Podcasts about Hell You Talmbout

D.C. Police attempt to hold their ground outside the Capitol building on January 6, 2021. | Image by Blink O'fanaye is licensed under CC BY-NC 2.0 On today's show: 0:08 – We discuss the FBI's investigation into the January 6th capitol rioters with Nick Robins-Early (@nickrobinsearly), a journalist based in New York focused on extremism, tech, and media disinformation and Michael German, a Brennan Center for Justice fellow with their Liberty and National Security Program and former special agent with the Federal Bureau of Investigation. 0:33 – Earlier this week, Black Lives Matter protestors have sued the City of Sacramento and Sacramento Police Department for alleged police violence. Tifanei Ressl-Moyer Senior Attorney at the Lawyers Committee for Civil Rights of the San Francisco Bay Area (@lccrsf) and co-counsel representing the case. 0:47 – liz suk (@liz_suk), Executive Director of Oakland Rising joins us to discuss what's at stake with Oakland's redistricting process. 1:08 – We spend our second hour with Fredricka Newton, cofounder of the Huey P. Newton Foundation and widow of the late Black Panther Party co-founder and movement leader, Huey P. Newton. This interview features archival recordings of various speeches and songs that are listed below: Part 1: A speech Huey Newton gave in the 1968 Black Panther Documentary, Huey! A song, “Give More Power to the People” by the Chi-Lites Bobby Seale discussing the Panthers' survival programs on CBS News July 31st, 1971 Audio of the Free Huey Rally is also off the 1968 Black Panther Documentary, Huey! Another song, “Brotha'” by Angie Stone And a protest song: “Hell You Talmbout” by Janelle Monáe and various members of her Wondaland artist collective Part 2: A speech by Huey Newton off the album Huey Newton Speaks, first released in 1970. “Say It Loud – I'm Black and I'm Proud” by James Brown A call and response led by Huey Newton from the 1971 documentary film, The Murder of Fred Hampton And the song, “I Wish I Knew How It Would Feel To Be Free” by Nina Simone, performed live at the Montreux Jazz Festival in 1976. The post Where's the FBI's investigation on the Capitol 6 riots?; BLM protestors sue the City of Sacramento for police violence; Oakland's redistricting; Plus Fredricka Newton on Huey P. Newton and the legacy of the Black Panther Party appeared first on KPFA.

It's our last episode before Juneteenth, 2021. Last week we broke down the legal definition of slavery. This week we talk about Juneteenth, the upcoming introduction of the 28th amendment, and the committee hearings on slavery abolitionist bills in Ohio, California, and Oregon. All of which are happening this coming week. We'll also discuss all the news, organizations, and people relevant to the ever-growing slavery abolitionist movement. Of course, we'll have incredible musical mixes, powerful audio quotes, and as always, we bring the ancestor's words to life in our Bridging The Gap segment. All that and so much more in this episode of Abolition Today

It's our last episode before Juneteenth, 2021. Last week we broke down the legal definition of slavery. This week we talk about Juneteenth, the upcoming introduction of the 28th amendment, and the committee hearings on slavery abolitionist bills in Ohio, California, and Oregon. All of which are happening this coming week. We'll also discuss all the news, organizations, and people relevant to the ever growing slavery abolitionist movement. Of course we'll have incredible musical mixes, powerful audio quotes, and as always, we bring the ancestors words to life in our Bridging The Gap segment. All that and so much more in this episode of Abolition Today

Malcolm Gladwell, host of the podcast Revisionist History and author of the number-one New York Times best seller Outliers, reinvents the audiobook in this immersive production of Talking to Strangers, a powerful examination of our interactions with people we don't know. How did Fidel Castro fool the CIA for a generation? Why did Neville Chamberlain think he could trust Adolf Hitler? Why are campus sexual assaults on the rise? Do television sitcoms teach us something about the way we relate to each other that isn't true? While tackling these questions, Malcolm Gladwell was not solely writing a book for the page. He was also producing for the ear. In the audiobook version of Talking to Strangers, you'll hear the voices of people he interviewed - scientists, criminologists, military psychologists. Court transcripts are brought to life with re-enactments. You actually hear the contentious arrest of Sandra Bland by the side of the road in Texas. As Gladwell revisits the deceptions of Bernie Madoff, the trial of Amanda Knox, and the suicide of Sylvia Plath, you hear directly from many of the players in these real-life tragedies. There's even a theme song - Janelle Monae's “Hell You Talmbout”. Something is very wrong, Gladwell argues, with the tools and strategies we use to make sense of people we don't know. And because we don't know how to talk to strangers, we are inviting conflict and misunderstanding in ways that have a profound effect on our lives and our world. The audiobook edition of Talking to Strangers was an instant number-one best seller, and was one of the most pre-ordered audiobooks in history. It seamlessly marries audiobooks and podcasts, creating a completely new and real listening experience.

How did Fidel Castro fool the CIA for a generation? Why did Neville Chamberlain think he could trust Adolf Hitler? Why are campus sexual assaults on the rise? Do television sitcoms teach us something about the way we relate to each other that isn't true? While tackling these questions, Malcolm Gladwell was not solely writing a book for the page. He was also producing for the ear. In the audiobook version of Talking to Strangers, you'll hear the voices of people he interviewed - scientists, criminologists, military psychologists. Court transcripts are brought to life with re-enactments. You actually hear the contentious arrest of Sandra Bland by the side of the road in Texas. As Gladwell revisits the deceptions of Bernie Madoff, the trial of Amanda Knox, and the suicide of Sylvia Plath, you hear directly from many of the players in these real-life tragedies. There's even a theme song - Janelle Monae's "Hell You Talmbout". Something is very wrong, Gladwell argues, with the tools and strategies we use to make sense of people we don't know. And because we don't know how to talk to strangers, we are inviting conflict and misunderstanding in ways that have a profound effect on our lives and our world. Enjoy the episode! YouTube: https://youtu.be/Tb4qJa-i2Sk Podcast: https://plinkhq.com/i/1382400493 Show Notes: http://www.thesocialchameleon.show/Talking-To-Strangers ~~~ Connect With Us: Facebook: https://fb.me/SocialChameleonShow Instagram: https://instagram.com/socialchameleonshow Twitter: https://twitter.com/SocialChamShow YouTube: http://bit.ly/SCS-Subscribe #SocialChameleonShow #BookReview #TalkingToStrangers #MalcolmGladwell --- Send in a voice message: https://anchor.fm/social-chameleon-show/message Support this podcast: https://anchor.fm/social-chameleon-show/support

In this special 58th New York Film Festival edition of the Film at Lincoln Center podcast, NYFF Director of Programming Dennis Lim is joined by director Spike Lee and musician David Byrne to discuss American Utopia, Lee’s concert film recording of Byrne’s acclaimed Broadway show. American Utopia is an exhilarating record of a seismic theater event as well as a momentous work of cinema in its own right. Both joyous and politically engaged, it’s a reckoning of these dark times through music and togetherness, with a galvanizing rendition of Janelle Monáe’s “Hell You Talmbout” that’s destined to be one of the year’s most talked-about screen moments. All documentaries at the 58th New York Film Festival are presented by HBO. Get tickets for screenings of David Byrne’s American Utopia at the Brooklyn and Bronx drive-ins or nationwide virtual tickets here: https://www.filmlinc.org/nyff2020/films/david-byrnes-american-utopia/

Tabrindy discusses how Black women feel invalidated by Black men. Music: "Hell You Talmbout" Janelle Monae w/ Wondaland Hosted by: @tabriamajors & @igobymindy feat. @ImanEurope @thethickpodcast

Malcolm Gladwell (author of bestsellers such as ‘Blink’ and ‘Outliers’; staff writer for the New Yorker and podcaster) joins Sue Perkins to discuss his latest book ‘Talking to Strangers’ - which is bookended by the story of Sandra Bland, who tragically died in police custody and is one of many names in the #BlackLivesMatter movement. Malcolm explains that Sandra’s story is part of wider problem in how we all misjudge the wants and needs of people we don’t know. Malcolm’s inspirational objects include the Janelle Monáe song ‘Hell You Talmbout’ and the ‘Friends’ theme-tune. #PenguinPodcast'Talking to Strangers' is available to buy as an audiobook now - https://apple.co/3e5iqdC / https://adbl.co/2UkIVUk See acast.com/privacy for privacy and opt-out information.

This episode of Keeping Talking takes it back to 2015 to exam Janelle Monae’s powerful protest song “Hell You Talmbout.”

Music has always been integral to the Black Lives Matter movement in the United States, with songs such as Kendrick Lamar’s "Alright," J. Cole’s "Be Free," D’Angelo and the Vanguard's "The Charade," The Game’s "Don’t Shoot," Janelle Monae’s "Hell You Talmbout," Usher’s "Chains," and many others serving as unofficial anthems and soundtracks for members and allies of the movement. In Fernando Orejuela and Stephanie Shonekan's collection of essays, Black Lives Matter and Music: Protest, Intervention, Reflection (Indiana University Press, 2018), contributors draw from ethnographic research and personal encounters to illustrate how scholarly research of, approaches to, and teaching about the role of music in the Black Lives Matter movement can contribute to public awareness of the social, economic, political, scientific, and other forms of injustices in our society. Each chapter in Black Lives Matter and Music focuses on a particular case study, with the goal to inspire and facilitate productive dialogues among scholars, students, and the communities we study. From nuanced snapshots of how African American musical genres have flourished in different cities and the role of these genres in local activism, to explorations of musical pedagogy on the American college campus, readers will be challenged to think of how activism and social justice work might appear in American higher education and in academic research. Black Lives Matter and Music provokes us to examine how we teach, how we conduct research, and ultimately, how we should think about the ways that black struggle, liberation, and identity have evolved in the United States and around the world. Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Music has always been integral to the Black Lives Matter movement in the United States, with songs such as Kendrick Lamar's "Alright," J. Cole's "Be Free," D'Angelo and the Vanguard's "The Charade," The Game's "Don't Shoot," Janelle Monae's "Hell You Talmbout," Usher's "Chains," and many others serving as unofficial anthems and soundtracks for members and allies of the movement. In Fernando Orejuela and Stephanie Shonekan's collection of essays, Black Lives Matter and Music: Protest, Intervention, Reflection (Indiana University Press, 2018), contributors draw from ethnographic research and personal encounters to illustrate how scholarly research of, approaches to, and teaching about the role of music in the Black Lives Matter movement can contribute to public awareness of the social, economic, political, scientific, and other forms of injustices in our society. Each chapter in Black Lives Matter and Music focuses on a particular case study, with the goal to inspire and facilitate productive dialogues among scholars, students, and the communities we study. From nuanced snapshots of how African American musical genres have flourished in different cities and the role of these genres in local activism, to explorations of musical pedagogy on the American college campus, readers will be challenged to think of how activism and social justice work might appear in American higher education and in academic research. Black Lives Matter and Music provokes us to examine how we teach, how we conduct research, and ultimately, how we should think about the ways that black struggle, liberation, and identity have evolved in the United States and around the world. Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Music has always been integral to the Black Lives Matter movement in the United States, with songs such as Kendrick Lamar’s "Alright," J. Cole’s "Be Free," D’Angelo and the Vanguard's "The Charade," The Game’s "Don’t Shoot," Janelle Monae’s "Hell You Talmbout," Usher’s "Chains," and many others serving as unofficial anthems and soundtracks for members and allies of the movement. In Fernando Orejuela and Stephanie Shonekan's collection of essays, Black Lives Matter and Music: Protest, Intervention, Reflection (Indiana University Press, 2018), contributors draw from ethnographic research and personal encounters to illustrate how scholarly research of, approaches to, and teaching about the role of music in the Black Lives Matter movement can contribute to public awareness of the social, economic, political, scientific, and other forms of injustices in our society. Each chapter in Black Lives Matter and Music focuses on a particular case study, with the goal to inspire and facilitate productive dialogues among scholars, students, and the communities we study. From nuanced snapshots of how African American musical genres have flourished in different cities and the role of these genres in local activism, to explorations of musical pedagogy on the American college campus, readers will be challenged to think of how activism and social justice work might appear in American higher education and in academic research. Black Lives Matter and Music provokes us to examine how we teach, how we conduct research, and ultimately, how we should think about the ways that black struggle, liberation, and identity have evolved in the United States and around the world. Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Music has always been integral to the Black Lives Matter movement in the United States, with songs such as Kendrick Lamar’s "Alright," J. Cole’s "Be Free," D’Angelo and the Vanguard's "The Charade," The Game’s "Don’t Shoot," Janelle Monae’s "Hell You Talmbout," Usher’s "Chains," and many others serving as unofficial anthems and soundtracks for members and allies of the movement. In Fernando Orejuela and Stephanie Shonekan's collection of essays, Black Lives Matter and Music: Protest, Intervention, Reflection (Indiana University Press, 2018), contributors draw from ethnographic research and personal encounters to illustrate how scholarly research of, approaches to, and teaching about the role of music in the Black Lives Matter movement can contribute to public awareness of the social, economic, political, scientific, and other forms of injustices in our society. Each chapter in Black Lives Matter and Music focuses on a particular case study, with the goal to inspire and facilitate productive dialogues among scholars, students, and the communities we study. From nuanced snapshots of how African American musical genres have flourished in different cities and the role of these genres in local activism, to explorations of musical pedagogy on the American college campus, readers will be challenged to think of how activism and social justice work might appear in American higher education and in academic research. Black Lives Matter and Music provokes us to examine how we teach, how we conduct research, and ultimately, how we should think about the ways that black struggle, liberation, and identity have evolved in the United States and around the world. Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Music has always been integral to the Black Lives Matter movement in the United States, with songs such as Kendrick Lamar’s "Alright," J. Cole’s "Be Free," D’Angelo and the Vanguard's "The Charade," The Game’s "Don’t Shoot," Janelle Monae’s "Hell You Talmbout," Usher’s "Chains," and many others serving as unofficial anthems and soundtracks for members and allies of the movement. In Fernando Orejuela and Stephanie Shonekan's collection of essays, Black Lives Matter and Music: Protest, Intervention, Reflection (Indiana University Press, 2018), contributors draw from ethnographic research and personal encounters to illustrate how scholarly research of, approaches to, and teaching about the role of music in the Black Lives Matter movement can contribute to public awareness of the social, economic, political, scientific, and other forms of injustices in our society. Each chapter in Black Lives Matter and Music focuses on a particular case study, with the goal to inspire and facilitate productive dialogues among scholars, students, and the communities we study. From nuanced snapshots of how African American musical genres have flourished in different cities and the role of these genres in local activism, to explorations of musical pedagogy on the American college campus, readers will be challenged to think of how activism and social justice work might appear in American higher education and in academic research. Black Lives Matter and Music provokes us to examine how we teach, how we conduct research, and ultimately, how we should think about the ways that black struggle, liberation, and identity have evolved in the United States and around the world. Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Music has always been integral to the Black Lives Matter movement in the United States, with songs such as Kendrick Lamar’s "Alright," J. Cole’s "Be Free," D’Angelo and the Vanguard's "The Charade," The Game’s "Don’t Shoot," Janelle Monae’s "Hell You Talmbout," Usher’s "Chains," and many others serving as unofficial anthems and soundtracks for members and allies of the movement. In Fernando Orejuela and Stephanie Shonekan's collection of essays, Black Lives Matter and Music: Protest, Intervention, Reflection (Indiana University Press, 2018), contributors draw from ethnographic research and personal encounters to illustrate how scholarly research of, approaches to, and teaching about the role of music in the Black Lives Matter movement can contribute to public awareness of the social, economic, political, scientific, and other forms of injustices in our society. Each chapter in Black Lives Matter and Music focuses on a particular case study, with the goal to inspire and facilitate productive dialogues among scholars, students, and the communities we study. From nuanced snapshots of how African American musical genres have flourished in different cities and the role of these genres in local activism, to explorations of musical pedagogy on the American college campus, readers will be challenged to think of how activism and social justice work might appear in American higher education and in academic research. Black Lives Matter and Music provokes us to examine how we teach, how we conduct research, and ultimately, how we should think about the ways that black struggle, liberation, and identity have evolved in the United States and around the world. Rachel Hopkin is a UK born, US based folklorist and radio producer and is currently a PhD candidate at the Ohio State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

@JanelleMonae @WomensMarch #DirtyComputer #Not4Profit #America #History #Podcast #Motivational #Education #PowerToThePolls #TogetherWeRise #Enough #WomensMarch2018 As uplifting and important a collective moment as Saturday's (Jan. 21) global Women's Marches were, and as much as they may have ignited a cultural and political movement, there may have been no more poignant and powerful a moment than when Janelle MonáeI took the stage with the mothers of slain African Americans whose lives were unjustly taken by police to perform her powerful anthem "Hell You Talmbout” In her speech at the main Women's March in Washington, D.C., Monáe acknowledged a debt to both her grandmother, a sharecropper from Aberdeen, Miss. and her mother, a janitor, while saying how honored she felt to be there. Monáe, who most recently gave two award-worthy performances in critically-acclaimed films, Hidden Figures and Moonlight, said she was here to march against the abuse of power. And then her band took the stage and seemed to light it on fire. With a booming, all-female drum and percussionist group and backup singers that included her Wandaland label mate Jedenna (of "Classic Man" fame), Monáe explained the call-and-response rhythm of her police brutality anthem "Hell You Talmbout." Here, she began bu repeating the name Sandra Bland, a a 28-year-old black woman who was found hanged in a jail cell in Waller County, Texas, on July, 13 2015, while the crowd and back up singers responded with "Say my name!" Denver’s 2018 Women’s March Thousands of people of all ages, races and genders poured into Civic Center park Saturday morning for Denver’s 2018 Women’s March, propelled by a year of social and political tumult that many of them hope to calm at the ballot box. Video by Hyoung Chang, The Denver Post https://youtu.be/dWLm-r1IQdY Read the story: http://dpo.st/2BgA6Pa Public Access America PublicAccessPod Productions #America #History #Podcast #Education #Not4Profit Footage downloaded and edited by PublicAccessPod Podcast Link Review us Stitcher: http://goo.gl/XpKHWB Review us iTunes: https://goo.gl/soc7KG Subscribe GooglePlay: https://goo.gl/gPEDbf YouTube https://goo.gl/xrKbJb

Music can be a powerful, transformative tool in the quest for social change. Protest songs are the songs associated with a particular movement. Earlier this month, Janelle Monáe and Wondaland produced the searing protest song "Hell You Talmbout." Nearly seven minutes long, it's a tribute to a long list of black men and women lost, and has been performed alongside protesters at Black Lives Matter rallies.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Anthems are a means by which group identity is formed, and without group identity, argues to Professor Tracey Nicholls, the courage and imagination that justice work requires is in short supply. Today we discuss some of the anthems of the Black Lives Matter movement, such as Black Rage by Lauren Hill and Hell You Talmbout by Janelle Monáe. These anthems use improvisation and the ethics embedded in it to articulate shared values and create social memory. This passionate and jocular discussion weaves together peace studies, decolonization studies, and improvisation theory to offer a platform for reflection on the current social and political climate and how best to channel political emotions such as rage. This episode originally aired on CFRU 93.3FM in Guelph, Ontario on November 22, 2016. There are new episodes of Sound It Out every other week. Sound It Out airs on CFRU 93.3FM at 5pm on Tuesdays.

Anthems are a means by which group identity is formed, and without group identity, argues to Professor Tracey Nicholls, the courage and imagination that justice work requires is in short supply. Today we discuss some of the anthems of the Black Lives Matter movement, such as Black Rage by Lauren Hill and Hell You Talmbout … Continue reading Episode #52 – Tracey Nicholls Improvising Rage →

Episode 9 of Why You Still Up? is Pt. 2 of the round table featuring creative collaborators on the Strike Twice Creative Team. In this week's episode Cassandra and Brittany are joined by Karlie, Rawly, Theodore and Bradley to talk about what the Black Lives Matter Movement means to them. Rated H for "Hell You Talmbout" WYSU is produced by North Sound Studios & Strike Twice Creative. Outro Music by Wylson (Wylsn – Rahab) Sound Recordist: Bradley Bernard Assistant Director/Talent Wrangler: Karlie Lovinggood Location Manager: Theodore Kelly Jr.

In this episode Shana and Daniel are joined by JB Anderton of the Who37 podcast to discuss "Mindwarp." In theory, that's what they do. In practice the conversation becomes much more wide-ranging, covering issues of sexism in media, the treatment of Peri by the show and Nicola Bryant by the production team, convention misbehavior, and even Donald Trump's candidacy. It's a long but fruitful conversation. Main Topic: Mindwarp. With special guest JB Anderton of the Who37 podcast. Masturbation. Patreon? C2E2. Artists and geek cons. Convention politics. Shameless plug. Chicago TARDIS and cosplay. Panels at C2E2. Hugging Alan Tudyk. Tweeting at Noel Clarke. The Rose/Mickey/Martha threesome. Welcoming fandom. Alex Kingston and Elliot Serrano. "Fuck you, you're a misogynistic asshole!" Moving on to Mindwarp. JB's history with Mindwarp. "30 years later not so much...." Brian Blessed, the big scary teddy bear. Christopher Ryan. Mad scientist. Execution. The Trial as device. Jiminy Cricket. Companions in danger. Behind the scenes. The Valeyard is the Master? Removal of Peri's femininity. The Doctor's sympathy for Peri. Turncoat Doctor. Peri and Clara. Lord Kiv, CEO. Rewriting "Mindwarp." Susan and Peri impressions. Metanerrative. A Peri/Yrcanos sitcom. Rewriting Peri. Ambiguity. Nicola Byrant and Colin Baker. "You had to be there." Dehumanization. Peri and Polly. Peri's backstory. Fanon. Actress pay. Representation issues. Tegan and Peri. Growling at Gatiss. Avoiding gendered language. Failing the counterculture. Giving up on fandom. "Fuck the feels." Belittling not saccharine. Problematic Who. A random aside about Donald Trump. The Fearmonger. The bright light is coming. Looking forward to The Happiness Patrol. A giant feminist rant. Next week: Terror of the Vervoids/The Ultimate Foe. JB's girlfriend Darlene's art page. Alex Kingston sexually harassed at Chicago TARDIS 2015. Hell You Talmbout. Find JB's podcast Who37 at who37.com, and find him on Twitter at @who37podcast.   Find Our Stuff!  Find us on iTunes! Or Facebook! We love email (oispacemanpodcast@gmail.com)! And all our episodes are on oispaceman.libsyn.com. You can also find a text blog associated with this podcast at oispacemanblog.wordpress.com. Our theme song is "Doctor Who Theme on Minimoog" by James Bragg. Find his Youtube channel at youtube.com/hyperdust7 and his band page at phoenix-flare.com.  Daniel's Tumblr Twitter Shana's Tumblr Twitter 

Music can be a powerful, transformative tool in the quest for social change. Protest songs are the songs associated with a particular movement.Earlier this month, Janelle Monáe and Wondaland produced the searing protest song "Hell You Talmbout." Nearly seven minutes long, it's a tribute to a long list of black men and women lost, and has been performed alongside protesters at Black Lives Matter rallies.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Killer cop Stephen Rankin has been charged with the first degree murder of William Chapman II. According to a leaked autopsy report, it appears that Chapman was shot at a distance, and not in a struggle as Rankin officially reported. Arrested for a traffic violation, Bernard Scott was found hanging in his cell but SURVIVED. Will he be able to say what happened? San Diego police refuse to release video of cops shooting a man, Fridoon Nehad, for holding an ink pen. They say it would "endanger officer lives". Oregon cop receiving death threats for reporting his racist chief. Baltimore judge rules that the trials for the officers indicted in the Freddie Gray (crushed voice box/severed spine) will remain in Baltimore. A 17 year old in North Carolina is being tried as an adult sex offender for having naked pictures of himself. No charges for the officers who killed Antonio Zambrano-Montes. The UN says the US isn't doing enough to address police brutality and racially-motivated murders. A commission in Ferguson calls for broad reforms to address racial inequality in the St. Louis area. Video footage of mentally ill and shackled Natasha McKenna being brutally tasered to death was released. Her last words are chilling. And more. Tuesday, Sept 15, 6pm Pacific.

Music can be a powerful, transformative tool in the quest for social change. Protest songs are the songs associated with a particular movement. Earlier this month, Janelle Monáe and Wondaland produced the searing protest song "Hell You Talmbout." Nearly seven minutes long, it's a tribute to a long list of black men and women lost, and has been performed alongside protesters at Black Lives Matter rallies.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

We've always been proud of how cutting-edge Louisville is on LGBT rights issues (and can often be overheard bragging that our Fairness law included transgender protections even before New York's did). But what about the rest of Kentucky? We went to the Rural LGBT Summit this month in Lexington to find out. The USDA has been holding these summits throughout the country, both to shine a light on issues faced by rural LGBT Americans, and to make sure those same folks know about the assistance they can get from the USDA. We can't deny our status as city slickers (though we temporarily daydreamed about gay farmers), so the summit was a great learning opportunity for #TeamStrangeFruit. Jai and Doc co-hosted a panel featuring folks who are "champions of change" in their communities, and we bring you an excerpt of that conversation in this week's show. Stay tuned to our Soundcloud page for the whole thing. Also in this week's show, we go about as far from rural as you can get: Broadway, in New York City, where Hedwig and the Angry Inch is closing early after a poor reviews of Taye Digg's performance in the title role. Are white audiences resistant to a black man playing Hedwig? Did Broadway fans turn against him after he reportedly broke Idina Menzel's heart? Or... was he just not that good in the show? We discuss. One artwork that seems like an unmitigated success is "Hell You Talmbout," the protest anthem released last week by Janelle Monae and the Wondaland Arts Society. The verses of the song recite the names of black victims of police shootings. Half vigil, half battle cry, it's already finding its way to protests all over the country, and we listen to a group of trans rights activists adapt it to commemorate trans victims of violence. And finally, "Straight Outta Compton" came out, and it made a ton of money. We haven't seen the film yet, but we talk a little about some claims that it erases the abuse of women perpetrated by its subjects.

AUGUST 20, 2015 Salon writer Andrew O’Hehir and WPFW host Garland Nixon join us to talk about police and the "true face of American fascism" for this month’s installment of "The F Word." Also, disenfranchised men and women in Baltimore take to the streets to talk about “the new Jim Crow.". Headlines include funeral services for Julian Bond, former CIA officer Jeffrey Sterling blasts civil rights organizations, protests against Arctic drilling and the culture and media moment includes "Straight Outta Compton" and "Hell You Talmbout" by Janelle Monae. Other voices include Jane Fonda at arctic drilling protest. Headlines and more. https://onthegroundshow.org/wp-content/uploads/2014/06/OTG-AUG20-2105.mp3