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FYI

A Podcast Conversation With ... Kristine King

I get these random calls from FYI Music News editor-and-chief David Farrell often when he's walking the sandbanks of P.E.I., blissed out on sunshine and ocean spray, saying, “Why don't you

A Podcast Conversation With ... Kristine King

By Bill King

I get these random calls from FYI Music News editor-and-chief David Farrell often when he's walking the sandbanks of P.E.I., blissed out on sunshine and ocean spray, saying, “Why don't you call Joey Cee? He's got an interesting story. Why not Steve Coady? He's just retired.” Then the capper, “How about the little lady of the house, Kristine?”


David knows Kristine well. This is no little lady in prudential terms. This is my outspoken New York-born spouse. I'm thinking. David, seriously? Do you want me to go there? My first thought? Make this all about Kristine. There's a long music history there. A wall of friends from North America and throughout the Caribbean. Kristine built that wall through deep friendships, kindness, being a warrior for justice, and one big badass smile.

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She often gets mistaken for her spouse, the piano-playing photographer who writes and talks. Yet, truth be, she has long roots in the Canadian music industry, with stints at Manta Sound, Sounds Interchange, CRIA under Brian Chater, CHUM-FM, Scott Richards, Warner Chappell Music, her own music promotion company—Artist Radio Promotion, and Music Media Network. Currently – Ejazznews on Facebook.

Then came art classes, Three Schools, and Central Tech Adult Art Program. Then four writing courses, magazine and design and production, and photography courses at Ryerson.
The experience was instrumental in Kristine's work for the Jazz Report Magazine, Jazz Report Awards and National Jazz Awards.

Justice! I will share this story: We biked through High Park in 1972 and came side by side with two black gentlemen. Up ahead, a couple, one with what looked like a trumpet case. As we pass, the fake bugler demands to know why we are biking with ….(racist language). We continued, and the four of us looked at each other in astonishment, then smiled. Talk as this was rampant in certain circles in Toronto. Then, a kilometre ahead, the guy again appears with his women, blocks the path, and screams obscenities.

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Kristine dismounts and insists the guy apologizes. He then turns on her. I suggest, Do not mess with the Long Island Sound Off. My bride lays into the guy with both fists. The shock of feeling the smack of a two-fisted New Yorker and loss of hair sent the guy running. The two brothers took over from there. Case closed.

I think you will find this conversation engaging. It's all about the dedicated women who worked at the reception desks and back offices. The pride of radio. The women who smiled, grabbed a coffee and made life pleasant for those suited-up men stressed over ratings.

This is where we begin today with this week’s FYI Music News.ca Podcast -  Kristine King.

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From left: Gracie Abrams and Aaron Dessner photographed by Wesley Mann on September 1, 2023 at Long Pond Studio near Hudson, NY.
Wesley Mann

From left: Gracie Abrams and Aaron Dessner photographed by Wesley Mann on September 1, 2023 at Long Pond Studio near Hudson, NY.

Music News

Aaron Dessner Sets the Record Straight on Gracie Abrams’ ‘Death Wish’: It’s ‘Definitely Not’ About Taylor Swift

The producer also shared how he ended up performing with Noah Kahan over the weekend.

Aaron Dessner and Gracie Abrams have now made three albums together, with the pop star’s third studio effort, Daughter From Hell, arriving July 17. But one song in particular has stirred up a few misconceptions, and in a recent conversation with Billboard, the producer cleared them up.

Hopping on a Zoom call on Tuesday (July 21) — just days after joining Noah Kahan on stage in New York to perform one of The Great Divide songs he produced, a cameo that severe weather almost ruined — Dessner addressed confusion over the production and subject of “Death Wish,” one of the most talked-about tracks on Daughter From Hell. Some listeners have expressed surprise that the spritely album version sounds so different from the somber live piano version Abrams initially recorded and released amid her Secret of Us Tour, questioning why the duo would “change” the “original.” (Spoiler alert: They didn’t.)

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