Chapman Radio Blog

By Claire Epting

Summer Salt fans all seem to know each other. Large groups formed in the pit long before the show started, fizzing with end-of-summer vitality. Waiting for my own people to arrive during the opening set, New Orleans-based indie rock outfit Motel Radio encouraged the crowd to “spread the love” for their popular song “Midnight”. A teenage girl approached me and asked if she could give me a hug. This was the general mood for the entire evening-- everyone was happy to be collected under one roof for a night of resplendent tunes.

In support of their new EP HONEYWEED, the sonic equivalent to a summery romp through a wildflower-clad field, Austin-based coral reef rock band Summer Salt played to a sold-out house at the Fonda Theater in Hollywood, CA on August 15th, 2019. The show was part of the last stretch of their West Coast tour, with support from Motel Radio and Dante Elephante. 

Colorful paper fish and streamers adorned the stage, as if for one night the Fonda was turned into Under The Sea Prom. It actually seemed fitting, since a majority of the audience appeared to be approximately prom-age. In fact, a girl close by fretted that she had to be home by 11pm to make her curfew. The demographic wasn’t strictly limited to minors-- quite a few adults hung toward the back, simply appreciating the music. All three bands infuse elements from previous decades: Motel Radio with their Neil Young-esque folk influence, Dante Elephante’s Hall & Oates-tinged soul, and Summer Salt with their Beach Boys-adjacent harmonies and surf rock riffs. There’s really something for everyone. 

Compared to acts who have been on the touring circuit for nearly a decade, Summer Salt is still fairly new to the game. And yet, they’ve managed to solidify themselves as a unique voice in the indie rock scene while gaining a set of devotees who never miss a beat. With a collection of EPs and a full length to boot, they had more than enough material to fill a short-but-sweet set, met with voices from an audience who repeated every word. A girl perched on her boyfriend’s soldiers cheered at the top of her lungs, her hands shaped into a heart. The level of enthusiasm was not unlike something you’d see at a One Direction concert. But Summer Salt is a different breed of “boy band”-- one that evokes the retro-romanticism of cherry-lime snowcones, slow dances, and day trips to the beach. 

New songs “Honeyweed” and “Little Chimmy” fit right into place amongst established favorites like “Revvin’ my CJ-7” and “Candy Wrappers”. The encore began with a stripped down version of “So Polite” by frontman Matthew Terry. For the last song of their encore, the opening bands and their friends came out on stage to join in. Members took turns playing solos and crowd surfing, filling the room with a spontaneous, joyous energy. It lingered in the air as the crowd filtered into the warm summer night. 

Stay updated on future Summer Salt tours here and catch them next time they come to SoCal.

Photo Courtesy of Goldenvoice & Maddie Prahm (AEG IT)

By Melissa Borgmeyer

Friday night in Los Angeles was a very mellow selection of music that I normally don’t listen to but delighted my ears. Rostam and Bedouine performed at The Fonda Theater, a venue which is one of my favorites. It’s next door to Blue Palms Brew House where you can go into with a wristband and grab some food before the doors close during the main act. The bar is open with a few snacks and plenty of drinks, running from a three-dollar water to an eleven-dollar whiskey and coke.

First up to the stage was Bedouine (Ana Korkejian), a local artist from Echo Park who started a great acoustic set sitting on a bar stool with a candle beside her to set the mood. She began with a beautiful rendition of “You Kill Me”, which reminded me of music that makes you want to de-stress from the week. You could hear a pin drop when she began--  every note mesmerized the crowd.  Her set slowly worked from just Korkejian and her guitar to a band that consisted of drums and guitar players, featured on her self-titled album which was released in 2017. She mentioned she is working on a new album and played two songs to be named, rounding out her hour-long set.

There was a thirty minute intermission; then, the crowd rushed to the front of the stage for a dramatic entrance thanks to the Fonda stage crew. Rostam came onto the  dark stage accompanied by a keyboard and electronic drum set on the left, and a cello and three violinists to the right. A projection screen helped enhance the experience-- this is the reason we go to see live music. He started with the closing track from his acclaimed album HALF LIGHT, “Don’t Let It Get To You”, which allowed the audience to journey into his musical process. Rostam was very involved in every step of his music’s production. From his classical training from Columbia to his experience touring with Vampire Weekend, his music was enlivened by his old and new influences. He then went back to the beginning of his album with each video screen coordinated with the music being performed live.

(Photo Courtesy of Goldenvoice)

By Claire Epting

As the long summer nights slowly come to an end, it feels important— almost urgent— to soak up the last of them. On August 12th at the Glass House in Pomona, hundreds of music-lovers stood shoulder-to-shoulder in front of a small stage to do just that.

Opener Hannah Vu, sporting her Taylor Swift tour shirt, packed a powerful punch into her short set. Her catchy songs were cut with a lick of garage buzz, setting the tone for the night ahead. Brooklyn-based No Vacation was next, capturing the audience from the first notes of “Sad Valentine”. Fans already initiated into No Vacation’s world embraced every moment of their set, while those who were unexposed slowly but surely found their way into the groove. The popular “Lovefool” and “Mind Fields” garnered particular attention from the crowd. “You’re Not With Me” was a standout, a gorgeous ode to lost love that rolled along as easily as a drive down the coastline. No Vacation’s sound ranges from exquisite bedroom-pop to jangly surf rock, and their live set gave them a chance to showcase both. Each element blended together seamlessly— shimmering keys layered with crisp guitars and breezy vocals to create a sound that felt sunny and melancholic all at once. Onstage, they seemed self-assured and comfortable, without missing a beat. Such a strong set alludes to a bright future on the festival circuit.

SALES’ set started in darkness with hip-hop samples booming over the speakers. The mood shifted immediately as each member made their way onstage. The hip-hop halted abruptly as it was replaced by the instantly-recognizable first chords of “Big Sis”. Lauren Morgan was dressed in black from head-to-toe. She commanded the stage with an easy confidence, complementing Jordan Shih’s mellow presence. Though exuding a laid-back vibe, the two exhibited remarkable musicianship and precision. The electronic drum kit (referred to on their discography as their “uncredited third member”), is replaced by Malcom Martin when the duo tours. Martin did a noteworthy job of supporting each song, providing a backbone for which Morgan and Shih could sprinkle their silvery guitar riffs over. Each song was met with such enthusiasm that it felt like a setlist full of hits. It was clear that the majority of the audience was keyed in to SALES’ entire repertoire, singing along to old favorites like “Chinese New Year” and dancing to newer singles like “White Jeans”.  Morgan and Shih took notice. 

Towards the end of the night, Morgan took a moment to ask how many people were attending their first SALES show, to which about 75% of the venue raised their hands. A look of genuine surprise on her face, she laughed, “Where’d all you guys come from?” A fair question, considering that SALES has neither a record label nor a manager. It’s a choice though— they live up to their self description of “all the pop, no industry bullshit”. They’re a band whose following grew organically thanks to attention from online music blogs. For as many disadvantages the internet provides for musicians today, from streaming to piracy, it removes the barrier of entry and allows for bands like SALES to get noticed at a much faster rate. SALES ended their set with “Best Times”, their first LP’s closer and a perfectly natural way to wrap things up. During Morgan’s customary “shout-out to Jordan on the computer”, they gave a shout-out to Pomona as well.

Despite their rapidly-expanding popularity, SALES still feels like a well-kept secret. Their songs are ones that accompany you throughout your day-to-day activities, from the malaise of late summer to that hungover commute to work. The old-school drum beats prevent it from ever sounding really “new”, and yet, it never gets old. There was a palpable energy in the room, one that felt resoundingly uplifting. The Glass House’s smaller size played a key part in the overall atmosphere—  such an intimate space had the ability to capture that energy and intensify it. SALES proved that it’s possible to sell out a venue without being sellouts.

There’s no question that Cardi B has added a new flare in the world of female artists,especially in the rap genre. The song “I Like It” from her album Invasion of Privacy is one of mynew favorites of hers, and is the perfect pump-up song to play at a pregame or party. The old-timey sound of the chorus singers chanting “I said, I like it like that” after each verse that CardiB raps gives it a timeless feel that juxtaposes with her unique voice, with all its variedintonations and pitches, making it a mixture so catchy that you can’t help but start bobbing yourhead to the rhythm. The song also has an undertone from the very beginning of Spanish salsamusic, which keeps the beat in check and produces a dance vibe which sets it apart from othersongs in her genre. After her first verse, there is a verse that is sung entirely in Spanish, whichgives the song a nice mix of culture sung by Bad Bunny. The second verse in Spanish is sung byJ Balvin. Cardi B is not shy to rap about her rise to fame, her love of making millions, andgetting exactly what she wants, which is what this song is all about. Unlike her first breakout hit,“Bodak Yellow,” this song features other artists and changes tune a few times which makes forbetter listening in my opinion. Let’s hope we get more from Cardi B in the near future!

Drake’s new hit single, “Nice for What,” is the hottest beat for this summer. He has aunique style in his music which is to start out with an interlude of a female voice singing, like weheard in “One Dance” from his album Views, as well as other hits like “Take Care,” and “OverMy Dead Body” from my personal favorite album, his 2011 masterpiece Take Care. The songbegins with a soulful female voice, and then drops right into the beat of the jam that we all haveto surrender to; we can’t just not get down to Drake when he comes on the radio with music thiscatchy. Unlike many other rappers, Drake’s voice is a true mixture of both rap and songespecially in this number. He has had slower songs in the past which highlight his range andsensational ability to carry a tune, as well as quicker songs like “The Motto” which emphasizehis rapping forte. However, “Nice for What” is just in between the two poles, and that’s whatmakes it so easy to get down to for any listeners. His lyrics also present a song easy for womento vibe with, as it is about a girl being able to show off her confidence when getting out in theworld after a breakup. It’s also easy for men to sing along to, as it is obviously sung by a manand therefore comes from that point of view. The line that we can all stick to this summer is“And you showin’ off, but it’s alright, it’s a short life.” You said it, Drake!

J.cole surprised the world when he first announced the release of KOD only days before it's release. Typically artists announce album release dates month in advance in order to create hype for the album but the nonconventional marketing behind the album worked out as KOD broke several streaming records on Spotify and Apple Music. 

In this post we're going to dive into my take on his fifth album and go over the various themes presented on the record.

I'm going to be very blunt, I really like this album. KOD aka king overdose, king of drugs and kill our demons. All themes are present. Drugs were a consistent topic used as a coping mechanism and demons were prevalent in dealing with his own guilt as well as seeing his mom deal with it too. However, he kills these demons to produce friends and window pain which stress the importance of realizing he was wrong and how medicating isn’t he answer (a thought he also stresses to listeners). The album has some political flair as well as a diss to lil pump and also has subtle, but consistent, references to love and money. However, the topic of drugs connects all.

My rating: 8/10

https://open.spotify.com/album/4Wv5UAieM1LDEYVq5WmqDd?si=-YcNKO0jQzas_QVy2r1B8A

#hiphop #jcole #KOD #review #chapmanradio

Source:

“The Bible and Reggae: Liberation or Subjugation?” The Bible in/and Popular Culture: A ……………..Creative Encounter, by Noel Leo Erskine, Society of Biblical Literature , 2010, pp. …………….97–111.

 The central thesis of this chapter from The Bible in/and Popular Culture: A Creative Encounter is that Jamaican music, with emphasis on the father of reggae Bob Marley, often turned towards the bible for inspiration and social commentary on life in colonial Jamaica.  Marley began to challenge the burdened members of Jamaican society to leave Jamaica for Ethiopia. This gave a sense among the people that Marley was another “brother Moses”, and that the God, Jah, of the Rastafari had sent Marley to lead the Jamaican people through his music.  A song of Marley’s that exemplifies his gratefulness to God is “Thank You Lord”. Throughout the song Marley thanks God for his blessings and spreads a message of inspiration through lines such as, “I don’t fear their oppression, just prove my determination. I don’t yield to temptation, I have learn’t my lesson in Revelation”.  The album of Marley’s that sealed the deal for Jamaicans to see Marley as another “brother Moses” was his Exodus album.  This album was written with both deep passion and deep faith, causing Jamaicans to respond in a positive light.   

Author of this chapter, Noel Leo Erskine, grew up in Jamaica the same time as Marley, so he writes in a style of personal experience and aspiration.  He supports the idea of Marley being a “brother Moses” through his use of comparing the leaving from Jamaica for Ethiopia to the leaving of Babylon for Zion seen in the Bible.  Marley’s upbringing also played an immense role in his usage of the Bible as a central factor of his music. Marley grew up in Nine Miles, Saint Ann, Jamaica, where his grandfather was a herbalist as well as a Myalist (whom have an especially deep connection to the Bible).  Marley’s mother was baptized by a local Pentecostal church, and made sure Marley was brought up by the church in his young years. Marley’s music not only gave hope to the oppressed people of Jamaica, but it was an universal sign of peace and love.

        -Vincent Del Monte

(Radio Show: Fights With Friends)

The cover of Kendrick Lamar’s To Pimp a Butterfly album demonstrates unity among the African American race during the Black Lives Matter movement, alongside the impact that the Obama presidency had on African American culture and society.  The album itself focuses on the social injustices occurring in American society ranging from the shooting of Trayvon Martin to police brutalities, discrimination in institutions, and African American culture.

  The cover of To Pimp a Butterfly consists of Lamar alongside many other black men and children holding alcohol and wads of cash in celebration outside of the White House, while a dead white judge holding a gavel lies in front of them .  There are many meanings behind the album cover, but the most obvious is that America cannot repress black excellence. Kendrick, his family, and his friends appear to be holding money in a “look at us now manor”, but the holding of the money corresponds with the album’s opening song Wesley’s Theory, which sends a message that even if African American culture is not rich in monetarily, they will always be rich in spirit.  The dead judge in the front of everyone represents the broken judicial system that is often prejudice towards minorities such as African Americans.  In an interview, Lamar said that, “Only God can judge these individuals, not no one with a gavel.” The judge in this piece represents the court system that does not take into account where people grew up or what made them do what they did, but rather just hands out lengthy sentences due to skin color and ignorance.  One of Lamar’s long time friends is on the phone on the cover, which corresponds to the idea of him calling others saying, “We’ve won! Come celebrate with us!” (https://www.theguardian.com/music/2015/mar/11/kendrick-lamar-to-pimp-a-butterfly-album-cover).  The photo was taken in black and white, perhaps as a way to say color does not matter…we are all equal.  A small detail of the picture that not many realize is Kendrick Lamar holding a child. The holding of the child represents Kendrick helping pave the way for the next generation, as he lifts them up to success.  

The name of the album, To Pimp a Butterfly, is shown through the emotions of those who are on the cover.  The word pimp contains undertones of aggression and violence, while the word butterfly has a more optimistic, happy tone to it.  The album cover shows the undertones of the word pimp through the scowls on the faces of many of the men, while the use of the word butterfly has a more intricate meaning.  The beautiful butterfly comes from the evolution of the usually repulsive caterpillar. Kendrick and the other grown men were treated as the caterpillar when they were growing up undergoing racism, police brutality, and other social injustices.  The kids in the photo represent the butterfly. Lamar has helped pave the wave for these young African American children, giving them the ability to “spread their wings and fly” like the beautiful butterfly in today’s more progressive society.         

Most men in the photo are shirtless as a symbol of being proud of their skin tone, and having nothing to hide or be ashamed of.  Through the in class reading of Peraino- “Plumbing the Surface of Sound/Vision” we learned that often what the artists would wear on the cover of their album would reflect a deeper meaning than just appearance.  “The emblematic appropriation of consumer goods—especially clothing and music—became a characteristic of various 1960s British youth subcultures, beginning with the Teddy boys and continuing with rival gangs of rockers and mods.” (Peraino - “Plumbing the Surface of Sound/Vision…”).  Clothing and consumer goods can be anything from a leather jacket and motorcycle defining a group as bad boys, to an Italian suit and a vespa showing the smooth rhythm and taste of the blues and jazz.

Another meaning behind the group being in front of the White House is through the idea of them rejoicing over having Barack Obama as their president.  Barack Obama, the first African American president, also happens to be the first president in United States history to both accept and embrace hip hop culture publically.  The book The Iconic Obama 2007-2009, edited by Nicholas A Yanes and Derrais Carter emphasises Obama’s role in hip-hop/rap culture in chapter three “Hip-Hop Culture: Remixed Response to Obama’s Popularity”.  Part one of this chapter, “The Audacity of Dope” highlights Obama giving rappers an inspiration and newly found political freedom.  Hundreds of rap songs were made in the Obama’s honor due to the fact that, “Obama is black with a capital B and exclamation point” (88).  “The thing about hip-hop today is it’s smart, it’s insightful. The way they can communicate a complex message in a very short space is remarkable.” -Barack Obama.  From his references of Kanye West and Jay Z lyrics in his speeches to dancing to Hotline Bling by Drake, Obama connected the priorly non-existent bridge between hip-hop and politics.  While many rappers look up to President Obama for paving a new road for them, one rapper that Obama seems to praise most often is the one…the only…Kendrick Lamar.  Obama went so far as to say that his favorite song of 2015 was Lamar’s “How Much a Dollar Cost” from the To Pimp a Butterfly album.  Obama refers to Kendrick as a ground-breaking rapper due to his clever lyrics that expose the problems in American society.  

                              Picture of President Obama with world renowned rapper Jay-Z

  Lamar does not only confront racist America and political issues through his music, he conveys his messages of black repression through album art as well.  The lyrical miracle’s messages go much deeper than just the superficial layers of his songs. Everything Lamar does seems to have a purpose for his cause. The cover of Kendrick Lamar’s To Pimp a Butterfly album demonstrates unity among the African American race during the Black Lives Matter movement, alongside the impact that the Obama presidency had on African American culture and society.  

-Vincent Del Monte

On April 20, 2018 the British progressive metal band released its latest djent album. Sonder is TesseracT’s fourth studio album and is a significant shift in style compared to their previous full-length albums.  Previous albums like One or Altered State packed a heavy metal punch, which Sonder noticeably lacks.  Sonder also marks the return of light screaming to TesseracT, a device they have avoided since their first album.  While screaming is often associated with a heavier sound, the band decided against conventionality.  While it starts heavy with “Luminary” and “King” the album loses steam with songs like “Orbital” and “Beneath My Skin/Mirror Image.” Additionally, the songs that do pack a punch like “King,” focus heavily on ambient sounds and the low/ lighter parts of the songs, rather than keeping the energy high.  Focusing on melody is fine, but is not the best way to make a metal album.  The album lacks the energy that previous albums had and falls short of being a solid metal album.

Sonder is TesseracT’s shortest full-length album to date, clocking in at just 36 minutes.  Additionally, Sonder was released just three years after their previous album Polaris and two years after their latest EP Errai.  It may have been beneficial to wait longer and to write a fuller album than to rush a new album with minimal content.

While the album is a change in TesseracT’s style, it does not accomplish anything extremely impressive.  It is important to note that while I have been critical of Sonder it is still an adequate album that involves striking musical talent.  The djent genre in itself is an extremely complex field that requires tremendous musical ability.  TesseracT has mastered djent in its own right.  However, TesseracT’s move towards a more melodic and calm tone leaves less room for the talented breakdowns that mark TesseracT’s signature sound. Therefore, I rank Sonder as TesseracT’s worst album to date but give it 3/5.

-Jake Ummel / Steel Panther

Link to Sonder by TesseracT:

With the band, the Neighbourhood, recently coming out with an album ending their almost three-year break recording, it has taken me back in time. Their unique sound has flooded me with lots of memories from my high school years. The new music being released has really shown me how much music can really affect one's mood and bring back memories. However, it is exciting to see how the messages in the music and sound has grown and evolved, but not too drastically.  I believe this album is the perfect transition into a new period in their lives and musical career, while still keeping ‘The Neighbourhood’ aesthetic. The lyrics in this album focus more on relationships, how much control they can have over a person, and how intense these feelings can become. Not only has the message changed and grown, the sound has changed along with it.

When listening to their music, I personally believe it is like no other band around. It has a very distinct sound that may have similar traits to other artists, but they somehow find their own unique voice. The genre of the new album finds itself in a limbo between indie rock and electropop as the band dabbles in many different genres. The steady beats and soothing sounds seem to fall perfectly into a relaxing rhyme while having a seamless transition between each song. Making it the perfect soundtrack to a rainy day as the band has originally strived for as their aesthetic.

Overall, this new album has the perfect sound to unwind to or get some serious studying done. It has the perfect balance of their old style and a bit of their new twist and take on life as they have grown alongside their music.

#albumreview #theneighbourhood

Link to the album: 

https://open.spotify.com/album/5xbaMmAs8y8sglwm3GzHCm?si=M95Yb0w2SwKVpquRDfgu8g

For my review, I listened to “Demi’s ShipShow” by Emily Reed-Keffe and Demi Boxley. This was a talk show that discussed different couples that they thought should start dating along with love plots within movies and TV shows. I thought that the talk show was hilarious and very well done. I also really love this idea and can tell that they always have enough to talk about every show. They had a list of shows that they were planning on speaking about, then from there, they had a very natural discussion without a ton of guidelines. I appreciated that the format was so free and allowed for the two hosts to create an organic environment. 

My favorite part of the show was when they brought one of their mothers on the phone. She began speaking of her experiences with dating when she was in high school and college. She told stories about her first boyfriend, and how he just wanted to get married and have a bunch of kids, something that she was not interested in at the time. She also relived funny moments when she used to sneak into different pools and once got the police called on her and her friends. I enjoyed how genuine everyone was on the air. There were even some disagreements that occurred and were allowed to continue. Instead of feeling embarrassed about trying to make the talk show “perfect,” Demi and Emily were fine with whatever naturally happened. They were not stressed or following any strict guidelines. Great job!

https://chapmanradio.com/show/1390/demis-shipshow --#chapmanradio

"He is a real lover, and making up the past, feeling up his girl like he's never felt a figure before." - this is an example of a lyrics from a popular love song. What you'll notice about this particular song and many other love songs out today are the use of specific pronouns in the lyrics. 

Within the LGBT community, it is very hard to find love songs that we relate to, whether that be from song with gender neutral lyrics, or songs directly written by LGBT artists. 

Recently, bisexual musican and actor - Keiynan Lonsdale released a single entitled "Kiss The Boy". The soft voice used in the verses, and the louder more intense chorus added on top of the catchy, almost electronic beat makes for an extremely catchy tune. Here are a few of my favorite lyrics from the song: "If you want to kiss the boy, then you better kiss the boy right now. You ain't got to be afraid of the words you want to say right now. and "Don't want to hide Most of my life I've been terrified." 

LGBT visibility in the music industry is extremely important, to allow LGBT people to relate to the music and connect with the lyrics and messages of the song. I hope going forward, LGBT artist start following suit, and release more songs for the LGBT community. 

Thank you,

Forget 2018, It's Been Renamed 20gayteen!

  The queer nickname, 20gayteen, for 2018 was first penned by Disney Star Hayley Kiyoko when she dropped her music video for  “Curious,” and just as expected her album “Expectations” was just as gay. With so many other viral queer moments we have experienced, from the music videos to the radio, 2018 is truly looking to be the gayest year yet!  

  Hayley Kiyoko’s Expectations

We started out the year with a bang, and if you haven’t watched “Curious,” you are missing out!  “Curious” explores the pressure those on LGBTQ+ spectrum experience to conform to society. Kiyoko expressed her personal experience dating women who are pushed to create a facade around their sexuality and the struggle lesbians specifically feel to date men and follow expectations that are placed on the American woman.

  Universal Love

The music industry has had predominantly rigid heteronormative stances on love songs, which is why a group of artists decided it was high time there were LGBTQ+ inclusive wedding songs.  Universal Love is an album comprised of rerecorded iconic wedding songs, such as “He’s Funny That Way” instead of “She’s Funny That Way” by Bob Dylan. Artists Kesha, St. Vincent, Kele Okereke, Valerie June, Benjamin Gibbard, and Bob Dylan have banded together to fight for equality in the music industry.  This album is available on all streaming platforms now.

  Harry Styles’ “Medicine”

Harry Styles, known most popularly for his part in the boy band One Direction, recently went on tour with his song “Medicine.”  Styles not only sings with a pride flag, but Medicine includes the lyrics “The boys and the girls are in / I mess around with him / And I’m okay with it.” Styles is one of the few groundbreaking vocalists that are not conforming to the heteronormative music industry and we should applaud him for his accomplishments on his first tour as a solo artist.

  Janelle Monae’s “PYNK”

Janelle Monae’s “PYNK” music video uses vaginal images to address complexity in queer theory and gender identity. Although she has not directly discussed her sexuality, she has expressed openly with the LGBTQ+ community and in support of the queer movements.  Her upcoming album Dirty Computer is rumored to include more vulnerable topics in the LGBTQ+ spectrum.

  Keiynan Lonsdale “Kiss the Boy”

Actor Keiynan Lonsdale released a new queer anthem “Kiss the Boy” and is currently working on a music video.  Lonsdale is very open about his sexuality and actually also acted in the queer film, Love, Simon.

  These are the top queer music highlights of 2018 so far and it's only April; it only gets queerer from here!

Pomegranate is a three-piece alternative rock band from Oakland, CA, and they’ve been working at their craft for over two decades now. In fact, this EP (having come out last year) is a twenty-one year marker on the band’s timeline since the release of their debut studio album, Don Ron. So what should one expect from The Night is Never Dark Enough, then?

The vocalist, Gavin Canaan, is best described as sounding sort of like Beck by way of Jarvis Cocker’s dryness. He’s good, though he takes on a more low-key approach to singing, avoiding flashiness. Nearly the entire project has that same mild tone to it, though, and it only pays off about 50% of the time; more specifically, I think the first and fourth tracks (“Betray Your Thoughts” and “Seven Seas”) are the standouts on this EP.

“Betray Your Thoughts” has not only the best melodies on the record but also the most prominent groove; its bassline (provided by Adam Twain) is incredibly satisfying, and frankly it borderline carries the rest of the song on its broadened shoulders. That’s not to discredit the rest of its components--it definitely has some attractive melodies and well-placed guitar overdubs to boast--but I think the bass really keeps things from getting monotonous with each repetition of verse/chorus/verse.

“Seven Seas” is an exciting closing track that truly brings out the best in every member of the group. Not only is it essentially the only time Michael Creason (drums) is able to stay interesting with his fills throughout (probably the MVP of this cut overall), but the groovy bass presence makes a return. The whole song has this natural ‘swing’ to it, and the lead guitar & vocals play off of it perfectly, riffing around and making it easily the most fun track on the CD.

Unfortunately, the middle two songs--”My Curse” and “Warm Blood”--fail to match the quality of the EP’s bookends. Each sort of suffers from the problem of, well, a lack of what makes the other two tracks fun and interesting; the chemistry between the band members really isn’t there. They aren’t bad songs, but the meander just a bit too much and render themselves forgettable, to the extent that I don’t really have anything else to say about them.

Even if it’s qualitatively lopsided, The Night is Never Dark Enough is still pretty good and short enough that it’s worth checking out anyway, if only for the first and last tracks.

On April 6th 2018, Cardi B released her highly anticipated album entitled "Invasion of Privacy." For many, this album solidified Cardi B as the new queen of rap. 

Personally, I, and many others, have grown tired of Nicki Minaj' redundant verses. Essentially, she simply raps about how she's hot, thicc, and on the top in her field. But, if you have to constantly remind us that you're on top... are you? Cardi B's album raps about real issues, and has lines that everyone can relate to, and she also has songs dedicated to making the listener feel like a bad bitch. But, theres a healthy balance, unlike Nicki Minaj of late. 

My personal favorite's from the album were "Be Careful", a song reminding her significant others, past, present and future, that she is not to be messed with. Next, "Bartier Cardi", which is an ode to her haters... she know's they're jealous of her success... and she loves it. Finally, "I Like It", where she talks about all the expensive things she likes, and can afford with her newfound fame.

Overall, with the perfect balance between sassy, salty, and humbleness. "Invasion of Privacy" has quickly made its way into my top albums of 2018 thus far. 

- Jordan McNees

#ChapmanRadio #CardiB 

Link to "Invasion of Privacy" by Cardi B

Last week, singer and actor Keiynan Lonsdale released a single entitled "Kiss The Boy", a song about his personal struggle coming to terms with his sexuality, and encouragement to others who may be struggling to live authentically. 

My favorite lines from this emotionally packed, and catchy song include: "You messing my emotions up, my air gets stuck. I'm scared to show just how I feel 'cause people talk." and "If you want to kiss the boy, then you better kiss the boy right now. You ain't got to be afraid of the words you want to say right now." - These lyrics show you the progression of Keiynan, from being nervous of how he feels and how people will percieve him, to realzing that he can't let his nerves keep him from love.

Not only is this song extremely catchy, with a chorus that will get stuck in your head, on top of a fun beat, but it's also extremely neccessary to the music industry. In these times, most love songs that are played on the radio are very gender specific. "I love her/I love him." or "The feeling of his/her lips". When these songs are targeted towards heterosexual listeners, its hard for LGBT people to identify with songs. Although I'm not proposing straight artists use gender neutral lyrics, I do encourage LGBT artists to sing their lyrics with pride. Another artist who has consistently released music for LGBT listeners is Australian pop sensation Troye Sivan.

I hope going forward, we will see a rise in music targeted towards the LGBT community, so we can relate to the love storys and heartbreaks, just like everybody else.

- Jordan McNees

#LGBT #LoveSimon #ChapmanRadio

Listen to Kiss The Boy Here:

On April 6th 2018, Cardi B released her highly anticipated album entitled "Invasion of Privacy." For many, this album solidified Cardi B as the new queen of rap. 

Personally, I, and many others, have grown tired of Nicki Minaj' redundant verses. Essentially, she simply raps about how she's hot, thicc, and on the top in her field. But, if you have to constantly remind us that you're on top... are you? Cardi B's album raps about real issues, and has lines that everyone can relate to, and she also has songs dedicated to making the listener feel like a bad bitch. But, theres a healthy balance, unlike Nicki Minaj of late. 

My personal favorite's from the album were "Be Careful", a song reminding her significant others, past, present and future, that she is not to be messed with. Next, "Bartier Cardi", which is an ode to her haters... she know's they're jealous of her success... and she loves it. Finally, "I Like It", where she talks about all the expensive things she likes, and can afford with her newfound fame.

Overall, with the perfect balance between sassy, salty, and humbleness. "Invasion of Privacy" has quickly made its way into my top albums of 2018 thus far. 

- Jordan McNees

#ChapmanRadio #CardiB 

Link to "Invasion of Privacy" by Cardi B