Billie Eilish is perhaps the most talented artist of our generation…and I don’t throw that around lightly. At only 13, Eilish wrote “Ocean Eyes” alongside her brother Finneas and launched her prolific career. And at the fair age of 22, Eilish has 24 GRAMMY Award nominations and nine wins, two Oscars, two Golden Globes, and countless other accolades.
Beyond that, she recently announced her third album, HIT ME HARD AND SOFT, to be released May 17, 2024. She spent the days leading up to the announcement building excitement by adding all of her Instagram followers to her “Close Friends” list. Eilish had the most Instagram followers in 48 hours…with her count increasing by 7 million followers total.
While her debut album, when we all fall asleep…where do we go?, was a chart-topper in its own right, it landed Billie every GRAMMY it was nominated for at the ripe age of 18…Eilish has solidified herself as one of the most revered and sought-after popstars in the world.
Eilish recently caught media attention for quietly revealing her sexuality. In an interview with Variety, she states that she’s always liked girls…and assumed people always knew that. In a viral snippet from her new song, LUNCH, she details a love affair with a girl.
But people don’t only adore Billie for her catchy tracks that consistently top the charts. It’s not just her songwriting ability and unique vocals that keep us hooked. People love her because she’s unafraid to speak her mind.
Whether it be complaining about too many influencers being at an awards show, or calling out other artists for using unsustainable practices…Billie does not hold back.
Billie Eilish On Sustainability
Eilish home
rethinkingthefuture.com
The Eilish home is iconic for many reasons: it’s where Billie and Finneas recorded her debut album, countless other songs, and EPs, in an effort to conserve water there’s no grass, and the roof is covered in solar panels. And being environmentally conscious extends beyond the four walls of their home.
When the hottest young talent is discovered at such an early age like Eilish, record labels are chomping at the bit to sign them. It’s like when a D1 athlete is ready to commit to college…you have your pick.
But what Eilish and her mom, Maggie Baird, were looking for wasn’t about money or label-perks…they were seeking a solid sustainability program. And while that may seem like standard practice, most labels didn’t bring up environmental policies during these meetings at all.
After signing to The Darkroom via Interscope Records, the struggle didn’t stop there. Billie Eilish and her family have been consistent contributors to the fight against climate change.
Maggie Baird has since started Support + Feed, which focuses on the climate crisis and food insecurity. Support + Feed helped Eilish’s 2022 Happier Than Ever tour save 8.8 million gallons of water through plant-based meal service for the artist and crew members.
During Billie’s 2023 Lollapalooza performance, she aided the launch and funding of REVERB’s Music Decarbonization Project – which guaranteed all battery systems used during her set were solar powered. The MCD’s overall mission is to lower – and eventually eliminate –the music industry’s carbon emissions.
But more recently, Billie Eilish called out other artists for releasing multiple versions of vinyls in order to boost vinyl sales. In an interview with Billboard, she says,
“We live in this day and age where, for some reason, it’s very important to some artists to make all sorts of different vinyl and packaging … which ups the sales and ups the numbers and gets them more money and gets them more…”
Artists convince fans to buy different versions of their albums by offering exclusive features on each vinyl. Take Taylor Swift, for example, who released five separate vinyl versions of Midnights, each with a different deluxe “Vault” track.
While Billie may not have been trying to shade one artist in particular, the point is that she’s fed up. After being the rare artist in the industry who go out of their way to remain environmentally conscious, Eilish sets the bar high.
How Eilish’s New Album Is Sustainable
Billie for "Hit Me Hard and Soft"
William Drumm
Social media users were quick to claim Eilish was hypocritical by announcing that HIT ME HARD AND SOFT will have eight vinyl variations. However, each vinyl is made from recycled materials – either 100% recycled black vinyl or BioVinyl, which replaces petroleum used during manufacturing with recycled cooking oil.
This just illustrates that Eilish wasn’t directing criticism towards other artists for using vinyl variants to gain album sales…but she does think there are better ways to do it that benefit the environment without hurting their sales.
Ask A Punk
Punk Music and Its Intrinsic Ties to Political Activism
Imagine me, in business casual (barely), sitting in a dirty Brooklyn dive bar to see one of the DIY punk bands I’ve been following for all of three months. I can barely stay still from the excitement. Yet, I notice, like I always do, that I stick out like a sore thumb. I’m not referring to the business casual attire; we all do what we can to survive in the city.
Regardless, I’ve started to challenge myself and ask, “Do I really stick out at these shows?” Partly because I always end up leaving with a new friend when I attend a show alone.
And mostly because whenever I go to a show, the band’s lead singer stops their set to discuss a political issue that belongs to the ideologies of the left. As a black woman, this makes me feel safe. As an avid music fan and someone who is hyper-fixated on the history of anything and everything, I’m intrigued.
Uncovering Punk’s Anti-Establishment Roots
For the next few days after the concert, I did a deep dive into punk music and its anti-establishment roots. In the mid-70s, the punk subculture emerged in the United Kingdom and New York.
The punk movement began among teens and young adults looking for a more combative approach to rebelling against societal norms compared to the tamer peace and love movements of the 60s and early 70s. Punk music is and has always been grounded in counterculture — from fighting for working-class inequality to fashion to non-conformity in the realm of self-expression.
I discovered that you can’t separate punk music from politics, even in the slightest.
@mycelium_queen Replying to @mycelium_queen ♬ original sound - Mycelium Queen 🦋
Death Versus Bad Brain
As soon as I was old enough to go to shows alone, I submerged myself in the DIY scene. I had no idea what I was doing, I scoured the internet to find “small concerts,” as I called them, in Boston, where I went to high school.
I identified with punk for myself. But when I made the connection between punk and politics, I opened myself up to a whole new world of music.
Lyrics like: “Politicians in my eyes / They could care less about you / they could care less about me as long as they are to end the place they want to be,” from the band Death — considered to be the pioneers of punk music as a genre — spoke to me.
I was even more pleased that the actual founders of the genre — originally a jazz fusion turned hardcore punk band called Bad Brain — were Black Musicians.
I once declared that I’m only an amalgamation of those who came before me, so hearing this quite literally brought tears to my eyes (I’m so far from joking, it’s almost funny again). At my favorite DIY punk, emo, and rock concerts I belong just as much as anyone else.
I’ve always loved that punk music and its subculture take a stand for its listeners.
Feminist Punk: The Riot Grrrl Movement
Shortly after fully immersing myself in the scene, I was introduced to Bikini Kill and the Riot Grrrl movement. Emerging in the early 90’s, the Riot Grrl movement came about out of necessity for a space for women in the punk scene. Riot Grrrl directly combats sexism and works to normalize female anger and sexuality.
In 2023, I began filming a documentary about Boone, North Carolina — a small town rich in music, culture, and activism, especially for the LGBTQ+ community. My production team and I soon noticed that the conversations solely about the music scene quickly became political, especially for Babe Haven, a Riot Grrrl band hailing from Boone.
I now have the pleasure of calling the band members my friends. They’re an integral part of the history of punk and the Riot Grrrl movement, from their songs about the objectification of women, like “Uppercut” and “Daddy’s Little Girl” to firsthand accounts of the band from those who believe that punk music has always been all about men — particularly white men.
“Riot grrrl is the way we dress, the way we talk, and the way we stand up for ourselves and other feminine folk. It’s aggressively inclusive, and that’s why we’re so drawn to it. We have on one hand, this outlet for our collective anger and grief, and on the other, we have this platform for queer and feminine celebration.” – Babe Haven
Jonathan Courchesne
Through the Looking Glass
Now, my eyes are peeled for signs and signals of the punk scene and its connection to politics. From the moment of silence for Gaza at a November concert to the New Jersey-based punk band Funeral Doors’ moment of silence for Gaza, and Brooklyn-based band Talon in February.
I remember standing in the crowds at that concert in February as the business casual people entered the bar, expecting a relaxing after-work drink with some light chatter in the background. I watched their faces as they slowly backed out of the door. While they heard howling, the fans listened to Juni, the lead singer of Funeral Doors, screaming, “F*ck trans genocide!”
Everyone was immersed in the safe space the band had provided us. Somewhere in the crowd, there was someone — or 3 or 4 individuals — struggling to truly be who they are. And — if only for a brief moment — they felt like they belonged.
Lead singer of Funeral DoorsERYNN WAKEFIELD
Inevitable Misunderstanding
Although there are essential conversations happening within the punk and DIY communities about what it means to be a part of the subculture, we still have work to do. Recently, I had an extremely jarring experience as I was peacefully scrolling through TikTok.
I came across a string of videos about right-wing punks trying to claim the subculture for themselves. Soon after my feed was flooded with stitches and clapbacks from left-wing people explaining the subculture of punk music and the inability to remove it from left-leaning political discourse.
@c4b1n_1n_th3_wxxds_ Sorry i look kinda bad 💀 ive bad a rough few weeks . . . . . . #punk #punkstyle #punkclothing #punkrock #punkfashion #crustpunk #folkpunk #queer #gay #lgbtq #pride #leftist #leftistpolitics #anarchism #Anarchy #Socialism #anarchocommunism ♬ original sound - C4b1n 🔻
Punk's Proclamation: A Movement Rooted in People’s Power
I’ve said it time and time again: artists must reflect the times. It’s both comforting and empowering that this genre I love so much does not deny me. And it wouldn’t be what it is without me. As silly as it sounds, I often return to a meme, one that declares that people — if they choose to create — need to carry the burden of the world they’re living in. This has only proven to be true.
Punk music and the subculture behind it aren’t merely screaming and studded belts from your local Hot Topic (if they’re a thing anymore). The punk scene highlights the struggles of the working class, sheds light on political issues relating to marginalized groups, fosters community, and fights for what’s right.
Punk music has always held a space for me; all I had to do was claim it.
@wormtriip via Instagram
10 Best Songs About Trust and Distrust
The universal struggle to build trusting relationships is best reflected in music.
After love, trust is next on the list of music's most sung-about topics. Trust plays a crucial role in all types of relationships.
Here are 10 of the most memorable songs about trust (or a lack thereof).
1. "Trust in Me" by Etta James
Etta James' 1937 classic "Trust in Me" is about more than merely having faith in your partner, it's a plea for trust. James captures the strife of a relationship in which one partner appears to be more trustful and invested.
2. "The Times They Are A Changin'" by Bob Dylan
Between the Civil Rights Movement and the Vietnam War, the '60s were clearly a time of social unrest and mistrust. Bob Dylan's song is a call for change and an affirmation that change is possible.
3. "A Matter of Trust" by Billy Joel
Once you get past the butterflies, there's the challenge of keeping the relationship alive. Billy Joel tells us what it takes to make a relationship last: Trust in each other.
4. "That’s What Friends Are For" by Dionne Warwick
"That's What Friends Are For" was out three years before Dionne Warwick recorded this version featuring Gladys Knight, Elton John, and Stevie Wonder. Their version became a smash hit: a worthy success of four friends singing about dependable companionship.
5. "Let Me Leave" by Marc Broussard
Sometimes trusting someone is a bad idea, especially when they haven't given you one good reason to. If you're lucky enough to get a heads-up like Marc Broussard's "Let Me Leave," then you'd better take it.
6. "Lean On" by Major Lazer & DJ Snake Ft. MO
Named the 2015 song of the year, with more than 1 billion streams on Spotify, "Lean On" is a mashup of EDM and indie vocals from music collective Major Lazer, DJ Snake and Swedish singer MO. Arguably the song of the summer, "Lean On" makes the point that all we need is someone to lean on.
7. "Fortress" by Coleman Hell
Toronto-based artist Coleman Hell's "Fortress" features the same folktronica and EDM elements as his other EP. With its catchy, upbeat sound, it's easy to forget the song is about how hard it is to get someone to trust you enough to let you in.
8. "Take Care" by Drake ft. Rihanna
Whenever trust is broken, there's always someone else there to pick up the pieces. Drake's 2012 hit "Take Care" explores the aftermath of trying to take care of someone whose heart has been broken. The song approaches trust from all angles: giving it, gaining it, and losing it.
9. "Trust Nobody" by D4
Backstabbing, faking, lying—there's a point where the only person you can trust is yourself. D4, the New Zealand rock band from the late '90s, figures that getting what you need could be a one-man effort.
10. "Trust" by Justin Bieber
Talk about a redemption tour. Justin Bieber's entire album Purpose is centered around the pop star's journey to redemption and regaining the trust he lost. "Trust" is about a couple renewing lost trust, but it really could be about any relationship.
Black Power, White Money: How Ice Cube and Lil Wayne's Wealth Insulates Them from Donald Trump
After four years of reversing Obama-era policies, empowering white supremacy, and allowing the coronavirus to kill more than 200,000 Americans—a disproportionate amount of them Black—Trump is finally attempting to reach out to Black voters weeks before the election.
Ice Cube and Lil Wayne's ability to ignore all of the damage the Trump administration has done is a sharp reminder of not only class solidarity among the super-wealthy, but also the power disparity between white and Black people.
During the last few weeks of the 2020 election, the Trump campaign spent over $20 million on a last-minute grasp for Black voters. Part of this effort involved reaching out to Black celebrities like Ice Cube and Lil Wayne and unveiling what the administration called "The Platinum Plan," a part of Trump's second term strategy that would empower Black Americans by increasing "access to capital in black communities by almost $500 billion."
The plan also lists "Access to better education and job training opportunities" and "Safe Urban Neighborhoods with Highest Policing Standards," both of which implies some acknowledgment of the issues Black Americans face every day. But given Trump's stance on the Black Lives Matter movement, these promises ring hollow.
Ice Cube and Lil Wayne's willingness to associate with the Trump Administration is admirable if you consider their efforts attempts to insulate their communities against the possibility of a Trump victory in the 2020 election, but the promises Trump is making them are vague at best and hypocritical at worst.
After four years of reversing Obama-era policies, empowering white supremacy, and allowing the Coronavirus to kill more than 200,000 Americans—a disproportionate amount of them Black—Trump is finally attempting to reach out to Black voters weeks before the election. The amount of ignorance required to ignore all of that, when it's written on the page, is astronomical.
Ice Cube and Lil Wayne may have their own reasons for supporting Trump, but their ability to be independent comes from their wealth. They are allowed to choose sides because they are rich and are insulated from the consequences of the political world, while their Blackness gives them ties to communities that they have the ability to leave because they are rich.
In 2016, Ice Cube said during an interview with Bloomberg, "Do I think he's gonna do anything to help poor people or people that's struggling? No, because he's a rich white guy. He's always been rich, being rich don't make you bad, I ain't saying that. But I'm just saying, how can he relate?"
This sentiment isn't too far from the mark. It's worth remembering that Ice Cube is a millionaire himself—a millionaire who is allowed to posture as a community leader due to his fame. The Blackness and wealth that these celebrities possess make them indispensable assets for people in positions of white power.
In American politics, Black people have been offered a choice between voting for a party that allies itself with their oppression and a party that promises to oppress them less. Reasonably, many have just opted to not participate.
But Ice Cube's alignment with Trump will not persuade people to vote. In fact, it may just persuade more people not to vote, as they see a rich Black man whose wealth and fame has given him the opportunity to stand side by side with white power be won over by some hollow words on a sheet of paper.
The thing that uniquely places all Black Americans into a community is that they are pinned under the same thumb. They have fewer opportunitiesfor upward movement, and the opportunities at the bottom of the ladder don't pay enough to move up that ladder. They are killed disproportionately by their supposed protectors. Lil Wayne and Ice Cube are insulated from, not immune to, these facts because of their exorbitant wealth.
Ice cube is Black to everyone, a fact that overwrites his wealth. He, Lil Wayne and anyone else who falls under this umbrella can always have their wealth disregarded by whiteness, so in order to be validated in their accomplishments, they often associate with whiteness.
Still, their very real wealth fundamentally separates them from the middle and lower class Black people that they seek to represent.
Patti Smith, Questlove, and Obama Join Joy to the Polls for Election Celebrations
Selena Gomez, Swizz Beatz, Pete Souza, and many others have also contributed playlists to the initiative, designed to bring more happiness and hope to the voting process.
The election may be freaking you out, bumming you out, or just reinforcing what you already felt about America—but Joy to the Polls is trying to change that.
Too often, voting is a solemn, dread-filled experience. Long lines, high tensions, suppression, and the looming threat of COVID-19 have all made it uniquely difficult for people to get out to the vote in 2020.
But Joy to the Polls is based on the idea that it doesn't have to be this way—in fact, it shouldn't be this way. People have fought and died for our right to vote, and voting is our opportunity to create new beginnings in our nation. The process should be a celebration, not a nightmare.
"We have rampant voter suppression in the US," says Nelini Stamp, campaign director with Election Defenders and performer and organizer with Joy to the Polls. "We wanted to figure out a way so while people are outside of the polling station, we can bring them a feeling of safety and a feeling of joy."
Using the power of music and community, Joy to the Polls is an effort to rally and inspire as many people as possible on November 3rd. The group first gained notoriety when they sent artists to greet people voting early in Philadelphia, and a video of dancers doing the cha-cha outside a middle school garnered praise from Wanda Sykes and Ava DuVernay.
Since then, Joy to the Polls has launched a number of online and real-life efforts to make voting more joyful and musical. In NYC, punk rock legend Patti Smith was seen singing "People Have the Power" to a group of lucky early voters.
Their Spotify is also star-studded, complete with a number of playlists curated by high-profile musicians. So far, contributors have included America Ferrara, Billie Joe Armstrong, Busy Philipps, Hank Willis Thomas, Katie Couric, Kimbra, Lin-Manuel Miranda, Maggie Rogers, Marisa Tomei, My Morning Jacket, Questlove, Selena Gomez, and Swizz Beatz. Former president Barack Obama also contributed a list of throwback jams in honor of the cause. View the full list of contributors here.
Joy to the Polls is trying to reach as many people as possible across the country, and they're urging artists, performers, and community members to sign up to bring Joy to the Polls in their own way. Here's their national toolkit.
Joy to the Polls' number one focus (in addition to getting out the vote) is on making sure the election is fair and democratic. To that end, they're partners with Election Defenders, a movement dedicated to rallying leaders in local areas and defending the integrity of the 2020 election.
These movements were born out of urgency, in response to Trump's insinuations that he might not accept the election results, as well as ongoing voter suppression, ballot issues, and other problems that threaten democracy. Election Defenders has promised to organize peaceful mass mobilizations and strikes–if the election is not run fairly.
But none of that will be necessary if the election is run fairly. Joy to the Polls is trying to actually get people out to the polls to make sure this happens. Hopelessness is a major issue in America, and millions of people feel like their voices don't count or their fates are out of their control.
Every voice does count, and we all have the power to help elect local champions and create grassroots change. Short of that, it's still possible to dance and sing even in the most difficult of times. In fact, music tends to show up right when it's needed most—when things look most dismal, or when democracy is most frayed and revolution is most needed. In that respect, Joy to the Polls is operating in the revolutionary tradition of past radical creative traditions.
"It's understandable why people feel a lack of hope, or a lack of agency right now," said organizer Nelini Stamp. "But we are just trying to say, you know what? If we can make people feel good for 30 minutes in a two, three, or four-hour line, if we can help people show face and motivate more people to go out and vote? That is all worth it at the end of the day."
Check out Popdust's Joy to the Polls playlist here!
Visionaries Project: Christoph Carr on Black Land Ownership and Giving Flowers to Cops
Christoph Carr talks art, music, and protest.
Scholar, activist, musician, event organizer, author—Christoph Carr is the personification of a visionary. As the co-founder of Brooklyn Wildlife and Black Land Ownership, Carr has long been working to break down boundaries and to create space where art and life can thrive without outside imposition.
More recently, he's been leading unique NYC-based Black Lives Matter protests that attempt to engage directly with the police. His many projects address current, pressing needs—but they also envision a world that could be, a world of connection, deep roots, and human empathy. Here, we spoke about the stories behind his groundbreaking organizations, and the grief and strange possibility buried in the depths of 2020.
How did Brooklyn Wildlife come to be? What space did you want it to fill?
I moved to New York in 2008 for a relationship, and by summer 2009 that relationship was falling apart. I was on the cusp of going back to DC or staying in New York, and I decided to stay.
A homie I knew had just gotten back to town and he was doing music, and we started recording a project together. By 2010 we finished the project and we were trying to do shows, but we ran into a huge issue while trying to book shows as a rap group without an agent or a booking company. The clubs didn't want to answer emails—they'd say talk to the booker, and the booker would say talk to the promoter. [A lot of these places] were only doing two hip hop shows a month at that time, or they wouldn't even book hip hop.
So me and my friend were like, we gotta just throw the shows ourselves. We know other musicians; let's just throw the party.
Chris Carr performing
When we first started sending out emails, we realized that a lot of the bookers and promoters didn't want to deal with artists, and we had to come up with a name or some way to be able to book the shows separately from us as performers. So we were like, let's start Brooklyn Wildlife. Let's make the events that we want to go to.
I was really inspired by the events going on when I moved to New York, but there was this partitioning and almost like segregation, where if I went to the warehouse electronic music parties, there was no hip hop. If I went to the hip hop shows, there was no folk.
And I like all of it. I like burlesque, I like comedy and music and visual art shows and filmmaking, and there wasn't really something that I saw that brought all these different elements together in a way that was authentic and aware and respectful of the traditions of those types of art forms.
I really obsess over hip hop and enjoy the cultural elements of hip hop and it being the quintessential postmodernist music form in its use of bricolage and sampling and expression, but I also really dug my friends who were DJing grime or dubstep or international music—what people might see as world music, or Afro-Soul and house music. All these things were of interest, and we weren't finding that.
So we started working with people we knew as Brooklyn Wildlife to throw as many shows as possible. Over the past few years we've done literally thousands of events, but it started out as wanting to have something for ourselves, and wanting to go to shows that we would enjoy ourselves.
Were you always involved in art and music?
I can't say always, but to a certain extent yes—my mom put me in violin lessons when I was five, and I was bad. In high school, I got into hip hop, but I was also playing sports, and hip hop wasn't an organized, structured activity at the time. When I got to college I started taking hip hop more seriously, MCing and writing and going out with my friends who wrote graffiti—and realized I wasn't good at that. Dancing, I wasn't good at that. DJing, not so much. I always like the types of music that other people didn't really "like" like—I like the B-sides, the secret album cut, the songs that are kind of reflective or might not be the party starters, by artists who may be more fringe or outside the status quo.
MCing was this great platform for me to learn about myself, society, and other people. When I was 18 or 19, in 1996-7, you could meet rappers and end up knowing people that worked on music video sets, just by being around the college environment I was in in Atlanta. You could run into Cee Lo Green outside the tabernacle.
At that point, I reattached to music in a serious way. [In Atlanta, there was this] level of professionalism and seriousness about what could be done with hip hop. I was still in school, and then I went to grad school at Columbia, but music was always a side thing—and it kept pulling at me. It wasn't until I left grad school and went back to DC that I was like, I need to make music. What would happen if I put all this time and effort and energy into making music on a full-time level?
I decided to invest whatever money I had into making my own studio and started making my own beats and throwing shows in DC. We were trying to throw more shows than everybody.
Since then, I don't really get writers' block or caught up in not being inspired. Since then it's been consistent: make a living from art.
A lot of your work seems to be about bringing people together in a way that's separate from corporate ownership. You started Brooklyn Wildlife because you wanted to have your own performance space that others didn't have to approve—and with Black Land Ownership, you're working to make space for people to own land outside of corporations. What's the connection between them?
One's an extension of the other. Some of the ideas from Black Land Ownership directly extend from what we learned doing Brooklyn Wildlife. The main thing is: If you don't own the land, you will not be able to dictate what happens on that land.
When I moved to my apartment, at the time, people were throwing mad shows at McKibben. As the building changes, the landlords start bringing in tenants and our neighbors move, and now it's people that have to wake up and go to work in the morning, and they start complaining to the landlords, and the landlords might lose money, so they tell me I have to stop making music.
We decided we'd rent DIY spaces. Still, if your neighbors don't like it, they call the cops. If the businesses nearby don't like it, they'll call the cops. Your landlord can shut you down. There's always someone that can make it difficult.
Whereas if you own a space, it's a lot harder for people to cause you problems. In New York it's too expensive to just buy a building. But when I went out to Colorado and Texas and parts of the country that are really wide open, I started thinking: There's so much space. If we had land, we could throw an outdoor festival with 100 people and no one could complain about anything. If people didn't like the noise, they wouldn't have to deal with it.
Still, you're going to have to lease farmland or county fair kinds of land. But when you do that, the owners can ask what types of events you're doing, and they can say that they only want certain things. And we can't really have that. We make sure we book artists that aren't using hate speech or being misogynistic or racist or phobic towards any marginalized groups, but people should be able to express their political ideologies, their emotional feelings and their spiritual feelings. And we shouldn't have to worry about some person who runs the fairgrounds saying: You all are anti-capitalist, that's anti-American, we don't want to have this.
So it comes to—well, you have to own the land. The only way that's possible for a group of artists is in more rural areas where the land is less expensive.
In Colorado, I was able to stay for free by working on a farm, and as I was pulling roots out of the ground—it gave me a lot of time to think. I did some shows while I was traveling, and when I came back I was like, why isn't that opportunity made more [available] for Black folks?
Denver is the most diverse city in Colorado, and it's still very homogenous in a certain way. In Grand Junction you're back towards the more conservative side, and you can tell people are like—"We don't have any Black people here, where'd you come from?"
It was shocking. [I started to ask], how come all the Black folks are crammed into cities on the East and West Coast, being pushed out, dealing with gentrification, being erased geographically—or we're in areas of the South and midwest that are economically depressed, dealing with racism and violence and stratification? There's all this space where there's plenty of land to grow food. Part of [the problem] is we only own 2% of the rural land in the country. So how are we going to get healthy food? We don't own the means of production.
In my mind, Marxism isn't a political system—it's an assessment of how capitalism works—and in the Marxist understanding, you have to own the means of production. If you want to have a place to grow your food, you need to own the land, or they'll push you out and find that it's more lucrative for Walmart to buy it.
[During] the Civil Rights movement, it was less difficult to find a common thread amongst different Black people. The idea of basic human rights could transcend layers of partitioning. Now there are certainly different opinions—on reproductive rights, on gender—but the one thing I could find that didn't cause people to have conflict is Black land ownership. It's not politicized, but no one talks about it. You have discussions about fair housing or affordable housing, but there are Black people with money who can't move where they want to due to institutional racism around land ownership, or groups of non-Black people pushing them out when they do make purchases.
Providing spaces for artists is important, but artists need an opportunity not to be stuck in the city paying $1,000 or $1,500 in rent every month. We need to get out and lay in a field, and play songs and run around, and have space in nature and grass under our feet, and be able to draw inspiration from something other than concrete and metal buildings.
How are you doing with COVID and everything?
It's been quite a year. Last spring, back in March, my partner had her appendix removed. She gets a call back, and she has to get a biopsy. And then [sic] she tests positive for appendix cancer, and they say they have to take out part of her colon. She has surgery in May and is recovering in June. She gets cleared. A week and a half to two weeks after that, I get diagnosed with melanoma in my toe and I have to get my pinky toe amputated.
I can't walk for however long. So I figure out how to pull off my summer festival and start throwing small shows, then wintertime hits. I go to California and tour, then in March I'm scheduled to go to SXSW. I had booked over 40 performers at the house we were renting down there, but COVID pops up the week we're supposed to go, and they cancel. That weekend of the 15th, lockdown started. In a weird way, I had already been on lockdown. Both [my partner and I] had been in our house a lot, working on our personal projects. I stopped drinking, so we stopped going to bars and clubs. COVID didn't change a whole lot for me.
I really miss not being able to meet new folks and engage with people and learn about their musical journeys. I've made a lot of stuff while we were trapped inside—a whole bunch of new songs, a project with my friend Annie Are You Okay—and a bunch of songs I've recorded with other people. And there are new secret projects I've been working on, and I finally put out one of my books—Thoughts of an Angry Black Man.
You've also led a few Black Lives Matter protests recently. Can you tell me about how that started?
I do a lot of Facebook Lives, and I was doing one about hip hop, recording in front of my building. I have my phone resting up on the fence. Since the camera is facing the street, I see the police pulling up. Then they walk up to me, and they're like, are you so and so, and I'm like nope, can't help you. And I'm like, by the way, I'm recording on Facebook Live. And they're like, we're concerned for you, are you on any medication? And I was like, no, what's this about—and they're like, we got a call that there's a man out here talking to himself and kicking at people.
And I was like, I've been recording this whole thing. Instead of them being like sorry, whatever, they're like, we're concerned—are you on medication? I was like, I don't have to answer any of your questions, but what do we have to do to make this the least conflictual as possible? Finally I just told them I live across the street, I volunteer at the school down the street, I run a store around the corner. They're finally like, we just had to check, someone called. And I'm like, what do you mean, someone called? Did you check if they're on medication?
When they pull off, I go upstairs. I look out the window and another cop car pulls up, so I [decide] I'm going to ask them how to file a report. Those police were like, you didn't have to answer the questions; you could've walked away. And I was like, really? You can't walk away from a police officer.
And then [I realize] the car I was leaning on—it's an undercover car. And an ambulance had been called. Two regular cop cars, an undercover car, and an ambulance came.
This is after Floyd stuff had happened, and I'm like, this could have gone so badly if I had a different demeanor. When I came back in I was really frustrated, and I started asking myself: what can I do to remove the standard approach to this? Who can I talk to about this?
So I walk over to the precinct, and see three cops there. And they're like: Who do you want to talk to? One cop says, "You gotta understand, people get called on emotionally disturbed people…" And finally they get the community liaison.
The liaison basically makes sure that protocol wasn't broken, and she asks if I want to file a report. One of the cops was a Black woman, and the other was a Latinx man, I think...I didn't want to get the cops in trouble. It's a policy that someone else created, that made it so they couldn't leave me alone.
After that, I was even more frustrated. When I left the precinct I was like, I gotta think of something to do that's not the same old me going back and yelling at the cops or not doing anything.
So I was like, what if I take flowers to the precinct, and talk to the guys standing in front of it and tell them about how I'd been stopped for no reason, and use the flowers as metaphors for other people who have been detailed without cause, or assaulted or brutalized by the police, or in horrible circumstances, lost their lives at the hands of the police?
[I wanted to] get the issue past politics, past the idea of Democrat/Republican or authority or anti-authority, or any of these names of organized groups. I'm a person, and the only person that ever pulled a gun on me in my life was a police officer. My friend down in Atlanta got killed by the police; my other friend in DC got shot by the police when he was unarmed. [I wanted to] root it in their humanity. Before they put on their guns and badges, they're humans, and I'm a human. Let's engage with the reality of how policing has had a negative effect on my community.
I went to the vigil at McCarren Park, and told some people about the flower thing. We ended up organizing a march from McCarren over to the 94th Precinct in Greenpoint. We took the flowers and had a line of people marching. It was wild to see that solidarity—to see how many people's lives had been touched by police brutality. It wasn't 20 people—it was over a hundred people who knew someone who had been hurt. There was no social media, no organized nonprofit entity. It was just people who had friends and heard the stories and wanted to show unity. And [they showed that] if the police harm one person in the community, 100 people might show up to support.
We organized another one that went from House of Yes over to the precinct on Knickerbocker. It's something that will continue, keeping in mind that it's about peace and love. The police aren't used to people showing up with flowers, saying, my friend got hurt by the police, and we want you to know this is personal.
This is about us as people. When we're walking on the streets, we're citizens, not criminals. You don't look at someone like me and automatically assume I'm the target of your predatory predisposition.
It's been a trip. I think it's cathartic for certain folks. They had never had the chance to present the emotions they had towards the police to the police. They may have told friends and family members, but to be able to tell the police officer in this manner that is somewhat controlled and purposeful—it kind of allowed for a valve to release pressure.
After the first march [sic], we were walking back from the precinct in Bushwick. There was a fire hydrant that was popped, and so a bunch of us danced in the fire hydrant—[it was a] cleansing experience. It was important for me, to see that solidarity, to see how all these other people have a common experience.
Find Christoph Carr's Patreon here.
Killer Mike Was Right to Meet With Brian Kemp
How are activists supposed to "speak truth to power" if they're not allowed to be in the rooms where power lives?
Killer Mike is widely considered to be one of the best political voices in hip-hop.
One half of the duo Run the Jewels, the Atlanta-based rapper is known for his outspoken support of progressive candidates like Bernie Sanders and policies like Medicare for All, legalization of cannabis, and demilitarizing the police. He has advocated for voters not to let their support be taken for granted—to ask for something in return for their votes. But now he's coming under fire from Twitter for meeting with Georgia governor Brian Kemp.
The meeting took place on Wednesday in the Governor's office in the state capitol building, and images were of the two men talking and shaking hands were promptly shared through the governor's official Twitter account. This prompted a predictable backlash that quickly led "Killer Mike" to be a trending topic on the site.
Various tweets attacked the meeting as just a "photo op" or as "legitimizing" the sitting governor of one of the largest states in the US. Others accused Killer Mike of angling for a media position as the political Black man who will sit down with conservatives.
Maybe there's some truth to one or both of those complaints. After all, this isn't the first time Killer Mike has come under fire for meeting with the other side. Back in 2018 the "Ooh La La" rapper filmed a segment with NRATV advocating for black gun ownership as a defense against racist violence.
Killer Mike later apologized and noted that his comments had been deceptively edited and deliberately posted to coincide with the March for Our Lives demonstration (despite having been filmed the week before). But what about this meeting with Brian Kemp? Does Killer Mike owe another apology to his political allies for meeting with "the enemy?"
Killer Mike And Joy Reid Go One-On-One | AM Joy | MSNBCyoutu.be
First of all, it's important to note that Brian Kemp is, indeed, a bad guy. In 2018, while serving as Georgia's secretary of state, Kemp oversaw the gubernatorial election in which he was competing against Democrat Stacey Abrams. Is it fair to attribute the improper purging of hundreds of thousands of Georgians from the states voter rolls ahead of the election to his desire to win? Absolutely.
Kemp chose not to recuse himself in order to avoid the appearance of corruption and deliberate voter suppression. As a result, he must take ownership for the misconduct that likely led to his narrow victory over Abrams. Everyone saying that he stole that election is right to call him out—whatever his claims of innocence. It's very possible that Stacey Abrams should be the governor right now. But she's not.
In addition, Kemp has badly mishandled Georgia's pandemic response and has done his best to undermine abortion rights in his state. But does any of that mean he's not in power?
When Kemp's victory was certified by Georgia's top election official, that "legitimized" him in a way that no photo op ever could. That legitimized his power over Killer Mike's community—the power to hurt and also the power to listen to activists like Killer Mike and actually help.
If we believe in speaking truth to power, doesn't that mean getting into the rooms where power lives? Doesn't progress require more than having some good ideas?
As Killer Mike himself has said, "only time will tell" whether Governor Kemp will take on board any of what they discussed about how to improve the lives of Georgia's Black citizens with improved access to education and government contracts. But Killer Mike did what he could to push in that direction, and did not go out of his way to make Brian Kemp look good in the process.
Yes, he posed for some pictures, but he kept an appropriate amount of social distance, wore a shirt laying out the steps of political activism ("Plot, Plan, Strategize, Organize, Mobilize"), and his familiar smile was missing from his face. In its place was a look of stoic conviction. He wants to believe that Governor Kemp might take these issues seriously—even if hope is hard to come by.
As is often the case in this country, a figure from the political left can never do anything right. When they stand firm on policy issues, they are said to be impractical and uncompromising and kept away from the Democratic establishment that makes deals with the other side. Then, when a leftist figure sits down with the other side, they're treated as a traitor to the Democratic establishment.
There is no winning in this system for someone with Killer Mike's politics. That's why he has to keep fighting.
Sing It Out, Ladies: 10 Songs for the Female Politician In You
From Cardi B to Hamilton to Queen Bey herself, here are ten songs that have inspired and soundtracked the ascensions of female politicians and powerful women of the modern world.
If it wasn't clear from Alexandria Ocasio-Cortez's recent Twitter battle with Cardi B and Tomi Lahren, we're living in an era where politicians and musicians have the ability to influence each other on huge scales.
But music has long been a source of inspiration and power, especially for women or other people whose voices have been subjugated or silenced.
In honor of the newest class of women in Congress, and in celebration of women in politics in general, here's a list of ten songs that we think would make the perfect soundtrack to their ascensions, and might even inspire you to follow suit.
1. Cardi B – Best Life
Cardi B - Best Life feat. Chance The Rapper [Official Audio]www.youtube.com
Not only did Rep. Alexandria Ocasio-Cortez grow up in the same borough of New York as superstar Cardi B; she also tweeted the lyrics to her song Best Life, featuring Chance the Rapper.
I never had a problem showin' y'all the real me/ Hair when it's messed up, crib when it's filthy/ Way-before-the-de… https://t.co/SdojcZ9olh— Alexandria Ocasio-Cortez (@Alexandria Ocasio-Cortez) 1542740838.0
The song's lyrics seem to align with Ocasio-Cortez's approach to communicating with her supporters, which has been radically honest and personal, as she frequently shares developments at work and at home via her Instagram stories. Though she was met with backlash from users who told her to "write intelligibly," Ocasio-Cortez's supporters cheered the reference.
Unabashedly outspoken and proud of their stratospheric rise to the top of their respective fields, Ocasio-Cortez and Cardi B are two women who seem to be on unstoppable paths—while determined to keep it real all the while.
2. Anaïs Mitchell – Why We Build the Wall
Anaïs Mitchell ft. Greg Brown - Why We Build the Wallwww.youtube.com
When folk singer Anaïs Mitchell penned "Why We Build the Wall" in 2006 for her concept album Hadestown, she never imagined that its lyrics—which retell the story of the Greek god of death Hades and his quasi-American capitalist hellscape—would become so relevant.
The song is a call-and-response narrative between Hades and his citizens, who work ceaselessly on a wall in exchange for the economic security that living in Hadestown provides. It contains lyrics like, "The wall keeps out the enemy / and the enemy is poverty / and we build the wall to keep us free / that's why we build the wall." Hadestown, which also tells the story of Orpheus and Eurydice, is coming to Broadway in the spring of 2019.
This song seems like it would make the perfect satirical rallying cry for Nancy Pelosi, who denounced Donald Trump's request for $5.7 billion to build his wall between the U.S. and Mexico after his speech on January 8th, two weeks in to what would become the longest government shutdown ever.
3. Aretha Franklin – Respect
Aretha Franklin - Respect [1967] (Original Version)www.youtube.com
Aretha Franklin passed away in August of 2018, but her legacy lives on within every woman who ever wanted to be treated with honor and—as perhaps her most iconic song repeats—R - E - S - P - E - C - T. (Hint: that's all of us).
Aretha's unforgettable voice soars above the song's infectious musical backdrop, coalescing to form a track that is alternatingly prideful and enraged, hopeful and world-weary. This song's message seems too vast to be contained to one politician or time period. It's a timeless sentiment that could change the world, if we'd only listen.
4. Ms. Lauryn Hill – Everything is Everything
Lauryn Hill - Everything Is Everythingwww.youtube.com
In June, recently-announced 2020 presidential candidate Kamala Harris posted a Spotify playlist as a homage to important black musicians of the 20th century. The third song on the playlist, "Everything is Everything" from the iconic The Miseducation of Ms. Lauryn Hill, echoes sentiments that Harris has proclaimed in her own speeches.
Its powerful lyrics, "Sometimes it seems / We'll touch that dream. But things come slow or not at all / And the ones on top, won't make it stop / So convinced that they might fall," seem like they could be a rallying cry for Harris, a politician campaigning on promises of "American values" and "not putting people in boxes."
Hill's message of everything is everything is a beautiful sentiment about the way that all people and all issues are interconnected and cannot be addressed independently, and she has long been a powerful voice for women of color.
Kamala Harris's work as a prosecutor is under scrutiny from leftists everywhere, but judging by her playlist, at least her music taste is up to par.
5. Lin-Manuel Miranda – Satisfied
Satisfiedwww.youtube.com
Female characters take the backseat to the titular protagonist of Lin-Manuel Miranda's Hamilton, but Angelica Schuyler's Satisfied is a show-stopper in a class of its own. Sung by the sister of Eliza, Alexander Hamilton's wife, it is a flashback to the night that they all met, when Angelica developed feelings for Alexander but decided she needed to set her sights on marrying someone richer.
Angelica, played by Renée Elise Goldsberry in the musical, spits some of the show's fastest bars and hits some of its highest notes in this virtuosic performance, which reveals the extent of her brilliance as well as the extent of her regret at not taking a chance on love.
It might be easy to dedicate this song to Hillary Clinton, whose tenacious determination to win the presidency and refusal to be satisfied with a mere first-ladyship (or Secretary of State position) does belie a similar ambition to Angelica's.
But Angelica, with her razor-sharp wit and social sensibilities, seems similar to some of Congress's outspoken freshmen members, such Ayanna Pressley, who has been an outspoken critic of Trump and many of his policies from her first moments on the House floor, running on the message "Change can't wait" with an urgency evocative of Angelica's intense drive.
6. Taylor Swift – Bad Blood
Taylor Swift - Bad Blood ft. Kendrick Lamarwww.youtube.com
Taylor Swift has had her fair share of beef with other artists, but until 2018 remained staunchly apolitical. But after Swift announced in an Instagram post that she "could not support Marsha Blackburn," the politician lashed out—provoking serious flashbacks to the time that Taylor Swift allegedly attacked Katy Perry over a feud involving backup dancers through her video, Bad Blood.
The stakes were slightly higher in this situation, and Blackburn still snagged the Senate seat in spite of the star's opposition.
"Of course I support women and I want violence to end against women," said Blackburn in response to Swift, who had also written that the politician's "voting record in Congress appalls and terrifies" her. Blackburn has been a supporter of Trump's border wall as well as his efforts to end Obamacare.
7. Questlove's Entire Michelle Obama Playlist
Michelle Obama's Musiaqualogy Vol 1 1964-1979 by Questlove
Michelle Obama's Musiaqualogy Vol 2. 1980-1997 by Questlove
Michelle Obama's Musiaqualogy Vol 3. 1997-2018 by Questlove
The musician Questlove of the band The Roots has created three 100-song playlists for Michelle Obama's Becoming book tour, and every song is worth putting on repeat. Entitled The Michelle Obama Musiaquology, it is a journey through time (and occasionally, space) filled with mournful, fierce, and empowering tracks—much like the biography it was designed to soundtrack.
Obama's Becoming is more about hope and unity than it is about politics and division, and so are most of the songs in this playlist. An exuberant melding of jazz, pop, and the occasional stylistic outlier, Questlove's compilation elevates voices of joy, pride, black power, and solidarity in an era in desperate need of them. Featuring icons ranging from Ella Fitzgerald to Kendrick Lamar, it's a survey of music throughout history that has given hope to those who need it most.
8. MILCK – I Can't Keep Quiet
MILCK - Quietwww.youtube.com
Newcomer MILCK's powerful composition became the anthem of the first Women's March, and since then, the artist has continued to release waves of meaningful music while maintaining a confessional and motivational social media presence.
The vulnerable and passionate song that made her famous could be an anthem for kids like Emma Gonzalez, speaking out against gun violence, and for all the other women who have spoken and will continue to reach out and fight for their beliefs.
9. Against Me! — True Trans Soul Rebel
Against Me! - True Trans Soul Rebel [ALBUM VERSION]www.youtube.com
In the shadows of the Trump administration's ban against transgender people in the military, this song is a reminder that trans people not only exist but will continue to fight.
Transgender politician Christine Hallquist did not win in the general Vermont elections for governor, but she did secure a spot in the 2018 Democratic primaries, the first time a transgender person has been nominated by a major party. And more transgender and LGBTQ people ran and won races in November 2018 than ever before, signaling an upswing of pride in spite of the Trump administration's anti-trans policies.
Against Me!'s True Trans Soul Rebel has long been an anthem for the transgender community, an outcry of pain against a world that constantly threatens them with erasure.
10. Beyoncé – Who Run the World (Girls)
Beyoncé - Run the World (Girls) (Video - Main Version)www.youtube.com
No list of songs for female politicians would be complete without Queen Bey's presence. This song is one of the crown jewels of feminist anthems, with its infectious beat pounding underneath Beyonce's velvety vocals and its iconic refrain. This one goes out to all the future female politicians, including the hopefully soon-to-be first female commander-in-chief.
With that, we welcome the 42 new female congresswomen, celebrate the women who came before them, and encourage all the women and trans people coming after to rise up and sing out. Listen to these songs enough and internalize their messages, and it could be you in those seats someday.
Eden Arielle Gordon is a writer and musician from New York City.
Dance Dance Counter-Revolution – We Built a Playlist Fit for a Dictator
The sounds of the summer don't have to just be the cries of your enemies...
There was a time when, if a leader of a nation wanted to speak to their people, they could just hop on the radio and instantly be transported into every living room. Nowadays, politicians –– democrat and demagogue alike –– have to fight to be heard above the unending noise of social media, where the inane musings of a citizen's friend is given equal time as whatever pronouncement they (the politicians) wish to make. Increasingly, this has led to attention-starved politicians engaging in some previously unimaginable behavior, in a seeming attempt to not just compete with your online friends, but become one of them.
The current U.S. President has eschewed the official White House statement in favor of stream-of-consciousness tweeting that resembles some kind of fridge poetry for Tea Party uncles. His predecessor, CoolDadPresident™ Barack Obama, realizing that Roosevelt's fireside chat shtick wouldn't work with the kids, did something different. Realizing that music is both a Thing That Humans Generally Like and a excellent signifier of cultural literacy, the White House published a series of summer playlists curated by the President that combined tracks from some up-and-coming artists (Courtney Barnett's, "Elevator Operator" made an appearance) with undeniable classics like Miles Davis' "Flamenco Sketches".
But why should elected leaders be the only ones who get to cut a mixtape? What about the outcasts of the global order; the ones who everyone avoids at UN meetings? Don't dictators love to dance too? According to The Guardian, the answer is yes, at least in the case of Bashar Al-Assad, whose iTunes purchase history reveals that even the Syrian autocrat is not immune to the charms of LMFAO's "I'm Sexy and I Know It". Years of brutal civil war has left Al-Assad's image somewhat tarnished (war crimes will do that), so perhaps he should find some time in-between barrel-bombing sessions to reveal the softer side of himself; the Bashar who, like any regular loving husband, sends Blake Shelton songs to his wife. Yes, he may have given the order to shell Homs into glass that same day, but it's a start.
So, in the spirit of the humble profession of providing PR advice to despots, I have compiled what I think is a perfect summer playlist fit for any established or prospective authoritarian; one that is sure to give them a much-needed image boost, as well as providing a few helpful tips along the way:
Track 1: "Who Wants the World" by The Stranglers
Before you can even begin to throw that tyrannical power around, you've got to have the ambition to take it. The Stranglers' 1980 new wave classic should get you pumped up for some putsch-ing. "Who waaaants the world?" You do.
Track 2: "Cruel" by St. Vincent
Any dictator worth their salt knows that, even with ambition, seizing and maintaining their positions can't be done with a clean pair of hands. That's okay though, the lilting melodies of Annie Clark should be cool enough to help you drown out the screams you hear in your head.
Track 3: "SHAME" by Young Fathers
So you've taken power, but something feels off, right? People really seem to not like you. Sure, you might've "disappeared" half their family, but your "dodgy dealings just got deadly", it's nothing to be ashamed of. In fact, they should be the ones who are ashamed. Sing it with me: "What a shame on you/Where's your gall when it's a shame on you?"...
Track 4: "Illicit Fields" by Ka
Being a dictator can be tough, but it can have its perks, even if they might be a little blood-stained. Mixing sweeping melodies and punchy samples, Ka's Honor Killed the Samurai depicts the grey moral territory of life on the margins, where there is very little time for sweeping generalizations like 'good' and 'evil'. It's a seismic work, and sure to provide lots of cool credibility when you invite some influencers over to one of your six places to listen to it on vinyl. Just don't sound too into it when you're singing the hook: "Hate's well known/It's that love I'm unfamiliar with".
Track 5: "Rasputin" by Boney M
With all of this good publicity, you're probably going to be so tied up giving interviews and re-tweeting praise fromNew York Times op-ed columnists that you'll need a reliable henchman to run the affairs of state in your stead. Just make sure that he's at least somewhat qualified. Oh... he's a womanizing cult leader who may or may not be sleeping with your wife? Eh, I'm sure everything will be fine. Plus, his song is so catchy.
Track 6: "The Partisan" by Leonard Cohen
The henchman thing didn't work out, there's rebellion in the air. It'll be okay though; just study this legendary Résistance hymn and you'll get to know your enemy. A bit of Cohen should also help you court some hipsters to your side, and he once published a book of poems entitled Flowers for Hitler, which sounds like a dictator-y thing to bring to a meeting with Hitler. There is something eerily sleep-inducing about the way that Cohen strums through a song that is so saturated with sadness and death; it's enough to make you ignore the wind that's blowing...
Track 7: "Sinnerman" by Nina Simone
There's really nothing that dictators obsess about more than the pursuit of immortality. Obtaining a permanent place in history, whether it be through building palaces, empires, or body counts, is kind of the dictator thing. But, as Simone herself once noted, "time is the dictator of us all," and there's a certain justice that, in the end, everyone fears. This winding, ten-minute symphony of a song is probably Simone's greatest work, and her engine-like piano playing and rhythmic vocals are the perfect accompaniment to some vigorous exercise; the kind of exercise that you'd get from say, running away from an angry mob. Turn it up, tyrants –– time to figure out "where you're gonna run to"...