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Sarah Jaffe started work on The Body Wins the day she bought a bass and a drum set at a pawnshop. That day. She wrote the rhythmic “A Sucker For Your Marketing,” and her second full-length began to take shape. It had been building up inside her; she just didn’t have an outlet. Jaffe had been writing songs on her acoustic guitar since she was a teenager. She knew everything she could do on it, and everything she couldn’t do. It wasn’t a creative tool for her anymore. Jaffe had pent-up creative energy inside her, after spending most of the year traveling and touring behind her debut (Suburban Nature), seeing and feeling things, soaking up the world. There’s a side to Jaffe that didn’t exist on Suburban Nature, the part of her that liked to dance and listen to hip-hop and cover Robyn songs live. That’s not to say The Body Wins is a party record. It isn’t. But it has a pulse to it, more than a heartbeat, not quite a breakbeat. “Glorified High,” the first single, perfectly captures that, the energy she’d built up and the energy that had always been there, with a chorus that smacks you in the chest and lingers like a hug. The Body Wins may sound different to those introduced to Jaffe through Suburban Nature. It should. But it’s not by any grand design to change. It’s where she’s at now, a product of everywhere she’s been since Suburban Nature—literally and figuratively—and a hint of everywhere she might go from here. RADIO • “Glorified High” receiving early airplay on Sirius XMU • Impacting college radio and non comm on April 9th • Impacting AAA on April 23rd • “Clementine,” from Suburban Nature, reached the top 30 at AAA radio • #1 record at both KGSR Austin and Sirius Spectrum • Clementine has over a 95 percent retention rate at KGSR for PPM research over the past 8 months of airplay. • Jaffe has been featured twice on NPRs Song of the Day and also Highlighted on World Cafe Produced by John Congelton (St Vincent, Walkmen, Clap Your TOUR • March 2012 West Coast support dates with GUTHRIE Hands Say Yeah, Explosions in the Sky). • SXSW Showcase with Youth Lagoon and Tennis TRACKLISTING • Prior national touring with Norah Jones, Old 97s, Midlake (US & Europe), Artist: SARAH JAFFE Centro-Matic, Lou Barlow Title: THE BODY WINS 01. Paul • Performed at SXSW, ACL Festival, CMJ, NX35, Sunset Sessions. CD Selection #: KR65 02. Body Wins LP Selection #: KR65-V 03. Glorified High RETAIL UPC CD: 186535006523 04. Mannequin Woman • This new record will reconnect Sarah with the core indie retail community. UPC LP: 186535006530 05. Halfway Right • We will build on a solid consistent 22 month sales history that was fueled Price Code: CD12 / LP13 06. The Way Sound Leaves by continous press, radio and national touring. Format: CD/30 • LP/20 07. Fangs • Sarah’s fan base has grown steadly and our pre-release focus will be to have 08. Hooray for Love File Under: “J” FOR JAFFE them looking forward to finding her new record at their favorite music outlet! Genre: INDIE 09. Foggy Field 10. Sucker For Your Marketing HIGHLIGHTS 11. Limerence • Clementine music video aired on MTVs NewNowNext and Freshman 5 CD 12. Talk • Jaffe landed on many 2010 Best Of lists including #49 on on Pop Candy’s 13. When You Rest 100 People of 2010, #3 on Paste Magazine’s 10 Best New Solo Artists of 2010, #39 on Paste Magazine’s 50 Best Albums of 2010, #43 on Paste LP Magazine’s 50 Best Songs of 2010 (for “Clementine”), 58 on Amazon. com’s Best Albums of 2010 list, plus another two picks for Amazon’s Best Songs of 2010 (for “Summer Begs” and “Perfect Plan”).

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Sarah Jaffe Started Work on the Body Wins the Day She Bought a Bass and a Drum Set at a Pawnshop
Sarah Jaffe started work on The Body Wins the day she bought a bass and a drum set at a pawnshop. That day, she wrote the rhythmic “A Sucker For Your Marketing,” and her second full-length began to take shape. It had been building up inside her; she just didn’t have an outlet. Jaffe had been writing songs on her acoustic guitar since she was a teenager. She knew everything she could do on it, and everything she couldn’t do. It wasn’t a creative tool for her anymore. When Jaffe first started playing guitar, everything was a discovery. Every chord she played, she thought she had made it up. Not knowing how to play bass or drums, but forcing herself to try, brought that back to her. And so there was “A Sucker For Your Marketing,” a song she may not have been able to write before, but needed to. Maybe not that song, exactly, but Jaffe had pent-up creative energy inside her, after spending most of the year traveling and touring behind her debut (Suburban Nature), seeing and feeling things, soaking up the world. Plus, there was a side to Jaffe that didn’t exist on Suburban Nature, the part of her that liked to dance and listen to hip-hop and cover Robyn songs live. That’s not to say The Body Wins is a party record. It isn’t. But it has a pulse to it, more than a heartbeat, not quite a breakbeat. “Glorified High,” the first single, perfectly captures that, the energy she’d built up and the energy that had always been there, with a chorus that smacks you in the chest and lingers like a hug.
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For 28-Year-Old Singer-Songwriter Sarah Jaffe, Don't Disconnect Is
For 28-year-old singer-songwriter Sarah Jaffe, Don’t Disconnect is both a mission statement and a call to arms -- an album about getting to know yourself in a hyper- connected world that makes it nearly impossible to do just that. The leadoff track from the Texas-born musician’s third LP sets the tone: “Middle of the line/ Middle of the road,” Jaffe sings over mid-tempo beats on “Ride It Out,” “Nowhere to hide on this logical plateau/ Gunna have to ride it out.” “Riding it out” -- that is, facing your reality and learning how to cope with it, is a powerful opening credo for an album titled Don’t Disconnect, which emphasizes the power of staying truly “connected” without unplugging from the world around you. In the six years since her debut EP Even Born Again was self-released in 2008, Jaffe’s endearingly stark narratives have gone from homespun folk-pop songs in the lineage of Lucinda Williams to decidedly cathartic blues-pop ballads that rest at the intersection of indie, folk, and electronic -- without losing any of the thoughtfulness or intimacy. “In a testament to old and new,” she once sang on her EP’s title track, and that is a designation that stands even as her music continues to evolve. Part of Jaffe’s charm comes from that fact that she writes all of her lyrics herself: after wowing crowds at Austin City Limits in the late 2000’s, she earned local recognition through the Dallas Observer Music Awards and signed a deal with Kirtland Records in 2010.
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Jaffe One Sheet November 2013
Sarah Jaffe has come a long way since her debut EP Even Born Again was self-released in 2008. The Texas native has since released two critically acclaimed albums Suburban Nature (Kirtland 2010) and The Body Wins (Kirtland 2012), she’s toured with Midlake, Chelsea Wolfe, Norah Jones, Blitzen Trapper, Why?, David Gray, Old 97s, CentromatiC, Lou Barlow and New Multitudes. She’s had her voice featured in the Disney/Pixar short The Blue Umbrella that was scored by Jon Brion and she made her late night TV debut on Jimmy Kimmel Live! In addition, through her close relationship with Erykah Badu’s band, The Cannabinoids, Jaffe started writing with S1 under the moniker The Dividends (http://wearethedividends.com). The duo’s first collaboration “Bad Guy” is also the first track on Eminem’s new record MMLP2 which features both a co-write and chorus vocal from Jaffe. To say she’s experienced tremendous growth both personally and professionally would be an understatement. It is hard to predict what is on the horizon for Jaffe in 2014, but guaranteed you’re going to want to know about it. DisCography: • Even Born Again EP (2008) • Suburban Nature CD / Vinyl (2010) • The Way Sound Leaves a Room CD/DVD (2011) • Josh Baze “Where I Am” on High Heels and Low Lifes (2012) • The Body Wins CD / Vinyl (2012) • Something for Kate “Deep Sea Divers” on Leave Your Soul to Science (2012) • Sarah Jaffe vs Jimmy Lazers “Foggy Field” remix (2013) • Toadies and Sarah Jaffe “Down by the Water” (Record Store Day 7” vinyl 2013) • Cannabinoids - Glorified High remix (2013) • StarbuCks Song to the Siren Compilation CD featuring "Clementine" along with tracks from Adele, Catpower, Feist, Brandi Carlise, Sharon Van Etten, Beth Orton.
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Valen Todd Lewis, Sarah Jaffe, Austin Allsup, and Josh Weathers
Featuring: Valen Todd Lewis, Sarah Jaffe, Austin Allsup, and Josh Weathers Wednesday September 5th 7:30pm Location: Bass Hall Four microphones, four guitars, four storytellers, one stage. Wednesday Sept, 5th 7:30pm A quartet of acclaimed North Texas musicians will kick Price Level Group (10+) Premium $45.00 off the Texas Crossroads series with an acoustic, intimate A $36.00 concert on September 5 at Bass Performance Hall. B $27.00 Among the performers will be Vaden Todd Lewis, lead singer of Fort Worth-raised punk-pop band The Toadies, easily the most popular rock group to emerge from Fort Worth in decades. Payment Policies and Procedure: Group minimum is 10. Also performing will be acclaimed singer- 25% is due within two (2) weeks of placing the songwriter Sarah Jaffe, who has shared the studio and reservation. stage with such musical luminaries as Norah Jones, Cyndi Final payment is due 30 days prior to the show’s Lauper, Chelsea Wolfe and Midlake. The North Texan is opening night performance. touring behind her latest album, Bad Baby. All groups have a one-time $10 processing fee. All sales are final. There are no exchanges or If you watch The Voice, surely you know Austin refunds given on group orders. Allsup. The Fort Worth native recently found success on Prices and performance schedules are subject to season 11 of the hit NBC show. Before he graced millions change without notice. of TVs across America, he had already become a staple of the Texas music scene, thanks to his gritty folk-rock anthems.
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AN EXAMINATION of a MUSIC SCENE AS ECONOMIC CLUSTER Michael Seman, University of North Texas
Artivate: A Journal of Entrepreneurship in the Arts Volume 4, Issue 2 http://artivate.org pp. 33-49 ______________________________________________________________________________________________________________________ WHAT IF HEWLETT AND PACKARD HAD STARTED A BAND INSTEAD? AN EXAMINATION OF A MUSIC SCENE AS ECONOMIC CLUSTER Michael Seman, University of North Texas Abstract A growing area of discourse in urban economics is the value of artistic production and its role in economic development theory. One arts subsector that has received little attention is popular music. Prior research tangentially acknowledges that music scenes function as economic clusters, but little detailing of their dynamics as such exists. The bulk of attention is paid to how these scenes operate in the framework of the broader music industry, not how they contribute to their surrounding urban economic landscapes. This paper uses Michael Porter’s economic cluster theory to examine Denton, Texas’ music scene. Findings point to the scene operating as an economic cluster as defined by Porter in addition to catalyzing economic and community development. Results address the existing gap in research leaving the economic value of music scenes underexplored and help detail the necessary conditions for a music scene to develop. Keywords Urban, Economic, Cluster, Music, Scene, Entrepreneurship Introduction A growing area of discourse in urban economics is the value of artistic production and its role in current economic development theory (Currid, 2009). One arts subsector that has received little attention in this discourse is popular music. Of specific interest are music scenes – the spatially-based cultural agglomerations of human and physical capital that include musicians, consumers, entrepreneurs, technicians, venues, and studios all working together (often in a volunteer, “Do-It-Yourself” or “DIY” nature) to facilitate the creation and performance of music (Bennett & Peterson, 2004; Connell & Gibson, 2003; Florida & Jackson, 2010).
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RAR Newsletter 120502.Indd
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[Verse 1 — Eminem:] It's Like I'm in This Dirt, Digging up Old Hurt Tried
[Verse 1 — Eminem:] It’s like I'm in this dirt, digging up old hurt Tried everything to get my mind off you, it won’t work All it takes is one song on the radio you’re right back on it Reminding me all over again how you fucking just brushed me off And left me so burnt, spent a lot of time trying to soul search Maybe I needed to grow up a little first Well, looks like I hit a growth spurt But I am coming for closure Don’t suppose an explanation I’m owed for The way that you turned your back on me Just when I may have needed you most Oh, you thought it was over You could just close the chapter And go about your life, like it was nothing You ruined mine, but you seem to be doing fine Well, I’ve never recovered but tonight I betcha that whatcha 'bout to go through’s tougher than anything I ever have suffered Can’t think of a better way to define poetic justice Can I hold grudges, mind saying: "let it go, fuck this" Heart's saying: "I will once I bury this bitch alive Hide the shovel and then drive off in the sunset" [Hook — Sarah Jaffe:] I flee the scene like it was my last ride You see right through Oh, you had me pegged the first time You can see the truth But it's easier to justify What's bad is good And I hate to be the bad guy I just hate to be the bad guy [Verse 2 — Eminem:] And to think I used to think you was the shit, bitch To think it was you at one time I worshipped, shit Think you can hurt people and just keep getting away with it? Not this time, you better go and get the sewing kit, bitch Finish this stitch so you can reap what
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Metoo, Time's Up, and Theories of Justice
#METOO, TIME’S UP, AND THEORIES OF JUSTICE Lesley Wexler∗ Jennifer K. Robbennolt∗∗ Colleen Murphy∗∗∗ Allegations against movie mogul Harvey Weinstein and the ensuing #MeToo movement opened the floodgates to a modern-day reckoning with sex discrimination in the workplace. High-level and high-profile individu- als across industries have been fired, been suspended, or resigned, while others accused of wrongdoing have faced no consequences, gotten slaps on the wrists, or ascended to the highest levels of power. At the same time, serious concerns have been raised about useful processes by which nonprivileged women and men can address harassment, due process for those accused of misconduct, and the need for proportionate consequenc- es. And there have been calls for both restorative and transformative jus- tice in addressing this problem. But these calls have not been explicit about what sort of restoration or transformation is envisioned. This Article explores the meaning, utility, and complexities of re- storative justice and the insights of transitional justice for dealing with sexual misconduct in the workplace. We begin by documenting the restor- ative origins of #MeToo as well as exploring steps taken, most prominent- ly by Time’s Up, to amplify and credit survivors’ voices, seek accountabil- ity, change workplace practices, and encourage access to the legal system. We then take up the call for restorative justice by exploring its key components—including acknowledgement, responsibility-taking, harm re- pair, nonrepetition, and reintegration—with an eye toward how these ∗ Professor of Law, University of Illinois College of Law. ∗∗ Alice Curtis Campbell Professor of Law and Professor of Psychology, University of Illinois College of Law.
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Sarah Jaffe Bio 2014 2(TT)
For 28-year-old singer-songwriter Sarah Jaffe, Don’t Disconnect is both a mission statement and a call to arms -- an album about getting to know yourself in a hyper- connected world that makes it nearly impossible to do just that. The leadoff track from the Texas-born musician’s third LP sets the tone: “Middle of the line/ Middle of the road,” Jaffe sings over mid-tempo beats on “Ride It Out,” “Nowhere to hide on this logical plateau/ Gunna have to ride it out.” “Riding it out” -- that is, facing your reality and learning how to cope with it, is a powerful opening credo for an album titled Don’t Disconnect, which emphasizes the power of staying truly “connected” without unplugging from the world around you. In the six years since her debut EP Even Born Again was self-released in 2008, Jaffe’s endearingly stark narratives have gone from homespun folk-pop songs in the lineage of Lucinda Williams to decidedly cathartic blues-pop ballads that rest at the intersection of indie, folk, and electronic -- without losing any of the thoughtfulness or intimacy. “In a testament to old and new,” she once sang on her EP’s title track, and that is a designation that stands even as her music continues to evolve. Part of Jaffe’s charm comes from that fact that she writes all of her lyrics herself: after wowing crowds at Austin City Limits in the late 2000’s, she earned local recognition through the Dallas Observer Music Awards and signed a deal with Kirtland Records in 2010.
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Michael Seman CIRP 6301
WHAT IF HEWLETT AND PACKARD HAD STARTED A BAND INSTEAD? DENTON, TEXAS’ MUSIC SCENE AS ECONOMIC CLUSTER AND ITS BROADER IMPLICATIONS FOR THE CITY’S ECONOMY by MICHAEL SEMAN Presented to the Faculty of the Graduate School of Urban and Public Affairs The University of Texas at Arlington in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT ARLINGTON May 2014 Copyright © by Michael Seman 2014 All Rights Reserved Acknowledgements This dissertation represents an immersive several year process wherein I was equally involved as a participant in the community I observed and the classroom where I made sense of my findings. I would like to thank those who had patience with my admittedly dynamic lifestyle during my doctoral studies and fostered my intellectual growth during the process. Carl Grodach understood my research agenda and challenged me to take what I observed in the field and learned in the classroom and frame it in a broader context shared by other arts disciplines inhabiting the urban landscape. Richard Florida also immediately understood my work and generously offered insight, support, and guidance concerning it and my career – facts made even more substantial as his work and career inspired me to enter a doctoral program. My committee members, Enid Arvidson and Rod Hissong demonstrated great patience during the completion of this project and were always ready to lend insight when asked. My completion of both this dissertation and my doctoral program is also due to people outside of the University of Texas at Arlington who offered their time and consideration in varying ways.
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RAR Newsletter 100929.Indd
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2015 REPORT to the COMMUNITY COVER: Allison Semmes As Diana Ross and Julius Thomas III As Berry Gordy in Motown the Musical
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