“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, whose 1972 hit “I Am Woman” sold over a million copies and voiced what so many women were feeling but dared not express out loud, died on September 29; she was 78.
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.
As the U.S. celebrates Women’s Equality Day, it’s time to take a deeper look into sexist stereotypes, why female names are used when describing negative personality traits and, more broadly, why the language we use to refer to women is often derogatory.
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.
The sexist double standard between an ambitious woman speaking her mind and a man who does the exact same thing is crystal clear.
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.”
“Unfortunately, we are in a world that takes so much offense to being feminine, that we try not to be. … We are constantly aspiring to masculine standards, instead of being brave enough to see what it is that femininity brings to the table.”
By 2019, Gandhi had released two EPs as Madame Gandhi, opened for Ani Difranco, toured with Thievery Corporation, played Bonnaroo and numerous other festivals, and been named one of Forbes’ 30 Under 30 in music for 2019.