A Quote by Matthew Desmond
Eviction comes with a record, too, and just as a criminal record can bar you from receiving certain benefits or getting a foothold in the labor market, the record of eviction comes with consequences as well. It can bar you from getting good housing in a good neighborhood.
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Eviction comes with a record. Just like a criminal record can hurt you in the jobs market, eviction can hurt you in the housing market. A lot of landlords turn folks away who have an eviction, and a lot of public housing authorities do the same.
Arguably, the families most at need of housing assistance are systematically denied it because they're stamped with an eviction record. Moms and kids are bearing the brunt of those consequences.
A record is a commodity, but so is a hamburger. Just because I work at McDonald's doesn't mean I reap the benefits of that commodity. That's the reality with most artists in the record industry: They're getting paid a subsistence wage so they can keep producing a commodity for the record label.
The first record was basically a quick, fast record. The second record, we were going for more of a poppier sound - like a heavy pop sound. For 'Rocket to Russia,' we'd sort of reached our pinnacle. We'd gotten really good at what we were doing, so that's like my favorite record - that's a really good record. It's just great from beginning to end.
There is a deep connection, when we're talking about certain market forces and a legal structure that inhibits low or moderate income families from getting ahead. Eviction is part of a business model at the bottom of the market.
If eviction has these massive consequences that we all pay for, a very smart use of public funds would be to invest in legal services for folks facing eviction.
As I look back, I understand what [the record company] was getting at. They were trying to market a record and make it as commercially acceptable as possible. It hurt me and my credibility with critics.
I think my science career had an arc to it that peaked in, let's say 2003/2004. I was in hog heaven, working in a corporation, getting paid pretty good money and doing really exciting research. And we had just done the Cool To Be You record, and I said well, we'll put this record out, but I can't tour it because I just want to do science. That's my gig, my future.
Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
Once you've acquired a criminal record, you can be discriminated against legally in employment, housing, and access to education and public benefits. You're relegated to a permanent second-class status, forever a 'criminal.' Inflicting this amount of unnecessary pain and suffering is not cheap.
When I produce someone's record I have to remember it's their record..no matter what I bring to it..er, sometimes that's not too easy:) It is a responsibility made less easy by people I work with encouraging me to play guitar on their record...A soon as I start playing guitar on someone's record it inevitably starts to sound like me...not always a good thing.
I feel like the live record thing is something that I've been getting used to as the years go by and with this being my second one, I'm continuing to learn what works and what doesn't work. A live record is an example of that authenticity and that realness that you find in imperfection and you can hear that in this record.
It's always been difficult to make a good record. To be perfectly honest with you, it's really about the person that's pushing the buttons. No matter what type of equipment you have, you still have to have a certain talent to be able to make a good record.
I really like to think of each record as its own thing. So, for sure, but I hate the idea of being stuck in anything. Like I want to do a Hawkwind-style record too, or a noise rock record or a hardcore record. Why not, you know? I would just not want to keep heading too far in one direction, without pulling off and going the other way.
I really like to think of each record as its own thing. So, for sure, but I hate the idea of being stuck in anything. Like I want to do a Hawkwind-style record too, or a noise rock record or a hardcore record. Why not, you know? I would just not want to keep heading too far in one direction, without pulling off and going the other way. That is what is fun for me.
When our video of 'Smooth Criminal' came out, suddenly we started getting all kinds of offers. We were getting calls from TV shows like 'Ellen DeGeneres' and from record labels.
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