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.
Taylor Swift knows what her words are worth—and she’s about to show us. By re-recording her music, she is reclaiming not only her work, but also her stories, memories and words.
Swift re-recording her masters is not only huge news for Swifties excited for updated versions of their favorite songs, but also a feminist victory for Swift and all female musicians.
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, 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.