Prompted by a proposed Wal-Mart in the heart of Athens, Georgia, Drive-By Truckers frontman Patterson Hood teamed up with John Bell and Todd Nance of Widespread Panic, Mike Mills of R.E.M., and many more Athens-based musicians to protect the small businesses of their town. Their shared interest in keeping Wal-Mart out and supporting small businesses led the musicians to unite and create a powerful protest song: After It’s Gone.

The college town outside of Atlanta is home to the University of Georgia, as well as a small business district that thrives on the patronage of students, alumni and locals. The music video (featured below) highlights the areas that would be the most negatively affected by the proposed Wal-Mart and shopping center. The musicians, who recorded the song under the moniker “Patterson Hood and the Downtown 13”, hope that that the song will help bring the issue to the attention of the public.

“This Atlanta developer wants to clog our cultural heart and build a bunker the size of three city blocks next to the vibrant downtown scene,” said Hood in a press release “They hit the easy button: a big box store in our downtown district is clearly misguided and a somewhat ridiculous notion. Downtown Athens is a dynamic network of local businesses — Athens already has a meaningful brand and we are extremely protective of it.”

While the locals behind the cause are not opposed to any specific company, they are broadly opposed to developing the area, which they believe would detract from Athens’ vibrant downtown economy. "We don't need a big box retailer, the very definition of the past, to once again bring us back through that dark episode of closed down storefronts and empty parking lots" said Hood, "Protect Downtown Athens-- that's what this is all about."

Legendary photographer Danny Clinch has worked with some of the biggest names in music over the last few decades. Phish, Tupac, Bob Dylan, Radiohead and Johnny Cash have all been on the other side of Clinch’s lens, and his work has been featured on the cover of Rolling Stone Magazine numerous times. Now you can view some of his best work on your iPad with the new “Discovery Inn” app in the iTunes store.

While anyone can look at Clinch’s work for free with a simple Google Image search, the “Discovery Inn” app allows you to hear narration for every photo from the photographer himself. The app is currently going for $2.99, which is a small price to pay if you’re a photography enthusiast who wants to look inside the mind of a master of the craft or a music enthusiast who is curious what working with these stars is like.

Paying for a few narrated photos isn’t for everyone, so if you don’t feel like dropping the $2.99, I'd still recommend checking out Clinch’s work in other ways. The guy has been doing good work for a long time – he started as an intern for Annie Leibowitz – and a lot of his portraits have become iconic.

Last week, I went to a Beats Antique show and it was amazing to listen to them bang on marching band drums and shout out support for ‘Occupy Wall Street.’ Everyone was dancing on this wild wave of energy.

The very next day,  Beats Antique stopped by the office that HeadCount shares with Relix Magazine to play a rooftop set (how cool is that?). So when they stopped by the office, we talked about the experience of musicians and fans moving each other to unity. Before I walked away, I blurted out “Look out for us at Occupy Wall Street! We are going to make the music community into an unstoppable force!"

The following night, I headed downtown with another HeadCount intern, and we hit the square with registration forms and clipboards.

As we approached Zuccotti park, I began to wonder “How does voter registration inspire a movement?"

I spotted some young men, surrounded by incense and playing guitars. I thought that they would totally understand HeadCount. I approached one of them and said, “Are you a musician? You should really check out HeadCount! We do voter registration at concerts.” But, this group of Nag Champa lovers ended up being self proclaimed Anarchists who didn’t believe in any form of government.

Next up, I found a circle of people who were passing the time by spitting rhymes and rolling cigarettes. -- Let’s try this again! -- But they were not impressed. The group talked about their disappointments in Obama and how corporations can buy both parties and “this is nothing new and it won’t ever change.”

I felt defeated; I was thinking that voting was the key to people gaining power, but many protesters expressed their distrust in the electoral process and frustrations about corporate money tied to the government.

As we continued though, we did find people who were excited to hear more about HeadCount and wanted to register to vote. In a couple of hours, two of us registered as many people as we would at an average concert. I met a lot of young people who had just turned 18 and were ready to find out how they could vote in local and federal elections. I met one man who came all the way from California to encourage people to take a pledge to not vote for any politician who took corporate donations.

One of the most interesting and inspiring people I met was a woman named Saima who moved to the States from Nigeria with her family last year. I asked her what she thought of Occupy Wall Street.  She said that she was experiencing true freedom by being part of the protest. She also told me that in her home country, it is dangerous and hard to vote but people are determined to get to the ballot box. She said, “I have hope. With my hope, I vote for leaders that want changes.”

I ended up taking her to the other side of Liberty Square to show her the drum circle and we danced around. I too was experiencing "true freedom," seeing everyone’s spirits high again because of the music. I realized that HeadCount could be a bridge that brings the power within Occupy Wall Street into the broader context of policy and culture in this nation. Both HeadCount and Occupy Wall Street are about engaging in conversations that create solidarity, promote action and produce innovations to change our current circumstances.

The experience was so much more than getting people to register to vote. I know that what I was really doing was starting conversations with people that I might never have met otherwise, and that is the essence of a real movement.

Since the trip to ‘Occupy Wall Street’, I can see that HeadCount is about more than just voter registration or letters to congress. Whether I'm at a concert or a protest, my work for HeadCount is about engaging people and exploring our power to dance to the beat of a new future.

Protest songs have had a place in America’s political tradition for some time.  From the pro-Labor folk songs of the Depression era to the anti-war ballads of the 1960’s and 70’s, various movements have used music as a means of highlighting perceived injustices. Occupy Wall Street is no different. As anyone whose spent time at Liberty Plaza knows, brass bands, drum circles and other forms of musical expression have become commonplace at the protests.

Now, a musician by the name of Scott Sier has created a Facebook page dedicated to showcasing protest songs for the new generation. His page, Occupy Wall Street Protest Songs, features a number of tracks with themes relevant to the emerging movement. There are songs with more traditional roots, such as “We Are the Working Poor” by the Tin Bird Choir, reggae/hip-hop anthems like The Roaring’s “Finally Here” and some good ole punk rock tunes like Burnaby Leather’s “I’m Not Your Slave” to get your blood boiling. Never heard of them? That's part of the idea. Just as Occupy Wall Street aims to give voice to the anonymous masses, the song page aims to connect obscure protest hymns with an emotionally available audience.

To date, the page hasn't exactly caught on. But Sier has been working digital channels in search of fans and media outlets who will take notice

“Now more then ever, we need to bring to light the problems we face as a nation,” says Sier, “By creating this music page, I hope to bring together musicians and music fans from across the globe to share their concerns and ideas on how to create a more sustainable and peaceful future.”

Occupy Wall Street Protest Songs has a presence on Soundcloud and Twitter as well. The SoundCloud page is particularly useful because it allows more songs to be streamed than on the Facebook, and people can upload their own songs. As of Tuesday, 30 different people have contributed 58 tracks.

This 21st century approach is a far cry from the truck beds that doubled as stages for the protest songwriters of the Depression era, when driving from town to town was the best way to spread their message.

While numerous celebrity musicians have already come out in support of the Occupy Wall Street movement, so far none of them have written any songs on the subject. Many in the movement would say that they don’t need famous people to do their singing for them. The Occupy Wall Street Protest Song Page shows that the 99% are capable of doing that themselves.

A group of festival goers calling themselves the Bunk Police are on a mission to test the purity of illegal drugs being sold on the shakedown streets of music festivals around the country. They're finding that more often than not, things are not what they seem. From the Bunk Police website:

Since the inception of our group in June, we have tested over 2,500 substance samples presented to us by patrons of music festivals and concerts.

The results have been truly sobering.

Nearly 100% of samples are cut with one or more substances, and they aren’t using baking soda anymore.

Research chemicals, sold as “bath salts” or “plant food,” have become an alarming issue. Over half of “Molly” (MDMA powder) samples tested at Wakarusa, Bonnaroo, Electric Forest, Camp Bisco, Gathering of the Vibes and The Big Up contained large quantities of or were completely comprised of these substances. Many of these “research chemicals” present very real overdose fatality risks and have been in news all over the world.

An overwhelming majority of tested LSD samples were negative for the chemical.

Despite the fact that being in possession of illegal drugs can result in lengthy prison sentences, the Bunk Police claim they are not doing anything illegal and "have a very methodical process that does not involve possession by our staff." They have a lawyer and are branding their message and organization. The group has a logo, website with a schedule, and a Facebook Page where you can find results from festival testing or vote on where you'd like to see them next. You can even call/text them at (512) 200-BUNK.

I had a chance to chat with the Bunk Police (anonymously and through email) about what they're doing.

HeadCount: Why did you decide to start the Bunk Police and what are you trying to accomplish?

Bunk Police: The Bunk Police started... at the Wakarusa music festival. While packing for the weekend, I decided to purchase a Marquis substance screening kit (a very useful test that screens over a dozen substances). In using this kit, we not only discovered the appalling state of the current underground substance market, but also realized that there is an incredible demand for substance testing services at shows and festivals.

Our intention is to distribute testing kits to as many people as possible, and to educate them about the use of these kits. We have recently launched an interactive website at www.bunkpolice.org that will feature online ordering and instructional videos in the near future.

Once you test a drug and find it's impure, how do you get that information out?

The first step we take is to inform the person who brought the sample to us about its contents. Although we can’t control what people do with their negative results, a good amount of patrons will return to the person that provided the substance and give them feedback. In many cases, we’ll see the same sample multiple times, eventually leading to the provider being forced to stop distributing that substance. At smaller festivals, the impact of our services can be substantial. The Big Up is a good example.  We watched the ratio of adulterated to pure substances improve dramatically over the course of the event. In the future, our group hopes to send out updates and warnings (with links to pictures) through either a Twitter or a text-based system.

Do you think music festivals should embrace this type of harm reduction practice?

Absolutely. In the last few years, the underground substance market has been turned upside down by a series of substances known as “research chemicals.” These chemicals, such as Methylone and 25I-NBOMe, are being substituted for common recreational substances, MDMA and LSD being the most common. The dosages and effects of these new (relatively un-researched) substances are substantially different from the ones they are posing as and have led to both short and long term damage in users. Another issue to consider is that the market is so flooded with these RCs in disguise that many frequent users are under the impression that they have a tolerance to something like MDMA, when in fact they have a tolerance to Methylone. This leads to massive overdoses when this user comes in contact with a legitimate MDMA sample.

Have you heard of Boom Festival in Portugal? It's an event with more than 30,000 people, completely free of corporate sponsors, and because drug use is decriminalized throughout the country, testing of drugs being used/sold onsite is allowed and results, along with images, are displayed with a projector for all to see. Could such a thing be possible here in the U.S.?

I am not familiar with this particular festival, but it sounds like quite a groundbreaking event. I am, however, very familiar with the legal system that exists in Portugal. In my opinion, they are leading the world in a positive direction as far as dealing with substance use and abuse is concerned. In regards to the possibility of an event like this happening in the U.S., all I can say is that we’re taking the first baby steps in that direction.

What has been your most startling find? Where was it?

Well, we had a very inebriated gentleman walk into our tent at Electric Forest with a sample of what he called “Charlie Sheen.” In testing this mystery substance, we realized that “Charlie Sheen” was not a single chemical, but somewhere in the neighborhood of five. We were able to isolate Ketamine, MDMA, Methylone, a 2C-(x) compound and some sort of opiate. Let’s just say the guy who came in with it was definitely not “winning” at anything.

It seems like the harms associated with most of these drugs, like MDMA or LSD for example, can be greatly reduced when available in pure form and also when information on dosages and combinations is provided. Would you agree?

I think you’re absolutely right. The key to reducing injuries and deaths related to substance use is to simply inform the users of the content, effects, dosages and dangers, be it anything from cigarettes to heroin.

Don't you think what you're doing will actually encourage more drug use?

This is a very valid question, one that I’ve struggled with since the inception of our group. In the end, I’ve come to the conclusion that our services actually work as a deterrent, and here’s why: the information that we’re gathering and distributing about the substance market is beyond shocking. Well over half of the samples we’ve received are Research Chemicals instead of popular recreational substances. For many users, this can be a bitter pill to swallow.

I'm always surprised at how little so many people on the festival scene seem to know about the drugs they're consuming. Do you think they're actually disinterested in learning about this stuff, or that the information just isn't there?

Many members of the festival culture are extremely skeptical of anything presented to them, so we have to earn their trust. The vast majority of people are very interested in our findings once they realize that we have a methodical process that produces accurate results. People will often stand around our tent watching us test for hours completely aghast at the results we’re finding.

Do you think policy changes need to happen? If so, what?

I can only hope that our society finds a better option than the current “war on drugs.” As far as what needs to happen, it’s hard to say. Portugal is an excellent success story to take note of.

If a picture is worth a thousand words, than what do you get when mixing pictures, words and musicians?

How 'bout a virtual imprint of the American psyche,  straight from the minds of James Murphy, Questlove, Wayne Coyne, Bob Weir and more than 50 other artists?

Take a look.

HeadCount’s “Signs of the Times” project features a series of photos where musicians and their fans hold up simple and personal signs.  More than 3,000 fans have participated, getting their photos taken at HeadCount booths at festivals, and then competing for prizes based on who gets the most “likes” on Facebook. Their photos appear alongside those taken by artists, many of which have a poignant – while sometimes comical – message.

Coyne of the Flaming Lips commented on his generation’s waist size. Weir, a HeadCount board member, got philosophical about voting. So did Jim James of My Morning Jacket, as did James Murphy of LCD Soundsystem and Tegan and Sara. Questlove of the Roots honors the legacy of a friend and influential producer.  Aussie John Butler railed against corporate power. All these photos and more can be viewed in the Signs of the Times artist album.

Meanwhile, the fan photos have generated over 10,000 likes and comments on Facebook. For each festival, a different prize was awarded for the photo with the most likes. The leading vote-getter to date read: "We are a military family" (775 likes). The most popular themes have been same-sex marriage, ending corporate influence in politics, and how much people love festivals!

The Signs of the Times photo series has been a catalyst for positive dialogue within the music community.  With barely a year to go before the presidential election, that’s exactly what we hoped to achieve.

Special thanks to everyone who has participated or contributed to the Signs of the Times series, especially our volunteers, photographers Allison Murphy, Dino Perucci, Michael Martin and Dave Vann, and everyone who has “liked” or taken a photo.

Look for the next installment of the Signs of the Times at the Dave Matthews Band Caravans, Hip-Hop Caucus MLK Memorial Dedication Party, North Coast Festival, moe.down and Virgin Mobile Freefest.

This marks the first of a series of interviews with artists participating in the Patagonia Music Collective, appearing on both the Patagonia and HeadCount.org blogs.

Blitzen Trapper’s roots-driven folk is a living, breathing homage to the musical and cultural heritage of the United States. It’s no wonder then, that they care about preserving natural resources and the American landscape. The band was one of the first to donate an exclusive track to the Patagonia Music Collective, with all proceeds from downloads going toward SOLV . We caught up with the band’s lead singer Eric Earley, to learn more about the track, the charity, and the natural link between music and protecting the earth. [Download "All the Stones" here.]

HeadCount: So tell me about the track you donated for the Patagonia Music Collective.

Eric: The song “All The Stones”, it’s actually a pretty old one. I wrote that maybe 10 years ago. I was like 21 or something like that – maybe over 10 years ago. I never recorded it and I always liked it. So for the last record I recorded it, but I didn’t put it on the record. But I still like the recording a lot. I really love the song. It’s nice to put it out in some form.

Have you gotten a nice reaction from it?

Yeah, lots of people like it.

What made you guys want to get involved with the Patagonia Music Collective?

We’ve gotten involved in stuff like that before. It’s kind of natural, you know getting involved in something with that’s better than just an endeavor to help us out or help our careers or something, you know? I think in our position as musicians and writers it’s good to look outside of yourself, as much as possible anyway. It’s not like you’ll make tons of money, but it’s definitely good to look outside yourself and try to give in different ways.

Tell me about SOLV, the organization that you’re supporting.

It’s like a volunteer thing. It’s mostly cleaning up water resources, watersheds and creeks and streams and stuff. Anybody can get involved in it and volunteer for the different crews that do the projects. A lot of it is picking up trash or cleaning out different areas that for whatever reason have gotten damaged or trampled on by humans. Yeah, it’s a cool thing. They have tons of projects.

I’d imagine that as a Portland-based artist, the environment and beautiful surroundings must inspire creativity. Do they?

Yeah, I think it does. I mean, there’s definitely a lot of rain and bad weather here. But that bad weather is what makes it so green and so lush here. So it’s kind of the good and the bad. It’s sort of an inspiring thing to live in. I moved here from Hawaii so I don’t know much different myself.

I just read a past interview that you did about "Furr" and you were talking about one of the songs being about the economic chaos and America changing. Has sort of bigger picture issues often affected your song writing? Is that in a lot of your work?

Yeah, occasionally. I think there’s a time in my life where it has been. I think it really depends what I’m thinking about, what I’m involved in.

What have you been thinking about lately?

I’ve been thinking a lot about this new record ("American Goldwing, to be released Sept. 13th) and doing videos and working on that kind of thing. But a lot of the new record is sort of me remembering where I came from. A lot of the songs are about the town I grew up in – sort of the things that we did, the way things were, relationships I had. It’s a little more personal I think, not quite the big picture.

With kind Americana throwback music, folk-inspired music, there’s so much history there. How do you see your influences in a historical context in terms of music being something that inspired change?

I think music is pretty influential in every area of life. But I think a lot of times it’s on a level that we don’t really see, that is invisible. And whether it’s for good or for bad, I think it goes in both ways. All the music I grew up playing and listening to was a lot of old stuff: Dave Shelton and things like that. And those guys were working this in – our economy and a way of life that was pretty drastically different from what we have, but in certain ways it’s similar I guess. I mean those guys are all successful guys and they’re singing songs about work, and about mundane down-to-earth things that people cared about. And then they all used to sing about spiritual things that people cared about.

What issues are you paying attention to right now? What kind of stories on the news grab your attention?

I listen to the radio a lot. So for me I listen to a lot about - I guess, modern news likes to sort of focus on sort of disaster-related things. What’s going on in Japan and Alabama, but I guess you can’t really help it, to see those things. But it’s interesting to see a lot of the help that goes – America helps people around the world so much. I mean probably more than most countries in the history of the world. I mean I give a lot of money to different organizations that help in disaster relief around the world. So for me I’m always kind of following different disasters and now I’m just paying attention to who’s helping out and who’s sending what aid and stuff. It’s just interesting to me.

Download "All the Stones" here for 99 cents and support SOLV's volunteer efforts to protect natural resources.

Photo by Todd Roeth

Trey Anastasio speaking at the NADCP conference on Wednesday (Larry French/ Associated Press)

Trey Anastasio headed to Washington, D.C. this week for a scheduled appearance at the National Association of Drug Court Professionals Conference. The event featured celebrity speakers like Martin Sheen and Matthew Perry but from what we hear, Trey stole the show. He was even presented with the All Rise Ambassador award by the NADCP for his public support of Drug Courts programs, and received a standing ovation from the 3,000 attendees when he delivered the event's closing remarks.

As the Washington Post recounts:

It was Anastasio, a graduate of drug court in New York state, who really put it out there. The musician, 46, was an addict in 2006 when he was arrested and charged with seven felonies. Given the choice of jail or drug court, he chose the later. “I am here today to tell you that that was the most important decision of my life,” he said.

For 14 months, he lived near the court and kept a rigorous schedule of treatment and community service. “I’m gonna tell you how great it is,” he said with grin. “But it’s important to say that when I was in it, it was very hard and I was not a huge fan.” Today’s Anastasio is clean and goes to AA meetings almost every day. “What started off as a nightmare — it was just crazy that I ended up in this program — over time I’ve been able to see what an incredible blessing it is.”

It's no wonder the NADCP gave Trey an award. He appears to single-handedly be putting the organization and it's cause into the cultural psyche.

I spoke with NADCP's Director of Communications, Christopher Deutsch, about the impact Phish frontman is having.

"Trey is exposing thousands to Drug Courts," Deutsch said. He added that Trey's "ability to inspire" through "charisma, talent, and exuberance" translates naturally to effective public advocacy.

This issue - the only one that Trey has publiclly embraced in this manner - boils down to how the state should treat addicts and non-violent offenders like him. And it's a key time for this debate, as drug courts really sit at the fulcrum of changing attitudes about the drug war. Philosophically equidistant from "Legalize It" and "Lock 'em up and throw away the key," drug courts stress rehabilitation over incarceration but with the structure that comes from knowing prison is only one relapse away. If Trey's experience is any indication, these courts are a path back to life and vitality.

Trey first made an appearance at an NACDP event in 2009, when he told his deeply personal tale to a small gathering. Few in the room probably really knew who he was, but a clip made the rounds on YouTube and has since been viewed over 30,000 times.

This year, Anastasio found himself more front and center. On Tuesday he spoke at a rally on Capiotal Hill in front of hundreds of drug court professionals and a few U.S. Senators. Thankfully, no one shouted "Fluffhead", but one phan did capture it on video.

In suit and tie, he thanked the attendees and said "I am a huge supporter of Drug Court and huge supporter of everything you do." He went on to thank his Drug Court case manager Melanie by name, whom he now calls one of his best friends. And then - in his only prepared remarks - he gave a shoutout to Senator Robert Menendez (D) of his home state of New Jersey, thanking him for being one of Drug Court's most reliable advocates on the Hill.

Trey's itinerary also included a hearing on Drug Courts with the Senate Judiciary Committee that he attended. Later, he delivered the final keynote address during the NADCP Convention's closing ceremony.

Simply telling his story with the blunt honestly of a proudly recovering addict, he crystallized the argument for Drug Courts in a way that no position paper or social science study ever could.

Phish fans are certainly familiar with how Trey can silence a room with a few words. Imagine how he blew the minds of 3,000 drug court professionals. The standing ovation they gave is one of countless Trey has received in his life. But you have to figure, this one probably meant a little more to "Red".

Here's the video of the rally. Video from his keynote and the standing 'O' is expected to be released in a few days.

Stand anywhere at Bonnaroo, and hundreds, maybe thousands, of faces will whiz by. Ever wonder who they are, or what they’re thinking? It’s hard not to.

So this year HeadCount went to Manchester, TN with a mission: to find out who goes to Bonnaroo and what’s on their minds. Having a deeper conversation with the music community is kind of our theme right now. It started with the Fan DNA Project, a poll about music and politics that debuted at the Hangout Festival.

Then, we took it to another level with the “Signs of the Times” photo contest, where fans and artists pose for photos holding a personal sign.

So what did we find out? Well, first the photos. We found out that Bonnaroo is full of creative, conscious and funny people. Over 500 created a sign and stepped into our photo booth. The albums can be seen on our Facebook page, and whoever’s photo gets the most 'likes' will win a pair of VIP tix to next year’s B’roo.

If you have a few minutes to spend on Facebook (oh, no, not you!), I recommend just scrolling through one of the albums. It’s a wild ride through humanity. A Rorschach Test of the young American psyche.

Over a dozen musicians also posed with signs – Warren Haynes, G. Love, members of Mumford and Sons, My Morning Jacket, Freelance Whales and SCI, Eric Krasno, Ben Sollee, Chiddy, Bruce Hornsby, Nicole Atkins to name just a few. None was as poignant as STS9’s Dave Murphy. Just months after surviving highly invasive cancer surgery, Murph wrote “Life Inspires Me.”

So what about the Fan DNA poll? 850 B’rooers answered a series of questions about music, politics and the comingling of the two.

It seems that compared to Hangout attendees, Bonnarooers see a lot less live music and are more likely to be Democrats, but are pretty similar in almost every other regard.

Here's what we found out (with comparisons to Hangout listed in parenthesis) ...

FAN DNA POLL OF 850 BONNAROO ATTENDEES (compared to Hangout festival)

How many concerts do you see a year?
• 1-4 – 46% (27%)
• 5-10 – 31% (25%)
• 11-25 – 12% (24%)
• more than 25 - 11% (24%)
When acquiring new music, which do you do MOST often?
• Buy mp3s online – 29% (27%)
• Get live shows from friends – 6% (23%)
• Buy physical copies (CDs/Vinyl) – 21% (17%)
• Let's just say I don't pay for it – 44% (33%)
Do you consider yourself a:
• Republican – 14% (25%)
• Democrat – 44% (18%)
• Libertarian – 11% (15%)
• Independent – 16% (25%)
• None of those – 17% (17%)
What do you think about the state of America today?
• It’s not so bad – 9% (15%)
• We've got problems, but what can we do? 15%(19%)
• It's messed up and we better do something – 69% (65%)
• I don’t really think about it – 7% (1%)
How do you feel when a musician supports a cause or speaks out?
• It inspires me to take action – 45% (53%)
• I think it’s cool, but I don’t take action – 44% (34%)
• No impact. I ignore it. – 7% (9%)
• It annoys me 4% (4%)
Which issue(s) do you care about most?
• Sustainability and climate change – 31% (22%)
• Personal liberty – 23% (39%)
• Human rights – 39% (45%)
• Food and farm policy – 14% (15%)
• Gulf coast recovery – 7% (8%)
• Education reform – 24% (21%)
How often do you “Like” or “Re-tweet” something related to politics?
• Almost every day – 14% (10%)
• Once a week – 21% (20%)
• Once a month – 15% (11%)
• A few times a year – 10% (8%)
• Rarely or never – 40% (50%)
What should be the government’s HIGHEST Priority? (New Question)
• Fighting for equality – 14%
• Investing in the future and education – 48%
• Meeting in the middle and compromising – 18%
• Cutting taxes - 8%
• Reducing the size of government – 12%
What headliner are you most excited to see?
• Arcade Fire – 30%
• Eminem – 19%
• The Strokes – 7%
• Widespread Panic - 9%
• Other – 32%

The "Signs of the Times" photo contest will be at another dozen festivals this summer, and the Fan DNA Project will be at every concert or festival we're at. So please stop by our tables, and let us know what you're all about.

As gay rights gain momentum amongst the young, artists like 50 Cent are pulling back from anti-gay language, much like politicians adjusting their message to please their constituents.

50 Cent recently spoke out against homophobia, arguably because of the way it affects his bottom line. Seeing explicitly pro-gay pop artists rewarded with fame and dollars, it's difficult to rationalize maintaining hip hop's homophobic tradition.

Earlier this month, hip hop legend Mister Cee was arrested for having commercial sex with a transgendered woman, sparking homophobic backlash. 50 came to Mister Cee's defense and made a statement on how homophobic messages can negatively affect a music career. In reference to gay culture, he said “...if you say that [being gay is] not fine you’re gonna get attacked. You’re gonna write apology notices.” This line won’t exactly be the new slogan for gay rights, but 50’s words demonstrate something of a turnaround from many of his past utterances.

He's not alone in feeling the changing tide of opinions. Last year D.C. rapper Wale tried to pull out of performing at the a gay pride event in Washington DC, then changed course and performed following a significant amount of bad press. Meanwhile, artist Nicki Minaj has embraced the gay community, writing songs about having sex with other women and publicly supporting gay youth.

In the pop world, supporting the gay community is already the norm.

Lady Gaga has become a poster child for the gay rights movement. She recently released a country version of her hit “Born This Way,” with all proceeds benefiting the Gay, Lesbian, and Straight Education Network. Ke$ha's "We R Who We R" was written in response to the recent suicides of gay teenagers and young adults. Katy Perry’s music video for “Firework” involves a kiss between two young men, and includes lyrics such as “After a hurricane comes a rainbow.”

What accounts for the new tone amongst musicians? Is the motivation for artists to speak out for gay rights a morality mission, a reflection of a changing attitude in society, or simply a realization that acceptance is good for business?

In public opinion polls, young American consumers continue to show more support for gay rights than the rest of the population. In a Gallup poll from 2010 asking if gay or lesbian relations are “morally acceptable”, 62% of men 18-49 agreed, versus only 44% of men 50+. This represents a 20% increase in support amongst men 18-49 since 2006, the largest increase in any demographic. Women 18-49 also approved more so than their older counterparts, 59% versus 43%.

The power of these young listeners empathizing with the gay rights cause may drive homophobic musicians straight out of business, and 50 Cent isn't blind to that.

Young people are the most coveted fanbase, so don't be surprised if the gay rights movement picks up some more musical supporters -- across all genres -- in the months and years to come.