-McCann-Sarah-Rose-Janko-Jasmyn-Wong-of-Dawn-Riding-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/L-to-R-Hall-McCann-Sarah-Rose-Janko-Jasmyn-Wong-of-Dawn-Riding-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/L-to-R-Hall-McCann-Sarah-Rose-Janko-Jasmyn-Wong-of-Dawn-Riding.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Hall McCann, Sarah Rose Janko and Jasmyn Wong of Long Road Society act Dawn Riding. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last year, Pezzino, Center and Morgan Nixon launched Long Road Society with an album by \u003ca href=\"http://longroadsociety.com/artists/sitka-sun/index.html\" target=\"_blank\" rel=\"noopener\">Sitka Sun\u003c/a>, creating a platform for the artists orbiting Run With the Moon. Janko of \u003ca href=\"http://www.longroadsociety.com/artists/dawn-riding/index.html\">Dawn Riding\u003c/a> writes earnest, windswept songs with an itinerant heart, her lilt enriched by harmonies with Hall McCann. \u003ca href=\"http://www.longroadsociety.com/artists/aviva-le-fey/index.html\">Aviva le Fey\u003c/a> likewise works in a clear register of bell-like melancholy atop spare instrumentation, while \u003ca href=\"http://www.longroadsociety.com/artists/mikayla-mcvey/index.html\">Mikayla McVey\u003c/a> uses gossamer finger-picking to stirring effect.\u003c/p>\n\u003cp>McVey and Sitka Sun, an instrumental ensemble led by Patrick Murphy, headline Run With the Moon’s free, third-anniversary installment with the regular hosts this Wednesday at Starline. Expected guests also include Jessica Leigh Smith, Karen Less and Liam Golden.\u003c/p>\n\u003cp>Cannon’s album, \u003cem>Beach Sleeper\u003c/em>, which Center recorded on reel-to-reel at the creekside home studio, stands out among the label’s releases for its somber, rocking-chair swagger. “Rose of No Man’s Land” is a narcotic waltz, while the ambling “Long Road” sets teardrop guitar melodies against Cannon’s wistful voice. “Oh Darlin’,” a Shangri Las-style ballad at the album’s core, captures the whiplash between regret and spite, resentment and righteous self-preservation of breaking up.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=881631982/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Cannon grew up shuttling between San Francisco and her grandfather’s cattle ranch in San Benito County (south of Santa Cruz), where she absorbed Hank Williams Sr. on cassette and the frontier pulp of novelist Louis L’Amour. (She noted L’Amour’s matriarchal ranch motif as a particular inspiration.) Cannon went to college in New York, but dropped out. She started appearing at the Brooklyn songwriter showcase Roots and Ruckus, pining for the Bay Area while writing material that would appear on \u003cem>Beach Sleeper\u003c/em>.\u003c/p>\n\u003cp>“I’d come from my grandparents’ place, riding horses through the rolling hills of Steinbeck country,” she recalls before a recent show at the Cat House in Oakland. “So I was basically dying in New York. There was no horizon anywhere—you look up at the sky and it’s a grid.”\u003c/p>\n\u003cp>Cannon moved to Oakland in 2013 to study photography at California College of the Arts, and eventually started working at Starline. Playing guitar since the age of nine, she’d encountered Svengali types who wanted to architect her music career. But Cannon never felt as inclined to make an album as she did when Center and Pezzino, by then close friends through Run With the Moon, proposed recording and releasing \u003cem>Beach Sleeper\u003c/em> through Long Road last year.\u003c/p>\n\u003cfigure id=\"attachment_13853159\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853159\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/L-to-R-Aviva-Le-Fey-Karen-Less-Mikayla-McVey-Patrick-Murphy-of-Long-Road-roster-800x450.jpg\" alt=\"Left to right: Long Road Society signees Aviva le Fey, Karen Less, Mikayla McVey and Sitka Sun bandleader Patrick Murphy.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/L-to-R-Aviva-Le-Fey-Karen-Less-Mikayla-McVey-Patrick-Murphy-of-Long-Road-roster-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/L-to-R-Aviva-Le-Fey-Karen-Less-Mikayla-McVey-Patrick-Murphy-of-Long-Road-roster-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/L-to-R-Aviva-Le-Fey-Karen-Less-Mikayla-McVey-Patrick-Murphy-of-Long-Road-roster-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/L-to-R-Aviva-Le-Fey-Karen-Less-Mikayla-McVey-Patrick-Murphy-of-Long-Road-roster-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/L-to-R-Aviva-Le-Fey-Karen-Less-Mikayla-McVey-Patrick-Murphy-of-Long-Road-roster-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/L-to-R-Aviva-Le-Fey-Karen-Less-Mikayla-McVey-Patrick-Murphy-of-Long-Road-roster.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Long Road Society signees Aviva le Fey, Karen Less, Mikayla McVey and Sitka Sun bandleader Patrick Murphy. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Long Road is run by people who, until they launched the label, had never used Spotify. Pezzino and Center are longtime record collectors, and Nixon is a vinyl obsessive with expertise in the arcana of the early Jamaican record industry. (Long Road is slated to publish Nixon’s book on the storied Studio One label.) Still, they’ve learned the minutiae of digital distribution, and built websites and press kits for the Long Road roster, scoring praise from NPR and \u003cem>SF Weekly\u003c/em>.\u003c/p>\n\u003cp>Long Road signees have complicated views of authenticity and nostalgia. Cannon’s genuine connection to ranch life (“\u003cspan style=\"font-weight: 400\">I doubt most of the country singers on today’s radio have been arms deep in the ass of a cow in order to place her uterus back inside of her,” she quips) influences her feminist inversions of country tropes. (“Long Ride,” for example, is about her grandma’s career as a trucker.) And her study of country storytelling shapes her lyrics in urban settings.\u003c/span>\u003c/p>\n\u003cp>Janko, for years a train-hopper and busker, says she learned to play folk music through a folk lifestyle, gleaning songs from fellow travelers. But to her mind, folk refers to music made with the resources at hand, whether acoustic guitar or a cellphone. And she strongly rejects what she called roots revivalism, saying she won’t glorify a past that’s even more exploitative than the present.\u003c/p>\n\u003cfigure id=\"attachment_13853157\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853157\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Kit-Center-Lisa-Pezzino-Morgan-Nixon-at-Board-800x450.jpg\" alt=\"Left to right: Long Road Society operators Kit Center, Lisa Pezzino and Morgan Nixon.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Kit-Center-Lisa-Pezzino-Morgan-Nixon-at-Board-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Kit-Center-Lisa-Pezzino-Morgan-Nixon-at-Board-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Kit-Center-Lisa-Pezzino-Morgan-Nixon-at-Board-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Kit-Center-Lisa-Pezzino-Morgan-Nixon-at-Board-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Kit-Center-Lisa-Pezzino-Morgan-Nixon-at-Board-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Kit-Center-Lisa-Pezzino-Morgan-Nixon-at-Board.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Long Road Society operators Kit Center, Lisa Pezzino and Morgan Nixon. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As a feminist, anti-racist woman, how could I feel nostalgic?”\u003c/p>\n\u003cp>At Run With the Moon, there’s a revolving door between the stage and the dance floor. Like Long Road’s emphasis on home-recording and unvarnished feeling, it reminds Janko of punk scene camaraderie. At the Cat House show, where Dawn Riding shared the bill with Cannon and Zero Charisma, she pointed to a motorcyclist friend in the audience and thanked her for inspiring a song about how “you can’t cry with the wind in your eyes.”\u003c/p>\n\u003cp>That spirit colored the \u003cem>Beach Sleeper\u003c/em> release event last October at La Honda roadhouse Apple Jack’s. Friends from Oakland arrived by bike, bus and motorcycle, and they got along well with the locals; the bar owner allowed everyone to camp out back. “By the end of the night we were dancing,” Cannon says. “And after it closed we brought all of the bartenders to this school bus and passed a guitar.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The next Run with the Moon takes place at Starline Social Club on March 20. Details \u003ca href=\"http://www.starlinesocialclub.com/StarlineSite/event/run-with-the-moon-25/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Songwriter showcase Run With the Moon anchors a burgeoning country-folk community in the East Bay. ","status":"publish","parent":0,"modified":1705026468,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=881631982/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1373},"headData":{"title":"Under the Full Moon, a Roots Music Scene Grows in Oakland | KQED","description":"Songwriter showcase Run With the Moon anchors a burgeoning country-folk community in the East Bay. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Under the Full Moon, a Roots Music Scene Grows in Oakland","datePublished":"2019-03-18T22:00:50.000Z","dateModified":"2024-01-12T02:27:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13853114/long-road-society-oakland-run-with-the-moon-desiree-cannon","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the \u003ca href=\"http://www.starlinesocialclub.com/StarlineSite/\" target=\"_blank\" rel=\"noopener\">Starline Social Club\u003c/a> opened in Oakland in 2015, Lisa Pezzino started playing records there on Wednesdays. “I’d end the night with a set of sad country—\u003ca href=\"https://www.youtube.com/watch?v=gBn6w5BSxjs\" target=\"_blank\" rel=\"noopener\">Blaze [Foley]\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=3hrfjSaW8TQ\" target=\"_blank\" rel=\"noopener\">Townes [Van Zandt]\u003c/a>,” she says. The selections resonated with a server, Desiree Cannon, who was writing songs in a similarly plaintive, roots style. The two became friends and, later that year, booked a show for New York songwriter Feral Foster, with Cannon as the opener.\u003c/p>\n\u003cp>Many of the attendees were fellow songwriters. While Cannon was still on the clock, \u003ca href=\"http://longroadsociety.com/artists/hollow-bones/index.html\" target=\"_blank\" rel=\"noopener\">Hollow Bones\u003c/a> frontman Kit Center tested the speakers. “He didn’t fill up the space with notes,” she says of his impromptu performance. “There was room for feeling.” By the end of the night, the show-goers were passing a guitar. The next gig, booked for a pair of train-hopper friends who play banjo and fiddle, happened in the small side room. Cannon lit candles and decorated the stage with roses.\u003c/p>\n\u003cp>“We couldn’t have a campfire, couldn’t be sitting in the grass, but it was the next best thing,” Cannon says.\u003c/p>\n\u003cfigure id=\"attachment_13853156\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853156\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Desiree-Cannon-3-800x450.jpg\" alt=\"Run With the Moon host Desiree Cannon grew up shuttling between San Francisco and her grandfather's cattle ranch in San Benito County.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Desiree-Cannon-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Desiree-Cannon-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Desiree-Cannon-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Desiree-Cannon-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Desiree-Cannon-3-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Desiree-Cannon-3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Run With the Moon host Desiree Cannon grew up shuttling between San Francisco and her grandfather’s cattle ranch in San Benito County. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Center recalls being struck by the focus and stillness in the room. “You could hear a pin drop,” he says. “We’d been feeling the absence of a place for this kind of music for a long time.”\u003c/p>\n\u003cp>The shows were the first installments of what became Run With the Moon, a popular showcase of local and touring songwriters that anchors the record label \u003ca href=\"http://www.longroadsociety.com/\">Long Road Society\u003c/a> and a country-folk scene in Oakland. Named for a song by Van Zandt (who Pezzino called “our patron saint”), it occurs every full moon (they hold dates a year in advance) and is hosted, salon-style, by resident songwriters Cannon, Center and Sarah Rose Janko of Dawn Riding.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pezzino, who co-organizes the night and plays drums in Hollow Bones, spoke recently in the living room of her home, which doubles as a recording studio, on a hill above Glen Echo Creek in Oakland. Center tended to logs in the fireplace. Run With the Moon, which officially started three years ago this month, attracted songwriters “like moths to a flame,” she says. “I felt surrounded by talent, but they were all at the beginning of their careers—no debut albums.”\u003c/p>\n\u003cfigure id=\"attachment_13853160\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853160\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/L-to-R-Hall-McCann-Sarah-Rose-Janko-Jasmyn-Wong-of-Dawn-Riding-800x450.jpg\" alt=\"Left to right: Hall McCann, Sarah Rose Janko and Jasmyn Wong of Long Road Society act Dawn Riding.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/L-to-R-Hall-McCann-Sarah-Rose-Janko-Jasmyn-Wong-of-Dawn-Riding-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/L-to-R-Hall-McCann-Sarah-Rose-Janko-Jasmyn-Wong-of-Dawn-Riding-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/L-to-R-Hall-McCann-Sarah-Rose-Janko-Jasmyn-Wong-of-Dawn-Riding-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/L-to-R-Hall-McCann-Sarah-Rose-Janko-Jasmyn-Wong-of-Dawn-Riding-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/L-to-R-Hall-McCann-Sarah-Rose-Janko-Jasmyn-Wong-of-Dawn-Riding-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/L-to-R-Hall-McCann-Sarah-Rose-Janko-Jasmyn-Wong-of-Dawn-Riding.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Hall McCann, Sarah Rose Janko and Jasmyn Wong of Long Road Society act Dawn Riding. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last year, Pezzino, Center and Morgan Nixon launched Long Road Society with an album by \u003ca href=\"http://longroadsociety.com/artists/sitka-sun/index.html\" target=\"_blank\" rel=\"noopener\">Sitka Sun\u003c/a>, creating a platform for the artists orbiting Run With the Moon. Janko of \u003ca href=\"http://www.longroadsociety.com/artists/dawn-riding/index.html\">Dawn Riding\u003c/a> writes earnest, windswept songs with an itinerant heart, her lilt enriched by harmonies with Hall McCann. \u003ca href=\"http://www.longroadsociety.com/artists/aviva-le-fey/index.html\">Aviva le Fey\u003c/a> likewise works in a clear register of bell-like melancholy atop spare instrumentation, while \u003ca href=\"http://www.longroadsociety.com/artists/mikayla-mcvey/index.html\">Mikayla McVey\u003c/a> uses gossamer finger-picking to stirring effect.\u003c/p>\n\u003cp>McVey and Sitka Sun, an instrumental ensemble led by Patrick Murphy, headline Run With the Moon’s free, third-anniversary installment with the regular hosts this Wednesday at Starline. Expected guests also include Jessica Leigh Smith, Karen Less and Liam Golden.\u003c/p>\n\u003cp>Cannon’s album, \u003cem>Beach Sleeper\u003c/em>, which Center recorded on reel-to-reel at the creekside home studio, stands out among the label’s releases for its somber, rocking-chair swagger. “Rose of No Man’s Land” is a narcotic waltz, while the ambling “Long Road” sets teardrop guitar melodies against Cannon’s wistful voice. “Oh Darlin’,” a Shangri Las-style ballad at the album’s core, captures the whiplash between regret and spite, resentment and righteous self-preservation of breaking up.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=881631982/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Cannon grew up shuttling between San Francisco and her grandfather’s cattle ranch in San Benito County (south of Santa Cruz), where she absorbed Hank Williams Sr. on cassette and the frontier pulp of novelist Louis L’Amour. (She noted L’Amour’s matriarchal ranch motif as a particular inspiration.) Cannon went to college in New York, but dropped out. She started appearing at the Brooklyn songwriter showcase Roots and Ruckus, pining for the Bay Area while writing material that would appear on \u003cem>Beach Sleeper\u003c/em>.\u003c/p>\n\u003cp>“I’d come from my grandparents’ place, riding horses through the rolling hills of Steinbeck country,” she recalls before a recent show at the Cat House in Oakland. “So I was basically dying in New York. There was no horizon anywhere—you look up at the sky and it’s a grid.”\u003c/p>\n\u003cp>Cannon moved to Oakland in 2013 to study photography at California College of the Arts, and eventually started working at Starline. Playing guitar since the age of nine, she’d encountered Svengali types who wanted to architect her music career. But Cannon never felt as inclined to make an album as she did when Center and Pezzino, by then close friends through Run With the Moon, proposed recording and releasing \u003cem>Beach Sleeper\u003c/em> through Long Road last year.\u003c/p>\n\u003cfigure id=\"attachment_13853159\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853159\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/L-to-R-Aviva-Le-Fey-Karen-Less-Mikayla-McVey-Patrick-Murphy-of-Long-Road-roster-800x450.jpg\" alt=\"Left to right: Long Road Society signees Aviva le Fey, Karen Less, Mikayla McVey and Sitka Sun bandleader Patrick Murphy.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/L-to-R-Aviva-Le-Fey-Karen-Less-Mikayla-McVey-Patrick-Murphy-of-Long-Road-roster-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/L-to-R-Aviva-Le-Fey-Karen-Less-Mikayla-McVey-Patrick-Murphy-of-Long-Road-roster-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/L-to-R-Aviva-Le-Fey-Karen-Less-Mikayla-McVey-Patrick-Murphy-of-Long-Road-roster-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/L-to-R-Aviva-Le-Fey-Karen-Less-Mikayla-McVey-Patrick-Murphy-of-Long-Road-roster-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/L-to-R-Aviva-Le-Fey-Karen-Less-Mikayla-McVey-Patrick-Murphy-of-Long-Road-roster-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/L-to-R-Aviva-Le-Fey-Karen-Less-Mikayla-McVey-Patrick-Murphy-of-Long-Road-roster.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Long Road Society signees Aviva le Fey, Karen Less, Mikayla McVey and Sitka Sun bandleader Patrick Murphy. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Long Road is run by people who, until they launched the label, had never used Spotify. Pezzino and Center are longtime record collectors, and Nixon is a vinyl obsessive with expertise in the arcana of the early Jamaican record industry. (Long Road is slated to publish Nixon’s book on the storied Studio One label.) Still, they’ve learned the minutiae of digital distribution, and built websites and press kits for the Long Road roster, scoring praise from NPR and \u003cem>SF Weekly\u003c/em>.\u003c/p>\n\u003cp>Long Road signees have complicated views of authenticity and nostalgia. Cannon’s genuine connection to ranch life (“\u003cspan style=\"font-weight: 400\">I doubt most of the country singers on today’s radio have been arms deep in the ass of a cow in order to place her uterus back inside of her,” she quips) influences her feminist inversions of country tropes. (“Long Ride,” for example, is about her grandma’s career as a trucker.) And her study of country storytelling shapes her lyrics in urban settings.\u003c/span>\u003c/p>\n\u003cp>Janko, for years a train-hopper and busker, says she learned to play folk music through a folk lifestyle, gleaning songs from fellow travelers. But to her mind, folk refers to music made with the resources at hand, whether acoustic guitar or a cellphone. And she strongly rejects what she called roots revivalism, saying she won’t glorify a past that’s even more exploitative than the present.\u003c/p>\n\u003cfigure id=\"attachment_13853157\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853157\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Kit-Center-Lisa-Pezzino-Morgan-Nixon-at-Board-800x450.jpg\" alt=\"Left to right: Long Road Society operators Kit Center, Lisa Pezzino and Morgan Nixon.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Kit-Center-Lisa-Pezzino-Morgan-Nixon-at-Board-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Kit-Center-Lisa-Pezzino-Morgan-Nixon-at-Board-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Kit-Center-Lisa-Pezzino-Morgan-Nixon-at-Board-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Kit-Center-Lisa-Pezzino-Morgan-Nixon-at-Board-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Kit-Center-Lisa-Pezzino-Morgan-Nixon-at-Board-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Kit-Center-Lisa-Pezzino-Morgan-Nixon-at-Board.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Long Road Society operators Kit Center, Lisa Pezzino and Morgan Nixon. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As a feminist, anti-racist woman, how could I feel nostalgic?”\u003c/p>\n\u003cp>At Run With the Moon, there’s a revolving door between the stage and the dance floor. Like Long Road’s emphasis on home-recording and unvarnished feeling, it reminds Janko of punk scene camaraderie. At the Cat House show, where Dawn Riding shared the bill with Cannon and Zero Charisma, she pointed to a motorcyclist friend in the audience and thanked her for inspiring a song about how “you can’t cry with the wind in your eyes.”\u003c/p>\n\u003cp>That spirit colored the \u003cem>Beach Sleeper\u003c/em> release event last October at La Honda roadhouse Apple Jack’s. Friends from Oakland arrived by bike, bus and motorcycle, and they got along well with the locals; the bar owner allowed everyone to camp out back. “By the end of the night we were dancing,” Cannon says. “And after it closed we brought all of the bartenders to this school bus and passed a guitar.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The next Run with the Moon takes place at Starline Social Club on March 20. Details \u003ca href=\"http://www.starlinesocialclub.com/StarlineSite/event/run-with-the-moon-25/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13853114/long-road-society-oakland-run-with-the-moon-desiree-cannon","authors":["11091"],"categories":["arts_69"],"tags":["arts_7535","arts_1118","arts_596","arts_2830"],"featImg":"arts_13853158","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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