Ms. spoke with DiFranco in the lead up to her April 18 livestream concert, celebrating the release of her new album Revolutionary Love. She spoke with us about poetry, feminism, domestic abuse, shame, allyship and places where vulnerability and strength can co-exist. She was calling in from New Orleans, with her children and dog moving through the background and her head newly shaved. Ms. spoke with DiFranco in the lead up to her April 18 livestream concert, celebrating the release of her new album Revolutionary Love. She spoke with us about poetry, feminism, domestic abuse, shame, allyship and places where vulnerability and strength can co-exist. She was calling in from New Orleans, with her children and dog moving through the background and her head newly shaved. At age 50, she could still feel traces of her younger self and “the epic journey” that led her there.
She was the first woman to breastfeed on national television. She was banned from the airwaves by two U.S. presidents. She’s the only Indigenous artist ever to win an Academy Award. Folk hero. Songwriter icon. Living legend.
A long overdue work prioritizes Indigenous artist Buffy Sainte-Marie’s voice foremost, allowing her to set the record straight.
These songs span a variety of decades, genres, and tempos, so no matter what your music preferences are, one of these feminist musicians has a holiday song for you.
Lucinda Williams’s “Good Souls and Better Angels,” was released early into the pandemic this April. I interviewed the Grammy-winner this summer, while she was quarantined with her husband in their home in Nashville.
“Queer heartbreak is so much more subtle and unnameable when you’re not out. When your love is not seen as valid by the world you live in, it’s harder to express heartbreak,” says Sabrina Chap, whose latest album “Postcards from the Rearview Mirror” tells the heartbreaking story of two queer teenagers on a cross-country journey.
The concept album started with a dream. Singer, songwriter, and Broadway actor Morgan James dreamed that she performed “Jesus Christ Superstar.” In her dream, she was Jesus and Shoshana Bean was Judas. She told her friends about the dream, and they encouraged her to make her idea of an all-women production a reality. What Morgan says started out as a lark became the (so far) two-volume “She Is Risen.”
Helen Reddy’s life is brought to the screen for the first time in Australian director Unjoo Moon’s new biopic, “I Am Woman,” in theaters and on demand September 11.
We are certainly entering a new era when Beyoncé, our most celebrated Black pop star, can access a dominant worldwide corporation like Disney—responsible for some of the most troubling anti-Black representations for nearly a century—and utilize its platform to correct our image and offer us a grand, divine mirror to see ourselves anew. “Black is King” is Oshun’s mirror by way of Beyoncé’s artistic vision.
When singer-songwriter Margaret Glaspy imagined the release of “Devotion,” her sophomore record, it didn’t include a world-wide quarantine.
“Devotion” is a mark of her commitment to process through electronic pop, a sonic shift away from her highly praised folk debut. With lyrics that delve into gray areas of love, art and political engagement, Glaspy holds up multidimensionality in earnest. She hopes to reach the others who could use a lift, and articulates how the act of creating anchors her, even now.
“On the Record”—which premieres on HBO Max on Wednesday, May 27—gives voice to women survivors, suggesting a pattern of predatory behavior from Def Jam co-founder Russell Simmons, who has been accused of assault by 20 different women.
“I would love to see our stories believed with the same passion and fervor that black women support and believe men when they say they have been victims of police brutality and violence.”