Tag Archives: music

Friday the 13th Black Cat Blogging – 13 June 2014

Mother Jones

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Last night I found myself idly wondering what the deal was with that iPhone ad featuring a song about chicken fat. In our glorious modern era, of course, even the idlest curiosity can be satisfied in a few seconds, so after the Miami Heat had slunk back to their locker room I came out and googled it. It turns out that I’m just barely too young to remember its origins. It was written by Meredith Willson (of Music Man fame) as part of John F. Kennedy’s physical fitness program in the early 60s and performed by Robert Preston. The idea was to send recordings to schools across the country, where it could be played for our nation’s youth in an effort to get them to shape up.

So that’s that. But in my googling I came across a few other comments about the revival of this song. I wanted to share this one from Danger Guerrero:

Okay, so there are two things going on here. The first thing is that Apple is promoting the fitness-assisting capabilities of its fancy new product by using a quirky, notable fitness-related song from over 50 years ago.

….The second and much more important thing is that apparently John F. Kennedy commissioned the creator of The Music Man to write a song that would inspire pudgy children to do push-ups, and that guy went back to Kennedy at some point after that with a song riddled with lyrics like “Nuts to the flabby guys! Go, you chicken fat, go away!,” to which Kennedy replied, presumably, “Perfect. Ship it to every school in America.” This is incredible. And can you even imagine the left-right poo-flinging that would take place on cable news if this happened today? It would be chaos. Hannity’s head might literally explode on-camera. I vote we try it.

So now you’re probably wondering what this has to do with Friday Catblogging. Nothing, really. I suppose I could make up some connection, but there isn’t one. I just felt like mentioning it. But now your patience is rewarded. Today you get to see what greets me every time I get out of the shower in the morning. A cat. Just sitting there waiting for me in the most inconvenient possible spot, so I have nowhere to step out. In other words, typical feline behavior. She seems very pleased with herself, and I think she was especially pleased today when she forced me to step over a black cat on Friday the 13th. Apparently no one has told her that if I get hit by a meteor, the cat food gravy train dries up.

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Friday the 13th Black Cat Blogging – 13 June 2014

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Contact: Producer Joe Henry on Long Marriages and Short Recording Sessions

Mother Jones

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Joe Henry at the Greenwich House Music School in New York City. Jacob Blickenstaff

Since the mid-’80s, Joe Henry has alternately worked as a musician and producer in a career that encompasses soul, avant-garde jazz, country, R&B, rock, and folk. The range of artists he’s produced—Allen Toussaint, Solomon Burke, Bonnie Raitt, Emmylou Harris, Aaron Neville, and Mose Allison among others—and the styles he has incorporated into his own music speaks to his reverence and broad understanding of American popular music as an art form.

Invisible Hour, out this week, is Henry’s 13th solo album and his first independent release since departing his long-time label Anti-. In a statement on his website, Henry says the album is about marriage and “the redemptive power of love in the face of fear.” He elaborated on the theme, and his career, during a recent chat in New York City. The following is in his words.

Just like being a musician, marriage is a constant engagement. There are moments where you have to care more about it than how either of you feel. When you commit spiritually and psychically, it doesn’t mean that you don’t make mistakes all over the place. People are seduced into thinking on that beautiful day that you’ll never have any significant problems. You think, “That couple over there, that won’t be us.” You have to let go of the idea that having a problem means somehow you’ve been betrayed. Otherwise you cut yourself off from your greatest resource, which is acceptance that you are going to encounter obstacles.

I have come to recently understand that I am not betraying the great mystery and poetry of song tradition to deliver the music as candidly as I can. With this album, I’m more consciously devoted to a particular sort of emotional clarity. I wanted to create the illusion, even if it is just an illusion, that nothing stands between the listener and the songs. I was working from an orientation of playing along with an acoustic guitar and being very orchestral in open-tunings, in real time on one instrument, enamored by the immediacy of that. I don’t think it is more authentic; I just mean there is a rumble, and weather in the air happens with the overtones of vibrating instruments in a room. I find that incredibly evocative and I wanted the record to have as close to that sensation as possible.

T-Bone Burnett was one of the first people I ever reached out to as a completely naïve singer-songwriter living in Ann Arbor. I made my first demos and was literally taking addresses off of the back of records: “T-Bone Burnett c/o Warner Brothers Records, Hollywood.” He wrote me back nonspecifically, “I lost your letter that came with this tape. I’m not really sure what you’re looking for, but it’s really great and you should keep going.” That was really what I needed, to have reached outside of my small frame and get some kind of response.

When you are just beginning, it’s amazing how little affirmation you really need, just the tiniest scrap. You’re in the desert and it’s a drop of water and you can keep going. To this day, when I get letters from people, I’m powerless not to respond. I feel like I have to let them know that they’ve been heard.

When all of us are starting out, we measure ourselves against the icons and we aren’t always aware of the ways in which we adopt somebody else’s posture. It’s like you want to be in the Boy Scouts, you think you have to put on that uniform to be authentically recognized. You live long enough and you realize, “I am part of the troop if I decide I am.” And that’s something you come to out of maturity—you can’t pregame it. The real trick is, how do you survive long enough to actually get good?

As a producer, some of my most meaningful work has come not from just sitting at home and the phone ringing one day but writing to people I’d like to work with. That’s how I wound up working with Bonnie Raitt. I sent a cold letter through her manager and I said, “If you don’t know, here’s who I am, here’s what I do, if you ever want to have a conversation or try something with no obligation, I’d be wide open to it.” I’ve gotten a lot of really meaningful work that way. I’ve had very few people who I’ve reached out to just not respond. The only people who categorically told me no were Kenny Burrell and Dr. Dre, who I wanted to produce a record of mine. I couldn’t get him to talk to me, but fair enough. I knew it was a long shot.

I make records quickly and affordably, because I believe in it. Not just because it’s economically expedient, but because I think making a record in three or four days invites a particular kind of focus and commitment that is almost invariably positive. I work with musicians who are not only willing to work that way, but love working that way, who appreciate the fact that right now this song gets revealed, conjured into the room, like a séance. It’s an exciting way to work it’s a sacred way to work, and as it turns out it’s also a really affordable way to work.

I’m stunned at how many people who live and breathe and admire the records from the ’40s, ’50s, and ’60s quickly forget that that’s how they got made. I don’t want to call out any names, but I could tell you a story of somebody revering a record from that period, pulling their hair out about their own record they spent a year and a half making. I’m saying, “You know that record that we were talking about the other day? Five of the ten songs on were recorded in one afternoon. And you are not going to get there if you are laboring over it to the point where you can’t stand the sound of it anymore. No one else is going to be able to stand the sound of it either.”

Putting this album out myself came down to this: I have had a great association with my former label, but I believe absolutely that artists should own their masters. They don’t share that view. I have nothing but respect for Brett Gurewitz, the owner of Anti-, but he has a band, Bad Religion, and I guarantee that Brett would not put out a Bad Religion record that he didn’t own the master for.

How I take a record into the world needs to be as unique as how I think about writing a song. It’s laziness or cowardice on my part not to, and then be sour at someone else when the record doesn’t do better. Bonnie Raitt—we made her last record together—she put that out on her own record label and she could’ve gone anywhere with it. I know for a fact because I had labels coming to me saying, “Is there any way you can get a meeting with her? Because she won’t talk to us.” I know she won’t. She’s not going to. This is a grand experiment for her and she is thrilled about it. At a certain point you start asking, “What am I getting for an advance that wouldn’t put me in an economy car? I am turning over my masters in perpetuity that my children ought to own. I’m better off taking out a home equity loan on my house, making my own record, and paying it off when I sell 10,000 of them, which I can.”

Everybody is trying to rebuild the model because it is not music that is broken down. People consume music more than they ever have. What is corrupt and failed is the delivery system. Good riddance to the very few labels who tell artists they aren’t allowed to work until we ordain that your work has value. When I was first starting out and there was no such thing as sitting at home with a computer with a great microphone, I sat on my hands until a label would give me the tiniest scrap to go try to do any goddamn thing. The thought takes root is that you don’t matter and your work can’t possibly matter. People say now any kid with a laptop can go sit in his basement and make a record. Yeah! How about it? It doesn’t have to sell 10 million copies to be meaningful.

“Contact” is an occasional series of artist portraits and interviews by Jacob Blickenstaff.

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Contact: Producer Joe Henry on Long Marriages and Short Recording Sessions

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This Is Why You Have No Business Challenging Scientific Experts

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Harry Collins, a founder of the field of “science studies,” explains why we should listen to scientists on climate change, vaccines, and HIV-AIDS. Jenny McCarthy, who once remarked that she began her autism research at the “University of Google.” Scott Roth/Invision/AP Remember “Climategate“? It was the 2009 nonscandal scandal in which a trove of climate scientists’ emails, pilfered from the University of East Anglia in the UK, were used to call all of modern climate research into question. Why? Largely because a cursory reading of those emails—showing, for example, climate scientists frankly discussing how to respond to burdensome data requests and attacks on their work—revealed a side of researchers that most people aren’t really used to seeing. Suddenly, these “experts” looked more like ordinary human beings who speak their minds, who sometimes have emotions and rivalries with one another, and (shocker) don’t really like people who question the validity of their knowledge. In other words, Climategate demonstrated something that sociologists of science have know for some time—that scientists are mortals, just like all the rest of us. “What was being exposed was not something special and local but ‘business as usual’ across the whole scientific world,” writes Cardiff University scholar Harry Collins, one of the original founders of the field of “science studies,” in his masterful new book, Are We All Scientific Experts Now? But that means that Climategate didn’t undermine the case for human-caused global warming at all, says Collins. Rather, it demonstrated why it is so hard for ordinary citizens to understand what is going on inside the scientific community—much less to snipe and criticize it from the outside. They simply don’t grasp how researchers work on a day-to-day basis, or what kind of shared knowledge exists within the group. That’s a case that Collins makes not only about the climate issue, but also to rebut vaccine deniers, HIV-AIDS skeptics, and all manner of scientific cranks and mavericks. All of them, he argues, are failing to understand what’s so important and powerful about a group of experts coming to a scientific consensus. “If we devalue scientific attitudes and scientific values, we’re going to find ourselves living in an unpleasant society,” explains Collins on the latest episode of the Inquiring Minds podcast. Defenses of scientific expertise have been published before—but the source of this particular defense is what is likely to surprise a lot of people. There was a time, after all, when people like Collins—sociologists, anthropologists, historians, and other scholars studying science itself—were deemed to be researchers’ worst enemies, rather than their staunchest defenders. The so-called “science wars” between these two camps peaked with the 1996 “Sokal Hoax,” in which one New York University physicist, Alan Sokal, got so fed up with so-called “postmodern” critics of scientific knowledge that he spoofed them by submitting a gibberish-laden article, entitled “Transgressing the Boundaries: Towards a Transformative Hermeneutics of Quantum Gravity,” to one of their own journals. The paper got published, to Sokal’s delight. Harry Collins. For hard scientists like Sokal, science studies scholars were wrongly asserting that since it occurs in a cultural context and is heavily influenced by many nonscientific factors (the gender and race of researchers, for instance), science doesn’t really have any special claim to objective knowledge. Rather, scientific expertise was deemed to be just as contingent, just as sociologically determined, as anyone else’s belief system. That’s why it’s so significant to find Collins, in his new book, laying out a robust defense of scientific expertise and arguing, as he puts it, that “scientists are a special group of people…in terms of the values that drive their lives and their aspirations in respect of how they live their lives.” That’s not to say that Collins thinks the sociological study of science, which he and his colleagues pioneered, was a worthless endeavor. Coming out of the 1950s heyday, he argues, scientists were treated as almost mythic luminaries and geniuses who couldn’t be questioned. And that just wasn’t accurate. “What we were doing was saying things like, ‘Let’s get away from the mythological picture of science, the myth of what goes on in the lab, and let’s go and talk to scientists,’” explains Collins. In Collins’ case, he embedded for over a decade with the community of gravitational wave physicists, becoming so familiar with their culture that he was actually able, in an experiment, to trick expert physicists into thinking he was really one of them. Through such careful investigations, Collins and his colleagues were able to debunk a variety of myths about science, including the idea that it is full of instantaneous strokes of genius or “eureka moments”—as well as the myth that scientists always follow the data where it leads, rather than clinging to older but established paradigms in the face of new evidence. A book that played a major role in kicking off the science studies wave, after all, was Thomas Kuhn’s 1962 classic The Structure of Scientific Revolutions, which showed how older communities of scientists initially resisted new knowledge, from the Copernican revolution all the way to the Einsteinian one. The upshot is that while the scientific process works in the long run, in the shorter term it is very messy—full of foibles, errors, confusions, and personalities. So it’s not that Collins now repudiates his older research. He just thinks some scholars took it all too far, winding up in radically postmodernist positions that really did seem to devalue expertise and scientific knowledge. “It just seemed to me that we were moving into a position where, at least in the narrow academic world of my colleagues, it was ceasing to be possible to talk about experts,” says Collins. “If you said, ‘So and so is an expert,’ you were accused of being an elitist.” Collins’ new book is, in essence, a thorough answer to this objection. Based in significant part on the so-called “Periodic Table of Expertises” that he and his colleagues at Cardiff developed, Collins carefully delineates between different types of claims to knowledge. And in the process, he rescues the idea that there’s something very special about being a member of an expert, scientific community, which cannot be duplicated by people like vaccine critic Jenny McCarthy, who told Time magazine in 2009 that “I do believe sadly it’s going to take some diseases coming back to realize that we need to change and develop vaccines that are safe.” And why would McCarthy think, in the face of scientific consensus, that the current ones aren’t? Well, she once remarked that she began her autism research at the “University of Google.” Read all the online stuff you want, Collins argues—or even read the professional scientific literature from the perspective of an outsider or amateur. You’ll absorb a lot of information, but you’ll still never have what he terms “interactional expertise,” which is the sort of expertise developed by getting to know a community of scientists intimately, and getting a feeling for what they think. “If you get your information only from the journals, you can’t tell whether a paper is being taken seriously by the scientific community or not,” says Collins. “You cannot get a good picture of what is going on in science from the literature,” he continues. And of course, biased and ideological internet commentaries on that literature are more dangerous still. That’s why we can’t listen to climate change skeptics or creationists. It’s why vaccine deniers don’t have a leg to stand on. And, in a somewhat older example, that’s why what happened in South Africa, when president Thabo Mbeki rejected the scientific consensus on what causes HIV-AIDS and opted to base government policies on the views of a few scientific outliers, is so troubling. To justify the decision not to distribute anti-retroviral AIDS drugs, says Collins, Mbeki “told his parliamentary colleagues to read the internet, and they’d see that there was a controversy about the safety of anti-retroviral drugs. There was no controversy. There was a controversy on the internet, but there was no controversy in mainstream science any longer. It had long, long, long passed its sell-by date.” Interactional scientific expertise, says Collins, is what allows you to know that—and if you don’t have it, you are really not in any position to call into question mainstream knowledge. The same goes for Climategate. For instance, one of the most attacked emails was one that was simply misunderstood by its attackers. The email referred to ”Mike’s Nature trick…to hide the decline,” and it was assumed on this basis that scientists were doing something underhanded to suppress the fact that temperatures were supposedly declining. But that’s just incorrect, as you would have known if you were part of the community of scientists doing the research. The “decline” being referred to wasn’t even about global temperatures at all, but rather, a decline in the growth of certain trees whose rings were being used to infer past temperatures. “What the scientists meant by ‘trick’ was ‘a neat trick’—’Hey, that was a really good piece of science,’” explains Collins. “Whereas the public were interpreting it as something tricky, disreputable, and underhand. So you’ve got to know the context in order to interpret what the very words mean, and you can only know the context by once again, being part of the oral culture of science.” And then, finally, there is the vaccine issue. Here, Collins is perhaps at his strongest. Once again, there are smatterings of science that vaccine skeptics can cite, most of all, the now-retracted 1998 Lancet study that ignited the modern anti-vaccine furor. But that doesn’t put them in a position to judge the state of scientific expertise about vaccines, or to call into question an existing consensus about their safety. And in this case, ignoring or attacking expertise can be downright deadly. “We still have the measles epidemic in this country,” Collins says, “which was the result of people rebelling against injecting their children with MMR, on the basis of what’s, again, a complete piece of scientific trash.” So can Collins’ new book, and his notion of “interactional expertise,” help reunite two communities of scholars who have been at loggerheads for too long—scientists and those in the humanities who study them? Collins certainly hopes so. “What I’m trying to do in the book is to find…a way of revaluing science,” he says, “of putting science back into the center of our society—but without rejecting all the great work that was done from the ’70s onward, and without going back to the mythical 1950′s picture of science.” To listen to the full Inquiring Minds interview with Harry Collins, you can stream here: This episode of Inquiring Minds, a podcast hosted by neuroscientist and musician Indre Viskontas and best-selling author Chris Mooney, also features a discussion of thescientifically problematic exclusion of the elderly from clinical trials for new drugs, and abizarre viral spoof article claiming that solar panels are draining the sun’s energy (seriously). To catch future shows right when they are released, subscribe to Inquiring Minds via iTunesor RSS. We are also available on Stitcher and on Swell. You can follow the show on Twitter at @inquiringshow and like us on Facebook. Inquiring Minds was also recently singled out as one of the “Best of 2013″ on iTunes—you can learn more here.

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This Is Why You Have No Business Challenging Scientific Experts

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This Is Why You Have No Business Challenging Scientific Experts

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Lana Del Rey Cares Way More About “Intergalactic Possibilities” Than Boring, Old Feminism

Mother Jones

Famous singer-songwriter Lana Del Rey has a weird quote about “feminism” (and space exploration, I think) in the latest Fader cover story. Digest it here:

For me, the issue of feminism is just not an interesting concept. I’m more interested in, you know, SpaceX and Tesla, what’s going to happen with our intergalactic possibilities. Whenever people bring up feminism, I’m like, god. I’m just not really that interested…My idea of a true feminist is a woman who feels free enough to do whatever she wants.

Okay.

The 27-year-old singer joins a chorus of female celebrities, including actress Shailene Woodley, who distance themselves from feminism, or from describing themselves as feminists. This is strange to hear (whether the famous person is female or male), simply because your average dictionary is very straightforward about the definition of the term “feminism.” It is as follows:

The belief that men and women should have equal rights and opportunities.

It’s really that simple: Words have meanings. Maybe too many of us have, over the years, conflated the word “feminist” with “extreme, radical, militant, War-On-Men-waging individual?” I dunno. Anyway, Ann Friedman explains this general topic better than I ever could, and you should read her piece here.

(H/t Matt Zeitlin)

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Lana Del Rey Cares Way More About “Intergalactic Possibilities” Than Boring, Old Feminism

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For Hank Williams Fans, These Radio Recordings Are a Must-Own

Mother Jones

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Hank Williams
The Garden Spot Recordings, 1950
Omnivore

For someone who passed away in 1953, country-music giant Hank Williams has been awfully productive recently. In 2011, a massive 15-CD set of his radio recordings for Mother’s Best Flour expanded the canon in a major way. Now, here’s a single-disc collection of four radio shows sponsored by Naughton Farms plant nurseries, and it’s a delight. Along with Williams classics like “Lovesick Blues,” “Wedding Bells” and “Mind Your Own Business,” The Garden Spot Recordings, 1950 also features lesser-known gems such as “I’ll Be a Bachelor ‘Til I Die” and “I Don’t Care (If Tomorrow Never Comes).” Add a dash of folksy chatter, a consistently hot band, and amazingly good sound given that the source material is ancient transcription discs, and the result is a must for fans of the “Hillbilly Shakespeare.”

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For Hank Williams Fans, These Radio Recordings Are a Must-Own

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‘In Eighteen Hundred Sixty Four the Burying Began’ – Arlington Cemetery at 150

One hundred fifty years after the first burial at Arlington, the national cemetery is running short of room. Continue reading: ‘In Eighteen Hundred Sixty Four the Burying Began’ – Arlington Cemetery at 150 Related ArticlesPope Francis: ‘We Are Custodians of Creation’Research on Malaria-Resistant Children in Tanzania Leads to Promising New Vaccine TargetGavin Schmidt on Why Climate Models are Wrong, and Valuable

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‘In Eighteen Hundred Sixty Four the Burying Began’ – Arlington Cemetery at 150

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Wye Oak Is Back, and They’re Not Playing it Safe

Mother Jones

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Wye Oak
Shriek
Merge

When a bandleader’s side project starts to influence her primary job, that sometimes means the original group has run out of steam and is headed for mothballs. Happily, that isn’t the case with the Baltimore folk-pop duo Wye Oak. Singer Jenn Wasner has returned from her detour in the groove-oriented Dungeonesse with renewed energy, rejoining Andy Stack to create Wye Oak 2.0, which replaces guitars with synths. The result is a deceptively subtle—and pleasing—blend of old and new. You can dance to the songs on Shriek, sometimes, but a look beneath the shiny surface reveals the same inventive melodies and thoughtful lyrics that made Wye Oak so rewarding in the first place. While purists might object, Wasner and Stack have done the band and its listeners a service by refusing to play it safe.

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Wye Oak Is Back, and They’re Not Playing it Safe

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Survival Knife’s "Loose Power" Is Tense, Fresh, and Anything But Predicatable

Mother Jones

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Survival Knife
Loose Power
Glacial Pace

Folks who have belatedly discovered the great ’90s northwest band Unwound via its current reissue series will want to know about Survival Knife. Reuniting Unwound alumni Justin Trosper and Brandt Sandeno, this high-powered quartet updates their tense, knotty music without a hint of tedious nostalgia. Ranging from social commentary to confessional angst, the taut songs on Loose Power offer a surprisingly fresh hybrid of punk, metal and even progressive rock, incorporating influences from Metallica to Chuck Berry into their flexible sound. In the starring role, Trosper remains a compelling frontman, whose stoic vocals and twisty guitar riffs never settle into a predictable groove, revealing new facets with each hearing.

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Survival Knife’s "Loose Power" Is Tense, Fresh, and Anything But Predicatable

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Why surfers care about plastics in the ocean (explained in a single photo)

This photo sums it up. Rise above plastics. Originally posted here:  Why surfers care about plastics in the ocean (explained in a single photo) ; ;Related ArticlesCalifornia nears a tipping point with single-use plasticsOutside the bubbleSan Francisco phases out single-use plastic water bottles on municipal property ;

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Why surfers care about plastics in the ocean (explained in a single photo)

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The Story Behind That Radio Station Heroically Playing Nelly’s "Hot in Herre" For Three Days Straight

Mother Jones

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Over the weekend, Latino Mix 105.7, a Univision-owned radio station in San Francisco, captured the hearts and lazy imagination of the internet. “There once was a film called Life is Beautiful about Nelly’s ‘Hot in Herre‘ being looped on a radio station for 24 straight hours and now that movie has come to life,” gushed Gawker. (Life is Beautiful is actually a movie about the Holocaust and the enduring love of family.) In the widely covered stunt, the station started playing “Hot in Herre” sic around 3 p.m. PST on Friday and then just… kept going. The song wasn’t taken off repeat until Monday evening, shortly after 5 p.m. PST. “San Francisco radio station Latino Mix FM 105.7 has been doing its best to torture Bay Area listeners,” the San Jose Mercury News reported on Monday.

“Hot in Herre” (click here for lyrics) was a smash-hit song for St. Louis rapper Nelly in 2002. It was described as “the perfect summer jam” by People. It’s a song so inextricably tied to the early Bush era that you can read about US Marines singing it as they moved into combat in Iraq. (This moment, from journalist Evan Wright’s book Generation Kill, was recreated in the HBO miniseries of the same name.) The song was featured in a 2012 Super Bowl ad starring Elton John as a tyrannical but violently overthrown king.

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The Story Behind That Radio Station Heroically Playing Nelly’s "Hot in Herre" For Three Days Straight

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