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James Elkington & Nathan Salsburg Release Guitar Duo Album

Albums of guitar duets are rare. Albums of guitar duets featuring one American and one Englishman, synthesizing their particular geographically specific approaches in a collection of new compositions, are even more rare. Not since Stefan Grossman and John Renbourn's partnerships of the 1970s has there been such a happy reconciliation of Merrie Old England and the good old USA, in which baroque meets the blues, music-hall steps out to ragtime, and Benjamin Britten sits down with Blind Blake.

James Elkington moved from London to Chicago around the turn of the millennium and has since released a string of albums as leader of The Zincs for Thrill Jockey Records.  After dissolving the band in 2008, Elkington has concentrated on acoustic, folk-tinged music with his band The Horse's Ha (that he shares with Freakwater's Janet Bean), culminating in the release of their debut album, Of The Cathmawr Yards in 2009. He is also the owner/operator of a clunky solo career, and moonlights convincingly as the guitar player in Jon Langford's (of The Mekons) Skull Orchard.

Nathan Salsburg is best known as an archivist and producer for the Alan Lomax Archive, curator of the Twos & Fews vernacular-music imprint on Drag City Records, and host of the "Root Hog Or Die" program on East Village Radio. But after a 2007 move from New York City back to his childhood home of Louisville, Kentucky - and the inclusion of a track on Tompkins Square's "Imaginational Anthem, Volume 3" compilation - he discovered adequate time, space, and energy to devote to guitar playing.

Elkington suggested a leap of faith into a collaboration, despite the fact that the two had never previously played guitar together. Avos, then, hither and thither over several seasons, between a porch in Louisville and a kitchen in Chicago, slowly took shape. Aptly, the name comes from the Russian word for the confident approach to new situations, and the faith that nothing tragic will occur once in them.

James Elkington & Nathan Salsburg play their record release show on Sunday, October 9th at The Hideout in Chicago. More shows will be scheduled in the coming weeks.

iClips to Live Stream STS9 from Red Rocks

The time of year has come again for STS9’s annual stop at the famed Red Rocks Amphitheatre. Since their first performance in 2003, the band has made Red Rocks a home away from home having played the venue over 10 times now with a total supporting cast of nearly 30 cutting edge acts in their prime sharing the stage with them through the years. In that time, they’ve been joined at Red Rocks by a plethora of music legends from Thievery Corporation, Jurassic 5, Pretty Lights, Bassnectar, Talib Kweli, The Glitch Mob, Ghostland Observatory and more. Every show at Red Rocks with STS9 is an event, full of surprises, musically and visually.

This year sees the band kicking off their Fall Tour in classic style at Red Rocks Amphitheater on September 9th & 10th with a great line-up including Snoop Dogg, Up Until Now, Savoy and LTJ Bukem. This year's opening acts will continue the tradition of diversifying the lineup by bringing in Hip-Hop legend Snoop Dogg and Drum n’ Bass legend LTJ Bukem to anchor the nights.

iClips is extremely excited to be there to bring you all the action once again LIVE, and in HD, from Red Rocks. Stay tuned for more details coming soon including price and show times.

For more information on the live broadcast visit www.iclips.net/livefaq

Nashville's Coolest Cat Kenny Vaughan to release V - 9/13

Sugar Hill Records is proud to announce the September 13th release of V, the long-awaited solo debut from Nashville’s not-so-secret weapon: Kenny Vaughan. Since first arriving in Music City in the late ‘80s from his home state of Colorado, Vaughan quickly set himself apart as a different breed of guitar-slinger—technically assured and, more importantly, armed with a deeply felt reverence for a wide range of musical traditions encompassing vintage country, classic pop, hard bop, and beyond. The ten tracks that comprise V dip toes in all of these waters, forming a handy crash course in the trademark wit, flash, and unfailing musicality that has kept Kenny Vaughan so in-demand for the past quarter-century.

Starting in 2001, Vaughan has been a member of Marty Stuart’s Fabulous Superlatives, a multi-faceted outfit capable of delivering anything from rollicking bluegrass to classic honky tonk to simmering gospel soul. Aside from one track featuring Vaughan’s Nashville-based organ trio, the Fabulous Superlatives back him throughout V, which opens with the show-stopping Superlatives rave-up “Country Music Got a Hold On Me” and continues through an eclectic program that touches upon western swing (“Hot Like That”), evocative low-twanging instrumentals (“Minuit Sur La Plage,” “Mysterium”), Rockpile-inflected country-pop (“Things I Do”), and even a bit of gutbucket swamp-funk featuring the Oak Ridge Boys (“Okolona, Tennessee”), before concluding with a righteous gospel shuffle, “Don’t Leave Home Without Jesus.”

Recipient of the 2006 Instrumentalist of the Year award from the Americana Music Association, Vaughan is one of the most prominent guitarists of today’s ongoing roots music renaissance. An early pupil of fellow Coloradoan (and fellow eclectic roots alchemist) Bill Frisell, Vaughan has since performed and recorded with an array acclaimed artists, including Lucinda Williams, Kim Richey, Rodney Crowell, Tim O’Brien, Jim Lauderdale, Elizabeth Cook, Greg Garing, and too many more to list. Equally comfortable on stage or in the studio, Vaughan can be relied upon for hot, twitchy country leads, bittersweet melodic jangle, and everything in between—all dispatched with the utmost taste and subtlety.

And, as V so aptly demonstrates, Kenny Vaughan is no slouch as a frontman, either. His songs and singing are charmingly conversational, with no shortage of memorable hooks and clever verbal volleys. His cohorts in the Fabulous Superlatives (including bossman Marty Stuart on guitar and mandolin) offer honest, road-tightened support that is honest and heartfelt. Sterling confirmation of the potential implied by each sideman gig, session, and walk-on, V may have been a little too long in arriving…but, after all, Kenny’s a busy guy.

Avett Brothers July 9 Concert from Red Rocks to be Simulcast Live

The Avett Brothers sold-out show on July 9th from Colorado’s famed Red Rocks Amphitheatre will be broadcast live via satellite to the band’s hometown of Concord, NC on the planets largest HDTV screen.  AEG Network LIVE is responsible for producing and shooting the entire event in HD and delivering it via iClips to Charlotte Motor Speedway. Charlotte Motor Speedway, home to the massive 80’ x 200’ Panasonic HDTV, will host Avett Brothers fans from near and far for a chance to be part of this exciting show as it happens live. Fans who can't make it to Colorado or North Carolina on July 9 will be able stream the show on iclips.net.

The live simulcast will give the Avett Brothers’ rabid local fan base the opportunity to view their historical show from Red Rocks on the speedway’s massive 80-foot-by-200-foot HD video board. The speedway will supply concert-grade speakers to turn the infield area in front of the video board into a one-of-a-kind concert venue.  Tickets for the July 9 simulcast on the world’s largest HDTV at Charlotte Motor Speedway are on sale now and can be purchased at the speedway ticket office or by calling 1-800-455-FANS (3267). Tickets are only $10 until July 1, when they will increase to $15 until July 8. Tickets purchased the day of the event, July 9, will cost $20.

“The speedway has been a hometown landmark for us our whole lives and we're proud to have an opportunity for our music to echo through that historical infield,” said Seth Avett. “For us, performing at Red Rocks and airing live in Concord is about the most ideal situation for being in two amazing places at once.”

The Avett Brothers front men, Scott and Seth Avett, who grew up on their father’s farm in Concord, quickly grew their fan base throughout the region with memorable energetic shows, which has become the band’s trademark.

The Avetts’ popularity skyrocketed on the heels on their major label debut, the 2009 album “I and Love and You.” Recently, the band has become accustomed to performing sold out concerts and in February they performed at the 53rd Grammy Awards in Los Angeles alongside Bob Dylan.

“We are so fortunate to travel and play the many places we do,” said Scott Avett. “To have an opportunity to share that with our supportive home town in a setting where great men like Richard Petty, Dale Earnhardt and David Pearson competed adds to the sense of pride that we feel to be a part of the Charlotte community and this event at Charlotte Motor Speedway.”

“This is going to be an unbelievable event,” said Marcus Smith, president and general manager of Charlotte Motor Speedway. “This is something that would have never been possible without the world’s largest HD video board. But, now we’re going to simulcast a live sold out show from one of the most famous concert venues in the world, featuring our home-town boys, the Avett Brothers, to their loyal fan following here in Charlotte. It’s going to be awesome!”

Introducing Nikki Lane! Gone, Gone, Gone EP Out July 19th

Nikki Lane’s Gone, Gone, Gone EP will be released July 19, 2011 on IAMSOUND. The EP will preview Lane’s full-length album out September 27, 2011 on IAMSOUND.

Nikki’s debut on IAMSOUND, the four-song EP titled Gone, Gone, Gone, features the title track (produced and co-written with Fool’s Gold’s Lewis Pesacov, who also produced the Best Coast album), “Western Bound” and “Down To The Wire,” two songs from an early self-released album titled No Room For Cowboys, and the alternate version of forthcoming album track, “Coming Home To You,” produced by David Cobb (Shooter Jennings, Jamey Johnson). On Gone, Gone, Gone, Nikki plays the rambler and sometimes drunkard with such an ardent aptitude she'd fit right in alongside those icons in whose songs she was able to find her own voice.

One glorious day some years back, teenage high school dropout Nikki Lane packed a trailer with her worldly possessions. With one hand firmly gripping a steering wheel and the other flipping the bird, she said so long to her home, Greenville, SC, the South and any sort of life it had suggested she should live. Western bound, she was headed to Los Angeles for no other reason than just because. After working various day-to-day jobs in fashion and the like, and living a life without clear direction, five years passed and Nikki started writing music, but soon forsook that path, after just two promising shows, for a job offer in New York.

But like the best country singers, shortly after moving to New York, heartbreak brought Nikki back to music. She started learning Waylon Jennings, Loretta Lynn, John Prine and Merle Haggard tunes, trying her best to strum along and building her confidence along the way. Impressed with her bold vocal chops, classic, heartfelt country ballads, and wildly infectious personality, IAMSOUND found Nikki last year just before she relocated to Nashville to focus on her music career full time.

When not working on her music, Lane stays busy wearing various hats in fashion. She’ll be one of several artists featured in American Eagle's back to school ad campaign, and she owns a vintage boutique called High Class Hillbilly.

Listen to Nikki Lane’s “Gone, Gone, Gone” off of the Gone, Gone, Gone EP here.

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Gone, Gone, Gone EP Tracklisting:

1. Gone, Gone, Gone

2. Western Bound

3. Down To The Wire

4. Coming Home To You


Nikki Lane Tour Dates:

Fri. June 24 – Nashville, TN @ The Basement w/ Grayson Capps

Fri. July 1 – Chattanooga, TN @ Rhythm and Brews w/ Jason Isbell and the 400 Unit

Sun. July 3 – Charleston, SC @ Pour House w/ Jason Isbell and the 400 Unit

Lady Antebellum Unveils Album Release Date!

Reigning CMA and ACM Vocal “Group of the Year” Lady Antebellum announced today that their third Capitol Nashville studio album OWN THE NIGHT will be released on Sept. 13, 2011. The album’s lead and record breaking track “Just A Kiss” has quickly become the fastest rising single of the trio’s career, climbing into the Top 15 on Billboard’s Country Singles chart in just five weeks.

“We took more time to write and record this record than we've ever done before,” says Charles Kelley. “I remember looking at Hillary and Dave at the GRAMMYs this year, on the wildest night of our lives, and saying 'this is amazing…we'll never get to experience a moment like this again, but now we have to go home and get to work.'"

"And that's exactly what we did," adds Dave Haywood.  "We packed up and flew home from LA, cleared our calendar of everything and went into rehearsal with the musicians.  I love that part of recording…taking the songs we've written and bringing them to life with these musicians who are so incredibly talented."

“One of our favorite songs on the new record is called 'We Owned The Night,' which is about a special once-in-a-lifetime moment, and we thought that naming the album around that same sentiment was really appropriate," says Hillary Scott. "It's also about the experience we want to create every night in concert for our fans…together, we own the night!"

OWN THE NIGHT follows the band’s GRAMMY winning second disc NEED YOU NOW.  Since its release in Jan. 2010, the album has sold over five million copies across the globe, spawned three multi-week No. one hits (“Need You Now,” “American Honey,” “Our Kind of Love”), taken home five GRAMMY Awards and scored over a dozen other award show trophies.

For updates on OWN THE NIGHT and for a full list of upcoming tour dates, visit www.ladyantebellum.com.

Sarabeth Tucek Streams New Album On AOL

Sarabeth Tucek is set to release her sophomore LP, Get Well Soon, on May 24th on Ungawa Records. It’s a stunning record that, although not a concept album as such, forms a narrative based around the death of Sarabeth’s father, or as she beautifully describes it “an impressionistic rendering of a time ruled by grief”. The 12 tracks were “sequenced and resequenced for weeks” in order for the story to emerge and the end result sees not one wasted word or unnecessary note; all we’re left with is “just pure feeling”.
Sarabeth was born to a psychiatrist and a psychologist in Miami, but grew up in New York. She was a latecomer to music, her first calling being acting. However, after a few years in Hollywood, her singing and songwriting was encouraged by people on the music scene she fell in with. She first made an impression singing backing vocals on Smog’s 2003 album Supper and then in the film ‘Dig!’, where she sings a song she had just written called "Something For You". The Brian Jonestown Massacre went on to cover the song (retitled "Seer"), but Sarabeth’s own version became her debut single, on Sonic Cathedral, back in February 2007.
This stark and simple song won her legions of fans and her self-titled debut album followed a few months later (on the Echo label) to rapturous reviews. Produced by Ethan Johns and Luther Russell, its understated style was an inspiration to a number of singer-songwriters who followed in Sarabeth’s wake, including Laura Marling, who approached Johns to produce I Speak Because I Can after hearing it.
However, despite everything seemingly going so right, at home everything was going wrong. “Some very bad things happened during the first record and after,” recalls Sarabeth. “It was as if all that had ever troubled me, hurt me, came back just as I was embarking on what should’ve been the happiest time of my life. It all came back and said, ‘Not so fast...’
“I don’t think my mind could handle all the good coming its way. It was unfamiliar terrain and I didn’t know how to traverse It. Predictably, my drinking got out of control and that led to a couple car accidents, jail and legal troubles.I wanted to leave LA anyway, but now I felt I sort of had to. I hoped that by coming back home to New York I would be able to forge some kind of redemptive break from the past. To forgive myself.”
The move has informed much of the music on Get Well Soon. The warmth of the West Coast has gone, replaced by a much rawer sound, all recorded over an intensive 15-day period in a basement in Southampton, Pennsylvania. “We recorded this record in a house where we also lived,” Sarabeth explains. “My friends Robert and Peter from Black Rebel Motorcycle Club recorded ‘Howl’ there. It’s owned by the Nicgorski family who are all very musical: Billy, who offered me the basement, and his brother have played in lots of bands, their sister Maria sings on ‘State I Am In’ and their father Wally spent his mornings on the front porch singing in his rocking chair. Making a record where I am singing to and about my father and seeing and hearing their dad out there every morning served up a pretty strong and bittersweet feeling for me.”
“I think we managed to capture a unique mood down in that basement,” adds producer Luther Russell. “As guests in someone’s home we got a feeling that might not have happened in a regular studio. Sarabeth wanted to be somewhere totally unfamiliar; the material was incredibly personal to her, so she had to feel right about where she did it. My job was to capture that feeling, and fast. The plan was to mix it in LA, but it turned out that all the magic was there in the rough mixes I did as we went along – so that is what you hear. I think that’s why it’s such an immediate record, because it really was completed in those two weeks... but with a lifetime of preparation, of course.”
The rawness of the recording reflects the subject matter and provides the perfect accompaniment to Sarabeth’s voice, which seems stronger, more confident and more crystalline than ever, like Karen Dalton or a less histrionic Cat Power, as she deftly conveys her grief with an eloquent, understated majesty. The musical reference points of the first album – Neil Young, Dylan, The Velvet Underground, Big Star – are still there, but somehow amplified, and Sarabeth is definitely not looking towards the current music scene for inspiration. “It’s odd how placid a lot of music seems now; so washed out in sound and feeling,” she says. “It’s like antidepressant music to take antidepressants to. I don’t really give a shit. I am more likely to buy a new book now than a new record.”
This would explain the number of literary references on Get Well Soon. The opening track "The Wound And The Bow" is named after a book of essays by Edmund Wilson, in which Sarabeth discovered and subsequently became obsessed with the myth of Philoctetes, a play by Sophocles in which the protagonist suffers a wound so grotesque that he is left alone on an island to live in a cave and tend to his injuries. The title of "Exit Ghost" was taken from the Philip Roth novel, but he appropriated it from ‘Hamlet’, where it is written as a stage direction. “The scene when Hamlet sees his father’s ghost became lodged in my head,” explains Sarabeth. “And his subsequent madness I understood in a more personal way.”
The narrative ends with the title track and a resolution of sorts. “I feel like I’m either the patient or the doctor, somebody always has an ache,” she says. “When I wrote the title track I had a friend of mine on my mind. She was so sad... just inconsolable and it was painful to see her like that. The title is a reminder to keep myself well. It’s hard to explain the ferocity of the grief I experienced when my father died. I really felt like it was going to kill me, so to be here... well, I just wanted to remind myself of what I survived.”

MilkDrive Releases Studio Album ROAD FROM HOME

MilkDrive, Austin’s phenomenal alt-folk-progressive acoustic string band, will release on April 5 its debut studio album, ROAD FROM HOME, which captures the quartet’s soulful, textural, multi-layer mix of rhythms, tempos, flavors, improvisation and its harmony vocals.

After its Austin CD Release Show, on Friday, April 8, at Saxon Pub, MilkDrive plays a number of nationally acclaimed music festivals: Old Settler’s on April 14, “Woodsongs Old-Time Radio Hour” on May 9, Pagosa Folk N’ Bluegrass in Colorado in June, and Rockygrass in Lyons, Colo., at the end of July.
ROAD FROM HOME was recorded at Mountainside Audio Labs in Nashville, produced by MilkDrive and Bil VornDick (Alison Krauss, Bela Fleck), and engineered and mixed by VornDick.
Like its independently released debut live album, the band’s new studio album features fingers flying at “unbelievable” speed, original tunes that go beyond extraordinary and “impeccable” arrangements. Both “Back” and “Dry Creek Inn” from ROAD FROM HOME have the old-school sound, with haunting mandolin and fiddle, but thoroughly modern lyrics on topics such as love and death bring it into the 21st century.

Video Premiere | YELLOWBIRDS "The Rest Of My Life"

Yellowbirds is the moniker for the latest musical exploits of Sam Cohen--guitarist/songwriter/vocalist in the psychedelic collective Apollo Sunshine. Cohen grew up in Houston, Texas, and while the Texas of his teens may have been home to Big Oil, Enron, the Bush family, and the drab grey Astros jerseys of the 90s, he prefers to think of it as the Texas of yore, home to: Roy Orbison, Buddy Holly, the Space Program, and rainbow orange Astros jerseys.  It stands to reason, then, that his current home of New York City must be the mythical Empire City: Rocky Mountains of architecture, epicenter of modern art, home to Charles Mingus and The Velvet Underground.

It was with these timeless inspirations in mind that Sam Cohen created Yellowbirds’ The Color, out now on Brooklyn label, Royal Potato Family. Double-speed auto-harp glissandos, glowing backwards pedal steel, bubbling echo and fuzz guitars coalesce into a warm wall of sound.  As existential lyrical themes emerge, delivered over psyched-out aural landscapes, the picture emerges of a dust-blown, 4th dimensional Future West.  This is Cohen's quixotic world where "only the purist tones can be heard."

Yellowbirds' new stop-motion, collage-animation video for the song "The Rest Of My Life" was crafted by Sam Cohen from nearly 3000 still photos assembled into collages and animated by hand.  Between exploring images, cutting and compiling, creating the scenes and editing the footage, the project took ten weeks to complete.

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Upcoming Performances…

March 15 | WFPK | Louisville, KY (live radio broadcast)
March 15 | Ear-Xtacy | Louisville, KY (in-store performance)
March 15 | The Rudyard Kipling | Louisville, KY
March 19 | The Snack Bar | Austin, TX (4pm)
March 19 | Blue Starlite Mini Urban Drive-In | Austin, TX (7pm)
March 19 | Black & Tan (official SXSW showcase) | Austin, TX (11:30pm)
March 29 | Public Assembly | Brooklyn, NY
March 30 | WNYC Soundcheck | New York, NY (live radio broadcast)
March 30 | Maxwell's | Hoboken, NJ
April 7 | The Arts Block | Greenfield, MA
April 8 | Bridge Street Live | Collinsville, CT
April 9 | Southpaw | Brooklyn, NY
April 17 | Cactus Records | Houston, TX (in-store performance)
April 30 | Market Market | Rosendale, NY

“Dear Nola: A Concert for New Orleans”

New Orleans brass-fueled sensations Bonerama team up with Cody ChesnuTT, DJ Spooky/That Subliminal Kid, Grammy Nominated Helen Bruner + Terry Jones, Jenny Toomey & Kristin Thomson of Tsunami, M1 of Dead Prez, Mirah, Sage Francis, Shawn King of Devotchka, Sunpie Barnes and Zach Rogue to celebrate New Orleans, her community and its musical ambassadors for “Dear NOLA: a Concert for New Orleans,” at Blue Nile (532 Frenchmen Street) on Thursday, February 17th.

Doors are at 9:00 pm and admission is $10 in advance and can be purchased online at the Blue Nile website; $15 at the door.

Proceeds from the concert — the seventh since Hurricane Katrina — benefit Sweet Home New Orleans and Gulf Restoration Network, two New Orleans-based nonprofits working to support and sustain the region’s unique musical and cultural traditions and to protect and restore vital environment and community resources for future generations. The show serves as the celebratory finale of the seventh three-day activist retreat hosted by Air Traffic Control and Future of Music Coalition.

Over the years, these shows have become a tradition and bring visiting musicians together with local musicians to present these talented artists both on their own and in unique combinations. Past shows have included performances with J. Tillman and Nicole Atkins backing Will Oldham, R.E.M.’s Mike Mills and Bonerama joining Corin Tucker on a Depeche Mode cover, and Wayne Kramer and Saul Williams partnering to perform “Kick Out The Jams.” The camaraderie established continues well after participants have left the city, as evidenced by the critically-acclaimed compilation, Dear New Orleans. The album was produced by Air Traffic Control to mark the 5-year anniversary of the floods and features 31 New Orleans-inspired tracks from retreat alumni. The compilation can be purchased at http://www.dearno.la.

Air Traffic Control and Future of Music Coalition have been co-hosting a series of artist activism retreats in New Orleans since 2006. Artists are given the rare opportunity to connect directly with the people of New Orleans, the tradition bearers and community leaders who are on the frontlines of rebuilding and sustaining this vital city. After the three-day retreat, artists leave feeling that their lives have been changed by what they have experienced in New Orleans and with a sense of empowerment for what they can accomplish through their music and activism.

“New Orleans is one of the most unique cities on the planet and a place where I have had the good fortune to spend time both as a musician and an activist. The artist-activist retreat provided valuable perspective and insight into a post-Katrina New Orleans. My experiences with local musicians and the people working for the recovery and betterment of the city have been some of the most important experiences of my career." -- Tom Morello.

Past retreat and concert participants include Steve Earle, Tom Morello, Mike Mills (R.E.M.), Boots Riley (The Coup) Nicole Atkins, Damian Kulash (OK Go), Erin McKeown, Nick Harmer (Death Cab for Cutie), Wayne Kramer (MC5), Martín Perna (Antibalas, Ocote Soul Sounds), Jim James and Patrick Hallahan (My Morning Jacket), Jon Langford (Mekons, Waco Brothers), Vijay Iyer, and many, many more.

The efforts of many groups and individuals — including Sweet Home New Orleans, Future of Music Coalition and Air Traffic Control — have had a major impact on Big Easy musicians like Mardis Gras legend Al “Carnival Time” Johnson. Funds raised by retreat participants helped Al buy a new Habitat for Humanity home after having lost his property and belongings in Hurricane Katrina. The concerts and the retreats are part of an ongoing commitment to helping musicians like Al get back to their communities where they will help sustain New Orleans music and culture for generations to come.

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About Sweet Home New Orleans

Sweet Home New Orleans is a nonprofit agency that offers social services and financial assistance to the city’s musicians, Mardi Gras Indians, and Social Aid and Pleasure Club members.

About Gulf Restoration Network

Gulf Restoration Network is a 16 year-old environmental group committed to uniting and empowering people to protect and restore the natural resources of the Gulf of Mexico. Since the storms of 2005, they have worked for a national commitment to the restoration of the coastal wetlands of Louisiana, the region’s natural storm protection, which are disappearing at the rate of an acre an hour. The BP drilling disaster has greatly increased threats to this ecosystem, and GRN has provided independent monitoring and advocacy since the first days of the disaster.

About Future of Music Coalition

Future of Music Coalition is a national non-profit education, research and advocacy organization that seeks a bright future for creators and listeners. FMC works towards this goal through continuous interaction with its primary constituency — musicians — and in collaboration with other creator/public interest groups.

About Air Traffic Control

Air Traffic Control (ATC) exists to help musicians play an effective, unique and vital role in the promotion of social justice. Musicians and managers established ATC five years ago to assemble an experienced and trusted team of leaders, resources and tools that would help them to create more effective social change collaborations with each other and with social justice organizations. As a result, ATC became an artists’ air traffic control—one that develops capacity, efficiency, and coordination to produce stronger and more creative social change partnerships.