By Jess Santacroce
Music Writer, 955 The Heat, Phoenix Radio

In recent years, tipping has grown into a controversial issue. Some argue that too many people expect tips today, and that tip amounts have grown much too high, while others counter that without tips, the people working would not be able to make anywhere near a reasonable income for the work they are doing. Artists, and musicians in particular, are often caught up in this issue from both sides.

While it is always the final decision of the person giving the tip, there are certain situations in which a musician can expect a tip, some in which they can be hoped for but not expected, and some times that a musician would be expected to be the one giving the tip during the course of their work week.

You are performing live and offline at a paid gig. The performance goes as expected.

Performing the music you were expecting to perform for pay may or may not get you a tip. When you made arrangements to perform for your client, you likely either agreed to a percentage of the ticket sales, a percentage of the bar tab, or a flat fee. Whatever agreement was reached, this is what you are owed.

Should your client decide to tip you, they will likely pay you an additional 15% of your total fee for the event. This money is typically given after the event. Audience members are not expected to tip at most performances. If tipping is a part of the event you are working, the owner or manager will make an announcement and provide a tip jar, but audience members are under no obligation to put money in that jar. When they do, most tip anywhere from $1.00-$5.00 on their way out.

During the paid performance, audience members request songs. You honor their requests.

According to the website “etiquette scholar,” your client is not expected to offer any additional tip money, but audience members should tip musicians at least $1.00 every time their request for a song is honored. Like all tipping, this is optional, so it is entirely possible that someone may sit there and demand songs all night, and not pay anything for the extra personal service you just provided, but it is customary.

After the performance, you stop at a diner or other sit-down restaurant for a meal or snack.

Sometime in the past few years, the standard tip for a sit-down meal or snack has grown from 15% of the total bill to 20% of the total bill. Tipping 15% might make the server think they provided bad service. If your gig ended very late, and you’re running in the door at the last minute, you might even want to increase that tip to 25%, as the server was probably planning on doing their closing duties at that time.

During a break at rehearsal for your next performance, everyone takes a coffee and pastry or small snack break at a cafe.

Five searches for this information will generate ten different answers, but many seem to agree that 10% is the standard tip for service when you place the order at the counter, and either wait for it there, or the person brings you your order. If your band or other group has only ordered smoothies, sodas, or coffees, $1.00-$2.00 per drink is a standard tip. As with all tipping, this should be adjusted according to the amount of work it took to serve each person. If one person orders a cup of brewed coffee with two sugars, tipping the person who brings it to the table $1.00 is fine. If someone else wants a large latte with three pumps of vanilla syrup, extra foam, and a light sprinkle of cinnamon on top, they might want to tip $2.00 for that drink.

Everyone goes back to someone’s house or hotel room after the gig and orders food from UberEats, GrubHub, Door Dash, Postmates, or another food delivery app.

The topic of tipping can generate anger today, and tipping on food delivery apps can be especially upsetting. You’re likely already paying more for the food and drinks than what you would pay if you went to the restaurant. The corporation that owns the app is charging you a service fee, and in most cases, a delivery fee on top of that. Then they have the nerve to embed an obnoxious popup demanding you tip your driver several more dollars.

If the fees give you a bit of a shock, tip as much as you can, but if at all possible, tip 15%-20% of the total bill. The same holds true if the order contains non-food items. Just don’t tip low out of anger. The corporation that owns the app gets all the fees, and the driver gets the tip money. If you refuse to tip, or tip a small amount because the total upset you, all you’re doing is punishing the driver for something corporate did.

Somebody needs a ride to and/or from the performance, and must rely on Uber or Lyft

The cost of getting a ride through a ride share app is often startlingly high and only seems to be rising. A simple ride from a residential area of New Hartford to the Target can cost just under $20.00 one way. Seeing this pop up on your phone screen can make the idea of tipping seem preposterous.

But like food delivery from the same company, the driver in no way benefits from any fees tacked onto the ride and gets a tiny percentage of the fare. Withholding a tip only punishes a person who is just trying to earn some money, just as you are when you perform for money or work your own day job or side hustle. Try to tip at least 15% to 20% of your fare.

Tipping is controversial today. You may find people reluctant to tip during or after your performance due to frustration over feeling like they’re asked to tip for anything and everything today. At the same time, when it’s your turn to be the potential tip giver, you just might be one of those people who feels like you’re being asked for a tip everywhere you turn. Perhaps the best way to cope is to keep current on expectations, but err on the side of both grace and generosity.

By Jess Santacroce
Music Writer, 955 The Heat, Phoenix Radio
​ As June arrives, it brings with it large outdoor concerts and other music filled events. It is also a month designated to celebrate numerous communities, cultures, and historical events, including but not limited to LGBTQ Pride month, the Juneteenth holiday, Caribbean-American heritage month, and Filipino-American heritage month. For most people, this adds up to the opportunity to display solidarity and healthy pride in a community we belong to, or to learn more about and honor members of a community that may not include us, but definitely includes some of our friends, neighbors, family members, coworkers, or members of our church.
For others, culturally based summer music festivals become twisted into an excuse to express bigotry, hatred, and fear of any community they are not a part of. On June 1, the Pittsburgh Post-Gazette’s coverage of its city’s LGBTQ pride month kickoff received comments such as “Happy mental instability month,” That is a sick day and I could puke,” and “Insane people are bored.” Those are just the ones that could be repeated without posting a content warning on this blog. Many more remarks included graphic references to the imagined private lives of strangers. Utica’s posts about upcoming Juneteenth celebrations received comments calling the event “pathetic” and “lame.” While the internet does give people that “tucked away” feeling that allows them to express things they might not express offline where unwanted consequences might go beyond an angry written reply, it is possible, especially in the social climate of 2025, for people harboring these sentiments to show up in person at an event. Taking steps to keep each other safe at these events must be a top priority.

Before the event

Ideally, you will want to attend any large public gathering in a group. It does not have to be a large group, but avoid going alone if at all possible. Everybody in your group should make sure to fully charge their cell phones before the event, and bring them along. Our phones may have a well-deserved reputation for allowing us to ignore and disregard each other, but they can also serve as an important safety device. Make sure everyone in the group has each other’s number or easily accessible chat app account programmed into their phone.
We all know about dressing for the weather and using sunscreen and insect repellent, but make sure everyone wears clothing and shoes they can easily move in should they need to exit the event quickly in case of an emergency. Fitted skirts, narrow heels that get stuck in soft ground, and overly bulky clothing may be difficult to move in. Anything you bring with you, such as a chair or a bag should either be something you can easily carry or something you are willing to leave behind.
Spend a few minutes before arriving at the event to agree on a plan in case you get separated from members of your group. Choose a spot that’s easy for everyone to find and remember and agree to meet there at a certain time, and make sure everyone knows when and where that is and is willing to take it seriously.

During the concert or other music event

As soon as you arrive at the event, note the exits. If the event is an indoor/outdoor event, the exit signs for anything held indoors will of course be marked. When you are outdoors, the exit areas are going to be the edges of the space reserved for the event. You will also want to visually scan the area to find law enforcement or other security personnel. As the music begins, most of your attention will of course be on the performers onstage. This is the entire point of the event, and there is no need to ruin your own evening constantly monitoring everyone and everything in the crowd. Event security is there for that purpose, and you should absolutely enjoy yourself and your time with your family and friends.
This does not mean you should become oblivious to the people in the crowd with you. Should you spot one or more people displaying behaviors that may indicate a plan to behave violently, alert security and prepare to leave the event. These behaviors include appearing to spy on or intently watch certain people or those in a certain community, carrying or wearing excessively bulky items or clothing, or taking videos or pictures of things not normally kept as keepsakes by audience members, such as vents of nearby buildings or the security area.
Some of us may have fantasies of rising to social media fame by loudly and cleverly confronting anyone who infiltrates an event and begins mocking, threatening, demeaning, or insulting the community or communities featured at the event. We picture our words being filmed, posted to YouTube, and bringing the troublemaker and everyone who agrees with them to worldwide shame Those fantasies are just that, fantasies. Resist the temptation to confront anybody who decides to become verbally abusive or combative in the crowd. What seems like it should be humiliating to you is likely exactly what this type of person wants to happen. It gives them an excuse to escalate their behavior, allows them to see that they have upset you, and brings them added attention.
Instead, move quickly and quietly to the exit areas and alert security or law enforcement on your way out. If you are able to do so without drawing the attention of the person or their allies, quietly document the incident on your phone. Film the incident if you can. If not, try to at least get an audio recording. This material will be useful should you need to file a police report or offer any additional evidence of the incident.

Once everyone is safely home

Now is the time to network with others in your community. Reach out to groups and individuals who oppose the type of sentiments the event disrupter expressed, and plan additional events and service projects. If appropriate, reach out to anyone who was harmed in any way and offer support to that person.
It is probably temping to post the video you or someone in your group took now that you are safely away from the situation. Take some time to think things over before you do this, as it will have mixed consequences. Posting a video of someone behaving in a hostile or demeaning manner targeting a certain group will expose that person to others who were not at the event. At the same time, remember that the person or people you filmed may experience any type of attention as a reward. You and your family, friends, and coworkers posting their video and speaking out against them online might be exactly what they were hoping for in order to further inspire their own base.


Let’s keep each other safe as we celebrate with music this summer.

By Jess Santacroce
Music Writer, 955 the Heat, Phoenix Radio 
​
 Music fans know that music itself is vital to our lives. We use it for everything from marking our happiest moments in life to helping us through the worst, expressing our opinions, or even just setting a mood or providing entertainment. We even know that music has permeated our language, with expressions such as “like a broken record,” describing someone who talks about the same thing all the time or repeats the same information, or “music to my ears,” to refer to hearing something you wanted to hear. But there are a few words or phrases even the most devoted music fans may not realize stem from or at least were heavily popularized by music.

Pull out all the stops

Although this one isn’t used quite as much these days, saying that you “pulled out all the stops,” means that you did all you could to reach a goal, that you made every effort possible to get something done. If the web page you’re reading right now goes down, and everyone here on “the heat squad” calls everyone we know with any background in computers until the page is up and running again, we can say we “pulled out all the stops” to fix the page.
The wording of the phrase may sound like it has something to do with transportation, with stopping at every stop, or like it may refer to “stopping what you’re doing,” repeatedly, but neither of those things are accurate. The “stops” in “pull out all the stops” are the “stops” on an organ. When you pull out all the stops, the organ does the most it can do, as it produces the loudest sound the instrument can possibly make.

Your forte

Your “forte” is your strength, or something you are particularly good at. When “not” is added to it, as in “not my forte,” it then refers to something you are especially bad at doing. If I am good enough to make my living as a writer, I can say, “Writing is my forte.” If I am also aware that I would struggle to pass a high school math class at fifty years old, I would say “Math is not my forte,” or even “Math is very much not my forte.”

While the term actually originates from fencing, that pronunciation is actually “fort,” with a very soft “t” sound. The way we pronounce the word when we say something is “our forte” or “not our forte” as “four-tay,” comes from the Italian for “strong,” and is most commonly associated with music.
As anyone who plays and/or reads music knows, “forte” refers to playing in a very forceful, loud, or strong manner.

Bling

“Bling” is a relatively recent slang word, first widely heard in the 1990s. It of course refers to very flashy and expensive jewelry, usually diamonds and gold, though any necklace, ring, bracelet, earring, pin, or chain can be described as “bling” if it stands out as costing a lot of money. Some people use the term “bling” to describe any shiny jewelry or accessory, such as saying a pair of shoes or a dress accented with rhinestones has “some bling” or “a little bling,” but most “bling” costs or is worth a lot of money.

In the 2000’s the term took a derogatory turn, as it became associated with showing off to a criminal degree….literally. “The bling ring,” was a nickname given to a group of middle class and moderately wealthy kids living in Calabasas in 2008-2009. Although none of these kids were anywhere near poor, they were not as wealthy as most of their peers in this most exclusive neighborhood of Los Angeles. Rather than getting jobs and saving up for what they wanted, these kids decided that breaking into celebrities’ homes and stealing their designer clothes and bags, cash, and jewelry was a better way to show off for their classmates. The term may always be associated with these individuals now, but this is not where it originated. Before the widely publicized case, the word “bling,” was used in song lyrics to describe expensive jewelry.

Rapper B.G. of Cash Money Millionaires is credited with coining the phrase in 1999 in the song “Bling Bling.” The song features several lines that start with “bling bling,” including one about a “pinky ring worth about fifty.”

YOLO

This one quickly went from catchy and cute to annoying to something to be avoided. Today, “YOLO,” meaning “you only live once” is often used as an excuse for making poor choices. One of the more recent sightings of YOLO was on the YouTube channel, “Social Symone,” a platform the host, Symone, uses to call attention to and critique many of the poor financial decisions people make today.

Her May 17, 2025 video titled “You scream YOLO but you’re broke,” features a woman who refuses to save money, budget, or pay that much attention to her bills because she wants to spend in order to live her best life now, arguing that “you only live once...yolo.”
Of course, people have been saying “You only live once,” to both make excuses and encourage beneficial choices others are reluctant to make, for many years. However, expressing it verbally using the acronym YOLO comes not from excuse-makers on social media, but from music.

Canadian rapper Drake first voiced the classic phrase “you only live once” as “YOLO” on his 2011 song “The Motto.”
​
Let’s see what words music will give us next. 

by Jess Santacroce
Music Writer, 955 The Heat, Phoenix Radio

 At midnight on May 19/May 20, 2015, the Heat Beat mascot, a four and a half pound Chorkie, Miss Callie Santacroce, was born. Today Callie spends her days providing love, comfort, and an iron paw that keeps the day organized as each edition of “The Heat Beat” is written.
To celebrate her tenth birthday this week and wish her many more, this edition of “The Heat Beat” is dedicated to Callie, with a top five list of songs about dogs.

The songs on this list span genres and are in no particular order.

Martha My Dear: The Beatles

On the surface, this does not seem to be a song about a dog. The lyrics mention encouragement for Martha to hold out her “hand,” not a paw. They go on to remind Martha to “be good to me.” These details led listeners to speculate that the song was about Paul McCartney’s girlfriend at the time the song was written and released, a woman whose name was not Martha, but Jane.
In later interviews, however, Sir Paul McCartney has confirmed that the “silly girl” he sings of so lovingly was not a girlfriend, but Martha, his Old English Sheepdog.

Everything by the Beatles stands out, but “Martha My Dear” is a particularly enduring and endearing dog song, as it perfectly creates an image of a playful, loving and very loved dog in the listener’s mind.

Man of the Hour: Norah Jones

Like “Martha My Dear,” the lyrics of “Man of the Hour,” start out in a way that might make some listeners think the narrator is singing about romantic relationships. She describes two problematic potential boyfriends, noting she cannot decide between guys with these two issues. The song goes on to detail the narrator’s decision to instead choose neither of them, refuse to put up with any potential relationship issues, and instead choose her dog.

This of course means the narrator/singer will have to give up romantic love, but she’s fine with that. The trade-off is worth it. In the end, she asks her dog to be her “only man of the hour,” and he responds with a “yes” in the form of a bark as the song closes.

Searches for “Jazz songs about dogs,” will bring up a fair amount of results, including some full playlists, but most of the songs featured only use dogs, traits associated with dogs, and the word “dog” to describe or allude to human traits or behavior. “Man of the Hour” stands out as one of the few that is not only about an actual dog, but was written for a real dog, Jones’ poodle named “Ralph.”

My Dog and Me: John Hiatt

The lyrics of “My dog and me,” leave no room to question if the song is about a dog or a person. It is the straightforward story of spending a day in the outdoors with a dog, beginning with a description of the dog marking their trail and asking “How many times can one dog pee?”

​Despite the opening, the main character in the song has no real complaints about their dog. The rest of the lyrics go on to detail the feeling of freedom the narrator has when spending a day outdoors with their dog. Of course every dog owner does not enjoy outdoor activities, and all dogs will not run along a trail as the dog described in this song does, but the song is relatable to anyone who loves to spend time with their dog, as we can all relate to a relaxing afternoon just hanging out with our canine best friend.

I Love My Dog: Sublime

“Sublime” in its original lineup was on the music scene from 1988-1996, ending with the death of lead guitarist and singer Bradley Nowell from a heroin overdose at the age of 26. Perhaps best known for their 1996 songs “Santeria” and “What I Got” the band blended elements of ska, punk, reggae, and other genres to create their unique sound.

Although his life was tragically cut short, Nowell’s fans can look back on one memorable bright spot, his Dalmation, King Louie, nicknamed “LouDog.” King Louie is mentioned in “What I Got,” and can be seen in several of the band’s videos, as he served as their mascot.

King Louie/LouDog was reportedly adopted by the band’s manager following Nowell’s death, and himself passed away at age 12 in 2001. (Typical of larger breeds, Dalmations have a shorter lifespan than the typical expectation of 15-18, with most living to be only 11-13 years old. LouDog had a long life for his breed).

The song “I Love My Dog” was written about a week that LouDog went missing in the early 1990s. They announce simply that the narrator, who we know to be Nowell writing about himself and his real life, loves his dog and has to keep going on.

Cold Wet Nose (Teala’s Song): Kevin Keating

Utica musician Kevin Keating has written and posted three songs about his dogs on his YouTube channel as of the writing of this article. Each song is about one of his Border Collies who has since passed away. There is “Forever Home (Dolly’s Song), “One More Walk” about the passing of Teala, and “Cold Wet Nose” about the love and support Teala provided to him.

In “Cold Wet Nose,” Keating describes a dog who was by his side and keeping him smiling and happy with the” love behind her cold wet nose,” even through his toughest times.

Whether remembering a beloved pet who now waits in Heaven, honoring the best friend beside you, or looking forward to getting a new dog, pet parents can certainly relate to “Cold Wet Nose,” and its portrayal of a dog as a constant companion through it all.


While most songs are written about human relationships, dogs can have an immense impact on music, whether that be through comforting us through the ups and downs of our relationships with other people, keeping us company throughout our day, or serving as a mascot and inspiration for a song.

by Jess Santacroce
Music Writer, 955 The Heat, Phoenix Radio

Regardless of your career path, the fear of being replaced by artificial intelligence or AI, is common to most fields. Some even worry that the arts will be taken over by AI. While voices can be mimicked, simple jingles can be produced, and parts of songs can certainly be enhanced using artificial intelligence, the features that make music vital to our lives are the same ones that protect musicians from ever being replaced by AI.

AI will never write a song in response to something that happens to it or to someone else

Most lyrics have something to do with some form of strong feelings for or about something. . Romantic songs may be about anything from crushes to forever love between two people. Protest songs reflect feelings of anger, fear, and a desire for justice. Sadness, grief, longing, joy, love and gratitude, reverence for God, and even guilt, dread, or terror are all commonly expressed through song lyrics.

AI content generators can put together words commonly associated with all of those things, but it can never truly feel anything, or respond to a human being the way another human being can.

Jason DeFord, known professionally as “Jelly Roll,” has risen to fame among fans of R&B, Hip-Hop, Rap, Country, and Christian Contemporary music. In “Creature,” featuring Krizz Kaliko and Tech N9ne, DeFord draws parallels between the mythical “boogeyman” and “monsters in closets” from childhood and the song’s main character’s own bad choices with the line “The monster that’s outside my window, he’s like family to me now.”

This song, like much of Jelly Roll’s music, is described as reflective of his own struggles with addiction and past criminal behavior. When a listener hears “Creature” or another Jelly Roll song, they only enjoy listening to the music, they can both reflect on the inspiration behind it, and anything from their own lives or the lives of others they are familiar with to form an emotional connection with the song.

When prompted to write a song about addiction, chat gpt simply generated a basic song with the line, “I’m chasing the ghost, I’m chasing the high,” both common terms to refer to drug addiction, “chasing the ghost” being an especially common term used and explained around the internet.

Music enthusiasts do not only like individual songs, we like artists and bands

Jelly Roll’s music may have struck a particularly deep connection with fans who struggle with addiction and other serious issues, but he is far from the only artist whose music has formed a sort of community based around it.

Perhaps the most famous is “Deadhead” subculture. Beginning in the 1970s and lasting into the present day, people known as “Deadheads,” are devoted fans of the band The Grateful Dead, a band that has inspired them to adopt the values and aesthetic of the mid 1960’s-early 1970’s counterculture. Deadheads value peace, sharing, and a sense of community, and tend to favor a “hippie” or “bohemian” style in dress and atmosphere. While the original group disbanded in 1995 due to the death of Jerry Garcia, Deadheads have gathered as recently as 2024 for performances by “Dead & Company,” comprised of former members of the Grateful Dead with the addition of John Mayer.

Taylor Swift’s most ardent fans refer to themselves as “Swifties,” reflecting their enthusiasm for not only listening to Taylor Swift’s music, but attending her extravagant live shows. YouTube content creators Lizze Gordon and Ryland Adams even created multiple “days in our life” reality-show style videos centered around their efforts to see as many concerts on Swift’s “Eras” tour as possible.

In 2021, pop/rock band Train performed at the Great New York State Fair at Chevy Park. Among the crowd were young girls wearing homemade T-shirts declaring themselves “soul sisters,” in reference to the band’s 2009 song “Hey Soul Sister.”

Other artists’ collective music and their associated personas, styles, and genres inspire individuals to change their lives. The current Amazon fashion and style series “Wear whatever the <expletive reference> you want,” includes one episode featuring a man who was helped through his struggles with an eating disorder by punk music, and one with a woman who is finding her style and identity in part because of her love of country superstar Dolly Parton.

No AI content bot will ever generate a subculture, create a sense of community, or support someone through long-term healing and emotional growth.

The limited capabilities of AI content generators result in lower quality work

Anyone watching or reading the national news today knows that President Trump’s tariffs are a current divisive issue. When prompted to write an anti-tariff protest song, the AI content generator chatgpt’s first offering included lyrics it described as being “in the spirit of Bob Dylan and Woody Guthrie,” and then appeared to mimic both artists. Microsoft copilot wrote “Once we traded far and free, built a bridge across the sea.”

When the same content generator was asked for a song about being a writing teacher for ten years, it came up with “Ten years of ink, ten years of dreams, a classroom filled with voices unseen.” And when “Write me a folk song about my dog, Callie,” was the prompt, the result included “Down by the creek where the tall grass grows” and “Callie runs free in the morning light.”

Even in offline classrooms, there has been little “ink” involved in writing classes for the past ten years, as most people have turned to taking notes on their laptops and phones, and it’s unclear how the voices are unseen if they’re writing things down and handing them in, but “ink” and “voices” are commonly associated with classrooms, so the bot picked that up and used it. In the “Callie” song, the bot simply picked up on country and outdoorsy details commonly associated with folk music and spit out “creek” and “grass” and “morning light” material, and since the prompt said “dog” and “folk” song, running free was read as a theme commonly associated with both of those words.

“Write me an alternative rock song about being a freelance writer,” resulted in a song that referenced “every pitch” described as “a shot in the dark,” despite the fact that writing pitches is slowing fading from the practice of freelance writing.

The bot was doing what it was designed to do, quickly gather common details from around the internet, and spit them back out in a technically correct format as input by the prompt. It has no ability to experiment with form or style, ponder the current political climate or career trends of a certain field, or pick out creative details and draw interesting parallels.

There will no doubt be more and more AI generated lyrics and notes in our future. But true music, that which is created from human experience, will never be replaced by a window on a computer screen.

 By Jess Santacroce
Music Writer, 95.5 The Heat, Phoenix Radio
​
Near the end of April, the Kennedy Center quietly announced that all LGBTQ Pride events would be canceled or moved to other venues. Officially, the decision is not related to censorship, but this shift in programming does come on the heels of President Trump’s takeover of the Kennedy Center. Earlier this year, in February, a show at the Art Museum of the Americas featuring Caribbean and African artists was among the first to be shut down as funding was cut under Trump’s anti-diversity, equity, and inclusion executive orders. Current policies put the arts at risk, including music. Searching for ways to combat current and future efforts to shut down the arts through censorship only generates multiple pages hosted by organizations and activists urging us to “speak up”...and usually donate to their organization. But how can we really use our voices, and the many other avenues available for self-expression these days...to fight censorship in music and other art?

Practice your own art

Once a novel or short story is written and shared in any form, whether that be through a commercial publisher, small press publication, self-publication, or just passing it around unpublished, it is out there to be read. Paintings and drawings and sculptures cannot be unseen once they are created and seen, and music can be played and sung, whether it is funded or even legally allowed or not.
If you produce any type of art, keep going. Create your art and share it in whatever way you decide is best for your art, no matter what might be going on with policies and funding. Now might even be the time for you to address issues of censorship, authoritarianism, disregard for the foreigner, disdain for the poor, and other problems that seem to have gained new life over the past one hundred or so days.
You never know when your work might be exactly what someone needs to keep going, or when it might give someone else an idea that changes their life or the life of yet another person.
One such opportunity for young Utica artists is the “Juneteenth” celebration scheduled for June 19, 2025 at the Utica City Hall. Share your art in support of this important national holiday by reaching out to local event sponsor “For the Good, Inc.” at “[email protected]” Be sure to include “Juneteenth performance” in your subject line and address your message to T.K. Howard, Sr.

Support local artists, venues, and organizations

Every “speak out” page ending with a link to give money to some national or regional non-profit organization or the other grows tiresome pretty quickly. While many of these organizations are no doubt doing real work to fight censorship, many likely aren’t doing much except collecting your money and paying their CEOs a corporate salary. Sorting through them all and finding out which ones are truly worthwhile recipients can amount to a whole project by itself.
Supporting individual artists, local organizations, and venues in your community that support the arts and artists is a much more effective tactic. While there is nothing wrong with seeing your favorite nationally or internationally known band on tour or taking a special trip to see somebody at Madison Square Garden or Red Rocks, remember that most of these large scale events involve corporate sponsorship. While this can be beneficial in that it allows more people to experience the work, it carries with it the risk of corporate influence on the event. If an artist takes a large sum of money from a corporation to perform onstage each night, they’re not likely to risk losing that by performing work that goes against that corporation’s values or interests.
Small neighborhood venues and organizations are much more likely to truly be places where artists can say whatever they feel called to say without interference.

Research carefully before you vote or support political candidates
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Trump’s far-fight censorship is the censorship making the news right now, but at least in the United States, both sides of the political spectrum have been and can continue to be guilty of trying to censor messages they disagree with. And if censorship is wrong, then it’s wrong when those you agree with much of the rest of the time do it too. While both sides can engage in “cancel culture,” the practice of ruining someone’s career and even their entire life for producing content somebody deems “offensive,” in any way has largely been perpetrated by the political left. Do a little digging into past speeches, writings, and legislation to learn whether or not someone has championed this practice before making the decision to vote for them.
Fighting efforts to censor the arts can be especially difficult when the project is something you find distasteful, or something that conveys messages you disagree with, but this is the time that it is most important.
No matter what happens, keep staying informed. Keep enjoying your local arts scene. And always keep creating your art.

by Jess Santacroce 
 Music Writer, 95.5 The Heat: Phoenix Radio

Over the past several weeks, protests against the policies of the Trump administration have cropped up across the country. While some took to social media to speak out against the protests, others expressed support, or even attended or helped plan a local rally. Regardless of your views on Trump or the protests, most people notice something missing: new protest music. Where is today’s protest music, and where did it come from?

The first protest song

Define “protest song” as “Any song meant to raise awareness of an issue or inspire some type of action” and protest songs have existed throughout history. In the United States, protest songs began before the country itself, and were part of the unrest that would result in the American Revolution. Fast forward to the last one hundred years, and there is still no one definitive point in history that protest music began, or a single song that all reputable historians would agree was the first protest song, but many would name Billie Holiday’s “Strange Fruit,” first performed in 1939.

“Strange Fruit” was written in the 1930s by a New York teacher and poet named Abel Meeropol. The song’s title and lyrics refer to the mangled bodies of Black people seen hanging from trees in lynching photographs. Meeropol himself was not in danger of being lynched, as lynching specifically targeted Black people, and Meeropol was not Black. However, the photos that he would have seen at the time were not censored or blurred as many photos of lynchings are today, and provided a clear view of this evil practice. One such photo, depicting the 1930 lynching of J. Thomas Shipp and Abraham S. Smith in Indiana, inspired Meeropol to write the song.

Photographs like the one that inspired “Strange Fruit” were not universally condemned as horrific. While a modern-day content creator would be roundly criticized and even lose much of their fan base for depicting images of anyone’s violent death, those who created and published lynching photographs in the 1890s-1920s and beyond were often seen as simply warning Black people of what could happen to them should they displease the wrong person. Many lynching photographs were kept as souvenirs, or family keepsakes. Some were even printed up as postcards.

Strange Fruit” speaks out against both the violence depicted in these photographs and the racism that drives it.

As with the protest music that would follow it, “Strange Fruit” was a dissenting voice from both Meeropol when he wrote it and Billie Holiday when she sang it. The song had an impact, and made people think, but it was far from universally praised or accepted.
From 1940-1942 in New York state, the Rapp-Coudert Committee formed with the stated goal to “examine the extent of subversive activities in New York state schools and colleges.” A sort of precursor to the House UnAmerican Activities Committee, Rapp-Coudert sought to seek out and eradicate all extremism in New York schools, both right-wing and left-wing. Meeropol was brought before this committee and asked if the communist party had paid him to write “Strange Fruit.” They didn’t. “Strange Fruit” was a genuine protest song.

Protest music grows

If you were asked to plan a 1950’s themed event, protest music would probably be the last thing you would think to include. In the popular imagination, Americans of the 1950s had nothing to protest. It was all sock hops, drive-ins, and hanging out at the diner having burgers and shakes if you were a teen, going off to your dignified, well-paying job and coming home to a hot dinner and your newspaper and tv if you were an adult man, and reveling in your status as a housewife if you were an adult woman. Life may may have been at least somewhat like that for some people, but this view of the 1950’s is actually an aesthetic, or image, based on the idealized life of a white middle to upper-middle class family, not a thorough and accurate picture of real history.

Life for people who were not white, not middle class or richer, disabled, gay, or in any other way different from the popular image was not so idyllic. Even many of those who seemed to live up to that image struggled with things like abuse, addiction, and illness. It just wasn’t talked about or dealt with in the open.

Protest music written between the late 1940’s through the 1950’s tended to reflect the experience of being excluded from this pretty picture, particularly due to race and socioeconomic class.

In 1955, Johnny Cash released “Folsom Prison Blues.” While the narrator does not protest being in prison, and in fact admits to deserving to be there, as he “shot a man in Reno, just to watch him die,” the song does bring awareness to the experience of being a prisoner, and hints at Cash’s later activism on the issue of prison reform.

Other protest songs were written during the late 1940s and 1950s. Some would become anthems of the protest movements of the 1960s-early 1970s. The song commonly sung today as “We Shall Overcome,” was published in 1947 as “We Will Overcome” by Pete Seeger. His song “If I Had a Hammer,” written with Lee Hays, was written in 1949 in support of the labor movement.

Despite the focus on the disenfranchised in protest music from this period, there was still the occasional song protesting an issue that impacted everyone. “We Will All Go Together When We Go,” released in 1959 by satirist Tom Lehrer, struck a goofy tone, but spoke out against the very serious dangers of nuclear weapons.

As America entered the mid 1960s through the early 1970’s, protest music seemed to reach its peak. Protest songs were an integral part of the fights for women’s equality, racial equality and civil rights, and of course, an end to the Vietnam war.

Vietnam war protest songs would grow so plentiful, they leave behind entire “top twenty” lists and about ten different Spotify playlists devoted to them alone. While some of these lists’ creators seem to misunderstand the term “protest song,” and have simply added anything written in the 1960’s, and others have protest songs that were not written in that decade despite the list’s title, there are still dozens of 1960’s-early 1970s protest songs still available today. “Blowin’ In The Wind” and “The Times They Are a Changin’” by Bob Dylan and Creedance Clearwater Revival’s 1968 “Fortunate Son” are just three of the most commonly featured songs on these lists, along with John Lennon’s “Give Peace a Chance (1969) and Marvin Gaye’s 1971 hit “What’s Going On.”

Protest music appears to fade away...but a way is paved

Like the 1940s and 1950s, the late 1970s through the 1990s is a time we don’t immediately associate with protest music. We think of the late 1970s as a time of hedonism, fueled by disco party tunes.

Pop tunes about partying, crushes and romance and techno music about more partying is what many people mean when they say “1980s music,” though this was not really the case. Although it may not have been strictly protest music, alternative music existed in larger cities like New York City and Minneapolis during this decade. This music would continue into the following decades, and pave the way for the grunge scene the 1990s would become known for. Grunge, along with Rap and Hip-Hop, regularly protested social ills.

In 1980, Grandmaster Flash and the Furious Five released “The Message” in protest of policies that led to the conditions of poverty. Much Rap music of this time was criticized for glorifying violence, but in some cases, the songs were written and performed not to celebrate the violence the artists saw around them, but to protest the conditions that led to it. In the late 1980’s, NWA’s “F- The Police” (1988) and Public Enemy’s 1989 song “Fight the Power” are just two of the most memorable examples.

In alternative/grunge, protest songs were playing, they were just not immediately recognized as protest songs. Many American fans did not realize that the 1994 Cranberrries song “Zombie” was a protest song about the killing of children by the Irish Republican Army. The 1992 Hole album “Live Through This” featured a strong theme of protesting against violence perpetuated upon women. “Jennifer’s Body” does this by telling the story of a woman who was kidnapped, tortured and murdered.

Protest music of the last 25 years

“Boy bands” is likely one of the first terms that springs to mind when the topic of early 2000’s-2010’s music comes up. These manufactured groups offered up a slightly less technology-enhanced version of the pop music most people associate with the 1980’s. Once boy bands arrived on the scene, protest music appeared to shift from merely hidden and not quite as popular to gone. This was not quite what happened.

Writing for Forbes magazine in January of 2017, former contributor Danny Ross details his picks for eight protest songs between 2000 and the year the article was written. His title “8 Protest Songs That Inspired Change (All the Way to The Bank)” seems to imply that nobody wrote sincere protest music during this time, and only sought to cash in on social issues to make money.

Despite that implication, the article does indeed list eight protest songs written in those first seventeen years of the 2000s, though that list is obviously much smaller than those devoted to protest songs from the 1960’s. At this point in time, protest music did appear to be slowly fading away. Only Green Day’s 2004 “American Idiot,” a protest against the George W. Bush administration, is both mentioned in this article and regularly mentioned in other articles and lists about protest music in this time period.

Even the website “The Ongoing History of Protest Music,” an online space devoted entirely to protest music and broken down by decade and then year, relies heavily on music that was not well-known in the United States.

This all began to shift in 2013, as the Black Lives Matter movement was founded and gained momentum. While the cause always focused on the fact that the vast majority of targets of extreme police violence and brutality are Black, the 2020 murder of George Floyd by a police officer named Derek Chauvin inspired nationwide protests. Some of the protest music from 2020 and later was written in direct response to this incident.

“I Can’t Breathe” by H.E.R. refers directly to the last words uttered by Floyd as Chauvin knelt on his windpipe. The end of the song features a spoken word verse that directly refers back to “Strange Fruit” with a reference to the “strange fruit on my family tree.”
“The Bigger Picture” by Lil Baby protests police brutality directed at Black people in general, an issue described as “bigger than black and white. It’s a problem with the whole way of life.” The song was released accompanied by a video featuring scenes from the Black Lives Matter protests.

Rapper and Phoenix Radio DJ J Easy’s song “Black Lives Matter” also speaks out against racism and brutality directed at Black people, assuring listeners that the movement is not suggesting that other lives do not matter, only that everyone else is not speaking up for the loss of Black life.

Rather than quoting snippets of lyrics, readers are encouraged to to click on the link on the main page and listen to the entire song.

Anti-Trump protest music

While no known songs were written specifically for the “Hands Off” or “No Kings” rallies of April 2025, the anti-Trump movement does appear to be renewing interest in protest music as a whole. On April 1, writer Robbin Warner published an article on the website “The Grassroots Connector” urging readers to choose from a selection of signs, social media graphics, and songs.

There are even a few anti-Trump songs out there. Mackelmore’s “Wednesday Morning” was reportedly written in direct response to Trump’s first election as president. On February 21, 2017, the official website of Rolling Stone magazine featured an article by Jon Dolan, Hank Schteamer, and Suzy Exposito titled “13 Great Anti-Trump Protest Songs.” The piece goes on to describe a series of songs that had either been written or revised in response to Trump’s first term in office.

The next crop of protest songs are currently being written by people who see the wrong in the world and feel called to use their musical gifts and their voices in service of others.




















Works Referenced in this article:

Baker, CJ The ongoing history of protest music. https://www.ongoinghistoryofprotestsongs.com
April 22, 2025

Dolan, J. Schteamer, H, and Exposito, S. (2017) 13 Great anti-Trump protest songs. Rolling Stone.
https://www.rollingstone.com/music/music-lists/13-great-anti-trump-protest-songs-197009/
April 22, 2025

Ross, D. (2017).8 Protest songs since 2000 that inspired change (all the way to the bank). Forbes https://www.forbes.com/sites/dannyross1/2017/01/30/8-protest-songs-since-2000-that-inspired-change-all-the-way-to-the-bank/
April 22, 2025

Warner, R. (2025) Preparing for April 5: Songs, signs and socials. Grassroots Connector. https://grassrootsconnector.substack.com/p/preparing-for-april-5-songs-signs?utm_source=substack&utm_medium=email&utm_content=share
April 22, 2025