{"id":436231,"date":"2022-05-16T19:00:20","date_gmt":"2022-05-16T23:00:20","guid":{"rendered":"https:\/\/newmusicusa.wpengine.com\/?p=436231"},"modified":"2022-06-09T11:53:22","modified_gmt":"2022-06-09T15:53:22","slug":"anthony-davis-any-means-necessary","status":"publish","type":"post","link":"https:\/\/newmusicusa.org\/nmbx\/anthony-davis-any-means-necessary\/","title":{"rendered":"Anthony Davis: Any Means Necessary"},"content":{"rendered":"<p><iframe loading=\"lazy\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/1269568813&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"><\/iframe><\/p>\n<div style=\"font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;\"><a style=\"color: #cccccc; text-decoration: none;\" title=\"New Music USA\" href=\"https:\/\/soundcloud.com\/new-music-usa\" target=\"_blank\" rel=\"noopener\">New Music USA<\/a> \u00b7 <a style=\"color: #cccccc; text-decoration: none;\" title=\"SoundLives -- Anthony Davis Any Means Necessary\" href=\"https:\/\/soundcloud.com\/new-music-usa\/soundlives-anthony-davis-any-means-necessary\" target=\"_blank\" rel=\"noopener\">SoundLives &#8212; Anthony Davis Any Means Necessary<br \/>\nAnthony Davis in conversation with Frank J. Oteri<br \/>\nRecorded Friday, April 27, 2022 at 6:00 p.m. over Zoom<br \/>\nAdditional voiceovers by Brigid Pierce; audio editing by Anthony Nieves<br \/>\n<\/a><\/div>\n<p>A revival of <em>X<\/em>, a three-act opera inspired by the life of the Black Muslim minister and social activist Malcolm X, opened at the Detroit Opera House this past weekend (<a href=\"https:\/\/detroitopera.org\/season-schedule\/x-life-and-times-of-malcolm-x\/\" target=\"_blank\" rel=\"noopener\">and has additional performances through May 22<\/a>). While there have been a few performances here and there since its 1986 premiere at New York City Opera, the new Detroit production is the most high profile one and it will continue on to Opera Omaha, Seattle Opera, the Lyric Opera of Chicago, and New York City&#8217;s Metropolitan Opera House. Plus there will be another production in June by Odyssey Opera\/BMOP in Boston which will culminate in a new recording of the opera scheduled to be released in September. It&#8217;s a long overdue recognition for the first opera composed by Anthony Davis, who was finally recognized with a Pulitzer Prize last year for his eighth opera, <em>The Central Park Five<\/em>, another politically charged work based on recent history (which returns to the stage at Long Beach Opera in June and another production of which, <a href=\"https:\/\/www.portlandopera.org\/performances-tickets\/21-22-season\/the-central-park-five\/\" target=\"_blank\" rel=\"noopener\">presented by Portland Opera<\/a>, can be streamed from now until May 20).<\/p>\n<p>Back in 1986, a dismissive <a href=\"https:\/\/www.nytimes.com\/1986\/09\/29\/arts\/opera-anthony-davis-s-x-the-life-and-times-of-malcolm-x.html\" target=\"_blank\" rel=\"noopener\"><em>New York Times<\/em> review<\/a> of <em>X<\/em> by the notoriously contemporary music-loathing critic Donal Henahan, claimed that &#8220;words and ideology, not vocalism,&#8221; were &#8220;the center of attention in this work&#8221; and that the opera &#8220;falls into the category of message theater, and by definition its message will not appeal to all who hear it.&#8221; While the review undoubtedly dissuaded some impresarios back then, this important work, which was staged a year before <em>Nixon in China<\/em>, arguably spawned a whole subgenre of contemporary operas based on current or relatively recent events which have sometimes been described as &#8220;CNN operas,&#8221; although Davis considers that term dismissive and &#8220;pejorative. &#8230; We\u2019re just borrowing; it\u2019s about the headlines.&#8221; Especially because for him this story has all the trappings of a classic opera and its protagonist is &#8220;a tragic hero.&#8221;<\/p>\n<p>When I spoke with Davis over Zoom last month he was in the middle of rehearsals in Detroit, so <em>X<\/em> was very much at the forefront of his thoughts. But what I didn&#8217;t realize is that this new production might have never taken place had Davis not spent a good deal of the pandemic re-engraving performance materials, which is something he worked on just to make good use of the time.<\/p>\n<p>&#8220;All stuff was cancelled&#8230; So, I thought, what am I gonna do?&#8221; Davis explained. &#8220;<em>X<\/em> was a score I\u2019d done by hand before computers. And then Schirmer had done parts and it was done in Score. So I thought, I\u2019d like to make the piece so that it could be done as, you know, excerpts. &#8230; I worked like four or five hours on it during COVID. I had to have something to do. I just about finished the excerpts, which is little more than half of the opera, about an hour and a half of music, and then Yuval [Sharon, Artistic Director of the Detroit Opera] called me, and said he wanted to do the whole thing. So I said, great. Well, I\u2019ve done half, I might as well do the whole thing. &#8230; And the revised version of the opera emerged from that. It\u2019s like looking at a mirror and seeing, you know, the Dorian Gray thing or something, see your 30-year-old self staring back at you. But I had to protect that 30-year-old self from my 70-year-old instincts to re-write; I couldn\u2019t change everything. I have to be faithful to what I was thinking then, what my musical ideas were at that point.&#8221;<\/p>\n<p>Since <em>X<\/em> was Davis&#8217;s first opera, as he pointed out, &#8220;There\u2019s always a fire when you do something for the first time.&#8221; But before <em>X<\/em>, Davis had already established a career as a highly successful contemporary jazz composer, pianist, and leader of the progressive ensemble Episteme. He had also made significant in-roads into the world of so-called contemporary classical music, an early pinnacle of which is his idiosyncratic piano concerto <em>Wayang V<\/em>, a work informed by his fascination with traditional Indonesian gamelan music. It&#8217;s a piece that has been recorded twice, both times with Davis as the piano soloist performing with two different orchestras&#8211;the Kansas City Symphony led by William McGlaughlin and, more recently, the Boston Modern Orchestra Project under the direction of Gil Rose (who is also conducting that new recording of <em>X<\/em>). Before all of that, Davis was actually an aspiring classical pianist.<\/p>\n<p>&#8220;I was playing a lot of Schumann then, so I was playing that <em>Fantasiest\u00fccke<\/em> stuff,&#8221; he remembered. &#8220;I began to resent the fact that I was playing all white composers. And that really upset me&#8230;. I actually did a couple concerts in Italy where I played a half program of classical piano, and then a half program of doing Monk tunes. And then I started doing my own compositions. That\u2019s when I first started writing pieces that I could improvise around.&#8221;<\/p>\n<p>The fact that many different musical traditions have shaped Anthony Davis&#8217;s aesthetic is something he views not as &#8220;eclectism&#8221; (another bad word in his estimation), but rather as &#8220;a resolution of identity, of discovering who you are as a composer and as a person. And how that is reflected in the music you make. Part of it is your musical education, what you\u2019re exposed to, and to me, all that stuff also recalls emotional states, experiences in terms of what the music implies.&#8221;<\/p>\n<p>So, in a way, it&#8217;s inevitable that Davis has devoted so much of his compositional energies to opera, and in particular to using the operatic medium to tell stories that either deal with significant historic events or which focus on important social concerns. Aside from <em>X<\/em> and <em>The Central Park Five<\/em>, Davis&#8217;s eight operas also include: <em>Amistad<\/em>, about a rebellion on a slave ship in the 19th century; the Patty Hearst-inspired <em>Tania<\/em>; and <em>Lear on the 2nd Floor<\/em>, which re-imagines the famous Shakespeare play as the story of a formerly highly-respected woman who is now living in an assisted care facility because she is suffering from dementia.<\/p>\n<p>Curiously, what first triggered Davis&#8217;s interest in opera was reading Nietzsche&#8217;s <em>The Birth of Tragedy<\/em> during his student years. &#8220;I thought that what Nietzsche was writing about in terms of the Apollonian and Dionysian, and the kind of binary that he created, was more applicable to American music than it was to German. Because we\u2019re African and we\u2019re European. The combination of the musical foundation in these two great cultures, I thought opera could have that. An American opera ideally would be that kind of expression.&#8221; But now he sees creating these operas as a mission. &#8220;What we face now is so much like the early-\u201830s in Germany: the present danger that we could actually lose democracy. We could lose what we have. So it has made it more urgent for me, as an artist, to present things to challenge those forces. I\u2019ve always felt strongly as an artist, but even more now.&#8221;<\/p>\n<div class=\"owl-carousel owl-theme\">\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>Where I grew up in State College, my brother and I were the only black people in the school. So I began to think about that. And I began to resent the fact that I was playing all white composers. And that really upset me.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2022\/05\/Anthony-Davis-Square-200x200.jpg\" alt=\"\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Anthony Davis<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>We\u2019re African and we\u2019re European. The combination of the musical foundation in these two great cultures, I thought opera could have that. An American opera ideally would be that kind of expression.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2022\/05\/Anthony-Davis-Square-200x200.jpg\" alt=\"\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Anthony Davis<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>I used to imagine playing with Blackwell and Ornette, I was thinking how I could be Charlie Haden in the left hand and Don Cherry in the right.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2022\/05\/Anthony-Davis-Square-200x200.jpg\" alt=\"\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Anthony Davis<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>Opera is so much about memory. You can always go back to things that are in the opera. You\u2019re creating your own kind of world in it, but it also has the extra world of what it refers to in terms of the whole genre of opera, and also what other music you bring into opera.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2022\/05\/Anthony-Davis-Square-200x200.jpg\" alt=\"\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Anthony Davis<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>I had this image of Malcolm listening to John Coltrane\u2019s quartet, or Sonny Rollins. I felt that the link to music was really evident.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2022\/05\/Anthony-Davis-Square-200x200.jpg\" alt=\"\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Anthony Davis<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>One of the advantages of working with black singers is that they have many experiences. They sing in church. Maybe they sang in the black church. They\u2019d sing opera, but some of them of have sung jazz too. It\u2019s not an alien artform. ... So you can find the hybrid musician.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2022\/05\/Anthony-Davis-Square-200x200.jpg\" alt=\"\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Anthony Davis<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>Sometimes they call it eclectism, which I think is a bad word for it. \u2018Cause that\u2019s like thinking or picking pebbles on the beach or something, you know. It\u2019s actually a resolution of identify, of discovering who you are as a composer and as a person. And how that is reflected in the music you make. Part of it is your musical education, what you\u2019re exposed to, and to me, all that stuff also recalls emotional states, experiences in terms of what the music implies. I think what that can relate to is subtext in a dramatic sense, what is the subtext of what\u2019s going on. And so the music always provides a subtext.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2022\/05\/Anthony-Davis-Square-200x200.jpg\" alt=\"\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Anthony Davis<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>It was kind of a pejorative the way it was used: CNN Operas. It was kind of dismissed as this trend. We\u2019re just borrowing. It\u2019s about the headlines, etcetera.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2022\/05\/Anthony-Davis-Square-200x200.jpg\" alt=\"\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Anthony Davis<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>Right now, it\u2019s a really dangerous time in America. We can be on the edge of Fascism; that\u2019s something I worry about every day. ... We could actually lose democracy. We could lose what we have. So it made more urgent for me, as an artist, to present things to challenge those forces. I\u2019ve always felt strongly as an artist, but even more now.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2022\/05\/Anthony-Davis-Square-200x200.jpg\" alt=\"\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Anthony Davis<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>Someone asked me, how do you write music for Trump? I said well, first of all, he\u2019s a tenor. Second of all, he repeats things a lot. Third thing is he never finishes a sentence. Why was that appealing to people? I mean, this launched his whole career as a politician. He exploited the racial divide for his own personal benefit as a political figure.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2022\/05\/Anthony-Davis-Square-200x200.jpg\" alt=\"\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Anthony Davis<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>There\u2019s always a fire when you do something for the first time. There\u2019s a flame that goes, it\u2019s like you\u2019re discovering all these things.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2022\/05\/Anthony-Davis-Square-200x200.jpg\" alt=\"\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Anthony Davis<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div><\/div><script>\n\t\t\t\t\t\tjQuery(document).ready(function(){\n\t\t\t\t\t\t\tjQuery(\".owl-carousel\").owlCarousel({\n\t\t\t\t\t\t\t\titems:1,\n\t\t\t\t\t\t\t\tmargin:10,\n\t\t\t\t\t\t\t\tautoHeight:true\n\t\t\t\t\t\t\t});\n\t\t\t\t\t\t});\n\t\t\t\t\t<\/script>\n","protected":false},"excerpt":{"rendered":"<p>For Anthony Davis, whose compositional aesthetics are an amalgamation of several different musical traditions (jazz, Western classical music, gamelan), different kinds of music recall different emotional states and experiences in terms of what the music implies. So it&#8217;s inevitable that he has devoted so much of his compositional energies to opera, and in particular to using the operatic medium to tell stories that either deal with significant historic events or which focus on important social concerns. <\/p>\n","protected":false},"author":522,"featured_media":436344,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[5,952],"tags":[136,773,436,89],"nmb_categories":[7,8,955],"how_to_category":[],"nmb_tags":[],"internal_taxonomy":[],"class_list":["post-436231","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-podcasts-and-discussions","category-soundlives","tag-jazz","tag-music-and-social-activism","tag-opera","tag-social-justice","nmb_categories-interviews","nmb_categories-podcasts-and-discussions","nmb_categories-soundlives"],"acf":[],"aioseo_notices":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Anthony Davis: Any Means Necessary - New Music USA<\/title>\n<meta name=\"description\" content=\"Anthony Davis uses jazz, classical, and many other styles in operas dealing with major historic events or important social concerns.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/newmusicusa.org\/nmbx\/anthony-davis-any-means-necessary\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Anthony Davis: Any Means Necessary - New Music USA\" \/>\n<meta property=\"og:description\" content=\"Anthony Davis uses jazz, classical, and many other styles in operas dealing with major historic events or important social concerns.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/newmusicusa.org\/nmbx\/anthony-davis-any-means-necessary\/\" \/>\n<meta property=\"og:site_name\" content=\"New Music USA\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/NewMusicUSA\/\" \/>\n<meta property=\"article:published_time\" content=\"2022-05-16T23:00:20+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-06-09T15:53:22+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2022\/05\/Anthony-Davis-Horizontal-1.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1920\" \/>\n\t<meta property=\"og:image:height\" content=\"1080\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Frank J. 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