Nationwide this week is called Banned Books Week. At the D.C. Public Library, it’s called “Uncensored.”

Banned Books Week was established in 1982 to raise awareness of books that people want off the shelves. It’s not an issue limited to the McCarthy era — even now, parents, leaders and various interest groups rally to censor or remove books from libraries for all kinds of reasons. But the D.C. Public Library widens the scope of Banned Books Week, looking at any form of expression that’s been challenged, including music.

That’s why the library has made a playlist for Banned Books Week two years in a row, says Maggie Gilmore, a librarian in DCPL’s adult information services division. This year, the D.C. Public Library Foundation asked her to compile a list of songs with a dual theme: censorship and D.C. music.

Gilmore consulted her fellow librarians for ideas and solicited input from attendees at August’s D.C. Record Fair at Penn Social. This is the resulting playlist, streamable via Spotify and YouTube, below:

Bad Brains, “Banned in DC”
Chain & the Gang, “Free Will”
Parliament, “Chocolate City”
Chuck Brown & the Soul Searchers, “Run Joe”
The Evens, “Wanted Criminals”
The Cornel West Theory, “DC Love Story”
Ice-T, “Freedom of Speech”
Coup Sauvage & the Snips, “Don’t Touch My Hair” (JD Samson Remix)
Minor Threat, “Straight Edge”
Bikini Kill, “Rebel Girl”
Unrest, “Malcolm X Park”
The Blackbyrds, “Rock Creek Park”
The Roots with Wale and Chrisette Michele, “Rising Up”
Diamond District, “March Off”
Marvin Gaye, “Got To Give It Up”

The playlist comes across as a celebration of outspoken music — not hard to find in this town, Gilmore says.

“[D.C.] is a natural environment for people to discuss political issues,” Gilmore says. Plus, she says, the city’s constantly shifting population can aggravate local tensions.

“With D.C. having so many people moving in and out of the city, there’s always been tension in the various groups that are represented in D.C.,” Gilmore says. She cites D.C.’s signature funk sound as an example. “Go-go has always been challenged by those who may feel it’s obtrusive — and maybe not even the music itself, but the social scene around go-go.”

The playlist debuted at last Friday’s opening party for “Uncensored: Information Antics,” the library’s new exhibit in honor of Banned Books Week. The show remains on view at the Martin Luther King Jr. Memorial Library through Oct. 22.

Gilmore says “Uncensored” and this playlist are part of the library’s larger efforts to document and support local expression in all forms. DCPL’s D.C. Punk Archive has been in the works for a year now. Gilmore coordinates the library’s series of punk-rock basement shows, meant to highlight its punk collection. After this, the library focuses on archiving go-go, then jazz, Gilmore says.

“Trying to highlight local music, [D.C.’s cultural] history and current artists — that’s one of the main goals of the basement shows, to provide a space for bands to play,” Gilmore says. “So this was an opportunity to continue on that.”

Related: WAMU’s Kojo Nnamdi Show airs a segment on Banned Books Week Tuesday at 1:32 p.m. Can’t tune in? The segment will be archived on kojoshow.org.

Warning: Some songs contain explicit lyrics.

Via Spotify:

A new documentary film called Salad Days: A Decade of Punk in Washington, DC looks back at that scene. NPR Music will host a screening in, appropriately enough, the nation’s capital, and you’re invited. Salad Days captures an exciting time in this city by pulling together retrospective interviews with rare film footage from the days when harDCore punk was exploding. The film was made by Scott Crawford, a youngster back in those days who had a fanzine that covered those magical times.

Scott Crawford will be on hand after the screening to answer questions along with other panelists including Salad Days director of photography Jim Saah (who documented the scene as a photographer), musician Brian Baker (of Minor Threat, Bad Religion and Dag Nasty) and moderator Ally Schweitzer of WAMU.

The screening will take place on Tuesday, May 5 at 7:00 p.m. If you’d like to join us, go to this page to reserve your free ticket.

Copyright 2015 NPR. To see more, visit http://www.npr.org/.

But “Walls Closing In,” a standout from Dot Dash’s latest album, Earthquakes & Tidal Waves, is a change of pace. (Listen below.)

“It’s kind of the heaviest song on the record, and probably the heaviest song that this band has ever done,” says guitarist and vocalist Terry Banks, 50, who’s played in Glo-Worm, Tree Fort Angst and St. Christopher in addition to The Saturday People and Julie Ocean. (Dot Dash’s other guitarist, Steve Hansgen, once played in Minor Threat.) “I’m not saying it’s some incredibly visceral thing — music gets a whole lot heavier than that. But for us, it’s pretty heavy.”

By contrast, other album cuts sound almost sweet.

“The song before it [“Tatters“] is a very light, jangly pop song, so I felt like the obvious thing to follow it up with would be the heaviest song on the record,” Banks says. “And it’s not like this cliché of ending the album with the heavy rocker. It’s kind of right in the middle, and maybe it forms a midway point or apex or something like that.”

But despite being heavier than the rest of the album, “Walls Closing In” is undoubtedly the work of Dot Dash — which is to say, it’s a shrink wrap-tight pop song.

As for the song’s lyrics, Banks isn’t getting too bogged down by details. “I don’t feel like any songs that I ever come up with are necessarily specifically about anything,” he says. “They’re kind of arrived at in a sort of instinctive way.”

Rather than moving from one concrete point to another, a lot of Banks’ lyrics tend to be semi-impressionistic, drawing from a stream-of-consciousness writing style. He says that he tends to feel like songs come out of thin air, “but then I’ll realize that that chorus or that phrase sort of relates to some passing thought or some conversation I had.”

But before you try to start ascribing meaning to Banks’ lyrical style, he makes one thing clear: “We have no message, there is no message.” Dot Dash songs are open to interpretation that way.

“The message is whatever you take from it,” Banks says.

Dot Dash plays an album release show at Comet Ping Pong Friday, April 24.