Michael Franti

小簡(jiǎn)介
Michael Franti一個(gè)歌手？詩(shī)人？導(dǎo)演？不，他是一名社會(huì)革命家。
2004年，Michael Franti和他的拍攝隊(duì)伍穿越了眾多“禁區(qū)”，比如巴格達(dá)、約旦河西岸、加沙隔離帶，用他的吉他和攝像機(jī)試圖帶來(lái)關(guān)于戰(zhàn)后人民生活狀態(tài)的第一手資料。在這次旅行結(jié)束后，一部引人注目的記錄片《I Know I'm Not Alone》誕生了，同時(shí)還有一些灼熱、引人沉思的原聲歌曲。Yell Fire就是這些革命之音的收藏集，是戰(zhàn)后人民痛苦的呻吟之音；是埋藏戰(zhàn)爭(zhēng)販子的復(fù)仇之音；是重新建立人與人之間信任的和平之音，他所帶來(lái)的是一種正確的政治訊息(righteous political message)，蟄伏兩年后終于傾瀉而出。歌詞簡(jiǎn)單直接甚至有時(shí)已游離出歌曲本身，比如：“Those who start wars never fight them/And those who fight wars never like them”“The F15 is a homicide bomber”很少有音樂(lè)家能做到Franti這樣誠(chéng)實(shí)直接，僅僅是膽量的問(wèn)題嗎？Spearhead也失去了那種Peter Tosh(另一Reggae組合)頌歌的靡靡之音，因?yàn)樗幌氚堰@種聲音變成一種模式而將其合法化，他們要的是革命。
Since his days as a member of the Beatnigs while in his early twenties, Michael Franti grew from an angry young hip-hopper with a political, socially conscious bent (the Disposable Heroes of Hiphoprisy, Spearhead) to a man who channeled his seriousness, social unease, and desire for change and merged them with his love for music, particularly old-school R&B, soul, and hip-hop. What he left behind in brash, make-some-noise aesthetic, he gained in compassion. And through his use of his own raw power -- charisma, sex appeal, sense of social injustice -- he carried out in his music a community-generated passion in much the same way as Gil Scott-Heron or Marvin Gaye.
Franti was adopted at birth by white parents in the predominantly black community of Oakland, CA. That set of contradictory circumstances instilled in him a hyper-awareness of his own cultural identity as did the sobering fact that his more thoughtful, less provocative style of expression was not accepted by the African-American audience that had embraced a harsher, more combative faction of the hip hop movement. In 1986, Franti formed the drum'n'bass/industrial duo the Beatnigs with turntablist Rono Tse, disbanding after one album. He then formed the Disposable Heroes of Hiphoprisy, whose combination of jazz-influenced heavy rap set out to challenge the materialism and misogyny of what had become mainstream rap.
His next project, Spearhead produced the critically acclaimed Home in 1990. The album contained his biggest single, "Hole in the Bucket," a thoughtful lament on the plight of the homeless, and "Positive," which addressed the growing AIDS epidemic. The album boasted adept funk samplings, sinuous guitar vamps, and soulful, melodic tracks about family and social injustice. 1997's Chocolate Supa Highway was not as pop-friendly as Home, but neither did its themes of kidnappings and police brutality lend themselves to such overt accessibility. Its mixture of harsher musical styles -- techno, rock, and funk -- was a step forward for Franti as his world view broadened and deepened. In 2001, Franti released Stay Human. In it he expresses his anger at the system, his advocacy of love, and his belief in freedom through individuality and self-expression through a set of songs that revolve around a fictitious death penalty case. In it, his embrace of the genres that inspired him is achieved with eloquence.
Songs from the Front Porch was Franti's first proper solo album, appearing in 2003. It was an acoustic affair that had him focusing even more on his singing, but not at the expense of his intelligent, thought-provoking lyrics. In 2005, Love Kamikaze: The Lost Sex Singles & Collectors' Remixes appeared. Again billed only to Franti, it was a collection of Spearhead tracks that didn't quite fit into the albums they were originally recorded for (as well as a couple different mixes from the Stay Human album). In 2006, Franti and Spearhead released Yell Fire! The album was partially recorded in Kingston, Jamaica, and, along with the book and film I Know I'm Not Alone, was part of a trilogy that was themed as ing Franti's recent visits to Israel, Palestine, and Iraq.