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"content": "\u003cp>Top solo artists and groups of high-powered female executives in the music industry are demanding change within the Recording Academy. Much of that momentum has built up over the past week, since the telecast of this year’s Grammy Awards ceremony, which were held Jan. 28 at Madison Square Garden.\u003c/p>\n\u003cp>The outcry is a direct response to the the format and content of this year’s telecast, and to statements made by the highest-ranked official at the Recording Academy — the professional organization whose members vote for the Grammys — and the producer of the telecast.\u003c/p>\n\u003cp>Among those who have spoken out are musicians including Pink, Fiona Apple, India.Arie, Sheryl Crow, Vanessa Carlton, Charli XCX and Kelly Clarkson, as well as two groups of highly influential, female industry executives. Many of those women are calling for fundamental changes to the way that the Recording Academy (also known as NARAS, or the National Academy of Recording Arts and Sciences) is run, and for a change in the organization’s leadership. NARAS has responded with plans to address issues of gender bias. However, NPR has learned that the group does not know current demographic details about its membership.\u003c/p>\n\u003cp>In the run-up to this year’s Grammy ceremony, there was a great deal of public speculation about whether or not the Academy would address #MeToo and #TimesUp with the same coordination and effect that\u003cstrong> \u003c/strong>Hollywood did at this year’s \u003ca href=\"https://www.npr.org/sections/monkeysee/2018/01/07/576036145/at-the-golden-globes-not-just-another-red-carpet\" target=\"_blank\" rel=\"noopener\">Golden Globes\u003c/a> — in what Meryl Streep memorably called a “thick black line.”\u003c/p>\n\u003cp>The Recording Academy may have expected that the evening would be a victory lap, a 60th anniversary celebration of the industry’s own successes. With a provocative opening performance by Kendrick Lamar and a segment dedicated to #MeToo and #TimesUp, it’s entirely possible that the ceremony’s organizers felt that they were ticking all the right boxes for 2018.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead, much of “music’s biggest night,” as the Recording Academy likes to refer to its annual ceremony, was dedicated to safe, familiar presences — including performances by U2, Sting and Shaggy — but there were \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/28/581467347/live-blog-2018-grammy-awards\" target=\"_blank\" rel=\"noopener\">moments\u003c/a> when the conversations of today peeked out into view. (Dave Chapelle, mid-Kendrick Lamar set: “The only thing more frightening than watching a black man be honest in America is being an honest black man in America.”)\u003c/p>\n\u003cp>Over the course of the three-and-a-half hour telecast, only one solo female musician accepted an award on screen: Alessia Cara, who was awarded Best New Artist.\u003c/p>\n\u003cp>Conversations about gender equality and alleged sexual misconduct were, aside from the white roses pinned to the lapels and dresses of many attendees, mostly shoehorned into a single segment of the televised ceremony. It began with a fiery introduction from singer and actress Janelle Monae, who declared: “We come in peace, but we mean business. And to those of you who would dare try and silence us, we offer you two words: Time’s up.”\u003c/p>\n\u003cp>What followed was an anthemic performance of “Praying” led by Kesha, who was joined by Cyndi Lauper, Camila Cabello, Bebe Rexha, Julia Michels, Andra Day and the Resistance Revival Chorus. And then, it was back to Bono.\u003c/p>\n\u003cp>A number of high-profile allegations of sexual assault or misconduct have emerged from the recording industry, and many female musicians have added their stories to the #MeToo movement. But those accusations haven’t reverberated as widely, or had such earth-shaking repercussions as similar allegations have had in Hollywood, for example.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=buM8OErfvu0\u003c/p>\n\u003cp>NARAS has no jurisdiction over the wider music industry, but it is perhaps the closest approximation of a confederation of recording industry professionals; it’s both a banner-carrier and a microcosm of the larger business. And in the week that has followed the Grammy Awards, fans, artists and other women in the music industry have made public their frustration with The Recording Academy.\u003c/p>\n\u003cp>The blowback began to build after audiences noted that the singer Lorde — the sole woman nominated for the Album of the Year prize — did not perform on the telecast. Immediately following the awards ceremony, the trade publication \u003cem>Variety\u003c/em> asked both the Recording Academy’s president and CEO, Neil Portnow, and the telecast’s producer, Ken Ehrlich, about Lorde’s absence.\u003c/p>\n\u003cp>Ehrlich argued to \u003cem>Variety\u003c/em> that there \u003ca href=\"http://variety.com/2018/music/news/grammys-so-male-women-recording-academy-president-neil-portnow-1202679902/\" target=\"_blank\" rel=\"noopener\">just wasn’t time\u003c/a> to include Lorde as a solo performer. “These shows are a matter of choices,” Ehrlich said. “We have a box and it gets full,” he said, adding, “There’s no way we can really deal with everybody.”\u003c/p>\n\u003cp>Portnow has headed the Recording Academy since 2002; he replaced Michael Greene, who was \u003ca href=\"http://www.nytimes.com/2002/04/29/arts/grammys-chief-quits-under-fire.html\" target=\"_blank\" rel=\"noopener\">forced to resign\u003c/a> from NARAS after allegations that he sexually harassed and abused another Academy executive surfaced. (According to \u003cem>The \u003c/em>\u003cem>New York Times\u003c/em>, NARAS trustees reportedly paid the woman who accused him a $650,000 settlement, and then hired a private investigator to examine Greene’s behavior with female colleagues.) Around the same time, the \u003cem>Los Angeles Times\u003c/em> also ran an \u003ca href=\"http://articles.latimes.com/1998/feb/22/news/mn-21916\" target=\"_blank\" rel=\"noopener\">investigative series\u003c/a> examining the Recording Academy’s finances, and asserted that NARAS’ charitable arm, MusiCares, spent less than 10 percent of its fund-raised income on assisting artists.\u003c/p>\n\u003cp>Portnow — who sported a #TimesUp white rose in his lapel during this year’s telecast — made comments to \u003cem>Variety\u003c/em> that proved perhaps even more infuriating to many women. “It has to begin with … women who have the creativity in their hearts and souls, who want to be musicians, who want to be engineers, producers, and want to be part of the industry on the executive level,” he said. And in a phrase that became infamous immediately, Portnow added that women need “to step up because I think they would be welcome.”\u003c/p>\n\u003cp>Some prominent female musicians, like nine-time Grammy winner \u003ca href=\"https://twitter.com/SherylCrow/status/958066282959601664\" target=\"_blank\" rel=\"noopener\">Sheryl Crow\u003c/a>, three-time winner \u003ca href=\"https://twitter.com/kelly_clarkson/status/958589816714809349\" target=\"_blank\" rel=\"noopener\">Kelly Clarkson\u003c/a> and \u003ca href=\"https://twitter.com/charli_xcx/status/958100513471447040\" target=\"_blank\" rel=\"noopener\">Charli XCX\u003c/a>, have used social media to communicate their feelings. On Jan. 30, Pink, another three-time Grammy winner who performed her ballad “Wild Hearts Can’t Be Broken” on this year’s telecast, posted a note on Twitter that spoke directly to Portnow’s “step up” comment, without addressing Portnow himself.\u003c/p>\n\u003cp>https://twitter.com/Pink/status/958121509540761600\u003c/p>\n\u003cp>“Women in music don’t need to ‘step up,'” she wrote. “Women have been stepping since the beginning of time. Stepping up, and also stepping aside.”\u003c/p>\n\u003cp>On Wednesday, Portnow tried to \u003ca href=\"http://variety.com/2018/music/news/grammy-chief-neil-portnow-walks-back-step-up-comment-i-wasnt-as-articulate-as-i-should-have-been-1202681462/\" target=\"_blank\" rel=\"noopener\">walk back\u003c/a> his comment in another statement to \u003cem>Variety\u003c/em>. He claimed that the “step up” remark was taken out of context, and did not quote “convey my beliefs and the point I was trying to make.”\u003c/p>\n\u003cp>Portnow declined requests for comment by NPR, but in a statement sent to NPR and other media outlets last Thursday, he announced that the Recording Academy is setting up an independent task force to “review every aspect of what we do as an organization, and identify where we can do more to overcome the explicit barriers and unconscious biases that impede female advancement in the music community.”\u003c/p>\n\u003cp>I was a voting member of the Recording Academy for several years; I qualified primarily as the author of liner notes on various recording projects, though I also have reissue producer credits. I also served as a judge for the Best Album Notes award, which is one of a handful of Grammy prize categories that isn’t open to voting by the general membership, but is decided instead by a small voting committee whose ranks spread across several local NARAS chapters. \u003cstrong> \u003c/strong>And my own experience was that in my years on that committee, I was always the only woman in the room. (I haven’t been a member of the Recording Academy or a Grammy voter since 2011, when I joined NPR.)\u003c/p>\n\u003cp>My experience may not be terribly unique: A common stereotype is that the majority of Academy voters — some \u003ca href=\"https://www.billboard.com/articles/news/6288927/how-do-you-get-a-grammy\" target=\"_blank\" rel=\"noopener\">12,000 people\u003c/a> in all — are older, white men. In terms of actual statistics, it’s not at all clear \u003cem>who\u003c/em> the Grammy voters are, or how their demographic information may (or may not) incline them to vote. As a former voter, I don’t recall ever having been asked about my gender, age or race. So in the course of pursuing commentary from Portnow, I asked the Recording Academy if the organization had any demographic statistics about its membership.\u003c/p>\n\u003cp>Through a spokesperson, the Recording Academy confirmed that NARAS has never asked its members to provide that kind of data. And so its leadership simply doesn’t know the makeup of its existing membership — which will may prove to be a significant hurdle in the kinds of improvements that Portnow is pledging to make.\u003c/p>\n\u003cp>https://www.instagram.com/p/BehB27UHojJ\u003c/p>\n\u003cp>Through a representative, Lorde declined to comment directly to NPR about her absence from the Madison Square Garden stage. On the night of the ceremony, however, she posted to Instagram a photo of a quotation from artist Jenny Holzer that she had sewn to the back of her dress, which Lorde called her “version of a white rose.”\u003c/p>\n\u003cp>A source close to the singer confirmed, though, that the only invitation Lorde received to perform on this year’s Grammy Award telecast was to be part of a group performance paying tribute to the late Tom Petty. Every other artist nominated for Album of the Year — all men, save for Lorde — was offered a chance to give a solo performance. Bruno Mars, Childish Gambino and Kendrick Lamar accepted; Jay-Z reportedly declined the invitation. (Meanwhile, the president of Lorde’s label, Republic Records, a man named Charlie Walk, was placed on leave on Jan. 31 after \u003ca href=\"https://www.billboard.com/articles/news/8097342/charlie-walk-republic-two-women-accuse-sexual-harassment\" target=\"_blank\" rel=\"noopener\">three women\u003c/a> accused Walk of sexual misconduct. On Monday, Walk filed a complaint with the Manhattan district attorney’s office \u003ca href=\"https://pagesix.com/2018/02/05/charlie-walk-claims-he-was-being-extorted-before-allegations/\" target=\"_blank\" rel=\"noopener\">alleging\u003c/a> that the sexual misconduct accusations were instigated by the owner of a group of Ohio-based radio stations, who was attempting to extort Walk.)\u003c/p>\n\u003cp>In the aftermath of Portnow’s comments, some prominent female artists and industry figures have condemned him. Some are explicitly calling for Portnow to step down altogether, including singer-songwriter Vanessa Carlton, who has been nominated for three Grammy Awards, and who performed on the 2003 awards telecast. Carlton has been instrumental in publicizing a \u003ca href=\"https://www.thepetitionsite.com/602/307/220/academy-president-must-step-down-for-telling-female-musicians-to-step-up-after-grammys/\" target=\"_blank\" rel=\"noopener\">petition\u003c/a> calling for Portnow’s resignation. It is not clear if those who have signed the petition, which currently has nearly 14,000 signatures, are mostly fans or individuals who work in the music industry.\u003c/p>\n\u003cp>“You have to change the system, if it’s not working,” Carlton says. “And the way that you do that is you start from the top. I would like there to be fresh blood in there — I don’t think I’m alone in that. There are nice qualities to this president, and I know he’s a nice guy. However, when you want to make changes, the leader \u003cem>has\u003c/em> to change.”\u003c/p>\n\u003cp>https://twitter.com/garbage/status/960406351431086081\u003c/p>\n\u003cp>Other artists have been equally straightforward in their sentiments. On Saturday night, when Fiona Apple performed with Garbage’s Shirley Manson in Los Angeles, Apple sported a T-shirt that read: “Kneel, Portnow.”\u003c/p>\n\u003cp>On Feb. 2 — after Portnow made his initial comments and his follow-up remarks — singer-songwriter India.Arie, the four-time Grammy winner who performed at this year’s awards in the pre-telecast portion of the event, also published an \u003ca href=\"http://www.ajc.com/lifestyles/india-arie-pens-open-letter-recording-academy-president/Y6WjVWN4Vo4Yx19uxctjBL/\" target=\"_blank\" rel=\"noopener\">open letter\u003c/a> to Portnow, in which she underlined issues of intersectionality and referred to inequalities in both gender and racial representation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nBRMRxkoUX8\u003c/p>\n\u003cp>She wrote: “Neil Portnow is mistaken. His statements are a mess, but I get why he can’t empathize with women and women of color. HE is saying, the more women there are, the more chances women have to WIN. BUT. WE NEED MORE WOMEN, more WOMEN OF COLOR AND MORE INCLUSIVE MINDED PEOPLE in positions of power, in the rooms where decisions are made. When this happens, doors will open for women to be represented in more DIVERSE WAYS. The music industry is dominated by white men and the Grammys and NARAS are run and produced by ONLY white men. The fact that Portnow says we’d ‘be welcomed’ indicates that he doesn’t think we’re part of the household to begin with.”\u003c/p>\n\u003cp>Influential women who power the business of music have also stepped forward to castigate Portnow. Over the past several days, two groups of female music industry executives wrote open letters to NARAS and to Portnow urging systemic changes to the way the Grammy Awards and the Recording Academy are structured. Last Thursday, more than 20 female industry leaders — in a group helmed by attorney Rosemary Carroll that includes Warner/Chappell vice president of publishing Katie Vinten and notable artist managers, agents and publicists such as Pharrell Williams’ manager Caron Veazey — made public a letter they wrote directed to Neil Portnow.\u003c/p>\n\u003cp>That letter, which was \u003ca href=\"http://variety.com/2018/biz/news/female-executives-call-for-grammy-chief-neil-portnows-resignation-1202684962/\" target=\"_blank\" rel=\"noopener\">published\u003c/a> by \u003cem>Variety\u003c/em>, demands Portnow’s resignation in pointed and angry terms. In part, it reads: “The statement you made this week about women in music needing to ‘step up’ was spectacularly wrong and insulting and, at its core, oblivious to the vast body of work created by and with women. Your attempt to backpedal only emphasizes your refusal to recognize us and our achievements … We do not await your welcome into the fraternity. We do not have to sing louder, jump higher or be nicer to prove ourselves.”\u003c/p>\n\u003cp>“We step up every single day and have been doing so for a long time. The fact that you don’t realize this means it’s time for you to step down.'”\u003c/p>\n\u003cp>On Monday, a group of six executives from several leading record labels — Michele Anthony, executive vice president for the Universal Music Group; Jody Gerson, chairman and CEO of Universal Music Publishing Group; Julie Greenwald, chairman and COO of Atlantic Records; Desiree Perez, COO of Roc Nation; Sylvia Rhone, president of Epic Records; and Julie Greifer Swindler, executive vice president of business affairs and general counsel for Sony Music Entertainment — wrote a letter to the Recording Academy’s board of trustees.\u003c/p>\n\u003cp>NPR has obtained this letter, which reads, in part: “We are writing to you, both on behalf of ourselves as women and on behalf of our companies, after the recent Grammy nominations, awards and telecast, as well as certain statements by your President, Neil Portnow, and the producer of the Grammys’ telecast, Ken Ehrlich. Taken together, these actions once again demonstrate that NARAS remains woefully out of touch with today’s music, the music business, and even more significantly, society …”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“NARAS, which purports to represent every area of the music ecosystem (e.g., artists, producers, songwriters, engineers) should be leaders in this evolution, and yet it has shown itself to be the opposite,” the letter continues. “We ask you, as a Board, to take this message from those who have devoted their lives to music seriously. Neil Portnow’s comments are not a reflection of being ‘inarticulate’ in a single interview … To be clear, if NARAS seeks to reflect music’s diverse community then it must ‘step up’ and be accountable to it.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 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=Women+In+The+Music+Industry+Call+For+%27Evolution%27+At+The+Grammys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Top solo artists and groups of high-powered female executives in the music industry are demanding change within the Recording Academy. Much of that momentum has built up over the past week, since the telecast of this year’s Grammy Awards ceremony, which were held Jan. 28 at Madison Square Garden.\u003c/p>\n\u003cp>The outcry is a direct response to the the format and content of this year’s telecast, and to statements made by the highest-ranked official at the Recording Academy — the professional organization whose members vote for the Grammys — and the producer of the telecast.\u003c/p>\n\u003cp>Among those who have spoken out are musicians including Pink, Fiona Apple, India.Arie, Sheryl Crow, Vanessa Carlton, Charli XCX and Kelly Clarkson, as well as two groups of highly influential, female industry executives. Many of those women are calling for fundamental changes to the way that the Recording Academy (also known as NARAS, or the National Academy of Recording Arts and Sciences) is run, and for a change in the organization’s leadership. NARAS has responded with plans to address issues of gender bias. However, NPR has learned that the group does not know current demographic details about its membership.\u003c/p>\n\u003cp>In the run-up to this year’s Grammy ceremony, there was a great deal of public speculation about whether or not the Academy would address #MeToo and #TimesUp with the same coordination and effect that\u003cstrong> \u003c/strong>Hollywood did at this year’s \u003ca href=\"https://www.npr.org/sections/monkeysee/2018/01/07/576036145/at-the-golden-globes-not-just-another-red-carpet\" target=\"_blank\" rel=\"noopener\">Golden Globes\u003c/a> — in what Meryl Streep memorably called a “thick black line.”\u003c/p>\n\u003cp>The Recording Academy may have expected that the evening would be a victory lap, a 60th anniversary celebration of the industry’s own successes. With a provocative opening performance by Kendrick Lamar and a segment dedicated to #MeToo and #TimesUp, it’s entirely possible that the ceremony’s organizers felt that they were ticking all the right boxes for 2018.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead, much of “music’s biggest night,” as the Recording Academy likes to refer to its annual ceremony, was dedicated to safe, familiar presences — including performances by U2, Sting and Shaggy — but there were \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/28/581467347/live-blog-2018-grammy-awards\" target=\"_blank\" rel=\"noopener\">moments\u003c/a> when the conversations of today peeked out into view. (Dave Chapelle, mid-Kendrick Lamar set: “The only thing more frightening than watching a black man be honest in America is being an honest black man in America.”)\u003c/p>\n\u003cp>Over the course of the three-and-a-half hour telecast, only one solo female musician accepted an award on screen: Alessia Cara, who was awarded Best New Artist.\u003c/p>\n\u003cp>Conversations about gender equality and alleged sexual misconduct were, aside from the white roses pinned to the lapels and dresses of many attendees, mostly shoehorned into a single segment of the televised ceremony. It began with a fiery introduction from singer and actress Janelle Monae, who declared: “We come in peace, but we mean business. And to those of you who would dare try and silence us, we offer you two words: Time’s up.”\u003c/p>\n\u003cp>What followed was an anthemic performance of “Praying” led by Kesha, who was joined by Cyndi Lauper, Camila Cabello, Bebe Rexha, Julia Michels, Andra Day and the Resistance Revival Chorus. And then, it was back to Bono.\u003c/p>\n\u003cp>A number of high-profile allegations of sexual assault or misconduct have emerged from the recording industry, and many female musicians have added their stories to the #MeToo movement. But those accusations haven’t reverberated as widely, or had such earth-shaking repercussions as similar allegations have had in Hollywood, for example.\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/buM8OErfvu0'\n title='//www.youtube.com/embed/buM8OErfvu0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>NARAS has no jurisdiction over the wider music industry, but it is perhaps the closest approximation of a confederation of recording industry professionals; it’s both a banner-carrier and a microcosm of the larger business. And in the week that has followed the Grammy Awards, fans, artists and other women in the music industry have made public their frustration with The Recording Academy.\u003c/p>\n\u003cp>The blowback began to build after audiences noted that the singer Lorde — the sole woman nominated for the Album of the Year prize — did not perform on the telecast. Immediately following the awards ceremony, the trade publication \u003cem>Variety\u003c/em> asked both the Recording Academy’s president and CEO, Neil Portnow, and the telecast’s producer, Ken Ehrlich, about Lorde’s absence.\u003c/p>\n\u003cp>Ehrlich argued to \u003cem>Variety\u003c/em> that there \u003ca href=\"http://variety.com/2018/music/news/grammys-so-male-women-recording-academy-president-neil-portnow-1202679902/\" target=\"_blank\" rel=\"noopener\">just wasn’t time\u003c/a> to include Lorde as a solo performer. “These shows are a matter of choices,” Ehrlich said. “We have a box and it gets full,” he said, adding, “There’s no way we can really deal with everybody.”\u003c/p>\n\u003cp>Portnow has headed the Recording Academy since 2002; he replaced Michael Greene, who was \u003ca href=\"http://www.nytimes.com/2002/04/29/arts/grammys-chief-quits-under-fire.html\" target=\"_blank\" rel=\"noopener\">forced to resign\u003c/a> from NARAS after allegations that he sexually harassed and abused another Academy executive surfaced. (According to \u003cem>The \u003c/em>\u003cem>New York Times\u003c/em>, NARAS trustees reportedly paid the woman who accused him a $650,000 settlement, and then hired a private investigator to examine Greene’s behavior with female colleagues.) Around the same time, the \u003cem>Los Angeles Times\u003c/em> also ran an \u003ca href=\"http://articles.latimes.com/1998/feb/22/news/mn-21916\" target=\"_blank\" rel=\"noopener\">investigative series\u003c/a> examining the Recording Academy’s finances, and asserted that NARAS’ charitable arm, MusiCares, spent less than 10 percent of its fund-raised income on assisting artists.\u003c/p>\n\u003cp>Portnow — who sported a #TimesUp white rose in his lapel during this year’s telecast — made comments to \u003cem>Variety\u003c/em> that proved perhaps even more infuriating to many women. “It has to begin with … women who have the creativity in their hearts and souls, who want to be musicians, who want to be engineers, producers, and want to be part of the industry on the executive level,” he said. And in a phrase that became infamous immediately, Portnow added that women need “to step up because I think they would be welcome.”\u003c/p>\n\u003cp>Some prominent female musicians, like nine-time Grammy winner \u003ca href=\"https://twitter.com/SherylCrow/status/958066282959601664\" target=\"_blank\" rel=\"noopener\">Sheryl Crow\u003c/a>, three-time winner \u003ca href=\"https://twitter.com/kelly_clarkson/status/958589816714809349\" target=\"_blank\" rel=\"noopener\">Kelly Clarkson\u003c/a> and \u003ca href=\"https://twitter.com/charli_xcx/status/958100513471447040\" target=\"_blank\" rel=\"noopener\">Charli XCX\u003c/a>, have used social media to communicate their feelings. On Jan. 30, Pink, another three-time Grammy winner who performed her ballad “Wild Hearts Can’t Be Broken” on this year’s telecast, posted a note on Twitter that spoke directly to Portnow’s “step up” comment, without addressing Portnow himself.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Women in music don’t need to ‘step up,'” she wrote. “Women have been stepping since the beginning of time. Stepping up, and also stepping aside.”\u003c/p>\n\u003cp>On Wednesday, Portnow tried to \u003ca href=\"http://variety.com/2018/music/news/grammy-chief-neil-portnow-walks-back-step-up-comment-i-wasnt-as-articulate-as-i-should-have-been-1202681462/\" target=\"_blank\" rel=\"noopener\">walk back\u003c/a> his comment in another statement to \u003cem>Variety\u003c/em>. He claimed that the “step up” remark was taken out of context, and did not quote “convey my beliefs and the point I was trying to make.”\u003c/p>\n\u003cp>Portnow declined requests for comment by NPR, but in a statement sent to NPR and other media outlets last Thursday, he announced that the Recording Academy is setting up an independent task force to “review every aspect of what we do as an organization, and identify where we can do more to overcome the explicit barriers and unconscious biases that impede female advancement in the music community.”\u003c/p>\n\u003cp>I was a voting member of the Recording Academy for several years; I qualified primarily as the author of liner notes on various recording projects, though I also have reissue producer credits. I also served as a judge for the Best Album Notes award, which is one of a handful of Grammy prize categories that isn’t open to voting by the general membership, but is decided instead by a small voting committee whose ranks spread across several local NARAS chapters. \u003cstrong> \u003c/strong>And my own experience was that in my years on that committee, I was always the only woman in the room. (I haven’t been a member of the Recording Academy or a Grammy voter since 2011, when I joined NPR.)\u003c/p>\n\u003cp>My experience may not be terribly unique: A common stereotype is that the majority of Academy voters — some \u003ca href=\"https://www.billboard.com/articles/news/6288927/how-do-you-get-a-grammy\" target=\"_blank\" rel=\"noopener\">12,000 people\u003c/a> in all — are older, white men. In terms of actual statistics, it’s not at all clear \u003cem>who\u003c/em> the Grammy voters are, or how their demographic information may (or may not) incline them to vote. As a former voter, I don’t recall ever having been asked about my gender, age or race. So in the course of pursuing commentary from Portnow, I asked the Recording Academy if the organization had any demographic statistics about its membership.\u003c/p>\n\u003cp>Through a spokesperson, the Recording Academy confirmed that NARAS has never asked its members to provide that kind of data. And so its leadership simply doesn’t know the makeup of its existing membership — which will may prove to be a significant hurdle in the kinds of improvements that Portnow is pledging to make.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Through a representative, Lorde declined to comment directly to NPR about her absence from the Madison Square Garden stage. On the night of the ceremony, however, she posted to Instagram a photo of a quotation from artist Jenny Holzer that she had sewn to the back of her dress, which Lorde called her “version of a white rose.”\u003c/p>\n\u003cp>A source close to the singer confirmed, though, that the only invitation Lorde received to perform on this year’s Grammy Award telecast was to be part of a group performance paying tribute to the late Tom Petty. Every other artist nominated for Album of the Year — all men, save for Lorde — was offered a chance to give a solo performance. Bruno Mars, Childish Gambino and Kendrick Lamar accepted; Jay-Z reportedly declined the invitation. (Meanwhile, the president of Lorde’s label, Republic Records, a man named Charlie Walk, was placed on leave on Jan. 31 after \u003ca href=\"https://www.billboard.com/articles/news/8097342/charlie-walk-republic-two-women-accuse-sexual-harassment\" target=\"_blank\" rel=\"noopener\">three women\u003c/a> accused Walk of sexual misconduct. On Monday, Walk filed a complaint with the Manhattan district attorney’s office \u003ca href=\"https://pagesix.com/2018/02/05/charlie-walk-claims-he-was-being-extorted-before-allegations/\" target=\"_blank\" rel=\"noopener\">alleging\u003c/a> that the sexual misconduct accusations were instigated by the owner of a group of Ohio-based radio stations, who was attempting to extort Walk.)\u003c/p>\n\u003cp>In the aftermath of Portnow’s comments, some prominent female artists and industry figures have condemned him. Some are explicitly calling for Portnow to step down altogether, including singer-songwriter Vanessa Carlton, who has been nominated for three Grammy Awards, and who performed on the 2003 awards telecast. Carlton has been instrumental in publicizing a \u003ca href=\"https://www.thepetitionsite.com/602/307/220/academy-president-must-step-down-for-telling-female-musicians-to-step-up-after-grammys/\" target=\"_blank\" rel=\"noopener\">petition\u003c/a> calling for Portnow’s resignation. It is not clear if those who have signed the petition, which currently has nearly 14,000 signatures, are mostly fans or individuals who work in the music industry.\u003c/p>\n\u003cp>“You have to change the system, if it’s not working,” Carlton says. “And the way that you do that is you start from the top. I would like there to be fresh blood in there — I don’t think I’m alone in that. There are nice qualities to this president, and I know he’s a nice guy. However, when you want to make changes, the leader \u003cem>has\u003c/em> to change.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Other artists have been equally straightforward in their sentiments. On Saturday night, when Fiona Apple performed with Garbage’s Shirley Manson in Los Angeles, Apple sported a T-shirt that read: “Kneel, Portnow.”\u003c/p>\n\u003cp>On Feb. 2 — after Portnow made his initial comments and his follow-up remarks — singer-songwriter India.Arie, the four-time Grammy winner who performed at this year’s awards in the pre-telecast portion of the event, also published an \u003ca href=\"http://www.ajc.com/lifestyles/india-arie-pens-open-letter-recording-academy-president/Y6WjVWN4Vo4Yx19uxctjBL/\" target=\"_blank\" rel=\"noopener\">open letter\u003c/a> to Portnow, in which she underlined issues of intersectionality and referred to inequalities in both gender and racial representation.\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/nBRMRxkoUX8'\n title='//www.youtube.com/embed/nBRMRxkoUX8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She wrote: “Neil Portnow is mistaken. His statements are a mess, but I get why he can’t empathize with women and women of color. HE is saying, the more women there are, the more chances women have to WIN. BUT. WE NEED MORE WOMEN, more WOMEN OF COLOR AND MORE INCLUSIVE MINDED PEOPLE in positions of power, in the rooms where decisions are made. When this happens, doors will open for women to be represented in more DIVERSE WAYS. The music industry is dominated by white men and the Grammys and NARAS are run and produced by ONLY white men. The fact that Portnow says we’d ‘be welcomed’ indicates that he doesn’t think we’re part of the household to begin with.”\u003c/p>\n\u003cp>Influential women who power the business of music have also stepped forward to castigate Portnow. Over the past several days, two groups of female music industry executives wrote open letters to NARAS and to Portnow urging systemic changes to the way the Grammy Awards and the Recording Academy are structured. Last Thursday, more than 20 female industry leaders — in a group helmed by attorney Rosemary Carroll that includes Warner/Chappell vice president of publishing Katie Vinten and notable artist managers, agents and publicists such as Pharrell Williams’ manager Caron Veazey — made public a letter they wrote directed to Neil Portnow.\u003c/p>\n\u003cp>That letter, which was \u003ca href=\"http://variety.com/2018/biz/news/female-executives-call-for-grammy-chief-neil-portnows-resignation-1202684962/\" target=\"_blank\" rel=\"noopener\">published\u003c/a> by \u003cem>Variety\u003c/em>, demands Portnow’s resignation in pointed and angry terms. In part, it reads: “The statement you made this week about women in music needing to ‘step up’ was spectacularly wrong and insulting and, at its core, oblivious to the vast body of work created by and with women. Your attempt to backpedal only emphasizes your refusal to recognize us and our achievements … We do not await your welcome into the fraternity. We do not have to sing louder, jump higher or be nicer to prove ourselves.”\u003c/p>\n\u003cp>“We step up every single day and have been doing so for a long time. The fact that you don’t realize this means it’s time for you to step down.'”\u003c/p>\n\u003cp>On Monday, a group of six executives from several leading record labels — Michele Anthony, executive vice president for the Universal Music Group; Jody Gerson, chairman and CEO of Universal Music Publishing Group; Julie Greenwald, chairman and COO of Atlantic Records; Desiree Perez, COO of Roc Nation; Sylvia Rhone, president of Epic Records; and Julie Greifer Swindler, executive vice president of business affairs and general counsel for Sony Music Entertainment — wrote a letter to the Recording Academy’s board of trustees.\u003c/p>\n\u003cp>NPR has obtained this letter, which reads, in part: “We are writing to you, both on behalf of ourselves as women and on behalf of our companies, after the recent Grammy nominations, awards and telecast, as well as certain statements by your President, Neil Portnow, and the producer of the Grammys’ telecast, Ken Ehrlich. Taken together, these actions once again demonstrate that NARAS remains woefully out of touch with today’s music, the music business, and even more significantly, society …”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“NARAS, which purports to represent every area of the music ecosystem (e.g., artists, producers, songwriters, engineers) should be leaders in this evolution, and yet it has shown itself to be the opposite,” the letter continues. “We ask you, as a Board, to take this message from those who have devoted their lives to music seriously. Neil Portnow’s comments are not a reflection of being ‘inarticulate’ in a single interview … To be clear, if NARAS seeks to reflect music’s diverse community then it must ‘step up’ and be accountable to it.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 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=Women+In+The+Music+Industry+Call+For+%27Evolution%27+At+The+Grammys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/511450307/milck\">MILCK\u003c/a>, the singer who drew widespread attention after \u003ca href=\"https://www.npr.org/sections/allsongs/2017/01/23/511186649/a-flash-mob-choir-at-the-womens-march-turned-this-unknown-song-into-an-anthem\">performing her song “Quiet” at last year’s Women’s March\u003c/a> in Washington, D.C. is back with a follow-up single called “This Is Not The End.” Much like “Quiet,” the new song is a propulsive, sometimes soaring anthem to self-empowerment and resistance in the face of adversity.\u003c/p>\n\u003cp>[contextly_sidebar id=”pjk3Zhz7PhfWBvKudwELMZaidAD6mxwg”]\u003c/p>\n\u003cp>“I will hunt my hunters down,” she sings. “Take back my broken crown / I will look them in the eye / Will not be the beast that hides / I will hunt my hunters down / This is not the end / Trouble will not take me in.”\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=C3B69-LeVCY&w=764&h=430]\u003c/p>\n\u003cp>Since her pop-up performances with an a cappella group at the Women’s March in D.C. last January, MILCK has signed with Atlantic Records. Last fall she released a new version of “Quiet,” saying she had originally intended to put it out this year but decided to drop it early because of the flood of stories about sexual harassment and assault.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VCYweWXph_U\u003c/p>\n\u003cp>“In light of the Harvey Weinstein scandals sparking a massive movement of women and survivors speaking out against sexual assault,” she said in an official statement, “I find myself in awe and moved to my core. Since the age of 14 I’ve survived several acts of sexual assault. For years, I blamed myself and secretly carried the shame.” MILCK says she eventually wrote “Quiet” when she realized she deserved to heal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>MILCK’s debut EP, \u003c/em>This Is Not The End\u003cem>, is due out Jan. 19 on Atlantic.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">www.npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=MILCK%2C+Singer+Behind+Women%27s+March+Anthem%2C+Returns+With+New+Rallying+Cry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/511450307/milck\">MILCK\u003c/a>, the singer who drew widespread attention after \u003ca href=\"https://www.npr.org/sections/allsongs/2017/01/23/511186649/a-flash-mob-choir-at-the-womens-march-turned-this-unknown-song-into-an-anthem\">performing her song “Quiet” at last year’s Women’s March\u003c/a> in Washington, D.C. is back with a follow-up single called “This Is Not The End.” Much like “Quiet,” the new song is a propulsive, sometimes soaring anthem to self-empowerment and resistance in the face of adversity.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I will hunt my hunters down,” she sings. “Take back my broken crown / I will look them in the eye / Will not be the beast that hides / I will hunt my hunters down / This is not the end / Trouble will not take me in.”\u003c/p>\n\u003cp>\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/C3B69-LeVCY'\n title='//www.youtube.com/embed/C3B69-LeVCY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Since her pop-up performances with an a cappella group at the Women’s March in D.C. last January, MILCK has signed with Atlantic Records. Last fall she released a new version of “Quiet,” saying she had originally intended to put it out this year but decided to drop it early because of the flood of stories about sexual harassment and assault.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/VCYweWXph_U'\n title='//www.youtube.com/embed/VCYweWXph_U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“In light of the Harvey Weinstein scandals sparking a massive movement of women and survivors speaking out against sexual assault,” she said in an official statement, “I find myself in awe and moved to my core. Since the age of 14 I’ve survived several acts of sexual assault. For years, I blamed myself and secretly carried the shame.” MILCK says she eventually wrote “Quiet” when she realized she deserved to heal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>MILCK’s debut EP, \u003c/em>This Is Not The End\u003cem>, is due out Jan. 19 on Atlantic.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">www.npr.org\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=MILCK%2C+Singer+Behind+Women%27s+March+Anthem%2C+Returns+With+New+Rallying+Cry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "#MeToo Movement is Person of the Year, 'Time' Says",
"headTitle": "#MeToo Movement is Person of the Year, ‘Time’ Says | KQED",
"content": "\u003cp>It has created a wave of awareness and brave confrontations over sexual harassment and assault, taking down powerful men in the process. And now the #MeToo movement has been named \u003cem>Time\u003c/em> magazine’s Person of the Year for 2017.\u003c/p>\n\u003cp>On its cover, \u003cem>Time\u003c/em> called the people behind the movement “The Silence Breakers.” Its story features women and men who have spoken out — including activist \u003ca href=\"https://twitter.com/TaranaBurke/status/938388492299702277\" target=\"_blank\" rel=\"noopener\">Tarana Burke\u003c/a>, who started the hashtag 10 years ago.\u003c/p>\n\u003cfigure id=\"attachment_13816800\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1.jpg\" alt='Time magazine says the women who shared stories about sexual harassment and abuse through the #metoo campaign — the \"silence breakers\" — are its Person of the Year.' width=\"700\" height=\"933\" class=\"size-full wp-image-13816800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1-520x693.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Time magazine says the women who shared stories about sexual harassment and abuse through the #metoo campaign — the “silence breakers” — are its Person of the Year. \u003ccite>(Time magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>#MeToo rose to prominence as a social media campaign in the wake of high-profile accusations against Hollywood producer Harvey Weinstein. After actress Alyssa Milano popularized the hashtag, thousands of women began sharing their stories about the pervasive damage wrought by sexual harassment and by “open secrets” about abuse.\u003c/p>\n\u003cp>The movement’s empowering reach could be seen in the platform on which \u003cem>Time\u003c/em> announced its choice: the \u003cem>Today\u003c/em> show. It was just one week ago that NBC fired the morning program’s longtime and powerful co-host, Matt Lauer, over \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/30/567421270/fired-today-host-matt-lauer-responds-promises-soul-searching\" target=\"_blank\" rel=\"noopener\">a detailed complaint\u003c/a> of “inappropriate sexual behavior in the workplace.”\u003c/p>\n\u003cp>While the most high-profile #MeToo stories have come from women and men who work in the movies and media, \u003ca href=\"http://time.com/time-person-of-the-year-2017-silence-breakers/\">the Time article\u003c/a> also features women who work hourly jobs, some of whom want to remain anonymous. The magazine’s cover portrait includes strawberry picker Isabel Pascual, lobbyist Adama Iwu and former Uber engineer Susan Fowler along with Ashley Judd and Taylor Swift.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The reckoning appears to have sprung up overnight. But it has actually been simmering for years, decades, centuries,” \u003cem>Time’s\u003c/em> Stephanie Zacharek, Eliana Dockterman and Haley Sweetland Edwards write. “Women have had it with bosses and coworkers who not only cross boundaries but don’t even seem to know that boundaries exist.”\u003c/p>\n\u003cp>Marking a possible cultural shift \u003ca href=\"https://www.npr.org/2017/10/16/558165331/in-the-wake-of-harvey-weinstein-scandal-women-say-metoo\" target=\"_blank\" rel=\"noopener\">back in October\u003c/a>, NPR’s Sarah McCammon quoted associate professor Lisa Huebner saying of #MeToo, “It helps a lot of people individually, I think, and it also will help us to mark publicly that this is a widespread occurrence, and it’s not OK.”\u003c/p>\n\u003cp>The \u003ca href=\"http://time.com/5045719/time-person-of-the-year-2017-shortlist/\" target=\"_blank\" rel=\"noopener\">shortlist of candidates\u003c/a> for the distinction included:\u003c/p>\n\u003cul>\n\u003cli>The Dreamers\u003c/li>\n\u003cli>Amazon founder Jeff Bezos\u003c/li>\n\u003cli>\u003cem>Wonder Woman\u003c/em> director Patty Jenkins\u003c/li>\n\u003cli>North Korean leader Kim Jong Un\u003c/li>\n\u003cli>Protest leader Colin Kaepernick\u003c/li>\n\u003cli>Special counsel Robert Mueller\u003c/li>\n\u003cli>Chinese President Xi Jinping\u003c/li>\n\u003cli>Crown Prince Mohammed bin Salman of Saudi Arabia\u003c/li>\n\u003cli>President Trump\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>Time\u003c/em> also conducted a reader poll, which the magazine says was won by Mohammed bin Salman, with 24 percent of the votes. Second place went to the #MeToo movement, followed by a three-way tie among Kaepernick, Mueller and the Dreamers.\u003c/p>\n\u003cp>In the magazine’s tally, Trump was the runner-up.\u003c/p>\n\u003cp>The final decision comes weeks after Trump — who was named Person of the Year in 2016 — said he \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/25/566433478/trump-says-he-passed-on-being-person-of-the-year-time-says-he-s-incorrect\" target=\"_blank\" rel=\"noopener\">“took a pass” on being named again\u003c/a> in 2017. Trump, who had called it “a tremendous honor” to win last year, said the magazine had been in touch to say he would “probably” win.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The president’s comment prompted \u003cem>Time\u003c/em> to clarify, “The President is incorrect about how we choose Person of the Year. TIME does not comment on our choice until publication, which is December 6.” \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=%23MeToo+Movement+Is+Person+Of+The+Year%2C+%27Time%27+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It has created a wave of awareness and brave confrontations over sexual harassment and assault, taking down powerful men in the process. And now the #MeToo movement has been named \u003cem>Time\u003c/em> magazine’s Person of the Year for 2017.\u003c/p>\n\u003cp>On its cover, \u003cem>Time\u003c/em> called the people behind the movement “The Silence Breakers.” Its story features women and men who have spoken out — including activist \u003ca href=\"https://twitter.com/TaranaBurke/status/938388492299702277\" target=\"_blank\" rel=\"noopener\">Tarana Burke\u003c/a>, who started the hashtag 10 years ago.\u003c/p>\n\u003cfigure id=\"attachment_13816800\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1.jpg\" alt='Time magazine says the women who shared stories about sexual harassment and abuse through the #metoo campaign — the \"silence breakers\" — are its Person of the Year.' width=\"700\" height=\"933\" class=\"size-full wp-image-13816800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/poy-2017-cover_vert-f1543ad0e414ef2a31d9b0e95c3d100a62eeee91-s700-c85-1-520x693.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Time magazine says the women who shared stories about sexual harassment and abuse through the #metoo campaign — the “silence breakers” — are its Person of the Year. \u003ccite>(Time magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>#MeToo rose to prominence as a social media campaign in the wake of high-profile accusations against Hollywood producer Harvey Weinstein. After actress Alyssa Milano popularized the hashtag, thousands of women began sharing their stories about the pervasive damage wrought by sexual harassment and by “open secrets” about abuse.\u003c/p>\n\u003cp>The movement’s empowering reach could be seen in the platform on which \u003cem>Time\u003c/em> announced its choice: the \u003cem>Today\u003c/em> show. It was just one week ago that NBC fired the morning program’s longtime and powerful co-host, Matt Lauer, over \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/30/567421270/fired-today-host-matt-lauer-responds-promises-soul-searching\" target=\"_blank\" rel=\"noopener\">a detailed complaint\u003c/a> of “inappropriate sexual behavior in the workplace.”\u003c/p>\n\u003cp>While the most high-profile #MeToo stories have come from women and men who work in the movies and media, \u003ca href=\"http://time.com/time-person-of-the-year-2017-silence-breakers/\">the Time article\u003c/a> also features women who work hourly jobs, some of whom want to remain anonymous. The magazine’s cover portrait includes strawberry picker Isabel Pascual, lobbyist Adama Iwu and former Uber engineer Susan Fowler along with Ashley Judd and Taylor Swift.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The reckoning appears to have sprung up overnight. But it has actually been simmering for years, decades, centuries,” \u003cem>Time’s\u003c/em> Stephanie Zacharek, Eliana Dockterman and Haley Sweetland Edwards write. “Women have had it with bosses and coworkers who not only cross boundaries but don’t even seem to know that boundaries exist.”\u003c/p>\n\u003cp>Marking a possible cultural shift \u003ca href=\"https://www.npr.org/2017/10/16/558165331/in-the-wake-of-harvey-weinstein-scandal-women-say-metoo\" target=\"_blank\" rel=\"noopener\">back in October\u003c/a>, NPR’s Sarah McCammon quoted associate professor Lisa Huebner saying of #MeToo, “It helps a lot of people individually, I think, and it also will help us to mark publicly that this is a widespread occurrence, and it’s not OK.”\u003c/p>\n\u003cp>The \u003ca href=\"http://time.com/5045719/time-person-of-the-year-2017-shortlist/\" target=\"_blank\" rel=\"noopener\">shortlist of candidates\u003c/a> for the distinction included:\u003c/p>\n\u003cul>\n\u003cli>The Dreamers\u003c/li>\n\u003cli>Amazon founder Jeff Bezos\u003c/li>\n\u003cli>\u003cem>Wonder Woman\u003c/em> director Patty Jenkins\u003c/li>\n\u003cli>North Korean leader Kim Jong Un\u003c/li>\n\u003cli>Protest leader Colin Kaepernick\u003c/li>\n\u003cli>Special counsel Robert Mueller\u003c/li>\n\u003cli>Chinese President Xi Jinping\u003c/li>\n\u003cli>Crown Prince Mohammed bin Salman of Saudi Arabia\u003c/li>\n\u003cli>President Trump\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>Time\u003c/em> also conducted a reader poll, which the magazine says was won by Mohammed bin Salman, with 24 percent of the votes. Second place went to the #MeToo movement, followed by a three-way tie among Kaepernick, Mueller and the Dreamers.\u003c/p>\n\u003cp>In the magazine’s tally, Trump was the runner-up.\u003c/p>\n\u003cp>The final decision comes weeks after Trump — who was named Person of the Year in 2016 — said he \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/25/566433478/trump-says-he-passed-on-being-person-of-the-year-time-says-he-s-incorrect\" target=\"_blank\" rel=\"noopener\">“took a pass” on being named again\u003c/a> in 2017. Trump, who had called it “a tremendous honor” to win last year, said the magazine had been in touch to say he would “probably” win.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The president’s comment prompted \u003cem>Time\u003c/em> to clarify, “The President is incorrect about how we choose Person of the Year. TIME does not comment on our choice until publication, which is December 6.” \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=%23MeToo+Movement+Is+Person+Of+The+Year%2C+%27Time%27+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Gender Inequality in Bay Area Art Galleries, By the Numbers",
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"content": "\u003cp>In early November, Emily Reynolds, co-director of San Francisco’s \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\">Bass & Reiner Gallery\u003c/a>, started a Google spreadsheet. “I spent a few hours putting it together and then a few days hand-wringing,” she says. Then she posted it, without comment, on Facebook.\u003c/p>\n\u003cp>Why the worry? \u003ca href=\"https://docs.google.com/spreadsheets/d/1mJNz_6_1eyyTuJeHt1jic-pxB4QwHgBDYE_5kpZ383k/edit#gid=264803243\" target=\"_blank\" rel=\"noopener\">SF Gallery Tally 2017\u003c/a>, as the spreadsheet is named, tracks the gender parity of representation and exhibition in Bay Area galleries. For some spaces, the numbers are far from equitable.\u003c/p>\n\u003cfigure id=\"attachment_13816196\" class=\"wp-caption aligncenter\" style=\"max-width: 2308px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816196\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot.png\" alt=\"A screen shot of SF Gallery Tally 2017.\" width=\"2308\" height=\"1514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot.png 2308w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-800x525.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-768x504.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-1020x669.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-1920x1259.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-1180x774.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-960x630.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-240x157.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-375x246.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-520x341.png 520w\" sizes=\"(max-width: 2308px) 100vw, 2308px\">\u003cfigcaption class=\"wp-caption-text\">A screen shot of SF Gallery Tally 2017.\u003c/figcaption>\u003c/figure>\n\u003cp>Gallery representation is an oft-coveted development in an artist’s career. With that formal agreement, a gallery becomes responsible for promoting, exhibiting and selling an artist’s work. Some galleries offer even more support to their roster: assistance with grant and residency applications, strategic placement in desirable collections, or — increasingly rare — subsidized studios.\u003c/p>\n\u003cp>Of the 42 gallery rosters currently in the spreadsheet, 15 are over 70 percent male, 16 are between 50 and 70 percent male, 2 are split 50-50 and only 9 galleries have a greater number of female, non-binary or gender non-conforming artists than their male counterparts.\u003c/p>\n\u003cfigure id=\"attachment_13816191\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816191 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/GalleryRosters.png\" alt=\"Of the 42 galleries tracked in SF Gallery Tally, only 9 represent less than 50% men.\" width=\"1200\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-1180x738.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-960x600.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-240x150.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-375x234.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-520x325.png 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Of the 42 galleries tracked in SF Gallery Tally, only 9 represent less than 50% men. \u003ccite>(Sarah Hotchkiss/KQED; Source: SF Gallery Tally 2017)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Compare this to the numbers of MFA students graduating from Bay Area art programs: In the 2017 classes from CCA, SFAI, Stanford, UC Davis and UC Berkeley, 63 percent are women, non-binary or gender non-conforming and 38 percent are men.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is all information that’s readily available,” says Jackie Im, who added much of the data on the galleries’ 2017 exhibitions to the spreadsheet. “We’re just putting them in numbers.” Im is co-director of San Francisco spaces \u003ca href=\"http://etaletc.com/#/\" target=\"_blank\" rel=\"noopener\">Et al. and Et al. etc.\u003c/a>, which have a roster — unchanged since the gallery started in 2013 — that tallies as 33 percent women, 67 percent men. But their exhibitions in the past year lean the opposite way: 68 percent women, 32 percent men.\u003c/p>\n\u003cfigure id=\"attachment_13816193\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816193\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_.jpg\" alt=\"Et al. etc.'s current show 'Jam Session' features work by Betty Bailey and Johanna Billing.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Et al. etc.’s current show ‘Jam Session’ features work by Betty Bailey and Johanna Billing. \u003ccite>(Courtesy of Et al. etc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since she made the spreadsheet public, Reynolds has watched it take on a life of its own. Anyone with the link can update or add to the data contained within, such as adding a row that determines the totals for representation across all Bay Area galleries. Of the 1,109 artists represented by Bay Area galleries, 68 percent are men, 32 percent are women, non-binary or gender non-conforming. Comments in the exhibition tab add some nuance to the numbers (for Gallery 16: “The three women all appear in the same group show”).\u003c/p>\n\u003cp>Someone has yet to tackle the “2017 Museum / Non Profit Solo Shows” tab beyond a tally of SFMOMA’s exhibitions (of 14 solo shows, 64 percent went to male artists).\u003c/p>\n\u003cfigure id=\"attachment_13816203\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816203 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2.png\" alt=\"Of the 1,109 artists represented by Bay Area galleries, 68 percent are men, and 32 percent are women, non-binary or gender non-conforming.\" width=\"1200\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-1180x738.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-960x600.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-240x150.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-375x234.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-520x325.png 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Of the 1,109 artists represented by Bay Area galleries, 68 percent are men, and 32 percent are women, non-binary or gender non-conforming. \u003ccite>(Sarah Hotchkiss/KQED; Source: SF Gallery Tally 2017)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s hard to overcome any implicit bias someone might have,” Im says, “but having a concrete method of seeing it might help.”\u003c/p>\n\u003cp>Both Reynolds and Im see SF Gallery Tally as a useful tool not just for self-reflective gallerists and curators, but for Bay Area audiences as a whole. “I feel like more transparency is really helpful,” Reynolds says, “both when you’re collecting data and when you’re an artist or a curator trying to figure out how this world operates.”\u003c/p>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp>SF Gallery Tally comes at a time when conversations about gender and power in the art world shift from revelations and declarations to questions of “what now?” Among the many prominent men recently accused of sexual harassment is longtime \u003ci>Artforum\u003c/i> publisher \u003ca href=\"https://www.nytimes.com/2017/10/25/nyregion/knight-landesman-artforum-sexual-harassment-lawsuit.html?_r=0\" target=\"_blank\" rel=\"noopener\">Knight Landesman\u003c/a>, who resigned from his position on Oct. 25.\u003c/p>\n\u003cp>News of Landesman’s behavior, along with ongoing allegations across industry lines, prompted an open letter from a coalition called \u003ca href=\"http://www.not-surprised.org/home/\" target=\"_blank\" rel=\"noopener\">We Are Not Surprised\u003c/a>; it circulated on Oct. 29 with nearly 9,500 signatures. “We are not surprised,” the letter opens, borrowing language from Jenny Holzer’s seminal statement in her 1978-87 piece \u003ca href=\"https://www.moma.org/collection/works/63755\" target=\"_blank\" rel=\"noopener\">\u003ci>Truisms\u003c/i>\u003c/a>. “The resignation of one publisher from one high-profile magazine does not solve the larger, more insidious problem: an art world that upholds inherited power structures at the cost of ethical behavior.”\u003c/p>\n\u003cfigure id=\"attachment_13816205\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816205\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/MG_9911.jpg\" alt=\"Bass & Reiner's current exhibition, 'Self World,' features work by Lisa Jonas Taylor and Jack Schneider, a female and male artist, respectively.\" width=\"2500\" height=\"1667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-520x347.jpg 520w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Bass & Reiner’s current exhibition, ‘Self World,’ features work by Lisa Jonas Taylor and Jack Schneider, a female and male artist, respectively. \u003ccite>(Courtesy of Bass & Reiner Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Reynolds, the SF Gallery Tally is an attempt to make those power structures visible. “It’s not a new or amazing idea,” she says, pointing to the \u003ca href=\"https://www.guerrillagirls.com/\" target=\"_blank\" rel=\"noopener\">Guerrilla Girls\u003c/a>, artist \u003ca href=\"http://gallerytally.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Micol Hebron\u003c/a> and the anonymous Los Angeles project \u003ca href=\"https://www.instagram.com/gar_la_/\" target=\"_blank\" rel=\"noopener\">Gallery Artist Reform\u003c/a> as inspirations for the Bay Area spreadsheet.\u003c/p>\n\u003cp>Along with gallery rosters, Hebron tracks artists featured on the cover of \u003ci>Artforum\u003c/i>. By her tally, 555 \u003ci>Arforum\u003c/i> covers (June 1962 to October 2017) have featured 404 male artists, 102 female artists and 49 unidentified artists. That’s 72 percent men, and 18 percent women.\u003c/p>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp>In an area that regards itself as progressive, some of the numbers seem woefully retrograde. Gagosian, which opened its \u003ca href=\"https://www.gagosian.com/exhibitions/paul-noble--november-02-2017\" target=\"_blank\" rel=\"noopener\">San Francisco outpost\u003c/a> at the beginning of 2017, represents 132 artists globally, but only 19 of those are women. Locally, Gagosian has yet to include a single non-male artist (female, non-binary or gender non-conforming) in any of its San Francisco exhibitions.\u003c/p>\n\u003cp>Gagosian San Francisco did not reply to several requests for comment, and the phone number listed for the gallery resulted in a disconnection message.\u003c/p>\n\u003cfigure id=\"attachment_13816195\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816195\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Gagosian.jpeg\" alt=\"Street view of Gagosian San Francisco.\" width=\"1200\" height=\"706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-160x94.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-800x471.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-768x452.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-1020x600.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-1180x694.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-960x565.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-240x141.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-375x221.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-520x306.jpeg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Street view of Gagosian San Francisco. \u003ccite>(Courtesy of Google Maps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the opposite end of the spectrum, Oakland’s \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">Interface Gallery\u003c/a>, owned and directed by Suzanne L’Heureux, represents 11 artists (counting the individual members of two collaborative groups), eight of which are female.\u003c/p>\n\u003cp>“There’s just so many women artists making incredible work, it’s easy to show awesome women artists’ work without really thinking about gender,” L’Heureux says. “The thing I’m really thinking about more is other forms of diversity. The fact is I show a lot of white artists. I want to show more artists of color in the coming year.”\u003c/p>\n\u003cp>Making that conscious effort, L’Heureux says, can be a private reckoning with her own position of power in the art world. “I don’t want to tout diversity in a way that detracts from the artists themselves. I want to be doing it because I’m showing really kickass work. With a dynamic and interesting range of perspectives, there’s a richness in that for everyone involved.”\u003c/p>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp>In some cases, numbers don’t tell the whole story. Of the galleries charted by SF Gallery Tally, San Francisco’s \u003ca href=\"https://casemorekirkeby.com/\" target=\"_blank\" rel=\"noopener\">Casemore Kirkeby\u003c/a> has one of the most male-heavy rosters: with seven artists, only one is female. But the year-and-a-half-old gallery, co-director Julie Casemore says, is actively developing that roster. “We’re still in the process of revealing who we are. I happened to have a number of established relationships with Stephen Wirtz Gallery artists,” Casemore says, explaining how Casemore Kirkeby launched with an existing roster.\u003c/p>\n\u003cfigure id=\"attachment_13816194\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816194\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16.jpg\" alt=\"The current Casemore Kirkeby exhibition is 'Option to the Death of Freedom,' featuring two women and nine men.\" width=\"1500\" height=\"1001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-520x347.jpg 520w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The current Casemore Kirkeby exhibition is ‘Option to the Death of Freedom,’ featuring two women and nine men. \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It takes an extended period of time to work with an artist to come to an agreement of representation. It’s a long and involved process. We have a very serious commitment to seeing diversity in our representation, and this statistic doesn’t represent the future of the gallery,” she says.\u003c/p>\n\u003cp>In that vein, Reynolds hopes SF Gallery Tally will continue — through the generosity of those willing to spend a few hours digging into press releases and artist bios — to track representation and exhibition numbers for years to come.\u003c/p>\n\u003cp>And as for the larger conversation about gender parity and structural inequalities, spaces can’t be the only aspect of the art world under scrutiny. “You could expand it to press coverage, fair participation and all that stuff,” Reynolds says. Another, more difficult direction: expand the spreadsheet to encompass not just gender, but race, economic background, age, ability and sexual orientation.\u003c/p>\n\u003cp>“One of the problems with just tracking galleries is that it puts the onus on galleries to have this diverse roster,” Reynolds says, “but that’s not the only power in the art world.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In early November, Emily Reynolds, co-director of San Francisco’s \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\">Bass & Reiner Gallery\u003c/a>, started a Google spreadsheet. “I spent a few hours putting it together and then a few days hand-wringing,” she says. Then she posted it, without comment, on Facebook.\u003c/p>\n\u003cp>Why the worry? \u003ca href=\"https://docs.google.com/spreadsheets/d/1mJNz_6_1eyyTuJeHt1jic-pxB4QwHgBDYE_5kpZ383k/edit#gid=264803243\" target=\"_blank\" rel=\"noopener\">SF Gallery Tally 2017\u003c/a>, as the spreadsheet is named, tracks the gender parity of representation and exhibition in Bay Area galleries. For some spaces, the numbers are far from equitable.\u003c/p>\n\u003cfigure id=\"attachment_13816196\" class=\"wp-caption aligncenter\" style=\"max-width: 2308px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816196\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot.png\" alt=\"A screen shot of SF Gallery Tally 2017.\" width=\"2308\" height=\"1514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot.png 2308w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-800x525.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-768x504.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-1020x669.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-1920x1259.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-1180x774.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-960x630.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-240x157.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-375x246.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryTallyScreenShot-520x341.png 520w\" sizes=\"(max-width: 2308px) 100vw, 2308px\">\u003cfigcaption class=\"wp-caption-text\">A screen shot of SF Gallery Tally 2017.\u003c/figcaption>\u003c/figure>\n\u003cp>Gallery representation is an oft-coveted development in an artist’s career. With that formal agreement, a gallery becomes responsible for promoting, exhibiting and selling an artist’s work. Some galleries offer even more support to their roster: assistance with grant and residency applications, strategic placement in desirable collections, or — increasingly rare — subsidized studios.\u003c/p>\n\u003cp>Of the 42 gallery rosters currently in the spreadsheet, 15 are over 70 percent male, 16 are between 50 and 70 percent male, 2 are split 50-50 and only 9 galleries have a greater number of female, non-binary or gender non-conforming artists than their male counterparts.\u003c/p>\n\u003cfigure id=\"attachment_13816191\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816191 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/GalleryRosters.png\" alt=\"Of the 42 galleries tracked in SF Gallery Tally, only 9 represent less than 50% men.\" width=\"1200\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-1180x738.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-960x600.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-240x150.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-375x234.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosters-520x325.png 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Of the 42 galleries tracked in SF Gallery Tally, only 9 represent less than 50% men. \u003ccite>(Sarah Hotchkiss/KQED; Source: SF Gallery Tally 2017)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Compare this to the numbers of MFA students graduating from Bay Area art programs: In the 2017 classes from CCA, SFAI, Stanford, UC Davis and UC Berkeley, 63 percent are women, non-binary or gender non-conforming and 38 percent are men.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is all information that’s readily available,” says Jackie Im, who added much of the data on the galleries’ 2017 exhibitions to the spreadsheet. “We’re just putting them in numbers.” Im is co-director of San Francisco spaces \u003ca href=\"http://etaletc.com/#/\" target=\"_blank\" rel=\"noopener\">Et al. and Et al. etc.\u003c/a>, which have a roster — unchanged since the gallery started in 2013 — that tallies as 33 percent women, 67 percent men. But their exhibitions in the past year lean the opposite way: 68 percent women, 32 percent men.\u003c/p>\n\u003cfigure id=\"attachment_13816193\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816193\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_.jpg\" alt=\"Et al. etc.'s current show 'Jam Session' features work by Betty Bailey and Johanna Billing.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/large_Install__through_door_day_-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Et al. etc.’s current show ‘Jam Session’ features work by Betty Bailey and Johanna Billing. \u003ccite>(Courtesy of Et al. etc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since she made the spreadsheet public, Reynolds has watched it take on a life of its own. Anyone with the link can update or add to the data contained within, such as adding a row that determines the totals for representation across all Bay Area galleries. Of the 1,109 artists represented by Bay Area galleries, 68 percent are men, 32 percent are women, non-binary or gender non-conforming. Comments in the exhibition tab add some nuance to the numbers (for Gallery 16: “The three women all appear in the same group show”).\u003c/p>\n\u003cp>Someone has yet to tackle the “2017 Museum / Non Profit Solo Shows” tab beyond a tally of SFMOMA’s exhibitions (of 14 solo shows, 64 percent went to male artists).\u003c/p>\n\u003cfigure id=\"attachment_13816203\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13816203 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2.png\" alt=\"Of the 1,109 artists represented by Bay Area galleries, 68 percent are men, and 32 percent are women, non-binary or gender non-conforming.\" width=\"1200\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-1180x738.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-960x600.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-240x150.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-375x234.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GalleryRosterTotals2-520x325.png 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Of the 1,109 artists represented by Bay Area galleries, 68 percent are men, and 32 percent are women, non-binary or gender non-conforming. \u003ccite>(Sarah Hotchkiss/KQED; Source: SF Gallery Tally 2017)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s hard to overcome any implicit bias someone might have,” Im says, “but having a concrete method of seeing it might help.”\u003c/p>\n\u003cp>Both Reynolds and Im see SF Gallery Tally as a useful tool not just for self-reflective gallerists and curators, but for Bay Area audiences as a whole. “I feel like more transparency is really helpful,” Reynolds says, “both when you’re collecting data and when you’re an artist or a curator trying to figure out how this world operates.”\u003c/p>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp>SF Gallery Tally comes at a time when conversations about gender and power in the art world shift from revelations and declarations to questions of “what now?” Among the many prominent men recently accused of sexual harassment is longtime \u003ci>Artforum\u003c/i> publisher \u003ca href=\"https://www.nytimes.com/2017/10/25/nyregion/knight-landesman-artforum-sexual-harassment-lawsuit.html?_r=0\" target=\"_blank\" rel=\"noopener\">Knight Landesman\u003c/a>, who resigned from his position on Oct. 25.\u003c/p>\n\u003cp>News of Landesman’s behavior, along with ongoing allegations across industry lines, prompted an open letter from a coalition called \u003ca href=\"http://www.not-surprised.org/home/\" target=\"_blank\" rel=\"noopener\">We Are Not Surprised\u003c/a>; it circulated on Oct. 29 with nearly 9,500 signatures. “We are not surprised,” the letter opens, borrowing language from Jenny Holzer’s seminal statement in her 1978-87 piece \u003ca href=\"https://www.moma.org/collection/works/63755\" target=\"_blank\" rel=\"noopener\">\u003ci>Truisms\u003c/i>\u003c/a>. “The resignation of one publisher from one high-profile magazine does not solve the larger, more insidious problem: an art world that upholds inherited power structures at the cost of ethical behavior.”\u003c/p>\n\u003cfigure id=\"attachment_13816205\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816205\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/MG_9911.jpg\" alt=\"Bass & Reiner's current exhibition, 'Self World,' features work by Lisa Jonas Taylor and Jack Schneider, a female and male artist, respectively.\" width=\"2500\" height=\"1667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_9911-520x347.jpg 520w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Bass & Reiner’s current exhibition, ‘Self World,’ features work by Lisa Jonas Taylor and Jack Schneider, a female and male artist, respectively. \u003ccite>(Courtesy of Bass & Reiner Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Reynolds, the SF Gallery Tally is an attempt to make those power structures visible. “It’s not a new or amazing idea,” she says, pointing to the \u003ca href=\"https://www.guerrillagirls.com/\" target=\"_blank\" rel=\"noopener\">Guerrilla Girls\u003c/a>, artist \u003ca href=\"http://gallerytally.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Micol Hebron\u003c/a> and the anonymous Los Angeles project \u003ca href=\"https://www.instagram.com/gar_la_/\" target=\"_blank\" rel=\"noopener\">Gallery Artist Reform\u003c/a> as inspirations for the Bay Area spreadsheet.\u003c/p>\n\u003cp>Along with gallery rosters, Hebron tracks artists featured on the cover of \u003ci>Artforum\u003c/i>. By her tally, 555 \u003ci>Arforum\u003c/i> covers (June 1962 to October 2017) have featured 404 male artists, 102 female artists and 49 unidentified artists. That’s 72 percent men, and 18 percent women.\u003c/p>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp>In an area that regards itself as progressive, some of the numbers seem woefully retrograde. Gagosian, which opened its \u003ca href=\"https://www.gagosian.com/exhibitions/paul-noble--november-02-2017\" target=\"_blank\" rel=\"noopener\">San Francisco outpost\u003c/a> at the beginning of 2017, represents 132 artists globally, but only 19 of those are women. Locally, Gagosian has yet to include a single non-male artist (female, non-binary or gender non-conforming) in any of its San Francisco exhibitions.\u003c/p>\n\u003cp>Gagosian San Francisco did not reply to several requests for comment, and the phone number listed for the gallery resulted in a disconnection message.\u003c/p>\n\u003cfigure id=\"attachment_13816195\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816195\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Gagosian.jpeg\" alt=\"Street view of Gagosian San Francisco.\" width=\"1200\" height=\"706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-160x94.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-800x471.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-768x452.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-1020x600.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-1180x694.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-960x565.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-240x141.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-375x221.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gagosian-520x306.jpeg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Street view of Gagosian San Francisco. \u003ccite>(Courtesy of Google Maps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the opposite end of the spectrum, Oakland’s \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">Interface Gallery\u003c/a>, owned and directed by Suzanne L’Heureux, represents 11 artists (counting the individual members of two collaborative groups), eight of which are female.\u003c/p>\n\u003cp>“There’s just so many women artists making incredible work, it’s easy to show awesome women artists’ work without really thinking about gender,” L’Heureux says. “The thing I’m really thinking about more is other forms of diversity. The fact is I show a lot of white artists. I want to show more artists of color in the coming year.”\u003c/p>\n\u003cp>Making that conscious effort, L’Heureux says, can be a private reckoning with her own position of power in the art world. “I don’t want to tout diversity in a way that detracts from the artists themselves. I want to be doing it because I’m showing really kickass work. With a dynamic and interesting range of perspectives, there’s a richness in that for everyone involved.”\u003c/p>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp>In some cases, numbers don’t tell the whole story. Of the galleries charted by SF Gallery Tally, San Francisco’s \u003ca href=\"https://casemorekirkeby.com/\" target=\"_blank\" rel=\"noopener\">Casemore Kirkeby\u003c/a> has one of the most male-heavy rosters: with seven artists, only one is female. But the year-and-a-half-old gallery, co-director Julie Casemore says, is actively developing that roster. “We’re still in the process of revealing who we are. I happened to have a number of established relationships with Stephen Wirtz Gallery artists,” Casemore says, explaining how Casemore Kirkeby launched with an existing roster.\u003c/p>\n\u003cfigure id=\"attachment_13816194\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816194\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16.jpg\" alt=\"The current Casemore Kirkeby exhibition is 'Option to the Death of Freedom,' featuring two women and nine men.\" width=\"1500\" height=\"1001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2017_11-Casemore-Kirkeby-Option-Death-Freedom_Medium_16-520x347.jpg 520w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">The current Casemore Kirkeby exhibition is ‘Option to the Death of Freedom,’ featuring two women and nine men. \u003ccite>(Courtesy of Casemore Kirkeby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It takes an extended period of time to work with an artist to come to an agreement of representation. It’s a long and involved process. We have a very serious commitment to seeing diversity in our representation, and this statistic doesn’t represent the future of the gallery,” she says.\u003c/p>\n\u003cp>In that vein, Reynolds hopes SF Gallery Tally will continue — through the generosity of those willing to spend a few hours digging into press releases and artist bios — to track representation and exhibition numbers for years to come.\u003c/p>\n\u003cp>And as for the larger conversation about gender parity and structural inequalities, spaces can’t be the only aspect of the art world under scrutiny. “You could expand it to press coverage, fair participation and all that stuff,” Reynolds says. Another, more difficult direction: expand the spreadsheet to encompass not just gender, but race, economic background, age, ability and sexual orientation.\u003c/p>\n\u003cp>“One of the problems with just tracking galleries is that it puts the onus on galleries to have this diverse roster,” Reynolds says, “but that’s not the only power in the art world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"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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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
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