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"content": "\u003cp>I love \u003ca href=\"http://mikeeagle.net/\" target=\"_blank\" rel=\"noopener\">Open Mike Eagle\u003c/a>. He’s kind of a geek, wearing glasses and rapping about everything from iPads to the Robert Taylor Homes, a Chicago housing project that was home to members of his family for years before it was demolished. He’s also a film and TV writer and Comedy Central has picked up a series based on his live show with Baron Vaughn, ‘The New Negroes.’ You won’t see a more thoughtful show this year. For his gig at the Independent in San Francisco, \u003ca href=\"http://www.theindependentsf.com/event/1521338-open-mike-eagle-san-francisco/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BnSVqxYSPPY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Jill Soloway created the show \u003cem>Transparent\u003c/em> on Amazon, Abdi Soltani \u003c/span>\u003cspan style=\"font-weight: 400\">directs the ACLU of Northern California, Boots Riley is a filmmaker and lead singer for the Coup, Saul Williams is a rapper and poet. And here’s what they have in common: they’re speaking and performing at the Yerba Buena Center for the Arts 100 Summit. The Fillmore activists the Green sisters (pictured above) are also there. My guest co-host Ariana Proehl notes that o\u003c/span>ne of her former mentors, Lateefah Simon, now president of the Bay Area’s Akonadi Foundation, is at the summit, and is one of the most spirited, lyrical speakers she’s ever heard. I’m also singing the praises of pianist Samora Pinderhughes, born and raised in Berkeley, and comedian Zahra Noorbaksh a KQED Women to Watch and Do List co-host. She’s very funny. And if you go, don’t miss Lil Buck, a master of Jook dancer out of Memphis. He’s a poet with his feet. \u003ca href=\"https://www.ybca.org/whats-on/2017-ybca-100-summit\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eXfVIPqcF9I\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>On a recent Monday evening at Hockey Haven, middle-aged men hunker over juicy-looking steaks, occasionally glancing up at the football game overhead. The old-school sports bar — which has served San Francisco’s Outer Richmond district since 1949 — might seem like an odd place to meet up with the San Francisco post-punk band \u003ca href=\"https://pardoner.bandcamp.com\" rel=\"noopener\" target=\"_blank\">Pardoner\u003c/a>, but they come here all the time.\u003c/p>\n\u003cp>Max Freeland, the band’s charismatic singer and guitarist, briskly leads me through the narrow kitchen, where a woman lines up rows and rows of steaks. “They said we can hang out on the patio for an hour if we don’t go in and out,” he assures me. \u003c/p>\n\u003cp>Freeland and his bandmates sport the normcore uniform of dad hats, beanies, vintage jeans, and thick-framed glasses. They post up at a picnic table, chit-chatting cheerfully as they light up cigarettes. Clearly, they’re are at home here even though they’re about 30 years younger than the rest of the clientele. \u003c/p>\n\u003cp>The members of Pardoner — which also include guitarist-vocalist Trey Flanigan, bassist Will Mervau, and drummer River Van Den Berghe — first met at nearby San Francisco State University, where two of them are still undergrads. Like fellow punk band \u003ca href=\"https://www.eastbayexpress.com/oakland/toyotas-pseudo-corporate-rock/Content?oid=4625532\" rel=\"noopener\" target=\"_blank\">Toyota\u003c/a>, which also formed at S.F. State, they’ve made a name for themselves in San Francisco and Oakland’s house-show circuit, slowly getting buzz that’s led to some pretty big opportunities.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/333030818″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>The influential San Francisco indie label \u003ca href=\"http://www.fatherdaughterrecords.com/\" rel=\"noopener\" target=\"_blank\">Father Daughter Records\u003c/a>, whose roster includes rising pop singer \u003ca href=\"https://www.nytimes.com/2017/09/08/arts/music/shamir-revelations-interview.html\" rel=\"noopener\" target=\"_blank\">Shamir\u003c/a>, recently put out Pardoner’s excellent debut LP, \u003ca href=\"https://pardoner.bandcamp.com/album/uncontrollable-salvation\" rel=\"noopener\" target=\"_blank\">\u003cem>Uncontrollable Salvation\u003c/em>\u003c/a>. The record — which combines tight, punchy song structures with heavy distortion and comically dark lyrics — caught the attention of well-known indie rock producer John Vanderslice, whose production credits at his \u003ca href=\"http://www.tinytelephone.com/\" rel=\"noopener\" target=\"_blank\">Tiny Telephone\u003c/a> recording studio include Spoon and the Mountain Goats. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Vanderslice recently booked Pardoner for the Tiny Telephone 20th anniversary party, where they shared the stage with \u003ca href=\"https://www.newyorker.com/culture/culture-desk/diddys-favorite-indie-musician-chaz-bear-of-toro-y-moi\" rel=\"noopener\" target=\"_blank\">Toro y Moi\u003c/a>, the Berkeley-based indie multi-instrumentalist and P. Diddy collaborator. Pardoner recorded new material at Tiny Telephone the following week when a Canadian sound engineer booked the studio for a weekend to learn the ropes of recording; the engineer invited Pardoner to lay down some tracks for free per Vanderslice’s recommendation. \u003c/p>\n\u003cp>“The reason I chose Pardoner was because they’re a really, really good band worthy of being recorded,” Vanderslice says in a phone interview. “They’re really creative and they do this post-punk thing that I have in my blood. One thing I like about them is that they have a really strange harmonic language: It’s pop music, essentially, but there’s an angular weirdness that doesn’t stray into nonsense-ville but is flirting with that.”\u003c/p>\n\u003cfigure id=\"attachment_13811973\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0547-800x536.jpg\" alt=\"Pardoner's new album, 'Uncontrollable Salvation,' reigns in distortion and noise with tight, catchy song writing.\" width=\"800\" height=\"536\" class=\"size-medium wp-image-13811973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0547-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0547-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0547-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0547-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0547-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pardoner’s new album, ‘Uncontrollable Salvation,’ reigns in distortion and noise with tight, catchy songwriting. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The opportunity to record at Tiny Telephone came at short notice, but Pardoner impressed Vanderslice with the fact that they wrote five songs in a week and recorded them over the course of two days. “They ended up recording all five tunes and they were really, really good,” Vanderslice confirms enthusiastically.\u003c/p>\n\u003cp>“It was pretty short notice. We had to get work off and practice real quick,” Flanigan explains.\u003c/p>\n\u003cp>“I was really happy with the way it turned out,” Freeland chimes in. “I don’t know when those will be seeing the light of day but, someday they’ll be available somehow.”\u003c/p>\n\u003cp>Though Pardoner have been climbing the ranks of San Francisco’s indie scene, the bandmates still have the most fun at scrappy house shows full of familiar faces — like Hole Fest, an all-day mini-festival that took place in a musty, dusty West Oakland basement a few weekends ago. \u003c/p>\n\u003cp>“I like that kind of shit way more. It’s way more fun,” says Flanigan.\u003c/p>\n\u003cp>“We’re able to be ourselves more,” adds Mervau. “It doesn’t feel like we’re performing, it just feels like we’re playing.”\u003c/p>\n\u003cp>Packed with 20-somethings with unwashed hair and tall cans, the show felt like the polar opposite of when Pardoner opened for dance-rock band !!! (pronounced chk! chk! chk!) at the Chapel in July to an audience of clean-cut, well-to-do San Francisco hipsters. \u003c/p>\n\u003cp>The bandmates chat among themselves about how strange it is to play for an audience of people they don’t know, then turn to me and say how grateful they are for the opportunity nonetheless. “We played to like 500 people and they gave us free fried chicken,” Freeland recalls happily of the !!! show. “I don’t think I’ve ever been more set. And then at the end, they gave us money. I was like, ‘Wow!'”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/337472172″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Despite the bandmates’ endearingly goofy demeanor, plenty of elements in Pardoner’s work conjure images of Christian guilt: The band’s name, the title \u003cem>Uncontrollable Salvation\u003c/em>, and lyrics like “I belong in hell” from the song “Hint.” But the theme seems to be more subconscious than intentional: Van Den Berghe, an English major, came up with the band’s name after studying Chaucer’s \u003cem>The Pardoner’s Tale\u003c/em>, in which the titular character tricks people into paying him money to absolve them of their sins. The theme was a fascinating one for Freeland, who, as a lyricist, spends a lot of time thinking about morality.\u003c/p>\n\u003cp>“I’m not religious at all,” Freeland explains. “I went to church once when I was a kid and had an allergic reaction to nuts and had to leave. … Mostly, I just think about punishment and doing bad things and getting punished for them and cosmic law.”\u003c/p>\n\u003cp>“A lot of our lyrics deal with spiritual anguish, but none of us are Christian,” Flanigan adds. \u003c/p>\n\u003cp>“Not all of us believe in a higher power per se, but we believe in love and stuff,” says Mervau as the other bandmates giggle. With the sudden uptick in attention from the music industry (\u003ca href=\"http://www.npr.org/sections/allsongs/2017/07/20/538062156/pardoners-uncontrollable-salvation-is-a-punk-blessing-that-bludgeons\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a> and \u003ca href=\"https://pitchfork.com/reviews/tracks/pardoner-blue-hell/\" rel=\"noopener\" target=\"_blank\">Pitchfork\u003c/a> both gave tracks from \u003cem>Uncontrollable Salvation\u003c/em> rave reviews), they seem unsure of how seriously they should take themselves when journalists ask them about the religious overtones of their name and album title.\u003c/p>\n\u003cp>“I think one of us was literally like, ‘Pardoner’ sounds cool,” says Van Den Berghe with an eye-roll.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pardoner performs at Balboa Theater on Oct. 19 with Unity, Sirena Victima, and Share. More info \u003ca href=\"https://www.facebook.com/events/1988699731367545/?acontext=%7B%22action_history%22%3A%22%5B%7B%5C%22surface%5C%22%3A%5C%22page%5C%22%2C%5C%22mechanism%5C%22%3A%5C%22page_upcoming_events_card%5C%22%2C%5C%22extra_data%5C%22%3A%5B%5D%7D%5D%22%2C%22has_source%22%3Atrue%7D\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent Monday evening at Hockey Haven, middle-aged men hunker over juicy-looking steaks, occasionally glancing up at the football game overhead. The old-school sports bar — which has served San Francisco’s Outer Richmond district since 1949 — might seem like an odd place to meet up with the San Francisco post-punk band \u003ca href=\"https://pardoner.bandcamp.com\" rel=\"noopener\" target=\"_blank\">Pardoner\u003c/a>, but they come here all the time.\u003c/p>\n\u003cp>Max Freeland, the band’s charismatic singer and guitarist, briskly leads me through the narrow kitchen, where a woman lines up rows and rows of steaks. “They said we can hang out on the patio for an hour if we don’t go in and out,” he assures me. \u003c/p>\n\u003cp>Freeland and his bandmates sport the normcore uniform of dad hats, beanies, vintage jeans, and thick-framed glasses. They post up at a picnic table, chit-chatting cheerfully as they light up cigarettes. Clearly, they’re are at home here even though they’re about 30 years younger than the rest of the clientele. \u003c/p>\n\u003cp>The members of Pardoner — which also include guitarist-vocalist Trey Flanigan, bassist Will Mervau, and drummer River Van Den Berghe — first met at nearby San Francisco State University, where two of them are still undergrads. Like fellow punk band \u003ca href=\"https://www.eastbayexpress.com/oakland/toyotas-pseudo-corporate-rock/Content?oid=4625532\" rel=\"noopener\" target=\"_blank\">Toyota\u003c/a>, which also formed at S.F. State, they’ve made a name for themselves in San Francisco and Oakland’s house-show circuit, slowly getting buzz that’s led to some pretty big opportunities.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/333030818″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/333030818″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The influential San Francisco indie label \u003ca href=\"http://www.fatherdaughterrecords.com/\" rel=\"noopener\" target=\"_blank\">Father Daughter Records\u003c/a>, whose roster includes rising pop singer \u003ca href=\"https://www.nytimes.com/2017/09/08/arts/music/shamir-revelations-interview.html\" rel=\"noopener\" target=\"_blank\">Shamir\u003c/a>, recently put out Pardoner’s excellent debut LP, \u003ca href=\"https://pardoner.bandcamp.com/album/uncontrollable-salvation\" rel=\"noopener\" target=\"_blank\">\u003cem>Uncontrollable Salvation\u003c/em>\u003c/a>. The record — which combines tight, punchy song structures with heavy distortion and comically dark lyrics — caught the attention of well-known indie rock producer John Vanderslice, whose production credits at his \u003ca href=\"http://www.tinytelephone.com/\" rel=\"noopener\" target=\"_blank\">Tiny Telephone\u003c/a> recording studio include Spoon and the Mountain Goats. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vanderslice recently booked Pardoner for the Tiny Telephone 20th anniversary party, where they shared the stage with \u003ca href=\"https://www.newyorker.com/culture/culture-desk/diddys-favorite-indie-musician-chaz-bear-of-toro-y-moi\" rel=\"noopener\" target=\"_blank\">Toro y Moi\u003c/a>, the Berkeley-based indie multi-instrumentalist and P. Diddy collaborator. Pardoner recorded new material at Tiny Telephone the following week when a Canadian sound engineer booked the studio for a weekend to learn the ropes of recording; the engineer invited Pardoner to lay down some tracks for free per Vanderslice’s recommendation. \u003c/p>\n\u003cp>“The reason I chose Pardoner was because they’re a really, really good band worthy of being recorded,” Vanderslice says in a phone interview. “They’re really creative and they do this post-punk thing that I have in my blood. One thing I like about them is that they have a really strange harmonic language: It’s pop music, essentially, but there’s an angular weirdness that doesn’t stray into nonsense-ville but is flirting with that.”\u003c/p>\n\u003cfigure id=\"attachment_13811973\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0547-800x536.jpg\" alt=\"Pardoner's new album, 'Uncontrollable Salvation,' reigns in distortion and noise with tight, catchy song writing.\" width=\"800\" height=\"536\" class=\"size-medium wp-image-13811973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0547-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0547-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0547-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0547-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0547-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pardoner’s new album, ‘Uncontrollable Salvation,’ reigns in distortion and noise with tight, catchy songwriting. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The opportunity to record at Tiny Telephone came at short notice, but Pardoner impressed Vanderslice with the fact that they wrote five songs in a week and recorded them over the course of two days. “They ended up recording all five tunes and they were really, really good,” Vanderslice confirms enthusiastically.\u003c/p>\n\u003cp>“It was pretty short notice. We had to get work off and practice real quick,” Flanigan explains.\u003c/p>\n\u003cp>“I was really happy with the way it turned out,” Freeland chimes in. “I don’t know when those will be seeing the light of day but, someday they’ll be available somehow.”\u003c/p>\n\u003cp>Though Pardoner have been climbing the ranks of San Francisco’s indie scene, the bandmates still have the most fun at scrappy house shows full of familiar faces — like Hole Fest, an all-day mini-festival that took place in a musty, dusty West Oakland basement a few weekends ago. \u003c/p>\n\u003cp>“I like that kind of shit way more. It’s way more fun,” says Flanigan.\u003c/p>\n\u003cp>“We’re able to be ourselves more,” adds Mervau. “It doesn’t feel like we’re performing, it just feels like we’re playing.”\u003c/p>\n\u003cp>Packed with 20-somethings with unwashed hair and tall cans, the show felt like the polar opposite of when Pardoner opened for dance-rock band !!! (pronounced chk! chk! chk!) at the Chapel in July to an audience of clean-cut, well-to-do San Francisco hipsters. \u003c/p>\n\u003cp>The bandmates chat among themselves about how strange it is to play for an audience of people they don’t know, then turn to me and say how grateful they are for the opportunity nonetheless. “We played to like 500 people and they gave us free fried chicken,” Freeland recalls happily of the !!! show. “I don’t think I’ve ever been more set. And then at the end, they gave us money. I was like, ‘Wow!'”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/337472172″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/337472172″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Despite the bandmates’ endearingly goofy demeanor, plenty of elements in Pardoner’s work conjure images of Christian guilt: The band’s name, the title \u003cem>Uncontrollable Salvation\u003c/em>, and lyrics like “I belong in hell” from the song “Hint.” But the theme seems to be more subconscious than intentional: Van Den Berghe, an English major, came up with the band’s name after studying Chaucer’s \u003cem>The Pardoner’s Tale\u003c/em>, in which the titular character tricks people into paying him money to absolve them of their sins. The theme was a fascinating one for Freeland, who, as a lyricist, spends a lot of time thinking about morality.\u003c/p>\n\u003cp>“I’m not religious at all,” Freeland explains. “I went to church once when I was a kid and had an allergic reaction to nuts and had to leave. … Mostly, I just think about punishment and doing bad things and getting punished for them and cosmic law.”\u003c/p>\n\u003cp>“A lot of our lyrics deal with spiritual anguish, but none of us are Christian,” Flanigan adds. \u003c/p>\n\u003cp>“Not all of us believe in a higher power per se, but we believe in love and stuff,” says Mervau as the other bandmates giggle. With the sudden uptick in attention from the music industry (\u003ca href=\"http://www.npr.org/sections/allsongs/2017/07/20/538062156/pardoners-uncontrollable-salvation-is-a-punk-blessing-that-bludgeons\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a> and \u003ca href=\"https://pitchfork.com/reviews/tracks/pardoner-blue-hell/\" rel=\"noopener\" target=\"_blank\">Pitchfork\u003c/a> both gave tracks from \u003cem>Uncontrollable Salvation\u003c/em> rave reviews), they seem unsure of how seriously they should take themselves when journalists ask them about the religious overtones of their name and album title.\u003c/p>\n\u003cp>“I think one of us was literally like, ‘Pardoner’ sounds cool,” says Van Den Berghe with an eye-roll.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pardoner performs at Balboa Theater on Oct. 19 with Unity, Sirena Victima, and Share. More info \u003ca href=\"https://www.facebook.com/events/1988699731367545/?acontext=%7B%22action_history%22%3A%22%5B%7B%5C%22surface%5C%22%3A%5C%22page%5C%22%2C%5C%22mechanism%5C%22%3A%5C%22page_upcoming_events_card%5C%22%2C%5C%22extra_data%5C%22%3A%5B%5D%7D%5D%22%2C%22has_source%22%3Atrue%7D\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Gord Downie, Singer of The Tragically Hip, Dies at 53",
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"content": "\u003cp>\u003cstrong>Updated at 11:10 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Gord Downie, singer of The Tragically Hip, died of complications from brain cancer Tuesday night at the age of 53. His death was announced in \u003ca href=\"https://twitter.com/thehipdotcom/status/920628509369950208\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a> from his family.\u003c/p>\n\u003cp>“Gordie said he had lived many lives,” his family writes. “As a musician, he lived ‘the life’ for over 30 years, lucky to do most of it with his high school buddies. At home, he worked just as tirelessly at being a good father, son, brother, husband and friend. No one worked harder on every part of life than Gord. No one.”\u003c/p>\n\u003cp>The Tragically Hip — Downie, bassist Gord Sinclair, guitarist Rob Baker and drummer Johnny Fay — was formed in a high school in the Canadian province of Ontario in 1984. Guitarist Paul Langlois joined in 1986 while the group was performing in small venues across Ontario. The Tragically Hip would go on to be one of Canada’s best-known bands, becoming indelible within the country’s pop landscape during its ascent in the 1990s.\u003c/p>\n\u003cp>In a statement on the news of Downie’s passing, Canadian Prime Minister Justin Trudeau \u003ca href=\"http://pm.gc.ca/eng/news/2017/10/18/statement-prime-minister-canada-death-gord-downie\" target=\"_blank\" rel=\"noopener\">writes\u003c/a> that the singer “painted landscapes with his words, elevating Canadian geography, historical figures, and myths. When he spoke, he gave us goosebumps and made us proud to be Canadian. Our identity and culture are richer because of his music, which was always raw and honest — like Gord himself.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the band never broke into the upper 50 of the \u003cem>Billboard\u003c/em> 200 stateside, it placed seven No. 1 albums on \u003cem>Billboard\u003c/em>‘s Canadian Albums chart. Of its 13 studio albums, three have been certified diamond (more than 1 million copies sold) and eight certified platinum (more than 100,000 copies sold) in Canada.\u003c/p>\n\u003cp>While The Hip’s music was inescapable in its home country, Downie seemed to have a knack for recruiting fans from the most unlikely sources.\u003c/p>\n\u003cp>Damian Abraham, singer of the Canadian hardcore band F***** Up, \u003ca href=\"https://www.vice.com/en_us/article/gqkqnb/how-i-learned-its-ok-to-be-punk-and-still-love-the-tragically-hip\">wrote for \u003c/a>\u003cem>\u003ca href=\"https://www.vice.com/en_us/article/gqkqnb/how-i-learned-its-ok-to-be-punk-and-still-love-the-tragically-hip\">Vice\u003c/a> \u003c/em>that The Tragically Hip’s “songs are stitched into the collective subconscious of this country in a way that can only come from being played constantly on radio, television, and during breaks of play at sports events,” and that after deeper listening, “I was blown away by Gord’s ability to tell stories and convey emotion within the constraints of the song.”\u003c/p>\n\u003cp>Downie announced his illness \u003ca href=\"http://www.thehip.com/news/an-important-message-from-the-band/\">in May 2016\u003c/a>, after being diagnosed in December 2015. “It is my difficult duty today to tell you that Gord Downie’s brain tumour is incurable,” neuro-oncologist James Perry \u003ca href=\"http://www.cbc.ca/news/canada/toronto/gord-downie-cancer-doctor-1.3597361\">told a news conference\u003c/a> at the time of its announcement. In response to the news, Prime Minister Trudeau \u003ca href=\"https://twitter.com/justintrudeau/status/735119677542785025?lang=en\">tweeted\u003c/a>: “Downie is a true original who has been writing Canada’s soundtrack for more than 30 years.”\u003c/p>\n\u003cp>Shortly afterward, Downie also announced he would be joining The Tragically Hip for what would be its final tour, culminating in a performance in the band’s birthplace of Kingston, Ontario. The concert was streamed across Canada and watched by 11.7 million people, \u003ca href=\"http://www.hollywoodreporter.com/news/netflix-acquires-tragically-hip-doc-long-time-running-tiff-2017-1038124\">according\u003c/a> to \u003cem>The Hollywood Reporter\u003c/em>. The tour, and that final show, were documented for the documentary film \u003cem>Long Time Running\u003c/em>, which is scheduled to premiere on Netflix on Nov. 26.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Downie \u003ca href=\"http://www.cbcmusic.ca/posts/14490/gord-downie-peter-mansbridge-things-we-learned\">told the CBC\u003c/a> that the tour “was just heaven on Earth. And all these sorts of provisions were made for me. Just every fantasy I’ve ever had for a show was coming true.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Gord+Downie%2C+Singer+Of+The+Tragically+Hip%2C+Dies+At+53&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 11:10 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Gord Downie, singer of The Tragically Hip, died of complications from brain cancer Tuesday night at the age of 53. His death was announced in \u003ca href=\"https://twitter.com/thehipdotcom/status/920628509369950208\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a> from his family.\u003c/p>\n\u003cp>“Gordie said he had lived many lives,” his family writes. “As a musician, he lived ‘the life’ for over 30 years, lucky to do most of it with his high school buddies. At home, he worked just as tirelessly at being a good father, son, brother, husband and friend. No one worked harder on every part of life than Gord. No one.”\u003c/p>\n\u003cp>The Tragically Hip — Downie, bassist Gord Sinclair, guitarist Rob Baker and drummer Johnny Fay — was formed in a high school in the Canadian province of Ontario in 1984. Guitarist Paul Langlois joined in 1986 while the group was performing in small venues across Ontario. The Tragically Hip would go on to be one of Canada’s best-known bands, becoming indelible within the country’s pop landscape during its ascent in the 1990s.\u003c/p>\n\u003cp>In a statement on the news of Downie’s passing, Canadian Prime Minister Justin Trudeau \u003ca href=\"http://pm.gc.ca/eng/news/2017/10/18/statement-prime-minister-canada-death-gord-downie\" target=\"_blank\" rel=\"noopener\">writes\u003c/a> that the singer “painted landscapes with his words, elevating Canadian geography, historical figures, and myths. When he spoke, he gave us goosebumps and made us proud to be Canadian. Our identity and culture are richer because of his music, which was always raw and honest — like Gord himself.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the band never broke into the upper 50 of the \u003cem>Billboard\u003c/em> 200 stateside, it placed seven No. 1 albums on \u003cem>Billboard\u003c/em>‘s Canadian Albums chart. Of its 13 studio albums, three have been certified diamond (more than 1 million copies sold) and eight certified platinum (more than 100,000 copies sold) in Canada.\u003c/p>\n\u003cp>While The Hip’s music was inescapable in its home country, Downie seemed to have a knack for recruiting fans from the most unlikely sources.\u003c/p>\n\u003cp>Damian Abraham, singer of the Canadian hardcore band F***** Up, \u003ca href=\"https://www.vice.com/en_us/article/gqkqnb/how-i-learned-its-ok-to-be-punk-and-still-love-the-tragically-hip\">wrote for \u003c/a>\u003cem>\u003ca href=\"https://www.vice.com/en_us/article/gqkqnb/how-i-learned-its-ok-to-be-punk-and-still-love-the-tragically-hip\">Vice\u003c/a> \u003c/em>that The Tragically Hip’s “songs are stitched into the collective subconscious of this country in a way that can only come from being played constantly on radio, television, and during breaks of play at sports events,” and that after deeper listening, “I was blown away by Gord’s ability to tell stories and convey emotion within the constraints of the song.”\u003c/p>\n\u003cp>Downie announced his illness \u003ca href=\"http://www.thehip.com/news/an-important-message-from-the-band/\">in May 2016\u003c/a>, after being diagnosed in December 2015. “It is my difficult duty today to tell you that Gord Downie’s brain tumour is incurable,” neuro-oncologist James Perry \u003ca href=\"http://www.cbc.ca/news/canada/toronto/gord-downie-cancer-doctor-1.3597361\">told a news conference\u003c/a> at the time of its announcement. In response to the news, Prime Minister Trudeau \u003ca href=\"https://twitter.com/justintrudeau/status/735119677542785025?lang=en\">tweeted\u003c/a>: “Downie is a true original who has been writing Canada’s soundtrack for more than 30 years.”\u003c/p>\n\u003cp>Shortly afterward, Downie also announced he would be joining The Tragically Hip for what would be its final tour, culminating in a performance in the band’s birthplace of Kingston, Ontario. The concert was streamed across Canada and watched by 11.7 million people, \u003ca href=\"http://www.hollywoodreporter.com/news/netflix-acquires-tragically-hip-doc-long-time-running-tiff-2017-1038124\">according\u003c/a> to \u003cem>The Hollywood Reporter\u003c/em>. The tour, and that final show, were documented for the documentary film \u003cem>Long Time Running\u003c/em>, which is scheduled to premiere on Netflix on Nov. 26.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Downie \u003ca href=\"http://www.cbcmusic.ca/posts/14490/gord-downie-peter-mansbridge-things-we-learned\">told the CBC\u003c/a> that the tour “was just heaven on Earth. And all these sorts of provisions were made for me. Just every fantasy I’ve ever had for a show was coming true.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Gord+Downie%2C+Singer+Of+The+Tragically+Hip%2C+Dies+At+53&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Why Questlove's 201-Song Playlist for Keith Olbermann is Bigger Than Hip-Hop",
"headTitle": "Why Questlove’s 201-Song Playlist for Keith Olbermann is Bigger Than Hip-Hop | KQED",
"content": "\u003cp>When it comes to music history, \u003ca href=\"http://www.npr.org/2016/04/27/475721555/questlove-on-prince-doo-wop-and-the-food-equivalent-of-the-mona-lisa\" target=\"_blank\" rel=\"noopener\">Questlove\u003c/a> is an Afro-pick rocking compendium of knowledge. So when the co-founder of The Roots got wind that Keith Olbermann’s come-lately compliment of Eminem’s Trump smackdown was couched within a tweet that seemed to dismiss the entire genre of rap, he vowed to take the progressive pundit to school.\u003c/p>\n\u003cp>Olbermann, whose new book \u003cem>Trump Is F****** Crazy (this is not a joke)\u003c/em> came out this week, was likely just tipping his hat to a fellow anti-Trumpite when he tweeted: “After 27 years of doubts about rap I am now an Eminem fan. Best political writing of the year, period.” But the host of \u003cem>GQ\u003c/em>‘s \u003cem>The Resistance\u003c/em> unwittingly revealed his willful ignorance of the genre in the process.\u003c/p>\n\u003cp>https://twitter.com/questlove/status/919104904161103872\u003c/p>\n\u003cp>https://twitter.com/questlove/status/919105936949641216\u003c/p>\n\u003cp>“You have to have your mind SET to shut out hip hop,” Questlove wrote Saturday in a series of \u003ca href=\"https://twitter.com/questlove\" target=\"_blank\" rel=\"noopener\">23 (unthreaded) tweets\u003c/a> that questioned how the political commentator — with whom the five-time Grammy Award-winner often agrees — could be so culturally un-hip. “Saying you ignored rap for 27 years is basically saying you’re indifferent to the very black lives you champion on your platform.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then he proceeded to do the most Questlovian thing ever. \u003cstrong>He made Olbermann a mixtape.\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/user/1214851524/playlist/22NWZn7SYa64Z4bl6j92il\" width=\"600\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>Titled \u003cem>The Keith O Challeng\u003c/em>e, the resulting \u003ca href=\"https://open.spotify.com/user/1214851524/playlist/22NWZn7SYa64Z4bl6j92il\" target=\"_blank\" rel=\"noopener\">201-song playlist\u003c/a> is now streaming on Spotify. (And before you ask whether this is just some promo deal on the low, you should know that Questlove is also a “strategic ambassador and advisor” at the competing platform Pandora, which airs his weekly \u003ca href=\"https://www.pandora.com/station/play/3707576888858264319\" target=\"_blank\" rel=\"noopener\">\u003cem>Questlove Supreme\u003c/em>\u003c/a> podcast. In other words, he did this one for — you guessed it — the culture.)\u003c/p>\n\u003cp>But here’s the twist: Questlove’s playlist contains \u003cem>not one single rap song\u003c/em>. We’ll get back to that in a minute.\u003c/p>\n\u003cp>Turns out he wasn’t Olbermann’s only vocal critic over the weekend, or the first. After appearing on \u003cem>All Things Considered \u003c/em>last Friday to parse the fallout surrounding \u003ca href=\"http://www.npr.org/sections/therecord/2017/10/11/557071559/eminems-presidential-diss-wasnt-the-only-political-statement-at-bet-hip-hop-awar\" target=\"_blank\" rel=\"noopener\">Eminem’s BET Hip Hop Awards freestyle\u003c/a>, I continued my commentary, originally intended for my on-air conversation with \u003ca href=\"http://www.npr.org/people/131876588/kelly-mcevers\" target=\"_blank\" rel=\"noopener\">Kelly McEvers\u003c/a>, on social media.\u003c/p>\n\u003cp>https://twitter.com/Rodneyology/status/918987125005213697\u003c/p>\n\u003cp>“[H]ow much rap have you listened [to] — or ignored — over the past 27 years?” I tweeted at Olbermann in a \u003ca href=\"https://twitter.com/Rodneyology/status/918987125005213697\">thread\u003c/a> that somehow went viral. “[F]rom Chuck D to Joey Bad*ss, hip-hop has been the most politically outspoken genre of the last three decades.”\u003c/p>\n\u003cp>The question posed to Olbermann was an attempt to grapple with all the misconceptions flourishing in the wake of Eminem’s dis. With the hype reaching a mainstream pitch, Eminem’s attack of the president’s policies and personal character was being framed as some kind of first — as if hip-hop, and the bulk of African-American MCs who make up the genre, have been biting their tongues for the past year, and even the past 27, as Olbermann’s tweet implied.\u003c/p>\n\u003cp>It revealed a deeper truth, in a sense. “By and large, white America \u003cem>still \u003c/em>doesn’t hear black people,” I tweeted. And that in no way contradicts Nielsen’s mid-year report for 2017, which ranked hip-hop/R&B as the most consumed music genre. Rather, it suggests that despite being entertained by our rhythm and modern-day blues, Middle America often fails to comprehend the black experience, even when painstakingly articulated. Hip-hop’s righteous rage and political outspokenness still falls on deaf ears outside the culture. Eminem just echoed what his black and brown peers have been saying, spitting, screaming and streaming in record numbers for the past year and a half.\u003c/p>\n\u003cp>“So we don’t get no credit for dissing Trump a year ago,” West Coast rapper \u003ca href=\"http://www.xxlmag.com/news/2017/10/yg-credit-dissing-president-trump/\">YG tweeted\u003c/a> in the midst of last week’s media frenzy. His song “F*** Donald Trump,” featuring Nipsey Hussle, was released back in March 2016. It’s one of numerous presidential critiques, ranging from profane to profound, released by artists including A Tribe Called Quest, Common, Kendrick Lamar, will.i.am, T.I. Amine, and a lot more.\u003c/p>\n\u003cp>The main thing that made Eminem’s rehearsed freestyle different is his intended listener. He knows as well as anyone how much overlap there is on a Venn diagram of his fanbase and Trump’s constituency. And that’s no attempt to discredit Em because of his whiteness; he’s an undeniable giant of the genre. But when his contemporaries of color take part in similar political discourse without receiving the same elevated platform or heightened fanfare, it highlights the insidious role race has played in the appropriation of black music since the industry’s beginning.\u003c/p>\n\u003cp>By applauding Eminem’s critique without full consideration of that context, Olbermann contributed to that historical downplaying. He shouldn’t be expected to have an exhaustive knowledge of the genre; taste in music is totally subjective. But implying hip-hop lacks political heft is beyond laughable; it’s legacy denial, whether intended or not.\u003c/p>\n\u003cp>Which brings us back to Questlove’s monster playlist: More than 10 hours long and not one solitary rap song.\u003c/p>\n\u003cp>What it does contain, however, is a deep dive on the genre’s genetic forebear: the funk. Questlove mines hip-hop’s sonic DNA with heavily-sampled ’60s/’70s classics from \u003ca href=\"http://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\" target=\"_blank\" rel=\"noopener\">Earth, Wind & Fire\u003c/a>, The Ohio Players, \u003ca href=\"http://www.npr.org/artists/15180612/sly-the-family-stone\" target=\"_blank\" rel=\"noopener\">Sly and the Family Stone\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15595533/the-meters\" target=\"_blank\" rel=\"noopener\">The Meters\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15127458/booker-t-the-mg-s\" target=\"_blank\" rel=\"noopener\">Booker T. and The MGs\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15166353/betty-davis\" target=\"_blank\" rel=\"noopener\">Betty Davis\u003c/a>, \u003ca href=\"http://www.npr.org/artists/539035525/diana-ross\" target=\"_blank\" rel=\"noopener\">Diana Ross\u003c/a> and, of course, a heap of \u003ca href=\"http://www.npr.org/artists/15316566/james-brown\" target=\"_blank\" rel=\"noopener\">James Brown\u003c/a>.\u003c/p>\n\u003cp>It’s a crate-diggers dream, full of familiar-sounding obscurities such as Dyke & The Blazers “Let A Woman Be A Woman – Let A Man Be A Man,” notably sampled by artists ranging from Stetsasonic (“Sally”) to Public Enemy (“Welcome To The Terrordome”) to Tyler, the Creator (“Rusty”). There’s Blackbyrds’ “Mysterious Vibes” (Paris’ “The Days Of Old,” Big K.R.I.T.’s “Highs And Lows,” et al.) and Faze-O’s “Riding High” (EPMD’s “Please Listen To My Demo” and more). The opening saxophone riff from \u003ca href=\"http://www.npr.org/artists/16318474/jay-z\" target=\"_blank\" rel=\"noopener\">Jay-Z\u003c/a>‘s “Show Me What You Got”? It’s in there, all languid and mellow, on Lafayette Afro Rock Band’s “Darkest Light.” And if you’re looking for some of those uncleared gems buried in De La Soul’s classic discography, still in digital limbo, you’ll recognize the piano licks from Erma Franklin’s 1969 cover of “Light My Fire” as the end transition of \u003cem>De La Soul Is Dead\u003c/em>‘s “A Roller Skating Jam Named Saturdays.”\u003c/p>\n\u003cp>Point being, this is deeper than rap. There’s an entire cultural continuum that undergirds even the most commercial rubble of any genre. To doubt hip-hop is to dismiss its rich heritage and to shrug off the contemporary trials and triumphs of its progeny.\u003c/p>\n\u003cp>Though I seriously doubt Questlove ever saw the \u003ca href=\"https://twitter.com/Rodneyology/status/918993673840406529\">#KeithOlbermannMixtape\u003c/a> hashtag I tweeted out the night before, hip-hop heads — whether afros or baldies like me — tend to think alike. The artist-scholar and occasional DJ probably already had the syllabus I’d merely alluded to cued up and ready to go. The best part is his 201-song playlist is just the jump-off. He’s already promised to return next month with another installment.\u003c/p>\n\u003cp>More power to Questlove. It takes a special kind of emotional labor to play cultural ambassador to an indifferent audience. But to Olbermann’s credit — and my surprise — he replied to my tweets the following day. “Hate to hit your narrative but I’ve been a fan of political protest music, rap and otherwise, for 50 years. My ‘doubts’ were about my personal tastes,” he explained, before name-dropping a couple references meant to highlight his hip-hop bona fides. “I had Coolio and LL Cool J cassettes before I owned a CD player.”\u003c/p>\n\u003cp>With that admission, he may have earned more pity than cool points. But point taken, nonetheless.\u003c/p>\n\u003cp>https://twitter.com/KeithOlbermann/status/919079555310243840\u003c/p>\n\u003cp>“Eminem’s bodying Trump was the first time I got the thrill,” Olbermann continued. “No disrespect intended, more a public questioning of my own tastes.”\u003c/p>\n\u003cp>And every man should indeed be entitled to his own taste. But if Keith O ever feels the urge to challenge himself with a deep dive into hip-hop’s historical and sociopolitical significance, Questlove’s curated the perfect playlist for that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’ll be bumping it on repeat in the meantime. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Questlove%27s+201-Song+Playlist+For+Keith+Olbermann+Is+Bigger+Than+Hip-Hop&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it comes to music history, \u003ca href=\"http://www.npr.org/2016/04/27/475721555/questlove-on-prince-doo-wop-and-the-food-equivalent-of-the-mona-lisa\" target=\"_blank\" rel=\"noopener\">Questlove\u003c/a> is an Afro-pick rocking compendium of knowledge. So when the co-founder of The Roots got wind that Keith Olbermann’s come-lately compliment of Eminem’s Trump smackdown was couched within a tweet that seemed to dismiss the entire genre of rap, he vowed to take the progressive pundit to school.\u003c/p>\n\u003cp>Olbermann, whose new book \u003cem>Trump Is F****** Crazy (this is not a joke)\u003c/em> came out this week, was likely just tipping his hat to a fellow anti-Trumpite when he tweeted: “After 27 years of doubts about rap I am now an Eminem fan. Best political writing of the year, period.” But the host of \u003cem>GQ\u003c/em>‘s \u003cem>The Resistance\u003c/em> unwittingly revealed his willful ignorance of the genre in the process.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“You have to have your mind SET to shut out hip hop,” Questlove wrote Saturday in a series of \u003ca href=\"https://twitter.com/questlove\" target=\"_blank\" rel=\"noopener\">23 (unthreaded) tweets\u003c/a> that questioned how the political commentator — with whom the five-time Grammy Award-winner often agrees — could be so culturally un-hip. “Saying you ignored rap for 27 years is basically saying you’re indifferent to the very black lives you champion on your platform.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then he proceeded to do the most Questlovian thing ever. \u003cstrong>He made Olbermann a mixtape.\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/user/1214851524/playlist/22NWZn7SYa64Z4bl6j92il\" width=\"600\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>Titled \u003cem>The Keith O Challeng\u003c/em>e, the resulting \u003ca href=\"https://open.spotify.com/user/1214851524/playlist/22NWZn7SYa64Z4bl6j92il\" target=\"_blank\" rel=\"noopener\">201-song playlist\u003c/a> is now streaming on Spotify. (And before you ask whether this is just some promo deal on the low, you should know that Questlove is also a “strategic ambassador and advisor” at the competing platform Pandora, which airs his weekly \u003ca href=\"https://www.pandora.com/station/play/3707576888858264319\" target=\"_blank\" rel=\"noopener\">\u003cem>Questlove Supreme\u003c/em>\u003c/a> podcast. In other words, he did this one for — you guessed it — the culture.)\u003c/p>\n\u003cp>But here’s the twist: Questlove’s playlist contains \u003cem>not one single rap song\u003c/em>. We’ll get back to that in a minute.\u003c/p>\n\u003cp>Turns out he wasn’t Olbermann’s only vocal critic over the weekend, or the first. After appearing on \u003cem>All Things Considered \u003c/em>last Friday to parse the fallout surrounding \u003ca href=\"http://www.npr.org/sections/therecord/2017/10/11/557071559/eminems-presidential-diss-wasnt-the-only-political-statement-at-bet-hip-hop-awar\" target=\"_blank\" rel=\"noopener\">Eminem’s BET Hip Hop Awards freestyle\u003c/a>, I continued my commentary, originally intended for my on-air conversation with \u003ca href=\"http://www.npr.org/people/131876588/kelly-mcevers\" target=\"_blank\" rel=\"noopener\">Kelly McEvers\u003c/a>, on social media.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“[H]ow much rap have you listened [to] — or ignored — over the past 27 years?” I tweeted at Olbermann in a \u003ca href=\"https://twitter.com/Rodneyology/status/918987125005213697\">thread\u003c/a> that somehow went viral. “[F]rom Chuck D to Joey Bad*ss, hip-hop has been the most politically outspoken genre of the last three decades.”\u003c/p>\n\u003cp>The question posed to Olbermann was an attempt to grapple with all the misconceptions flourishing in the wake of Eminem’s dis. With the hype reaching a mainstream pitch, Eminem’s attack of the president’s policies and personal character was being framed as some kind of first — as if hip-hop, and the bulk of African-American MCs who make up the genre, have been biting their tongues for the past year, and even the past 27, as Olbermann’s tweet implied.\u003c/p>\n\u003cp>It revealed a deeper truth, in a sense. “By and large, white America \u003cem>still \u003c/em>doesn’t hear black people,” I tweeted. And that in no way contradicts Nielsen’s mid-year report for 2017, which ranked hip-hop/R&B as the most consumed music genre. Rather, it suggests that despite being entertained by our rhythm and modern-day blues, Middle America often fails to comprehend the black experience, even when painstakingly articulated. Hip-hop’s righteous rage and political outspokenness still falls on deaf ears outside the culture. Eminem just echoed what his black and brown peers have been saying, spitting, screaming and streaming in record numbers for the past year and a half.\u003c/p>\n\u003cp>“So we don’t get no credit for dissing Trump a year ago,” West Coast rapper \u003ca href=\"http://www.xxlmag.com/news/2017/10/yg-credit-dissing-president-trump/\">YG tweeted\u003c/a> in the midst of last week’s media frenzy. His song “F*** Donald Trump,” featuring Nipsey Hussle, was released back in March 2016. It’s one of numerous presidential critiques, ranging from profane to profound, released by artists including A Tribe Called Quest, Common, Kendrick Lamar, will.i.am, T.I. Amine, and a lot more.\u003c/p>\n\u003cp>The main thing that made Eminem’s rehearsed freestyle different is his intended listener. He knows as well as anyone how much overlap there is on a Venn diagram of his fanbase and Trump’s constituency. And that’s no attempt to discredit Em because of his whiteness; he’s an undeniable giant of the genre. But when his contemporaries of color take part in similar political discourse without receiving the same elevated platform or heightened fanfare, it highlights the insidious role race has played in the appropriation of black music since the industry’s beginning.\u003c/p>\n\u003cp>By applauding Eminem’s critique without full consideration of that context, Olbermann contributed to that historical downplaying. He shouldn’t be expected to have an exhaustive knowledge of the genre; taste in music is totally subjective. But implying hip-hop lacks political heft is beyond laughable; it’s legacy denial, whether intended or not.\u003c/p>\n\u003cp>Which brings us back to Questlove’s monster playlist: More than 10 hours long and not one solitary rap song.\u003c/p>\n\u003cp>What it does contain, however, is a deep dive on the genre’s genetic forebear: the funk. Questlove mines hip-hop’s sonic DNA with heavily-sampled ’60s/’70s classics from \u003ca href=\"http://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\" target=\"_blank\" rel=\"noopener\">Earth, Wind & Fire\u003c/a>, The Ohio Players, \u003ca href=\"http://www.npr.org/artists/15180612/sly-the-family-stone\" target=\"_blank\" rel=\"noopener\">Sly and the Family Stone\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15595533/the-meters\" target=\"_blank\" rel=\"noopener\">The Meters\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15127458/booker-t-the-mg-s\" target=\"_blank\" rel=\"noopener\">Booker T. and The MGs\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15166353/betty-davis\" target=\"_blank\" rel=\"noopener\">Betty Davis\u003c/a>, \u003ca href=\"http://www.npr.org/artists/539035525/diana-ross\" target=\"_blank\" rel=\"noopener\">Diana Ross\u003c/a> and, of course, a heap of \u003ca href=\"http://www.npr.org/artists/15316566/james-brown\" target=\"_blank\" rel=\"noopener\">James Brown\u003c/a>.\u003c/p>\n\u003cp>It’s a crate-diggers dream, full of familiar-sounding obscurities such as Dyke & The Blazers “Let A Woman Be A Woman – Let A Man Be A Man,” notably sampled by artists ranging from Stetsasonic (“Sally”) to Public Enemy (“Welcome To The Terrordome”) to Tyler, the Creator (“Rusty”). There’s Blackbyrds’ “Mysterious Vibes” (Paris’ “The Days Of Old,” Big K.R.I.T.’s “Highs And Lows,” et al.) and Faze-O’s “Riding High” (EPMD’s “Please Listen To My Demo” and more). The opening saxophone riff from \u003ca href=\"http://www.npr.org/artists/16318474/jay-z\" target=\"_blank\" rel=\"noopener\">Jay-Z\u003c/a>‘s “Show Me What You Got”? It’s in there, all languid and mellow, on Lafayette Afro Rock Band’s “Darkest Light.” And if you’re looking for some of those uncleared gems buried in De La Soul’s classic discography, still in digital limbo, you’ll recognize the piano licks from Erma Franklin’s 1969 cover of “Light My Fire” as the end transition of \u003cem>De La Soul Is Dead\u003c/em>‘s “A Roller Skating Jam Named Saturdays.”\u003c/p>\n\u003cp>Point being, this is deeper than rap. There’s an entire cultural continuum that undergirds even the most commercial rubble of any genre. To doubt hip-hop is to dismiss its rich heritage and to shrug off the contemporary trials and triumphs of its progeny.\u003c/p>\n\u003cp>Though I seriously doubt Questlove ever saw the \u003ca href=\"https://twitter.com/Rodneyology/status/918993673840406529\">#KeithOlbermannMixtape\u003c/a> hashtag I tweeted out the night before, hip-hop heads — whether afros or baldies like me — tend to think alike. The artist-scholar and occasional DJ probably already had the syllabus I’d merely alluded to cued up and ready to go. The best part is his 201-song playlist is just the jump-off. He’s already promised to return next month with another installment.\u003c/p>\n\u003cp>More power to Questlove. It takes a special kind of emotional labor to play cultural ambassador to an indifferent audience. But to Olbermann’s credit — and my surprise — he replied to my tweets the following day. “Hate to hit your narrative but I’ve been a fan of political protest music, rap and otherwise, for 50 years. My ‘doubts’ were about my personal tastes,” he explained, before name-dropping a couple references meant to highlight his hip-hop bona fides. “I had Coolio and LL Cool J cassettes before I owned a CD player.”\u003c/p>\n\u003cp>With that admission, he may have earned more pity than cool points. But point taken, nonetheless.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Eminem’s bodying Trump was the first time I got the thrill,” Olbermann continued. “No disrespect intended, more a public questioning of my own tastes.”\u003c/p>\n\u003cp>And every man should indeed be entitled to his own taste. But if Keith O ever feels the urge to challenge himself with a deep dive into hip-hop’s historical and sociopolitical significance, Questlove’s curated the perfect playlist for that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’ll be bumping it on repeat in the meantime. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Questlove%27s+201-Song+Playlist+For+Keith+Olbermann+Is+Bigger+Than+Hip-Hop&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Music producers play a crucial role in cultivating an artist’s sound even though they’re rarely in the spotlight themselves. In this five-part series, KQED Arts contributor Adrian Spinelli goes behind the scenes with the Bay Area’s most innovative and influential up-and-coming hip-hop producers. Read the previous installments \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Two days after returning from a press trip through Asia, \u003ca href=\"https://ww2.kqed.org/arts/2017/05/10/on-p-los-more-than-anything-a-prolific-collaborator-takes-the-spotlight/\" rel=\"noopener\" target=\"_blank\">P-Lo\u003c/a> is filled with a renewed sense of purpose. He’s wearing a green hoodie and Giants hat; his gold cross necklace and gold nugget earrings flicker in the light of Emeryville’s Public Market. Later in the week, he’ll be throwing out the first pitch at the \u003ca href=\"https://twitter.com/i/web/status/911276222876758018\" rel=\"noopener\" target=\"_blank\">Oakland A’s Filipino Heritage Night\u003c/a>. Despite the lingering jet lag from crossing the globe, he seems fresh and thankful.\u003c/p>\n\u003cp>“I shot a video out in the Philippines,” he says. “I bought the whole neighborhood ice cream. There were kids singing ‘Never Goin’ Broke’ [by HBK Gang] and it felt like I gave ’em hope when I was there. I was really absorbing that. I mean, my dad was one of those kids once.”\u003c/p>\n\u003cp>https://youtu.be/paGPMjyp-nI\u003c/p>\n\u003cp>As one of the Bay Area’s more established young producers, P-Lo has worked with chart-toppers like Wiz Khalifa and Yo Gotti as well as G-Eazy, Sage the Gemini, Kehlani, IAMSU and other big-name locals. Although he’s had an impressive roster of collaborators, P-Lo recently shifted his focus from behind-the-scenes work to rapping. During his press trip to Asia, he was pushing \u003cem>More Than Anything\u003c/em>, his first LP as a solo artist. Though he released two previous mixtapes and an EP, \u003cem>More Than Anything\u003c/em> represents a new direction for P-Lo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Me being a producer first, I’m able to see a song differently and have a clear direction,” he says, contemplating his different roles. “But I have a higher purpose too. I’ve got a big responsibility and I wanted to do more.”\u003c/p>\n\u003cp>P-Lo, who is now 26 years old, co-founded the locally-renowned hip-hop collective HBK Gang with his brother Kuya Beats, IAMSU and several other classmates from Pinole Valley High School in eastern Contra Costa County. When thinking of the post-hyphy hip-hop generation in the Bay, HBK artists — who also include Kool John, Dave Steezy and Skipper — are the clear-cut leaders, and their work is catching on outside of Bay Area. \u003c/p>\n\u003cfigure id=\"attachment_13811783\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/KQED_P-Lo-205-800x450.jpg\" alt=\"After years behind the scenes, P-Lo recently stepped into the spotlight with his solo album, 'More Than Anything.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811783\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_P-Lo-205-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_P-Lo-205-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_P-Lo-205-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_P-Lo-205-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_P-Lo-205.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_P-Lo-205-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_P-Lo-205-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_P-Lo-205-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_P-Lo-205-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_P-Lo-205-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After years behind the scenes, P-Lo recently stepped into the spotlight with his solo album, ‘More Than Anything.’ \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>HBK Gang features black, Asian, and Latino artists and has been praised for mirroring the Bay Area’s diversity. As one of the more prominent members of the group, P-Lo has become a beacon for young Filipino-American hip-hop fans in the Bay. “People overlook that diversity is the most important thing in the Bay,” P-Lo says. “For people to accept this Filipino dude and rock with it, that’s what the world should be. And I didn’t have anybody to identify with that looked like me when I was growing up. So it’s important to become that.”\u003c/p>\n\u003cp>It’s harder to be the face of a cultural movement if you’re behind the decks or in the studio; on stage, spitting bars on the mic was always where P-Lo always wanted to be. He says he really “felt it” two or three years ago when he signed on as a songwriter and got a publishing deal with Artist Publishing Group, a division of Warner/Chappell.\u003c/p>\n\u003cp>“I always told him that I knew he had it in him,” says IAMSU. “For somebody to give a whole culture swag and someone to look up to like that. I see so many people that look like P-Lo at my shows or just out and about. He’s created a lane for that group of people and that’s awesome.”\u003c/p>\n\u003cp>On \u003cem>More Than Anything\u003c/em>, P-Lo shared production duties with Mikos Da Gawd, Cal-A, Reece Beats and others. His signature big, bass-heavy party anthems — which have an unmistakably Bay Area knock — are everywhere on the record, but there’s a newfound lyrical confidence throughout. Notably, on the self-produced “Put Me On Somethin’” featuring E-40, P-Lo drops the hammer from the start with: “If they hatin’ got a price to pay / California on my license plate / Last year they ain’t even like the Bay.” The loaded verse captures the essence of Bay Area hip-hop’s underdog mentality.\u003c/p>\n\u003cp>https://youtu.be/U-uadpyaPU8\u003c/p>\n\u003cp>“The Bay Area just brings so much to music,” he says. “Style, uniqueness and slang — we always bring that. But we need more people on that front line of the industry and be like, ‘This is Bay Area shit.’ People don’t get to see that.”\u003c/p>\n\u003cp>Since August, P-Lo has been splitting his time between the Bay and Los Angeles. But today, he’s as comfortable as ever at the Public Market. He runs into fellow HBK rapper-producer Jay Ant and the two friends laugh about the grind of the Bay-to-L.A. commute. Later, P-Lo chats with his manager about which photographer they should bring for the first pitch at Filipino Heritage Night at the Coliseum that Friday.\u003c/p>\n\u003cp>“I’m a Bay Area kid that just wants to show who I am and show the world what it can be: Culturally diverse and accepting,” he says as he adjusts his shiny golden grill. “That’s one of my jobs, to keep that conversation moving, and I wanna inspire as many people as I can while I’m doing this. I always knew I was gonna be an artist. I knew I had something unique. I represented something bigger than me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Adrian Spinelli is a Brazilian-born, San Francisco-based freelance writer, editor and host of the \u003ca href=\"http://noisepop.com/podcast/\" rel=\"noopener\" target=\"_blank\">Noise Pop Podcast\u003c/a>. Follow him on Twitter \u003ca href=\"https://twitter.com/AGSpinelli\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Music producers play a crucial role in cultivating an artist’s sound even though they’re rarely in the spotlight themselves. In this five-part series, KQED Arts contributor Adrian Spinelli goes behind the scenes with the Bay Area’s most innovative and influential up-and-coming hip-hop producers. Read the previous installments \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Two days after returning from a press trip through Asia, \u003ca href=\"https://ww2.kqed.org/arts/2017/05/10/on-p-los-more-than-anything-a-prolific-collaborator-takes-the-spotlight/\" rel=\"noopener\" target=\"_blank\">P-Lo\u003c/a> is filled with a renewed sense of purpose. He’s wearing a green hoodie and Giants hat; his gold cross necklace and gold nugget earrings flicker in the light of Emeryville’s Public Market. Later in the week, he’ll be throwing out the first pitch at the \u003ca href=\"https://twitter.com/i/web/status/911276222876758018\" rel=\"noopener\" target=\"_blank\">Oakland A’s Filipino Heritage Night\u003c/a>. Despite the lingering jet lag from crossing the globe, he seems fresh and thankful.\u003c/p>\n\u003cp>“I shot a video out in the Philippines,” he says. “I bought the whole neighborhood ice cream. There were kids singing ‘Never Goin’ Broke’ [by HBK Gang] and it felt like I gave ’em hope when I was there. I was really absorbing that. I mean, my dad was one of those kids once.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/paGPMjyp-nI'\n title='//www.youtube.com/embed/paGPMjyp-nI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As one of the Bay Area’s more established young producers, P-Lo has worked with chart-toppers like Wiz Khalifa and Yo Gotti as well as G-Eazy, Sage the Gemini, Kehlani, IAMSU and other big-name locals. Although he’s had an impressive roster of collaborators, P-Lo recently shifted his focus from behind-the-scenes work to rapping. During his press trip to Asia, he was pushing \u003cem>More Than Anything\u003c/em>, his first LP as a solo artist. Though he released two previous mixtapes and an EP, \u003cem>More Than Anything\u003c/em> represents a new direction for P-Lo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Me being a producer first, I’m able to see a song differently and have a clear direction,” he says, contemplating his different roles. “But I have a higher purpose too. I’ve got a big responsibility and I wanted to do more.”\u003c/p>\n\u003cp>P-Lo, who is now 26 years old, co-founded the locally-renowned hip-hop collective HBK Gang with his brother Kuya Beats, IAMSU and several other classmates from Pinole Valley High School in eastern Contra Costa County. When thinking of the post-hyphy hip-hop generation in the Bay, HBK artists — who also include Kool John, Dave Steezy and Skipper — are the clear-cut leaders, and their work is catching on outside of Bay Area. \u003c/p>\n\u003cfigure id=\"attachment_13811783\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/KQED_P-Lo-205-800x450.jpg\" alt=\"After years behind the scenes, P-Lo recently stepped into the spotlight with his solo album, 'More Than Anything.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811783\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_P-Lo-205-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_P-Lo-205-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_P-Lo-205-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_P-Lo-205-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_P-Lo-205.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_P-Lo-205-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_P-Lo-205-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_P-Lo-205-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_P-Lo-205-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_P-Lo-205-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After years behind the scenes, P-Lo recently stepped into the spotlight with his solo album, ‘More Than Anything.’ \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>HBK Gang features black, Asian, and Latino artists and has been praised for mirroring the Bay Area’s diversity. As one of the more prominent members of the group, P-Lo has become a beacon for young Filipino-American hip-hop fans in the Bay. “People overlook that diversity is the most important thing in the Bay,” P-Lo says. “For people to accept this Filipino dude and rock with it, that’s what the world should be. And I didn’t have anybody to identify with that looked like me when I was growing up. So it’s important to become that.”\u003c/p>\n\u003cp>It’s harder to be the face of a cultural movement if you’re behind the decks or in the studio; on stage, spitting bars on the mic was always where P-Lo always wanted to be. He says he really “felt it” two or three years ago when he signed on as a songwriter and got a publishing deal with Artist Publishing Group, a division of Warner/Chappell.\u003c/p>\n\u003cp>“I always told him that I knew he had it in him,” says IAMSU. “For somebody to give a whole culture swag and someone to look up to like that. I see so many people that look like P-Lo at my shows or just out and about. He’s created a lane for that group of people and that’s awesome.”\u003c/p>\n\u003cp>On \u003cem>More Than Anything\u003c/em>, P-Lo shared production duties with Mikos Da Gawd, Cal-A, Reece Beats and others. His signature big, bass-heavy party anthems — which have an unmistakably Bay Area knock — are everywhere on the record, but there’s a newfound lyrical confidence throughout. Notably, on the self-produced “Put Me On Somethin’” featuring E-40, P-Lo drops the hammer from the start with: “If they hatin’ got a price to pay / California on my license plate / Last year they ain’t even like the Bay.” The loaded verse captures the essence of Bay Area hip-hop’s underdog mentality.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/U-uadpyaPU8'\n title='//www.youtube.com/embed/U-uadpyaPU8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The Bay Area just brings so much to music,” he says. “Style, uniqueness and slang — we always bring that. But we need more people on that front line of the industry and be like, ‘This is Bay Area shit.’ People don’t get to see that.”\u003c/p>\n\u003cp>Since August, P-Lo has been splitting his time between the Bay and Los Angeles. But today, he’s as comfortable as ever at the Public Market. He runs into fellow HBK rapper-producer Jay Ant and the two friends laugh about the grind of the Bay-to-L.A. commute. Later, P-Lo chats with his manager about which photographer they should bring for the first pitch at Filipino Heritage Night at the Coliseum that Friday.\u003c/p>\n\u003cp>“I’m a Bay Area kid that just wants to show who I am and show the world what it can be: Culturally diverse and accepting,” he says as he adjusts his shiny golden grill. “That’s one of my jobs, to keep that conversation moving, and I wanna inspire as many people as I can while I’m doing this. I always knew I was gonna be an artist. I knew I had something unique. I represented something bigger than me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Adrian Spinelli is a Brazilian-born, San Francisco-based freelance writer, editor and host of the \u003ca href=\"http://noisepop.com/podcast/\" rel=\"noopener\" target=\"_blank\">Noise Pop Podcast\u003c/a>. Follow him on Twitter \u003ca href=\"https://twitter.com/AGSpinelli\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Songs That Say 'Me Too'",
"headTitle": "Songs That Say ‘Me Too’ | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Content advisory:\u003c/strong>\u003c/em>\u003cem> The videos and language below contain strong language and may be offensive to some.\u003c/em>\u003c/p>\n\u003cp>For the past two days women have overwhelmed social media with a truth often hidden in plain sight: \u003ca href=\"https://www.rainn.org/statistics/scope-problem\" target=\"_blank\" rel=\"noopener\">One out of every six\u003c/a> women has been subject to an attempted or completed rape during her lifetime. Countless more endure other forms of assault, abuse or harassment.\u003c/p>\n\u003cp>Prompted by the recent revelations that Hollywood mogul Harvey Weinstein performed such acts on dozens of women over the past four decades, the phrase “\u003ca href=\"https://www.bustle.com/p/the-woman-who-started-me-too-on-why-we-didnt-need-another-quiet-day-2920079\" target=\"_blank\" rel=\"noopener\">me too,\u003c/a>” posted as a hashtag or Facebook status, did the usual digital-activism work of intensely personalizing a social and political issue that many could otherwise dismiss as “not my problem.” As some men posted, and some women of color argued, it takes a certain amount of privilege to feel safe enough to make even a two-word disclosure like this one. Questions about race and gender arose that necessarily complicate rapid-fire political discourses. Yet “me too” has approached a certain critical mass; the hashtag had been used 200,000 times as of Monday morning.\u003c/p>\n\u003cp>As a meme, “me too” does a great job of crystallizing the rage and vulnerability women feel in the face of rape culture. This conversation, however, is hardly new. Artists, activists, writers and musicians have told the stories of violated women across time — particularly since the 1990s, when popular music and feminism powerfully intersected in the pop mainstream and the musical underground. Here’s a list of twenty songs in which women said “me too” — without shame.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Tori Amos, “Me And A Gun” (1991)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/4KjmFMtiywPXyr6CbLOhY3\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>This stark, semi-autobiographical monologue, which \u003ca href=\"http://www.npr.org/artists/15182176/tori-amos\" target=\"_blank\" rel=\"noopener\">Amos\u003c/a> wrote to be performed a capella, takes the listener within the mind of a woman being raped – and is based on details of the singer-songwriter’s own assault after a show when she was 21. The emotional centerpiece of her solo debut album \u003cem>Little Earthquakes\u003c/em>, it remains one of pop’s most intimate and forthright accounts of how women experience sexual violence.\u003c/p>\n\u003cp>\u003cstrong>TLC, “His Story” (1992)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/3naqVKAWQJyghdX9VzYEJA\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>“‘His Story’ was happening before we were born,” \u003ca href=\"http://www.npr.org/artists/15807876/tlc\" target=\"_blank\" rel=\"noopener\">TLC\u003c/a> member Rozonda “Chilli” Thomas said in a recent interview, addressing this song’s theme of society’s tendency to accept the male viewpoint on sexual assault, even in the most dubious circumstances. A protest song in the guise of a funk jam, TLC’s invective has been somewhat forgotten, perhaps because it was inspired by and mentioned the highly controversial \u003ca href=\"http://www.npr.org/sections/thetwo-way/2013/08/05/209194252/15-years-later-tawana-brawley-has-paid-1-percent-of-penalty\" target=\"_blank\" rel=\"noopener\">Tawana Brawley\u003c/a> case of 1987; its big-picture take still resonates.\u003c/p>\n\u003cp>\u003cstrong>Au Pairs, “Armagh” (1981)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/5OqNaCBBU7qK5TeUzREhx1\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>Sexual assault is always political, and sometimes it’s actually a tool of the state. The post-punk band Au Pairs – part of a vibrant feminist scene that arose in Northern England at the turn of the ’80s – made that reality explicit in this song, about female Irish Republican prisoners who were repeatedly strip-searched and reportedly violated as part of the daily routine in the Northern Irish prison of the song’s title. The women of Armagh conducted a \u003ca href=\"http://www.theirisharchives.com/articles/view/97/The-Women-Hunger-Strikers-Of-Armagh-Prison\" target=\"_blank\" rel=\"noopener\">“dirty protest”\u003c/a> to call attention to their plight; this song captures its disgust.\u003c/p>\n\u003cp>\u003cstrong>Liz Phair, “F*** and Run” (1993)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/4MSdFtD1JPc2W3J13uJPeS\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/15402643/liz-phair\" target=\"_blank\" rel=\"noopener\">Phair\u003c/a>‘s album-length rejoinder to carelessly sexist indie rockers, \u003cem>Exile in Guyville\u003c/em>, is one of the finest accounts of all the crap that women put up with within music scenes. This deceptively wry ballad about one-night-stand Johnnies contains a shocking line — “even when I was twelve,” Phair sang, recalling all the times men enjoyed her body and then left her behind — that connects everyday, callous treatment to the larger culture of abuse that women must navigate, starting when they are girls.\u003c/p>\n\u003cp>\u003cstrong>Bikini Kill, “Liar” (1991)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i1aycS7_P-M\u003c/p>\n\u003cp>The early ’90s Riot Grrrl movement brought the realities of rape culture into stark focus within an indie rock community that often presented itself as above “all that.” Kathleen Hanna, \u003ca href=\"http://www.npr.org/artists/106311747/bikini-kill\" target=\"_blank\" rel=\"noopener\">Bikini Kill\u003c/a>‘s vocalist and visionary, was the Cassandra who demanded that the men around her acknowledge that they, too, were part of the mass deceit that allows male perpetrators to “deny, deny, deny, deny.”\u003c/p>\n\u003cp>\u003cstrong>Fiona Apple, “Sullen Girl” (1996)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/6cVxGzo7214XabSXFGasNl\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>The effects of sexual assault often, perhaps nearly always, last a lifetime. At 17, in this blunt, introspective, beautiful piano ballad, \u003ca href=\"http://www.npr.org/artists/15183593/fiona-apple\" target=\"_blank\" rel=\"noopener\">Fiona Apple\u003c/a> revealed the aftermath of her rape at age 12. “My oblivion,” she called it, resurrecting herself through sheer grit and musicality, and guiding others to do the same.\u003c/p>\n\u003cp>\u003cstrong>The Raincoats, “Off Duty Trip” (1979)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/6hsh2tGBNL5WlaQLrD61P7\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>Rape culture is supported by a criminal justice system that can seem inclined towards preserving male power. (The recent case of Brock Turner, the Stanford student whose sentence was reduced by a judge concerned about its \u003ca href=\"https://www.washingtonpost.com/news/grade-point/wp/2017/07/02/the-judge-in-the-infamous-brock-turner-case-finally-explains-his-decision-a-year-later/?utm_term=.afbf2b168bee\" target=\"_blank\" rel=\"noopener\">impact on his future\u003c/a>, is illustrative.) Post-punk greats \u003ca href=\"http://www.npr.org/artists/539037321/the-raincoats\" target=\"_blank\" rel=\"noopener\">The Raincoats\u003c/a> refer in this song to a much-publicized rape trial in which a British Army officer received lenient treatment from a judge concerned about his military standing, and contextualizes that outrage within a larger view of women’s objectification.\u003c/p>\n\u003cp>\u003cstrong>Rihanna, “Man Down” (2010)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/454h9zAIuTe1eJyw9iTnj4\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>The Barbadian queen of international pop has often alluded to sexualized violence in her songs, partly because of her own history, which includes surviving domestic assault by her then-boyfriend, the singer Chris Brown. This song takes on rape directly, and can be heard as a revenge fantasy aimed at the fiercely patriarchal culture of the Caribbean dancehall music it mines.\u003c/p>\n\u003cp>\u003cstrong>War On Women, “Say It” (2015)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/0eta41JkL9xjzWxiPtuMEQ\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>Certain environments where male bonding is prioritized — fraternities, for example, or perhaps summer rock festivals — have proven particularly conducive to men who violate women. This past summer, the Baltimore band War On Women brought this demand to disrupt such enclaves to Warped Tour, and, perhaps predictably,\u003cstrong> \u003c/strong>\u003ca href=\"https://www.popsugar.com/news/How-Women-Warped-Tour-Pushing-Back-Against-Sexual-Harassment-43727311\" target=\"_blank\" rel=\"noopener\">endured a backlash\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sarah McLachlan, “Possession” (1993)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/28SynOAuafgfxvPXWFgS7D\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>Stalking – the relentless invasion of a woman’s space and privacy – is a major aspect of the culture of misogyny. In one of her most resonant and popular songs, Lilith Fair co-founder \u003ca href=\"http://www.npr.org/artists/15397450/sarah-mclachlan\" target=\"_blank\" rel=\"noopener\">Sarah McLachlan\u003c/a> claimed power over a fan who’d stalked her by imagining herself in his position, a chancy move that allowed her some sense of power. Though, she said, the experience had forced her to live with the constant fear that she \u003ca href=\"http://www.addictedtosongwriting.com/sarah-mclachlan.html\" target=\"_blank\" rel=\"noopener\">might be raped\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Rhiannon Giddens, “At the Purchaser’s Option” (2017)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/5RmAtT0VaKttU0Eybo6ZWA\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>The #metoo hashtag rivets us because it feels urgent and new. But sexual assault is embedded in American culture, especially within the poison legacy of slavery. Newly minted MacArthur Foundation Genius \u003ca href=\"http://www.npr.org/artists/384980773/rhiannon-giddens\" target=\"_blank\" rel=\"noopener\">Rhiannon Giddens\u003c/a> brings listeners right into the bloodied heart of one enslaved woman impregnated by her rapist, whose resilience defied history itself.\u003c/p>\n\u003cp>\u003cstrong>Eve, “Love is Blind” (1999)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/0H2jfzzREOr9MF95HB7ry6\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>“What kind of love,” Eve asked in this song dedicated to a friend who’d been killed by her boyfriend, “make you wish he would die?” The cycle of domestic violence included rape, and the rap royal included it as part of this cry for justice, which ends in a scenario of revenge. “Love is Blind” is a swaggering achievement that stands against hip-hop’s longstanding practice of \u003ca href=\"http://uproxx.com/webculture/50-absurd-rape-lyrics/\">making light\u003c/a> of sexual assault and harassment.\u003c/p>\n\u003cp>\u003cstrong>Otep, “Fillthee” (2001)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/0AWMwRNXNc0bX2sPLWrxX7\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>The atmospheres in which violence can be mounted against women are often aggressively male. Extreme heavy metal is, notoriously, a dude’s paradise; Otep Shamaya is one of the few women who has found stardom within it. From the start of her career, as in this song confronting the shame a rape victim feels, she has demanded that her peers acknowledge the ways in which they quash the feminine.\u003c/p>\n\u003cp>\u003cstrong>Amy Grant, “Ask Me” (1991)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/5rLGbtNvUB8nqyUNTRC5n9\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>All too often, women have been taught to blame themselves for their own victimization. Sometimes religion has enforced this self-condemnation. Amy Grant, one of contemporary Christian music’s superstars, turns this shame around by telling the story of a sexually abused child in poignant detail before celebrating the girl’s redemption as a grown woman. Grant puts mercy before patriarchal judgment in her version of being born again.\u003c/p>\n\u003cp>\u003cstrong>Gillian Welch, “Caleb Meyer” (1998)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/170BlLwmzfaW7hlKCl24sb\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>The murder ballad is a Euro-American traditional song form that forms one of the foundations of folk music. Through its many tales of lone male wolves strangling women or \u003ca href=\"https://www.youtube.com/watch?v=_KvXteZkByE\" target=\"_blank\" rel=\"noopener\">pushing them into rivers\u003c/a>, it also normalizes misogyny. In this satisfying twist on the usual story, by Americana’s master storyteller \u003ca href=\"http://www.npr.org/artists/15237439/gillian-welch\" target=\"_blank\" rel=\"noopener\">Gillian Welch\u003c/a> and her partner David Rawlings, the titular character is a rapist who becomes a casualty of his own criminal act when his victim – a determined survivor – grabs a broken bottle and ends both the crime and his life.\u003c/p>\n\u003cp>\u003cstrong>Angel Haze, “Cleaning Out My Closet” (2012)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=olBOFLqEREI\u003c/p>\n\u003cp>One way that men have erased women’s accounts of their own realities is by treating misogyny as a joke. The Detroit rapper Angel Haze battles one of the masters of that despicable art, \u003ca href=\"http://www.npr.org/artists/15404635/eminem\" target=\"_blank\" rel=\"noopener\">Eminem\u003c/a>, in this truth-baring session. The Eminem song that shares this title is uncharacteristically (and barely) tender, qualified by a final rhyme about almost shooting his ex-wife Kim. Haze’s is much deeper, detailing childhood trauma enacted by multiple abusers and ending with her listing its devastating effects on her psyche. The truth is not a punchline.\u003c/p>\n\u003cp>\u003cstrong>Big Thief, “Coma” (2017)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/0cMGrVR6OQoNZwgmtQ0jWC\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>The crucial task of helping women recover from violence often falls to other women. In this gently redemptive song about recovery from \u003ca href=\"http://www.npr.org/artists/467816510/big-thief\" target=\"_blank\" rel=\"noopener\">Big Thief\u003c/a> — a response to Big Thief’s “Watering,” which details an assault, possibly of the same woman — the band’s singer-guitarist and main songwriter Adrianne Lenker becomes that nurturing companion, helping a survivor understand that both her inner and outer world have forever changed with what she’s endured, but that she can still see light.\u003c/p>\n\u003cp>\u003cstrong>Kira Isabella, “Quarterback” (2014)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/5aIPwyYKzd3RyPvhwloeoZ\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>Peer pressure and alcohol are two potent forces that both feed rape culture and, sometimes, protect its perpetrators. Canadian country artist Kira Isabella and her songwriting team (including Saving Jane’s \u003ca href=\"https://twitter.com/martilynndodson?lang=en\" target=\"_blank\" rel=\"noopener\">Marti Dodson\u003c/a>) capture that reality in the tale of a “no name girl from the freshman class” violated by the big man on campus and, in a tragic contemporary twist, by whatever witness chose to post images of the act on the Internet. Penn State and Steubenville are the backdrop for this all-too-familiar tale.\u003c/p>\n\u003cp>\u003cstrong>Petrol Girls, “Touch Me Again” (2016)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/21oFKSwN0SnBYC4bFtDZEI\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>“This is about the really not-very-difficult idea that you shouldn’t f*** people if they don’t want to have sex with you, and you shouldn’t touch people if they don’t want to be touched,” said Ren Aldridge, vocalist and leader of this raucously righteous London-based hardcore band, introducing this song at a recent show.\u003c/p>\n\u003cp>\u003cstrong>Lady Gaga, “Til It Happens To You” (2015)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/0bCCGLHflR08UVA6oJJc8I\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If today’s rejuvenated mainstream consciousness about sexual assault has an anthem it is this ballad, co-written by pop’s Mother Monster alongside Diane Warren, the mother of many other massive hits. Featured in \u003cem>The Hunting Ground\u003c/em>, a 2015 documentary about rape on college campuses, it’s a giant power ballad whose ultimate message is that only those who’ve survived sexual violence can understand it. Tragically, the past few days have indicated that most women are in that position; songs like this one resonate all too widely. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Songs+That+Say+%27Me+Too%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Women have posted the phrase on social media to raise awareness of sexual assault, abuse, and harassment. Here is a list of songs in which artists said \"me too.\"",
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"description": "Women have posted the phrase on social media to raise awareness of sexual assault, abuse, and harassment. Here is a list of songs in which artists said "me too."",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Content advisory:\u003c/strong>\u003c/em>\u003cem> The videos and language below contain strong language and may be offensive to some.\u003c/em>\u003c/p>\n\u003cp>For the past two days women have overwhelmed social media with a truth often hidden in plain sight: \u003ca href=\"https://www.rainn.org/statistics/scope-problem\" target=\"_blank\" rel=\"noopener\">One out of every six\u003c/a> women has been subject to an attempted or completed rape during her lifetime. Countless more endure other forms of assault, abuse or harassment.\u003c/p>\n\u003cp>Prompted by the recent revelations that Hollywood mogul Harvey Weinstein performed such acts on dozens of women over the past four decades, the phrase “\u003ca href=\"https://www.bustle.com/p/the-woman-who-started-me-too-on-why-we-didnt-need-another-quiet-day-2920079\" target=\"_blank\" rel=\"noopener\">me too,\u003c/a>” posted as a hashtag or Facebook status, did the usual digital-activism work of intensely personalizing a social and political issue that many could otherwise dismiss as “not my problem.” As some men posted, and some women of color argued, it takes a certain amount of privilege to feel safe enough to make even a two-word disclosure like this one. Questions about race and gender arose that necessarily complicate rapid-fire political discourses. Yet “me too” has approached a certain critical mass; the hashtag had been used 200,000 times as of Monday morning.\u003c/p>\n\u003cp>As a meme, “me too” does a great job of crystallizing the rage and vulnerability women feel in the face of rape culture. This conversation, however, is hardly new. Artists, activists, writers and musicians have told the stories of violated women across time — particularly since the 1990s, when popular music and feminism powerfully intersected in the pop mainstream and the musical underground. Here’s a list of twenty songs in which women said “me too” — without shame.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Tori Amos, “Me And A Gun” (1991)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/4KjmFMtiywPXyr6CbLOhY3\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>This stark, semi-autobiographical monologue, which \u003ca href=\"http://www.npr.org/artists/15182176/tori-amos\" target=\"_blank\" rel=\"noopener\">Amos\u003c/a> wrote to be performed a capella, takes the listener within the mind of a woman being raped – and is based on details of the singer-songwriter’s own assault after a show when she was 21. The emotional centerpiece of her solo debut album \u003cem>Little Earthquakes\u003c/em>, it remains one of pop’s most intimate and forthright accounts of how women experience sexual violence.\u003c/p>\n\u003cp>\u003cstrong>TLC, “His Story” (1992)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/3naqVKAWQJyghdX9VzYEJA\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>“‘His Story’ was happening before we were born,” \u003ca href=\"http://www.npr.org/artists/15807876/tlc\" target=\"_blank\" rel=\"noopener\">TLC\u003c/a> member Rozonda “Chilli” Thomas said in a recent interview, addressing this song’s theme of society’s tendency to accept the male viewpoint on sexual assault, even in the most dubious circumstances. A protest song in the guise of a funk jam, TLC’s invective has been somewhat forgotten, perhaps because it was inspired by and mentioned the highly controversial \u003ca href=\"http://www.npr.org/sections/thetwo-way/2013/08/05/209194252/15-years-later-tawana-brawley-has-paid-1-percent-of-penalty\" target=\"_blank\" rel=\"noopener\">Tawana Brawley\u003c/a> case of 1987; its big-picture take still resonates.\u003c/p>\n\u003cp>\u003cstrong>Au Pairs, “Armagh” (1981)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/5OqNaCBBU7qK5TeUzREhx1\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>Sexual assault is always political, and sometimes it’s actually a tool of the state. The post-punk band Au Pairs – part of a vibrant feminist scene that arose in Northern England at the turn of the ’80s – made that reality explicit in this song, about female Irish Republican prisoners who were repeatedly strip-searched and reportedly violated as part of the daily routine in the Northern Irish prison of the song’s title. The women of Armagh conducted a \u003ca href=\"http://www.theirisharchives.com/articles/view/97/The-Women-Hunger-Strikers-Of-Armagh-Prison\" target=\"_blank\" rel=\"noopener\">“dirty protest”\u003c/a> to call attention to their plight; this song captures its disgust.\u003c/p>\n\u003cp>\u003cstrong>Liz Phair, “F*** and Run” (1993)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/4MSdFtD1JPc2W3J13uJPeS\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/15402643/liz-phair\" target=\"_blank\" rel=\"noopener\">Phair\u003c/a>‘s album-length rejoinder to carelessly sexist indie rockers, \u003cem>Exile in Guyville\u003c/em>, is one of the finest accounts of all the crap that women put up with within music scenes. This deceptively wry ballad about one-night-stand Johnnies contains a shocking line — “even when I was twelve,” Phair sang, recalling all the times men enjoyed her body and then left her behind — that connects everyday, callous treatment to the larger culture of abuse that women must navigate, starting when they are girls.\u003c/p>\n\u003cp>\u003cstrong>Bikini Kill, “Liar” (1991)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/i1aycS7_P-M'\n title='//www.youtube.com/embed/i1aycS7_P-M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The early ’90s Riot Grrrl movement brought the realities of rape culture into stark focus within an indie rock community that often presented itself as above “all that.” Kathleen Hanna, \u003ca href=\"http://www.npr.org/artists/106311747/bikini-kill\" target=\"_blank\" rel=\"noopener\">Bikini Kill\u003c/a>‘s vocalist and visionary, was the Cassandra who demanded that the men around her acknowledge that they, too, were part of the mass deceit that allows male perpetrators to “deny, deny, deny, deny.”\u003c/p>\n\u003cp>\u003cstrong>Fiona Apple, “Sullen Girl” (1996)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/6cVxGzo7214XabSXFGasNl\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>The effects of sexual assault often, perhaps nearly always, last a lifetime. At 17, in this blunt, introspective, beautiful piano ballad, \u003ca href=\"http://www.npr.org/artists/15183593/fiona-apple\" target=\"_blank\" rel=\"noopener\">Fiona Apple\u003c/a> revealed the aftermath of her rape at age 12. “My oblivion,” she called it, resurrecting herself through sheer grit and musicality, and guiding others to do the same.\u003c/p>\n\u003cp>\u003cstrong>The Raincoats, “Off Duty Trip” (1979)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/6hsh2tGBNL5WlaQLrD61P7\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>Rape culture is supported by a criminal justice system that can seem inclined towards preserving male power. (The recent case of Brock Turner, the Stanford student whose sentence was reduced by a judge concerned about its \u003ca href=\"https://www.washingtonpost.com/news/grade-point/wp/2017/07/02/the-judge-in-the-infamous-brock-turner-case-finally-explains-his-decision-a-year-later/?utm_term=.afbf2b168bee\" target=\"_blank\" rel=\"noopener\">impact on his future\u003c/a>, is illustrative.) Post-punk greats \u003ca href=\"http://www.npr.org/artists/539037321/the-raincoats\" target=\"_blank\" rel=\"noopener\">The Raincoats\u003c/a> refer in this song to a much-publicized rape trial in which a British Army officer received lenient treatment from a judge concerned about his military standing, and contextualizes that outrage within a larger view of women’s objectification.\u003c/p>\n\u003cp>\u003cstrong>Rihanna, “Man Down” (2010)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/454h9zAIuTe1eJyw9iTnj4\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>The Barbadian queen of international pop has often alluded to sexualized violence in her songs, partly because of her own history, which includes surviving domestic assault by her then-boyfriend, the singer Chris Brown. This song takes on rape directly, and can be heard as a revenge fantasy aimed at the fiercely patriarchal culture of the Caribbean dancehall music it mines.\u003c/p>\n\u003cp>\u003cstrong>War On Women, “Say It” (2015)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/0eta41JkL9xjzWxiPtuMEQ\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>Certain environments where male bonding is prioritized — fraternities, for example, or perhaps summer rock festivals — have proven particularly conducive to men who violate women. This past summer, the Baltimore band War On Women brought this demand to disrupt such enclaves to Warped Tour, and, perhaps predictably,\u003cstrong> \u003c/strong>\u003ca href=\"https://www.popsugar.com/news/How-Women-Warped-Tour-Pushing-Back-Against-Sexual-Harassment-43727311\" target=\"_blank\" rel=\"noopener\">endured a backlash\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sarah McLachlan, “Possession” (1993)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/28SynOAuafgfxvPXWFgS7D\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>Stalking – the relentless invasion of a woman’s space and privacy – is a major aspect of the culture of misogyny. In one of her most resonant and popular songs, Lilith Fair co-founder \u003ca href=\"http://www.npr.org/artists/15397450/sarah-mclachlan\" target=\"_blank\" rel=\"noopener\">Sarah McLachlan\u003c/a> claimed power over a fan who’d stalked her by imagining herself in his position, a chancy move that allowed her some sense of power. Though, she said, the experience had forced her to live with the constant fear that she \u003ca href=\"http://www.addictedtosongwriting.com/sarah-mclachlan.html\" target=\"_blank\" rel=\"noopener\">might be raped\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Rhiannon Giddens, “At the Purchaser’s Option” (2017)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/5RmAtT0VaKttU0Eybo6ZWA\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>The #metoo hashtag rivets us because it feels urgent and new. But sexual assault is embedded in American culture, especially within the poison legacy of slavery. Newly minted MacArthur Foundation Genius \u003ca href=\"http://www.npr.org/artists/384980773/rhiannon-giddens\" target=\"_blank\" rel=\"noopener\">Rhiannon Giddens\u003c/a> brings listeners right into the bloodied heart of one enslaved woman impregnated by her rapist, whose resilience defied history itself.\u003c/p>\n\u003cp>\u003cstrong>Eve, “Love is Blind” (1999)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/0H2jfzzREOr9MF95HB7ry6\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>“What kind of love,” Eve asked in this song dedicated to a friend who’d been killed by her boyfriend, “make you wish he would die?” The cycle of domestic violence included rape, and the rap royal included it as part of this cry for justice, which ends in a scenario of revenge. “Love is Blind” is a swaggering achievement that stands against hip-hop’s longstanding practice of \u003ca href=\"http://uproxx.com/webculture/50-absurd-rape-lyrics/\">making light\u003c/a> of sexual assault and harassment.\u003c/p>\n\u003cp>\u003cstrong>Otep, “Fillthee” (2001)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/0AWMwRNXNc0bX2sPLWrxX7\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>The atmospheres in which violence can be mounted against women are often aggressively male. Extreme heavy metal is, notoriously, a dude’s paradise; Otep Shamaya is one of the few women who has found stardom within it. From the start of her career, as in this song confronting the shame a rape victim feels, she has demanded that her peers acknowledge the ways in which they quash the feminine.\u003c/p>\n\u003cp>\u003cstrong>Amy Grant, “Ask Me” (1991)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/5rLGbtNvUB8nqyUNTRC5n9\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>All too often, women have been taught to blame themselves for their own victimization. Sometimes religion has enforced this self-condemnation. Amy Grant, one of contemporary Christian music’s superstars, turns this shame around by telling the story of a sexually abused child in poignant detail before celebrating the girl’s redemption as a grown woman. Grant puts mercy before patriarchal judgment in her version of being born again.\u003c/p>\n\u003cp>\u003cstrong>Gillian Welch, “Caleb Meyer” (1998)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/170BlLwmzfaW7hlKCl24sb\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>The murder ballad is a Euro-American traditional song form that forms one of the foundations of folk music. Through its many tales of lone male wolves strangling women or \u003ca href=\"https://www.youtube.com/watch?v=_KvXteZkByE\" target=\"_blank\" rel=\"noopener\">pushing them into rivers\u003c/a>, it also normalizes misogyny. In this satisfying twist on the usual story, by Americana’s master storyteller \u003ca href=\"http://www.npr.org/artists/15237439/gillian-welch\" target=\"_blank\" rel=\"noopener\">Gillian Welch\u003c/a> and her partner David Rawlings, the titular character is a rapist who becomes a casualty of his own criminal act when his victim – a determined survivor – grabs a broken bottle and ends both the crime and his life.\u003c/p>\n\u003cp>\u003cstrong>Angel Haze, “Cleaning Out My Closet” (2012)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/olBOFLqEREI'\n title='//www.youtube.com/embed/olBOFLqEREI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One way that men have erased women’s accounts of their own realities is by treating misogyny as a joke. The Detroit rapper Angel Haze battles one of the masters of that despicable art, \u003ca href=\"http://www.npr.org/artists/15404635/eminem\" target=\"_blank\" rel=\"noopener\">Eminem\u003c/a>, in this truth-baring session. The Eminem song that shares this title is uncharacteristically (and barely) tender, qualified by a final rhyme about almost shooting his ex-wife Kim. Haze’s is much deeper, detailing childhood trauma enacted by multiple abusers and ending with her listing its devastating effects on her psyche. The truth is not a punchline.\u003c/p>\n\u003cp>\u003cstrong>Big Thief, “Coma” (2017)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/0cMGrVR6OQoNZwgmtQ0jWC\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>The crucial task of helping women recover from violence often falls to other women. In this gently redemptive song about recovery from \u003ca href=\"http://www.npr.org/artists/467816510/big-thief\" target=\"_blank\" rel=\"noopener\">Big Thief\u003c/a> — a response to Big Thief’s “Watering,” which details an assault, possibly of the same woman — the band’s singer-guitarist and main songwriter Adrianne Lenker becomes that nurturing companion, helping a survivor understand that both her inner and outer world have forever changed with what she’s endured, but that she can still see light.\u003c/p>\n\u003cp>\u003cstrong>Kira Isabella, “Quarterback” (2014)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/5aIPwyYKzd3RyPvhwloeoZ\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>Peer pressure and alcohol are two potent forces that both feed rape culture and, sometimes, protect its perpetrators. Canadian country artist Kira Isabella and her songwriting team (including Saving Jane’s \u003ca href=\"https://twitter.com/martilynndodson?lang=en\" target=\"_blank\" rel=\"noopener\">Marti Dodson\u003c/a>) capture that reality in the tale of a “no name girl from the freshman class” violated by the big man on campus and, in a tragic contemporary twist, by whatever witness chose to post images of the act on the Internet. Penn State and Steubenville are the backdrop for this all-too-familiar tale.\u003c/p>\n\u003cp>\u003cstrong>Petrol Girls, “Touch Me Again” (2016)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/21oFKSwN0SnBYC4bFtDZEI\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>“This is about the really not-very-difficult idea that you shouldn’t f*** people if they don’t want to have sex with you, and you shouldn’t touch people if they don’t want to be touched,” said Ren Aldridge, vocalist and leader of this raucously righteous London-based hardcore band, introducing this song at a recent show.\u003c/p>\n\u003cp>\u003cstrong>Lady Gaga, “Til It Happens To You” (2015)\u003c/strong>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/0bCCGLHflR08UVA6oJJc8I\" width=\"600\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If today’s rejuvenated mainstream consciousness about sexual assault has an anthem it is this ballad, co-written by pop’s Mother Monster alongside Diane Warren, the mother of many other massive hits. Featured in \u003cem>The Hunting Ground\u003c/em>, a 2015 documentary about rape on college campuses, it’s a giant power ballad whose ultimate message is that only those who’ve survived sexual violence can understand it. Tragically, the past few days have indicated that most women are in that position; songs like this one resonate all too widely. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Songs+That+Say+%27Me+Too%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Music producers play a crucial role in cultivating an artist’s sound even though they’re rarely in the spotlight themselves. In this five-part series, KQED Arts contributor Adrian Spinelli goes behind the scenes with the Bay Area’s most innovative and influential up-and-coming hip-hop producers. \u003c/em>\u003c/p>\n\u003cp>Everything is large about Studio A at \u003ca href=\"http://differentfurstudios.com/\" target=\"_blank\" rel=\"noopener\">Different Fur Studios\u003c/a> in San Francisco’s Mission district. The elevated mixing console goes from one end of the room to the other; a wall-to-wall window looks into the massive isolation room; two 300-pound Westlake Audio monitors flank a flat screen TV hanging above the window. The room almost feels like a spaceship command center.\u003c/p>\n\u003cp>This is where Oakland producer \u003ca href=\"https://soundcloud.com/drewbanga\" target=\"_blank\" rel=\"noopener\">Drew Banga\u003c/a> (neé Andrew Arnett) sits by himself on a Wednesday afternoon. Arnett looks small amid these imposing surroundings, but he speaks with boss-like matter-of-factness, waxing philosophical about the music industry as he listens to a remix of Cardi B’s “Bodak Yellow” and eats a Pepperidge Farm cookie.\u003c/p>\n\u003cp>“This song is a stripper anthem,” he says, finishing the bag of cookies. “But it’s bigger than that ’cause she says she’s not strippin’ anymore.”\u003c/p>\n\u003cp>The Oakland School For The Arts grad is modestly clad in black skinny jeans and a plain gray T-shirt, his buzzed hair dyed bright red. The hair is a subtle stroke of flamboyance for the usually low-key bass player and producer who, modesty aside, has worked with some the Bay Area’s biggest rising stars. His credits include Kamaiyah’s “I’m On,” Rexx Life Raj and ymtk’s “\u003ca href=\"https://soundcloud.com/i_am_ymtk/rexx-life-raj-x-ymtk-whats-up-prod-by-drew-banga\" target=\"_blank\" rel=\"noopener\">What’s Up\u003c/a>,” 1-O.A.K.’s “Lost & Found” (which he co-produced with Kuya Beats) and Caleborate’s latest single, “\u003ca href=\"https://soundcloud.com/caleborate/bankrobber\" target=\"_blank\" rel=\"noopener\">Bankrobber\u003c/a>” (with Chose1). He’s also the musical director for \u003ca href=\"http://www.duckwrth.com/\" target=\"_blank\" rel=\"noopener\">Duckwrth\u003c/a>, overseeing every aspect of his live show and producing for the the Republic Records-signed rapper and singer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/334982094″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“There’s not an artist in the Bay I haven’t produced for, done a song with or gone on tour with,” Arnett says. “I’m a producer. I don’t sing, but I write. I try to make whatever I put my hands on better than what I heard before. And I’m all about cultivating people’s sound.”\u003c/p>\n\u003cp>Arnett didn’t start producing professionally until a year before making the “I’m On” beat for Kamaiyah in 2015. “I just wanted to be a touring bass player,” he says.\u003c/p>\n\u003cp>He was making beats and “giving ‘em away” when he realize he could make the type of music he was actually listening to.\u003c/p>\n\u003cp>https://youtu.be/J3QkH9ArfJU\u003c/p>\n\u003cp>With “I’m On,” Arnett was kicking around a sample from LL Cool J’s “\u003ca href=\"https://www.youtube.com/watch?v=Ya8Qp_RVxYU\" target=\"_blank\" rel=\"noopener\">Loungin (Who Do Ya Love)\u003c/a>” in a production session for Kamaiyah with fellow Bay Area producers Trackademics and 1-O.A.K. (In addition to “I’m On” from \u003cem>A Good Night in the Ghetto\u003c/em>, the three of them produced much of Kamaiyah’s highly-anticipated, forthcoming sophomore album.)\u003c/p>\n\u003cp>“I used the original \u003ca href=\"https://www.youtube.com/watch?v=XT48-LLs0tI\" target=\"_blank\" rel=\"noopener\">Bernard Wright\u003c/a> sample instead,” Arnett says. “It’s a four on the floor beat, so this one had different time signatures. Everything is upbeat here. I knew what I wanted to do ’cause everything I do is dramatic, ominous and deep. I had the foundation and built on top. It was exciting to make it cause I didn’t think about it, just heard a tempo and then cut it. I knew how I wanted it to bounce.”\u003c/p>\n\u003cp>https://youtu.be/P8G8Iw8VHNs\u003c/p>\n\u003cp>Generally speaking, Arnett says he shies away from samples because the tedious process of clearing them affects his creativity. But a Drew Banga cut usually has a throwback feel, with bass lines that leave a lasting mark. “I’m lucky ’cause I play bass, so I can hear sounds and then play them,” he says. Whether he’s cutting up a vintage sample on “I’m On” or playing the silky bassline himself in “Bankrobber,” there’s an underlying raw, organic instrumental sound that makes Arnett’s production stand out. His collaborators agree.\u003c/p>\n\u003cp>“I remember when he sent me the beat. I was like, ‘Oh yup! We got another one!’” Caleborate says of “Bankrobber.” “It took me a few weeks to get hit with the inspiration. But once I did, it felt like magic. To this day I still get hit with the same feeling every time I listen.”\u003c/p>\n\u003cp>Of all of Arnett’s creations, he’s proudest of his children. A father of three, Arnett still lives in East Oakland, where he grew up. His oldest daughter is already taking after her old man at seven years old: Impressively enough, she has her own arts organization called \u003ca href=\"https://www.faithcreations.org/\" target=\"_blank\" rel=\"noopener\">Faith Creations\u003c/a>, which helps kids ages three and up explore their artistic sides. “She has her own art gallery. She does ballet and she likes to DJ,” he says with a smile. “It takes a village to raise children though.”\u003c/p>\n\u003cp>Now a full-time producer and musician, Arnett spends most of his time at Different Fur as an in-house producer for the studio-affiliated label, \u003ca href=\"https://www.textmerecords.com/\" target=\"_blank\" rel=\"noopener\">Text Me Records\u003c/a>. He has his gripes with the lack of an industry infrastructure in the Bay Area but sees his affiliation with Text Me as a tipping point.\u003c/p>\n\u003cfigure id=\"attachment_13811388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811388\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-800x450.jpg\" alt=\"Drew Banga started his career with the goal of becoming a tour bassist but now has ambitions to top the charts. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drew Banga started his career with the goal of becoming a tour bassist but now has ambitions to top the charts. \u003ccite>(Kristina Bakrevski )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I work closely with artists at Text Me and I’m gonna be able to put the spotlight on a lot of artists in the Bay. Kinda like A&R-ing, but I’m producing too. The artist can be nobody and the producer can have such a big name and the song can go platinum. That’s what I want to do.”\u003c/p>\n\u003cp>As we’ll examine later in this week’s series, the trend for successful hip-hop producers in the Bay has been to move to bigger markets — primarily Los Angeles — to take the next step in their careers. But for now, Arnett is home.\u003c/p>\n\u003cp>“I don’t want to say I wanna be like Pharrell, but that’s kinda what I wanna be like,” he says. “His name reigns in everything that’s artistic. Why can’t I just be that person to make sure the Bay gets noticed too?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Adrian Spinelli is a Brazilian-born, San Francisco-based freelance writer, editor and host of the \u003ca href=\"http://noisepop.com/podcast/\" target=\"_blank\" rel=\"noopener\">Noise Pop Podcast\u003c/a>. Follow him on Twitter \u003ca href=\"https://twitter.com/AGSpinelli\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Music producers play a crucial role in cultivating an artist’s sound even though they’re rarely in the spotlight themselves. In this five-part series, KQED Arts contributor Adrian Spinelli goes behind the scenes with the Bay Area’s most innovative and influential up-and-coming hip-hop producers. \u003c/em>\u003c/p>\n\u003cp>Everything is large about Studio A at \u003ca href=\"http://differentfurstudios.com/\" target=\"_blank\" rel=\"noopener\">Different Fur Studios\u003c/a> in San Francisco’s Mission district. The elevated mixing console goes from one end of the room to the other; a wall-to-wall window looks into the massive isolation room; two 300-pound Westlake Audio monitors flank a flat screen TV hanging above the window. The room almost feels like a spaceship command center.\u003c/p>\n\u003cp>This is where Oakland producer \u003ca href=\"https://soundcloud.com/drewbanga\" target=\"_blank\" rel=\"noopener\">Drew Banga\u003c/a> (neé Andrew Arnett) sits by himself on a Wednesday afternoon. Arnett looks small amid these imposing surroundings, but he speaks with boss-like matter-of-factness, waxing philosophical about the music industry as he listens to a remix of Cardi B’s “Bodak Yellow” and eats a Pepperidge Farm cookie.\u003c/p>\n\u003cp>“This song is a stripper anthem,” he says, finishing the bag of cookies. “But it’s bigger than that ’cause she says she’s not strippin’ anymore.”\u003c/p>\n\u003cp>The Oakland School For The Arts grad is modestly clad in black skinny jeans and a plain gray T-shirt, his buzzed hair dyed bright red. The hair is a subtle stroke of flamboyance for the usually low-key bass player and producer who, modesty aside, has worked with some the Bay Area’s biggest rising stars. His credits include Kamaiyah’s “I’m On,” Rexx Life Raj and ymtk’s “\u003ca href=\"https://soundcloud.com/i_am_ymtk/rexx-life-raj-x-ymtk-whats-up-prod-by-drew-banga\" target=\"_blank\" rel=\"noopener\">What’s Up\u003c/a>,” 1-O.A.K.’s “Lost & Found” (which he co-produced with Kuya Beats) and Caleborate’s latest single, “\u003ca href=\"https://soundcloud.com/caleborate/bankrobber\" target=\"_blank\" rel=\"noopener\">Bankrobber\u003c/a>” (with Chose1). He’s also the musical director for \u003ca href=\"http://www.duckwrth.com/\" target=\"_blank\" rel=\"noopener\">Duckwrth\u003c/a>, overseeing every aspect of his live show and producing for the the Republic Records-signed rapper and singer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/334982094″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/334982094″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“There’s not an artist in the Bay I haven’t produced for, done a song with or gone on tour with,” Arnett says. “I’m a producer. I don’t sing, but I write. I try to make whatever I put my hands on better than what I heard before. And I’m all about cultivating people’s sound.”\u003c/p>\n\u003cp>Arnett didn’t start producing professionally until a year before making the “I’m On” beat for Kamaiyah in 2015. “I just wanted to be a touring bass player,” he says.\u003c/p>\n\u003cp>He was making beats and “giving ‘em away” when he realize he could make the type of music he was actually listening to.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/J3QkH9ArfJU'\n title='//www.youtube.com/embed/J3QkH9ArfJU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With “I’m On,” Arnett was kicking around a sample from LL Cool J’s “\u003ca href=\"https://www.youtube.com/watch?v=Ya8Qp_RVxYU\" target=\"_blank\" rel=\"noopener\">Loungin (Who Do Ya Love)\u003c/a>” in a production session for Kamaiyah with fellow Bay Area producers Trackademics and 1-O.A.K. (In addition to “I’m On” from \u003cem>A Good Night in the Ghetto\u003c/em>, the three of them produced much of Kamaiyah’s highly-anticipated, forthcoming sophomore album.)\u003c/p>\n\u003cp>“I used the original \u003ca href=\"https://www.youtube.com/watch?v=XT48-LLs0tI\" target=\"_blank\" rel=\"noopener\">Bernard Wright\u003c/a> sample instead,” Arnett says. “It’s a four on the floor beat, so this one had different time signatures. Everything is upbeat here. I knew what I wanted to do ’cause everything I do is dramatic, ominous and deep. I had the foundation and built on top. It was exciting to make it cause I didn’t think about it, just heard a tempo and then cut it. I knew how I wanted it to bounce.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/P8G8Iw8VHNs'\n title='//www.youtube.com/embed/P8G8Iw8VHNs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Generally speaking, Arnett says he shies away from samples because the tedious process of clearing them affects his creativity. But a Drew Banga cut usually has a throwback feel, with bass lines that leave a lasting mark. “I’m lucky ’cause I play bass, so I can hear sounds and then play them,” he says. Whether he’s cutting up a vintage sample on “I’m On” or playing the silky bassline himself in “Bankrobber,” there’s an underlying raw, organic instrumental sound that makes Arnett’s production stand out. His collaborators agree.\u003c/p>\n\u003cp>“I remember when he sent me the beat. I was like, ‘Oh yup! We got another one!’” Caleborate says of “Bankrobber.” “It took me a few weeks to get hit with the inspiration. But once I did, it felt like magic. To this day I still get hit with the same feeling every time I listen.”\u003c/p>\n\u003cp>Of all of Arnett’s creations, he’s proudest of his children. A father of three, Arnett still lives in East Oakland, where he grew up. His oldest daughter is already taking after her old man at seven years old: Impressively enough, she has her own arts organization called \u003ca href=\"https://www.faithcreations.org/\" target=\"_blank\" rel=\"noopener\">Faith Creations\u003c/a>, which helps kids ages three and up explore their artistic sides. “She has her own art gallery. She does ballet and she likes to DJ,” he says with a smile. “It takes a village to raise children though.”\u003c/p>\n\u003cp>Now a full-time producer and musician, Arnett spends most of his time at Different Fur as an in-house producer for the studio-affiliated label, \u003ca href=\"https://www.textmerecords.com/\" target=\"_blank\" rel=\"noopener\">Text Me Records\u003c/a>. He has his gripes with the lack of an industry infrastructure in the Bay Area but sees his affiliation with Text Me as a tipping point.\u003c/p>\n\u003cfigure id=\"attachment_13811388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811388\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-800x450.jpg\" alt=\"Drew Banga started his career with the goal of becoming a tour bassist but now has ambitions to top the charts. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drew Banga started his career with the goal of becoming a tour bassist but now has ambitions to top the charts. \u003ccite>(Kristina Bakrevski )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I work closely with artists at Text Me and I’m gonna be able to put the spotlight on a lot of artists in the Bay. Kinda like A&R-ing, but I’m producing too. The artist can be nobody and the producer can have such a big name and the song can go platinum. That’s what I want to do.”\u003c/p>\n\u003cp>As we’ll examine later in this week’s series, the trend for successful hip-hop producers in the Bay has been to move to bigger markets — primarily Los Angeles — to take the next step in their careers. But for now, Arnett is home.\u003c/p>\n\u003cp>“I don’t want to say I wanna be like Pharrell, but that’s kinda what I wanna be like,” he says. “His name reigns in everything that’s artistic. Why can’t I just be that person to make sure the Bay gets noticed too?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>After wildfires wiped out a large portion of the Luther Burbank Center for the Arts, the Santa Rosa concert hall canceled all performances through Nov. 5, while other North Bay venues plan to hold their scheduled events this week.\u003c/p>\n\u003cp>Along with killing 41 local residents and destroying 5,700 structures in the North Bay, the fires burned up the east wing of the Luther Burbank Center, which housed a school for autistic children. It also damaged the center’s 1,400-person concert hall.\u003c/p>\n\u003cp>In a statement released to the media Monday, the center’s representatives said that staff and local officials are assessing the damage done to the remaining structures. Until then, staff canceled all performances through Nov. 5 and promised to \u003ca href=\"https://www.broadwayworld.com/san-francisco/article/Luther-Burbank-Center-for-the-Arts-Postpones-Performances-thru-November-5-20171016\" rel=\"noopener\" target=\"_blank\">reimburse ticket-holders\u003c/a>. \u003c/p>\n\u003cp>https://www.facebook.com/lutherburbankcenter/photos/a.65750973471.72258.8655128471/10155234421498472/\u003c/p>\n\u003cp>“We want to open our doors to you as soon as we can. But we won’t do that until we are sure it is safe and clean,” \u003ca href=\"https://www.facebook.com/lutherburbankcenter/photos/a.65750973471.72258.8655128471/10155234421498472/\" rel=\"noopener\" target=\"_blank\">a statement\u003c/a> posted on the center’s Facebook page read. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The center’s canceled events include a Symphony Pops tribute to Louis Armstrong, a performance by Guerra de Chistes, and an evening with Brian Reed, the creator of the \u003ci>S-Town\u003c/i> podcast.\u003c/p>\n\u003cp>Another big event in the area that was canceled was the Lagunitas Beer Circus in Petaluma. The promoters announced the cancellation on Friday, saying it was due to public health and safety concerns.\u003c/p>\n\u003cp>“For those of you with plans to travel to this area, we apologize for the inconvenience. This event is at its core about supporting the local community and giving back, but this year we’re going to do this differently and help the families affected by the fires,” the Lagunitas statement read.\u003c/p>\n\u003cp>Many other venues in the North Bay canceled events but have also re-opened. \u003c/p>\n\u003cp>The Mystic Theatre in Petaluma \u003ca href=\"https://www.facebook.com/MysticTheatre/photos/a.10151914450477669.1073741826.52056022668/10155256845242669/\" rel=\"noopener\" target=\"_blank\">canceled its Tauk show\u003c/a> scheduled for Oct. 14, but stayed open during the week to take clothing donations, and supply hot food and temporary shelter for local residents displaced by the fire. \u003c/p>\n\u003cfigure id=\"attachment_13811808\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/mystictheatrekqed5-800x1067.jpg\" alt=\"Displaced residents line up for food at the Mystic Theatre in Petaluma\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13811808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/mystictheatrekqed5-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/mystictheatrekqed5-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/mystictheatrekqed5-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/mystictheatrekqed5-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/mystictheatrekqed5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/mystictheatrekqed5-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/mystictheatrekqed5-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/mystictheatrekqed5-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/mystictheatrekqed5-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/mystictheatrekqed5-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Displaced residents line up for food at the Mystic Theatre in Petaluma \u003ccite>(Courtesy of the Mystic Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Faith Moody, general manager for the Mystic, said the owners of McNear’s Restaurant reached out to her early last week, asking if they could use her club to serve hot meals and have “some place safe to go.” She agreed, setting up the venue so the restaurant could provide three meals a day to families affected by the fire. The staff at the theater also played cartoons on a giant screen and set up a play room for children. A day after the theater was set up, Moody said that hundreds of locals came in for food and shelter, and there were so many volunteers and donations that they had to stop accepting them.\u003c/p>\n\u003cp>“The city of Petaluma really stepped up,” Moody said on Friday. \u003c/p>\n\u003cp>Moody, who had to evacuate her Santa Rosa home early Monday and later relocated to Sacramento, said she was glad to provide some kind of relief for those who were displaced.\u003c/p>\n\u003cp>“The situation is so much worse than what we’re seeing on the news,” Moody said.\u003c/p>\n\u003cp>Hop Monk, the small chain of brew pubs in the North Bay, closed its Sonoma restaurant but kept its other locations open. All of the shows scheduled at the various locations were also canceled except for the John Doe concert at the Novato location Sunday night. Dean Biersch, the owner of the Hop Monk chain, said “everybody came out” to see the influential punk frontman.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There was a real question whether or not we should make this thing happen,” Biersch said. “It was an indicator of what music means to people when they’re struggling.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After wildfires wiped out a large portion of the Luther Burbank Center for the Arts, the Santa Rosa concert hall canceled all performances through Nov. 5, while other North Bay venues plan to hold their scheduled events this week.\u003c/p>\n\u003cp>Along with killing 41 local residents and destroying 5,700 structures in the North Bay, the fires burned up the east wing of the Luther Burbank Center, which housed a school for autistic children. It also damaged the center’s 1,400-person concert hall.\u003c/p>\n\u003cp>In a statement released to the media Monday, the center’s representatives said that staff and local officials are assessing the damage done to the remaining structures. Until then, staff canceled all performances through Nov. 5 and promised to \u003ca href=\"https://www.broadwayworld.com/san-francisco/article/Luther-Burbank-Center-for-the-Arts-Postpones-Performances-thru-November-5-20171016\" rel=\"noopener\" target=\"_blank\">reimburse ticket-holders\u003c/a>. \u003c/p>\n\u003cp>https://www.facebook.com/lutherburbankcenter/photos/a.65750973471.72258.8655128471/10155234421498472/\u003c/p>\n\u003cp>“We want to open our doors to you as soon as we can. But we won’t do that until we are sure it is safe and clean,” \u003ca href=\"https://www.facebook.com/lutherburbankcenter/photos/a.65750973471.72258.8655128471/10155234421498472/\" rel=\"noopener\" target=\"_blank\">a statement\u003c/a> posted on the center’s Facebook page read. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The center’s canceled events include a Symphony Pops tribute to Louis Armstrong, a performance by Guerra de Chistes, and an evening with Brian Reed, the creator of the \u003ci>S-Town\u003c/i> podcast.\u003c/p>\n\u003cp>Another big event in the area that was canceled was the Lagunitas Beer Circus in Petaluma. The promoters announced the cancellation on Friday, saying it was due to public health and safety concerns.\u003c/p>\n\u003cp>“For those of you with plans to travel to this area, we apologize for the inconvenience. This event is at its core about supporting the local community and giving back, but this year we’re going to do this differently and help the families affected by the fires,” the Lagunitas statement read.\u003c/p>\n\u003cp>Many other venues in the North Bay canceled events but have also re-opened. \u003c/p>\n\u003cp>The Mystic Theatre in Petaluma \u003ca href=\"https://www.facebook.com/MysticTheatre/photos/a.10151914450477669.1073741826.52056022668/10155256845242669/\" rel=\"noopener\" target=\"_blank\">canceled its Tauk show\u003c/a> scheduled for Oct. 14, but stayed open during the week to take clothing donations, and supply hot food and temporary shelter for local residents displaced by the fire. \u003c/p>\n\u003cfigure id=\"attachment_13811808\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/mystictheatrekqed5-800x1067.jpg\" alt=\"Displaced residents line up for food at the Mystic Theatre in Petaluma\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13811808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/mystictheatrekqed5-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/mystictheatrekqed5-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/mystictheatrekqed5-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/mystictheatrekqed5-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/mystictheatrekqed5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/mystictheatrekqed5-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/mystictheatrekqed5-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/mystictheatrekqed5-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/mystictheatrekqed5-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/mystictheatrekqed5-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Displaced residents line up for food at the Mystic Theatre in Petaluma \u003ccite>(Courtesy of the Mystic Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Faith Moody, general manager for the Mystic, said the owners of McNear’s Restaurant reached out to her early last week, asking if they could use her club to serve hot meals and have “some place safe to go.” She agreed, setting up the venue so the restaurant could provide three meals a day to families affected by the fire. The staff at the theater also played cartoons on a giant screen and set up a play room for children. A day after the theater was set up, Moody said that hundreds of locals came in for food and shelter, and there were so many volunteers and donations that they had to stop accepting them.\u003c/p>\n\u003cp>“The city of Petaluma really stepped up,” Moody said on Friday. \u003c/p>\n\u003cp>Moody, who had to evacuate her Santa Rosa home early Monday and later relocated to Sacramento, said she was glad to provide some kind of relief for those who were displaced.\u003c/p>\n\u003cp>“The situation is so much worse than what we’re seeing on the news,” Moody said.\u003c/p>\n\u003cp>Hop Monk, the small chain of brew pubs in the North Bay, closed its Sonoma restaurant but kept its other locations open. All of the shows scheduled at the various locations were also canceled except for the John Doe concert at the Novato location Sunday night. Dean Biersch, the owner of the Hop Monk chain, said “everybody came out” to see the influential punk frontman.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There was a real question whether or not we should make this thing happen,” Biersch said. “It was an indicator of what music means to people when they’re struggling.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Content advisory: The video below contains imagery and language that some may find offensive.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Move over, Eminem.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\n\u003cp>https://www.facebook.com/prophetsofrageofficial/videos/1481275721938022/\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Barely one week after the rapper’s \u003ca href=\"http://www.npr.org/sections/therecord/2017/10/11/557071559/eminems-presidential-diss-wasnt-the-only-political-statement-at-bet-hip-hop-awar\" target=\"_blank\" rel=\"noopener\">anti-Trump tirade\u003c/a>, performed during the annual BET Hip Hop Awards, sparked buzz and\u003cstrong> \u003c/strong>debates over America’s double standards race and rap, Chuck D\u003cstrong>,\u003c/strong> one of the genre’s most politically outspoken artists, has returned to bring the noise.\u003c/p>\n\u003cp>Prophets of Rage — a rock-rap supergroup started by the Public Enemy lead and featuring Tom Morello, Tim Commerford, Brad Wilk, B-Real and DJ Lord — released a provocative video today for the unity anthem “Strength In Numbers.”\u003c/p>\n\u003cp>The video juxtaposes a barrage of visuals; Hollywood’s racist history of stereotypical blackface imagery in films and cartoons (similarly referenced in Jay-Z’s recent “Story of O.J.” \u003ca href=\"http://www.npr.org/sections/therecord/2017/07/05/535638777/lets-unpack-jay-zs-4-44\" target=\"_blank\" rel=\"noopener\">video\u003c/a>), the desecration of the American flag by its most strident defenders, footage of unarmed blacks being killed by police and \u003ca href=\"http://www.npr.org/2017/09/24/553336083/across-the-nation-nfl-teams-take-a-knee-in-protest-of-presidents-comments\" target=\"_blank\" rel=\"noopener\">controversial protests\u003c/a> during the national anthem by NFL players, meant to highlight such unjust deaths. These are interspersed with images of insect colonies, schools of fish and swarms of bees mounting collective attacks on larger opponents, cutting a clear allusion to the song’s title.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Unify or it’s do or die,” B-Real raps on the hook of the song from the group’s self-titled LP, which recently \u003ca href=\"http://www.billboard.com/music/prophets-of-rage/chart-history/rock-albums/song/1045643\" target=\"_blank\" rel=\"noopener\">peaked at No. 4\u003c/a> on \u003cem>Billboard\u003c/em>‘s rock albums chart.\u003c/p>\n\u003cp>The video ends by posing a question in response to the politically divisive #TakeAKnee protests that continue in Colin Kaepernick’s wake: “Is it the knee or the Negro?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Considering the former quarterback’s recently-filed \u003ca href=\"http://www.slate.com/blogs/the_slatest/2017/10/15/colin_kaepernick_files_grievance_against_nfl_owners_alleging_collusion.html\" target=\"_blank\" rel=\"noopener\">grievance \u003c/a>against NFL owners for allegedly blackballing him from the league, there’s no need to guess what his answer would be. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=+In+New+Video%2C+Prophets+Of+Rage+Gives+NFL%27s+%23TakeAKnee+Protest+Historical+Context&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Content advisory: The video below contains imagery and language that some may find offensive.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Move over, Eminem.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\n\u003cp>https://www.facebook.com/prophetsofrageofficial/videos/1481275721938022/\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Barely one week after the rapper’s \u003ca href=\"http://www.npr.org/sections/therecord/2017/10/11/557071559/eminems-presidential-diss-wasnt-the-only-political-statement-at-bet-hip-hop-awar\" target=\"_blank\" rel=\"noopener\">anti-Trump tirade\u003c/a>, performed during the annual BET Hip Hop Awards, sparked buzz and\u003cstrong> \u003c/strong>debates over America’s double standards race and rap, Chuck D\u003cstrong>,\u003c/strong> one of the genre’s most politically outspoken artists, has returned to bring the noise.\u003c/p>\n\u003cp>Prophets of Rage — a rock-rap supergroup started by the Public Enemy lead and featuring Tom Morello, Tim Commerford, Brad Wilk, B-Real and DJ Lord — released a provocative video today for the unity anthem “Strength In Numbers.”\u003c/p>\n\u003cp>The video juxtaposes a barrage of visuals; Hollywood’s racist history of stereotypical blackface imagery in films and cartoons (similarly referenced in Jay-Z’s recent “Story of O.J.” \u003ca href=\"http://www.npr.org/sections/therecord/2017/07/05/535638777/lets-unpack-jay-zs-4-44\" target=\"_blank\" rel=\"noopener\">video\u003c/a>), the desecration of the American flag by its most strident defenders, footage of unarmed blacks being killed by police and \u003ca href=\"http://www.npr.org/2017/09/24/553336083/across-the-nation-nfl-teams-take-a-knee-in-protest-of-presidents-comments\" target=\"_blank\" rel=\"noopener\">controversial protests\u003c/a> during the national anthem by NFL players, meant to highlight such unjust deaths. These are interspersed with images of insect colonies, schools of fish and swarms of bees mounting collective attacks on larger opponents, cutting a clear allusion to the song’s title.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
}
}
