Ashnikko

Weedkiller

(Parlophone Records)

Ashnikko has proven she’s an artist you need to know with her debut album Weedkiller. The album is filled with certified club bangers featuring her signature sound (somewhere between Grimes and M.I.A.) as well as mid-tempo, introspective tracks that demonstrate she’s an artist with range. The album is also unapologetically queer, with songs such as “Super Soaker (ft. Daniela Lalita),” an incredibly fun dance track that needs to be played at Pride this June. Album closer “Dying Star (ft. Ethel Cain)” is the collab of Gen Z’s dreams—its charming melody and sweet lyricism make it a must for your summer playlist. – emily lauletta

Kara Jackson

Why Does the Earth Give Us People to Love?

(September)

Kara Jackson’s debut album tells stories to hear again. A former National Youth Po-

et Laureate, her lyrics are a dauntless, beautiful strata of humanity’s head and heart with sharp, tender details of the everyday. Jackson’s folk shines with inspiration from her family’s Southern roots, as on “curtains,” a gorgeous melancholy ride toward the sunset as the credits roll. The song “dickhead blues” opens sparsely with Jackson’s low, velvety voice and transitions through strings, jazz drums, and chimes before building in- to layers of swooning, swelling vocals. And it all feels so right together. Why Does will leave you feeling, laughing, and relistening. – carlee mcmanus

Draag

Dark Fire Heresy

(Self-Released/Anxiety Blanket Records)

Draag’s debut album is a trippy testament to healing and an occasional ode to vengeance. The L.A.-based shoegaze collective prismatically blends synth-rich layers of rosy dream-pop, warped tape samples, and outpouring catharsis. Vocalist/multi-instrumentalist Jessica Huang says Dark Fire Heresy came to fruition upon learning “how many still struggle with religious trauma and how similar our experiences are.” Sonically, it tickles the eardrums wide awake and gracefully rattles the nerves. Bound by formerly forbidden flashbacks and shared pangs of nostalgia, the DIY quintet’s experimental cleansing cascades in slow motion, ultimately possessing the room like a sentient strobe light for the eternally spiraling soul. – rachel reed

Top photo by Kara Jackson, Ashnikko, and Draag

Photo Credit: Romona Rosales; Top to Bottom: Lucy Dacus, Julie Baker, and Phoebe Bridgers. Gucci Pants; Dr. Martens Shoes; Trench and Top Hat: Stylist’s own.

THE ANNALS OF music history are filled with bands whose feuds are as famous as their biggest hits: Smashing Pumpkins, the Beatles, Guns N’ Roses, and a thousand more. boygenius (the name is stylized in all lowercase) has only been around since 2018, but it’s safe to say those in its ranks will never find themselves on a list of musicians who are also mortal enemies. The supergroup—which consists of Phoebe Bridgers, Julien Baker, and Lucy Dacus—blows right past “getting along fine” into the realm of something that resembles true love.

When the trio Zooms in from Los Angeles for our inter- view, the three women are not just sharing a chat window— they’re sharing an antique-looking four-poster bed, feet tucked under them like they’re gearing up for a slumber party rather than their millionth press obligation of the week.

“I have actually never examined why we like each other,” says Bridgers, 28, when asked about their friendship. “And I don’t really want to. It was like hitting it off with somebody at a bar who’s not hard to talk to. You’re like, ‘Oh, alright, I wanna hang out with this person forever.’”

Their tale began in 2016, when Baker, 27, and Dacus, 28, became acquainted after sharing a bill in Washington, D.C. Both women had just released successful solo albums— Sprained Ankle for Baker and No Burden for Dacus—which were both hailed for their sharp, introspective lyrics that gave fans an immediate sense of intimacy with the artists.

Bridgers, meanwhile, was generating buzz after opening for Conor Oberst, and in late 2017, she released her own critically acclaimed debut, Stranger in the Alps. By that point, she’d met Baker, but the pair didn’t join forces with Dacus until 2018, when they found out they’d be sharing a triple bill together. They thought it would be fun to record a single as a group to promote the tour, but they found they couldn’t stop there—and boygenius was born.

One song became several, and in October 2018, they released their six-track EP under their new band name, which they chose as a play on the idea that mediocre male musicians get tons of praise for less than exemplary work. Their subsequent tour—which featured mini solo sets from all three, followed by all the songs from their EP that they performed together while wearing fancy jackets designed in the famous Western “Nudie Suit” style—is now the stuff of legend. If you were lucky enough to be at one of those few shows, then you likely remember the experience as something transcendent—and the band does, too.

“When we left the tour in 2018, I was like, ‘No way we don’t make music together again. We’re gonna do this again for sure,’” Baker recalls before Bridgers jumps in to say she was the lone skeptic in the crew. “They knew that, but I didn’t know that,” Bridgers explains. “I was like, ‘Well, that was a beautiful part of my life and it’s over.’”

For several years, though, it looked to fans like Bridgers was right. All of the women continued their solo careers after boygenius, but Bridgers in particular rose to a new level of fame. She released her second album, Punisher, in 2020, eventually becoming a person even your dad has heard of thanks in part to her viral guitar-smashing moment on Saturday Night Live. Also in 2020, she founded her own record label, Saddest Factory, which has become home to indie-pop ingenues Muna and the avant-rock act Sloppy Jane. The day we spoke, she made a surprise appearance—in the same NASA hoodie she wore during our interview—at a SZA concert attended by Justin Timberlake and Jennifer Lopez, and days later, she attended the iHeartRadio Music Awards, where she presented Taylor Swift with the Innovator Award.

Baker and Dacus, meanwhile, dropped Little Oblivions and Home Video, respectively, in 2021, scoring high-profile gigs at places like the Newport Folk Festival, and for Baker, as one third of the Wild Hearts tour with Sharon Van Etten and Angel Olsen. The members of boygenius teamed up again for a few of Dacus’ and Baker’s solo tracks, but a full-blown reunion was looking unlikely, especially after Bridgers landed a slot opening for some of the dates on Swift’s Eras tour.

“When we left the tour in 2018, I was like, ‘No way we don’t make music together again. We’re gonna do this again for sure,” Baker recalls.

Behind the scenes, however, the wheels were in motion. Like everybody else on the planet in 2020, the band was stuck in varying degrees of coronavirus lockdown for much of the year, unable to tour (and in Bridgers’ case, unable to participate in anything resembling a normal press cycle for Punisher). “I feel like it would have taken us eight years to make something if it hadn’t been for COVID,” Bridgers says. “COVID, for me at least, cleared the slate. I was supposed to do so much fucking work in 2020, and I still did, virtually, but my evenings were left to stare at my hands and think about what I wanted for my life, and it was to see my friends.”

Bridgers channeled that pent-up energy into songwriting, and she began dropping songs into Baker’s and Dacus’ inboxes, starting with “Emily I’m Sorry.” Within months, they had a shared Google Drive of new material and were well on their way to finishing what would become their debut fulllength, the record, which came out in March on Interscope and is the basis for the band’s huge spring and summer tour through North America and Europe.

Photo Credit: Romona Rosales; Top Row: Shirt and Tie: Stylist’s own; Jewelry: Model’s own; 2nd Row: Tyler McGillivary Top; Third Row: Joomi Lim Chocker; Sweater: Stylist’s own.

Photo Credit: Romona Rosales; Freak City Girls Shirts; Flip Flops: Stylist’s own.

The album has more bells and whistles than any of their previous work, and it’s the first major-label release for any of them. It was recorded at Rick Rubin’s Shangri-La studio in Malibu, and Kristen Stewart directed a short film promoting it that features three of their songs. It seems clear already that the record will surely end up on many “Best of 2023” lists, but in another world, it—and boygenius—might not have existed at all. Before the trio got to know each other, Bridgers was annoyed that people kept comparing their music because of some perceived connection between young female artists who write emotionally devastating lyrics. “Everybody was sending me Julien’s album and being like, ‘You’re gonna fucking love this and you’ll love this person, they’re exactly like you.’ And I was like, ‘Fuck you,’” she explains, adding that she was “resistant” to the notion that their music was similar. “It was all older white men be- ing like, ‘You’re gonna love this chick music.’ That’s the way I interpreted it. But it was actually so much sweeter than that. They were correct. I thought I was being profiled, and actually I was being known.”

Even now, their work gets lumped into an amorphous subgenre known as “sad girl music,” which is chiefly characterized by plaintive vocals, raw lyrics, and a fair amount of heartbreak. The term can be pejorative or complimentary depending on who’s using it, but either way, the members of boygenius are tired of being pigeonholed. Their band name is harmony, and lyrical vulnerability can’t be punk rock. This is perhaps one reason they were so delighted to work with Stewart—a world-class actor who spent years convincing the public
she was capable of making serious art—on the band’s short film. “We love Kristen,” says Dacus. “She put her whole essence into [directing] this. We care a lot—she cared so much more. She texted all of us all the time about minor details. She would go to sleep and wake up thinking about it.”

Stewart was also generous about sharing her acting expertise with her subjects, who cold-emailed her to ask if she’d be interested in directing their project. “Kristen is underrated, I think,” Bridgers says of the Oscar nominee. “It was so nice to be held by somebody who knows how humiliating it is to be in front of a camera.”

Like Stewart, boygenius isn’t afraid to speak out about issues that affect them and their fans. Each member of the trio is determined to use their growing platform for good, as evidenced by the way they’ve spoken out against various horrific developments in American politics. When the Supreme Court decision overturning Roe v. Wade leaked in May 2022, Bridgers took to social media to share her own abortion story and encouraged her fans and followers to donate to abortion funds in states with already-diminished access to reproductive health care. “I had an abortion in October of last year while I was on tour,” she tweeted. “I went to Planned Parenthood where they gave me the abortion pill. It was easy. Everyone deserves that kind of access.”

Days before our conversation, Baker participated in Love Rising, a Nashville benefit concert organized in part
by Brandi Carlile to benefit LGBTQIA+ organizations after the Tennessee state government passed anti-drag and anti-trans bills. Baker, who like both of her bandmates identifies as queer, knows that other states would be less hostile to her identity, but she feels an obligation to make Tennessee— where she was born and raised and now lives—safer for her friends and neighbors. “I felt like it was important because a lot of the folks who played were Tennessee residents,” she says of Love Rising. “I stayed [in Tennessee] because I wanted to invest in making the place where I grew up—that informed all of my cultural sensibilities—[better]. I wanted to stay in Tennessee because that’s where my family is—my family as in the people who are related to me by blood, and also that’s where my chosen family is, the people I grew up playing music with in college and the entire queer community in Nashville and Memphis. I feel beholden to them to stay and work on cultivating something safer and more empowering for the queer community there.”

“Everybody was sending me Julien’s album and being like, ‘You’ll love this person, they’re exactly like you,’ And I was like, ‘Fuck you,’” Bridgers explains. “But they were correct. I thought I was being profiled, and actually I was being known.”

Dacus, who in 2021 wrote a beautiful essay about coming out for Oprah Daily, notes that having grown up in Virginia she, too, knows the importance of expanding your worldview within your own community. “I used to think terrible things,” she recalls. “I used to be in church thinking abortion was bad, and I don’t anymore, and that’s because of people having patience with me and probably having to hear a message over and over. Now I try to fundraise for abortions as often as I can.” (In 2021, she donated all proceeds from her Texas shows to local abortion funds after the state’s SB 8 law effectively banned the procedure.)

The band members’ willingness to share these kinds of personal stories in interviews and in their lyrics is part of the reason their fan base has grown exponentially over the past few years, especially among young women and LGBTQIA+ listeners. After the trio got matching wrist tattoos of a tooth (visible on the record’s cover) in a nod to their song “Bite the Hand,” their fans started doing it, too, and you can find countless photos online of homemade replicas of their 2018 tour jackets. It’s not unlike the devotion you see for artists like Taylor Swift or K-pop bands, only the idols in question are singing about battling opioid addiction (Baker) or their tumultuous relationship with their late father (Bridgers).

Bridgers, Baker, and Dacus absolutely love it when they see teen girls being escorted to their shows by their mid- dle-aged dads, a setup more commonly seen at, say, a Justin Bieber concert. “That breaks my heart and fills my soul,” says Dacus, who describes a Bruce Springsteen show she recently attended with her own father as “the third best night” of her life—surpassed only by the days her BFFs Baker and Bridgers were born. Bridgers agrees, adding that she loves seeing the way that these fathers allow their kids to lead. “Yeah, the dad with an armful of merch standing, like, 50 feet behind the five teenagers he brought to the show is [my favorite],” she says. “That’s, like, letting her decide what is cool in a way. Because my dad was like, ‘Do you wanna see Stevie Ray Vaughan?’ I was like, ‘No.’ But I was kind of forced to do that for him and be like, ‘It’s pretty cool guitar.’ I’m grateful for a lot of that [now], you know, like [learning about] Neil Young and shit. But, like, taking me to a concert that I wanted to see? Unheard of. So, it’s special to see it.”

The flip side of this intimacy with fans, though, is that some of their admirers—not all of them, boygenius is quick to clarify—interpret this as a green light for behavior that ranges from worrying to stalkerish. “I don’t love being idolized,” Dacus says. “Adoration isn’t really love. We’ve talked about people who have our faces as their Twitter profile pictures who are also mean. That’s adoration, but it’s not love. Not like I’m needing love, either. I would like respect.”

Baker has noticed fans coming up to Dacus and Bridgers on the street and touching them without permission, while she deals more with strangers throwing their darkest traumas at her unsolicited. Especially since the 2015 release of Baker’s gorgeously raw solo album Sprained Ankle, whose title track begins, “Wish I could write songs about anything other than death.” “There’s a type of guy who will come up to me and say, ‘Hey, just wanna let you know your music means a lot to me,’ and then he will tell me about his failed suicide attempts,” she explains. “And I’ll be like, ‘Yeah, I wrote music about that. But I’m buying a breakfast burrito.’ For a long time, I struggled with this because I was like, ‘It’s my duty as a performer in this world to inhabit that space for you,’ to be like, ‘Yeah, man, more than one person on Earth wants to kill themselves sometimes.’ That’s a fine thing, but it’s not the locale where that’s appropriate.”

Bridgers shares an upsetting story about a man in a car slowing down next to her as she walked around Nashville. He wanted to tell her his name was Scott, like her 2017 song “Scott Street,” but no woman alive would have initially assumed that man’s intentions were pure. “I was like, ‘OK, you just fucking terrified me,’” she says. “Never find out where we live and go there. Never send fan mail to my home if my address somehow ends up on the Internet again.”

As the most high-profile member of the group, Bridgers, an L.A. native who still lives in that area, also has to contend with a different kind of unwanted attention: paparazzi. Their interest in her stemmed in part from her relationship with Paul Mescal, star of Normal People and Aftersun. The duo kept their romance mostly private after going Instagram official in December of 2021, but fans speculated they were engaged before they split sometime in 2022. More recently, she’s been spotted with comedian Bo Burnham, leading observers—and the tabloids—to assume they’re dating. (boygenius declined to answer questions about their personal lives, but Bridgers told Rolling Stone in January that she is not engaged.)

The only relationship Bridgers is willing to discuss is the one she shares with her pug, Maxine, who makes occasional appearances in the photos she shares on social media. “She does this thing where she’ll snake up by me in the middle of the night to cuddle into my armpit, and then we roll over like a couple in the morning,” Bridgers says. Her bandmates light up, too, when Bridgers mentions Maxine, with Dacus saying she feels like the pup remembers her even when they don’t see each other for a while because she lives in Philadelphia. “I feel chosen by Maxine,” she says. “I think everyone feels like they’re her special little friend.”

Baker, for her part, has a dog named Beans, who has appeared on her merch and got a credit on Dacus’ last album. “Beans gives nothing, and I absolutely love it,” says Baker, who lives in Tennessee with her partner, Mariah Schneider. “My dog doesn’t give a fuck about me. My dog is trying to get her needs met.”

The women’s friendship—pet love included—is as much a part of their appeal as their music. It’s delightful to watch them finish each other’s sentences and burst into laughter at their inside jokes, cracking themselves up when they think they’ve said something too pretentious. When they hear this story is coming out in June, they ask if it’s related to Pride Month before launching into a riff on which month is “Shame Month.” (The consensus is something in winter, perhaps December or January.) Unsurprisingly, they’re super supportive of one another’s solo endeavors as well; Baker and Dacus assure me that they’ll be in the audience for at least one of Bridgers’ dates with Swift.

“There are reasons that it makes sense,” Dacus says of the trio’s deep connection to one another. “We have a lot of shared experiences, we have a lot of shared ideals and perspectives, and we have similar tastes. There are other people who I meet where all of that is true, too, but they’re not these guys.” Ultimately, what boygenius shares is a once-in-a-universe kind of love—and we’re all just lucky to be able to listen in.

“I don’t love being idolized,” Dacus says.

“Adoration isn’t really love.”

Photo Credit: Romona Rosales; Trenchcoat, Socks, Garters, Shoes: Stylist’s own.

Top Image: Photo Credit: Romona Rosales, Styling by Linsey Hartman; Makeup by Amber Dreadon; Hair by Dita Vushaj; Animal Crackers Neck Collars; Ties: Stylist’s own.

While the duo (made up of Blair Tramel and Connor Cummins) has been putting out music since 2020, Super Sn​õ​õ​per is the perfect culmination of their work so far, and a sneak peak into everything the band is capable of for the future. Blair Tramel’s vocals are remnant of that iconic 90s riot grrrl era, but of course, in her own unique style. Tramel’s voice isn’t the only similarity the duo shares with riot grrrl, their melodies reflect that unpolished-in-the-best-way sound that many punk bands tout. It should also be noted that this sound is entirely intentional, as Cummins and Tramel clearly demonstrate a mastery over their instruments. The duo are also excellent lyricists, with songs such as “Pod” addressing societal ills with lines such as “Who see’s society’s infection?” This is also Sn​õ​õper’s first official full-length album, and given that they’ve already knocked it out of the park with album one, we can’t imagine how they can go up from here (but we know they will).

Super Sn​õ​õ​per provides an exciting listen from start to finish, and it also provides the perfect soundtrack for screaming into your pillow or going to one of those garages where you can pay to smash things against walls. (You know what we’re talking about, right?). The album fills a noise-rock sized hole that seems to have been missing (or at the least, uncommon) from this decade of music. Fans of Le Tigre, Mommy Long Legs, and Hole will surely find a track they love on Super Sn​õ​õ​per.

This album definitely gets a 4 boob rating!

Be sure to listen to Super Sn​õ​õ​per when it drops on July 14th.

Photo by Monica Murray courtesy of the band

Each section of the book goes through the four respective relationships of these remarkable women and gives multiple examples of their influence rubbing off on the guys. Personally I would love an entire book just about Anita, as to me she is the most complex and decadent of the four, but as a whole, the book makes its case firmly; these women helped the Stones create their bad boy personas that they became known for. It’s a lot of fun looking back at the fascinating 60s and 70s London music scene, (the book contains great photos) and this release clearly shows that even when women were powerful, intimidating, and deeply talented, their stories get delegated to just the “girlfriends,” yet their lives were just as, if not more interesting than the boys’!

Parachute Women, (Hachette Books)

(left to right) Marianne, Brian Jones, Anita, unknown. 1967 (Getty Images)

Marsha Hunt with her and Mick’s daughter Karis in 1972 (Getty Images)

Mick and Bianca on their wedding day 1972 (Getty Images)

Top Image: Anita and Keith in Cannes. 1967 (Getty Images)

All images courtesy of Hachette/ Getty Images

“Because I was shot, I’ve been turned into some kind of villain, and he’s the victim. This has messed up my whole life. This whole situation in the industry is like a big boys’ club.”

–Megan Thee Stallion’s testimony in the assault trial of Tory Lanez

“This is what happens when you don’t recycle your pizza boxes.” –Greta Thunberg on Twitter trolling Andrew Tate after his arrest in Romania.

“The whole point of being creative is that you’re tapping into a time of reflecting society back to itself that it might not even be aware that it needs yet. That’s what the artist’s gift is.” –Danai Gurira in The Cut

“It’s been really healing for me to hear how many people have been affected by [my film Everything Everywhere All At Once]. So many daughters and mothers have been coming to me crying, saying, ‘I saw myself in the movie,’ or, ‘My relationship with my mother is just like that.’” -Stephanie Hsu In The New York Times

“I’m not a victim, and I’m not the damsel in distress. I’ve made my choices in my life. Some obviously were made for me, but I’ve always been able to find myself again.” –Pamela Anderson in Variety

Good News: 96 percent of women working in tech say their friends and families supported their choice to pursue careers in IT fields.

Bad News: 90 percent of women in tech have experienced microaggressions at work, and nearly 66 percent say they have been treated differently than their male colleagues.

STATS:

27: The percentage of 50-year-old women in Japan who never had children—the highest number in the developed world.

7000: The number of New York City nurses who walked off their jobs and went on strike in January 2023, advocating for safer working conditions, shorter hours, and more reasonable patient loads.

24: The percentage of U.S. employers’ bereavement leave policies that allow workers to take time off after having a miscarriage or a failed in vitro fertilization.

75: The percentage of surveyed Americans who say they are concerned that people who have abortions could be charged with a felony or go to jail.

PHOTOS: (GRETA THUNBERG) RAPH_PH, CC BY 2.0 VIA WIKIMEDIA COMMONS; (PAMELA ANDERSON ) 9EKIERAM1, CC BY-SA 3.0, VIA WIKIMEDIA COMMONS; (MEGAN THEE STALLION) VALERIE

ALBERT, CC BY-SA 4.0 VIA WIKIMEDIA COMMONS, Nurse Photo by Rusty Watson on Unsplash, Silhouette Photo by Denis Oliveira on Unsplash

John Waters is one of the most iconic film makers and mustache wearers of all time. The man that brought us Divine eating dog shit in Pink Flamingos and gave us Ricki Lake doing The Roach in HairsprayI. He often cast the same actors, known as the Dreamlanders and has famously filmed all of his movies in his beloved Baltimore. He has been called “The Prince of Puke”, “The Sultan of Sleaze”, “The Baron of Bad Taste”, and “The Pope of Trash,” and he is a filthy lil punk lover at heart. He has been hosting the Mosswood Meltdown festival for 7 years and is at it again this year. We chatted with him to discuss punk shows, banning drag and reading buttholes.

Callie Watts: How are you doing!

John Waters: I’m alright! I’m alright, here in Provincetown.

CW: Oh! Is it smoggy there?

JW: You know, I haven’t even looked outside; I’ve been working so hard. I never notice the weather unless it stops me. Gore Vidal once said ‘No one ever asks me about the weather, I’m too smart.’ which really made me laugh, it was such a snobby thing to say. I always feel sorry for doormen in buildings because everytime every person they know that lives in that building walks out they say ‘nice day!’ or ‘it’s raining!’ or something about the weather. It must be torture to talk about the weather if you’re a doorman, but you have to act nice about it.

CW: But this is a weird weather though, it’s like, yellow out. [this was during the Canadian wildfires]

JW: Oh I saw! I’m in Provincetown, I’m not in New York, so it’s weird because I’m way further north than you are, it’s foggy out but there’s no— I saw what New York looks like; you know, the end of the world, the Red Death or something. I get why you asked now, it looks like a horror movie.

CW: It’s not surprising to me that you’re involved with the music festival, given your spectacular albums and taste in music.

JW: Punk rock! They’re my people. this is the seventh year I’ve done it. It’s a group of people that I really like because they hate everybody in the world except themselves, and I find that kind of endearing. People say ‘oh, what’s that like? Is it crazy?’ I say, ‘no it’s almost more of a loving festival than Woodstock but everyone just pretends they’re angry and crazy.’ But they get along. It’s from ages 12 to 90. I mean, I’ve seen 80-year old drag queens gogo dancing. It’s pretty good. Really ample people stage diving, but they got a little heavier as they got older, and people drop ‘em.”

Punk rock! It’s a group of people that I really like because they hate everybody in the world except themselves, and I find that kind of endearing.

CW: Oh, I’ve definitely been dropped and I’m not even heavy.

JW: I’ve always said, ‘one year, I’m gonna stage dive.” But I have to have it so planned; it would really be shocking if I just ran off and jumped in while I was introducing one of the groups so maybe one year I’ll do it. Maybe I’ll do it when I’m 80.

CW: I saw Grace Jones do that two years ago, and… shirt off. She hit her face with the microphone…

JW: I know right, she’s great. She’d definitely do that.

CW: Her mouth was bleeding and I was like ‘there she goes… Tits akimbo, floating past us, in the sea covered in blood.’ It was epic.

JW: Grace has always been punk in a way, even though she was crazy disco, she was everything, but she was always a punk at heart. She still does shows that are great, she didn’t even have to reinvent herself. A lot of the punk people who are headliners, they never have to reinvent themselves. But they’re not ‘oldies but goodies.’ It never seemed sad to me when I see the punk rock people that [Mosswood] gets, and some of them haven’t performed in 10, 15 years…

CW: Bratmobile!

CW: Is there anyone that you’re particularly excited about for this festival?

JW: I like that it’s all women, almost completely this year. I love angry women, you know. And angry women, nobody hits on them, but they’ll hit you! So I think it’s gonna be a good year. And I just watch the crowd the whole time I’m there, that’s what’s really interesting to me. But I’ve seen some great shows there, so I’m definitely looking forward to it.

CW: So are we ever gonna get another album? Because we would listen in the BUST office, every year on repeat on the holidays, A Date With John Waters and A John Waters Christmas.

JW: Not that kind of album, but I had two grammy nominations! Make Trouble, which was my commencement speech. And then I did one last year called Prayer to Pasolini where I recorded at the murder site where Pasolini was murdered, and I pray and speak in tongues. That’s out and this year I had a record too, it was called It’s In The Book. I covered a novelty song that’s on Sub Pop records, it sold out right away and they just finally got it back in print. So I have records! 45s! I have a brown 45. And a gold one.

CW: How did I miss these? I love this.

JW: Yeah, so I have records out still! Now, the other ones I did were either soundtrack albums or they were, you know, my picks where I curated music.

CW: How did you develop your taste for music? Who were yoru influences?

JW: Well I grew up in Baltimore, which was the South. So it was country music, and rockabilly. It was mostly black music; rhythm and blues. I saw James Brown at the Royal when I was in high school, and I met him 40 years later in Bloomingdales of all places. And I said ‘I got beat up when I went to see you the first time, but it was worth it!’

CW: We like to ask people what kind of pop culture they’re into, what they’re watching.

JW: Well, I guess the way that this generation is rebelling more than anything than even my generation has a handle on is the trans/non-binary thing. It seems like every person’s child that I know is trapped in the wrong body, which I find delightful. It’s weird because now all the liberals are saying ‘just be gay,’ which is the opposite of when I was growing up. So I think now, that’s probably the new rebellion that is the most different for this generation. That is definitely the signature rebellion.

CW: I wanted to ask you about how you felt about all these drag bans.

JW: Well that’s the thing, just people being against drag, like that helps. Remember Anita Bryant? She made the whole gay movement start! So whenever somebody tries to ban something that’s already been accepted, like gay marriage or drag queens (made totally acceptable to Middle America by RuPaul, which, great work he did for that.) You can’t go backwards. It just strengthens them because people can make fun of you, you look like an idiot. To me, if you ban my book I’d be happy. Because then it’s in the front of the bookstore in a special ‘banned books’ section.

CW: And that’s how you’ve always felt about your movies too.

JW: Yeah it helps! It helps. If you hate something, shut up about it because then nobody will notice it.

CW: I was trying to show someone Pink Flamingos, they had never seen it, which I was appalled by. You can’t find that streaming online anywhere.

JW: Pink Flamingos got picked this year by the National Film Registry as a great American film by the Library of Congress. Even I think that’s crazy. And Pink Flamingos is worse if you watch it today than it was when it came out because of political correctness. But you know what? It’s joyous. I make fun of things I love, not of what I hate. And I’m not mean spirited. Unless it’s about Trump. You can find them all on the Criterion channel. They have Pink Flamingos, they have Polyester; I think you can find them pretty easy through Criterion. They have beautiful versions of Multiple Maniacs, Pink Flamingos, Polyester, and Female Trouble. They did beautifully restored versions of them. Serial Mom came out with another company, a beautiful 4K version of it. Cry Baby’s coming out again soon in another beautiful version. So they keep coming out in different prints and making them look better and better.

CW: Speaking of television and drag, have you watched Dragula?

JW: No, I haven’t seen that. I think the drag queens today, they’re all cool, they’re all hip. And I think that is Divine’s influence. When we were young, drag queens were so square. But today, they all have an attitude. I still think my favorite drag name is Urethra Franklin. It’s really a good one. I’m more obsessed with drag kings, and lots of drag kings ask me to sign their mastectomy scars. I have not signed bottom surgery yet, and I’m hoping that happens this year at Mosswood Meltdown.

CW: I started doing ball readings, where I read peoples balls like palm readings.

JW: Oh god, That’s different than, like, the cock book that Brigid Berlin did in the 60s. Or the Plaster Caster where they made casts of everyone’s penis, but that’s like teabagging leaves!

CW: I have a little box, and I make them sit it in the box.

JW: Well that’s good! How did you learn how to read balls?

CW: Well I knew how to read palms, and I figured ‘if i can read the palms, i can read those too.’

JW: Well it is a little more intimate; maybe you’ll find a little more secrets down there.

JW: How do you do it for women?

CW: I read their areolas. Otherwise, I’d have to get way up in there.

JW: Oh, okay. Well you can read everybody’s asshole.

CW: What I’d need for that is like a jewelers eye.

JW: Yeah, like a proctology kit.

CW: Well I will see you at Mosswood and maybe I will be reading balls.

JW: Alright. I’ll say hi, I’ll see ya. I’m walking around there.

We absolutely can not wait to hit Mosswood Meltdown this weekend. Head on over to their site to check out the whole line up!

Photo Credit For Both Images: Greg Gorman

Check out our previous interview with John Waters from 2016 here and 2000 here.

The original riot grrrl Brat pack is back! Bratmobile is set to play their first public show in 20 years at Mosswood Meltdown (hosted by John Waters- Check out our most recent interview with The Pope of Trash here) in Oakland on July 2nd. This is a ‘90s riot grrrl dream!!!

The line up will include the original vocalist Allison Wolfe and drummer Molly Neuman along with Audrey Marrs on keys, Marty Key on bass and Rose Melberg will be sitting in for original guitarist Erin Smith – who can’t join the reunion due to scheduling conflicts.

Bratmobile formed in 1991 when Wolfe and Neuman met at the University of Oregon and were later joined by Smith. The trio went on to become one of the original riot grrrl bands alongside Bikini Kill, Heavens to Betsy and other feminist punk bands of the ‘90s. We spoke with Wolfe and Neuman about the reunion, how feminism has evolved and what it was like touring in the ‘90s.

Callie: How did this epic reunion come about?

Allison: Well, the Mosswood Meltdown festival organizers have been asking us to play for several years in a row. And it didn’t really make sense for a while because Molly lived in New York, and I lived out here in LA. But since then, Molly’s moved to L.A., and we hang out a lot more now.

Molly: I mean we are in a different phase of life then we were in 20 years ago for sure. And I think it is important to me, and one of the things we have talked about a lot during this process, is it is important to see women in all phases of life having fun, being creative, celebrating themselves and being on stage. And I think that there is some certain anxiety about it. It’s almost like the way we started the band, if we don’t do it, nobody’s gonna do it. So let’s just do it. It’s also in the wake of some of these really horrible realities that we’re all experiencing. An antidote, you know, like that feels reasonable for us to be able to have.

C: Yeah, yeah. I mean, it’s like, we’re right back where you were in feminism in regards to abortion and…

A: Oh, no, we’re worse. In some ways. It’s worse.

M: We were born before Roe was decided, and now we’re living through it being taken away. Like, that’s fucked up.

C: BUST is turning 30. We just had our 30th anniversary issue come out. Bratmobile started in ‘91, BUST was ‘93. I know my feminism has changed a lot through the years. And I was wondering how your feminism has changed, if at all? How do you view the landscape of where feminism is at?

A: I think people change in certain ways, but then also, you’re kind of always who you always were, so I don’t know, I think it’s more like the landscape changes and the dialogue changes and things like that, whatever the circumstances are and what’s going on. That’s what changes, you know. I think a lot of things are being discussed more in the, I don’t want to say mainstream, but it’s just become more of the larger conversation now, due to social media and things like that.

M: I think we didn’t have the same conversation around intersectionality. I think we had the values of fighting racism, specifically, or the language and ideas. But I don’t think we had that kind of clarity that we should do it together. And, you know, certainly fighting for trans rights wasn’t part of the active conversation. When, when we were starting out, and obviously, the critical need for it is so important. I guess, I would say, personally, my feminism, I don’t think has changed, specifically, but we’ve expanded the way to apply that. And, and that certainly has evolved and it continues to with every painful new issue that we’re presented with.

Photo Credit: Pat Graham 1999

A: Riot grrrl was very gendered in conversation. Like, gender binary, and it wasn’t, something intentional, you know like “let’s leave trans people out”. I think we felt like it was us girls against boys, you know, looking back you can see how gendered the language was and how now you’re like, oh, well, that might exclude, or potentially alienate and be failing a lot of these people.

C: You had previously discussed how the media at the time was trying to take control of your own narrative. Has the way women are portrayed in the media now changed since then?

A: I think a lot of times back then the writers and editors didn’t get it. Or even if the writer did, the editor had so much control and would be like, well, where’s the conflict here? We have got to pit these girls against each other. I don’t really see as much of that happening, and not as much tokenization either, where it’s like, “Well, we already have that one girl band covered in this issue”. Also, their insistence on calling every woman in music in the ‘90s a riot grrrl, you know, then having all these other women mad at us because [they did not label themselves as that]. One thing about the media is that we didn’t necessarily feel like there was a need for [doing press] at first because the whole point of riot grrrl was, quote, unquote, taking over the means of production, to represent ourselves, right? That would be through fanzines, lyrics, all this kind of stuff, our voice on stage. We didn’t really see at the time how the press could get people to our shows or sell our records. It had been all word of mouth. I felt like they were really “defanging” and “declawing” our message.

C: I wanted to ask if you had any crazy or just memorable stories from the early days?

M: One show I missed was probably something I’ll regret for the rest of my life, which is when Babes in Toyland played in Seattle and Allison, and like a bunch of girls went up there. And there’s like a really great photo that you have, of you and Kat and all of the girls that went to the show. And like, you know, I’ve been thinking about that band a lot lately. And, the fact that I was like, whatever the fact that I had something better to do and then get to the show, I’ll regret that.

A: Yeah, that was great. Yeah, that is a great photo like Kat, surrounded by riot grrrls. I don’t know if she thought it was great. [laughs]

M: They were a band that got lumped into it, without wanting to be. They had their own identity and deservedly so.

A: That first tour in 1992 was kind of amazing. I was able to book it all from landline. Back then if you didn’t have a booking agent, so you’re booking the whole thing yourself. You get some kind of printout from the record label luckily, a potential people to contact. And then when you got off tour your whole thing was you were really supposed to report back to K Records or Kill Rock Stars or both? What’s changed? Like now who’s booking there? Or did they change their number. The whole trick is to call in the middle of the day when they had a day job, because then if you could get them to call you back on their dime in the evening, that saves money. And I confirmed all the shows by sending out a postcard to each place. You didn’t know at the time where you’re going to be staying necessarily. So then you had to call ahead the day of or day before to get directions to the next place. And you had to write them out by hand.

C: You essentially started a rumor that you were a band before you even played together?

M: Oh, yeah, we were a band in theory for quite a while before doing it.

C: And then it started with a zine essentially.

M: Yeah, Girl Germs. Yeah. Yeah.

C: All of a sudden, you were part of the birth of a movement. And at what point did you realize you were doing something so important?

A: Well, I felt like it was kind of right away. Even though we were kind of mostly talk for a while. I think we knew it was important. Grunge was huge in the Northwest at the time, we knew we’re up against some kind of long-haired sexism. And we also had Bikini Kill. We were in Eugene, Oregon, at university together. That’s where Molly and I met. But we would go up to Olympia, my hometown, on weekends, Once a month or so. And we would hang out with people like Tobi Vail and Kathleen Hanna, and they were super politicized and interested in community-building within the “punk girl scene” or getting a punk girl scene together really.

M: We were craving seeing women in music in some form, right.? Whether it was on a record or on stage. And for me that was the real impetus of “we’ve just got to do this”. Because there just needs to be more and there was no limit on trying. It was like, well, it’s literally better than nothing.

A: You have to kind of create or be part of the culture, you want to see. What you want and the community you want to be part of. And don’t just let someone Co-opt anything that you’ve ever been a part of, and then sell it back to you at some high price in some way.

We are highkey losing our shit over here for this reunion and the entire line up. Dust off your old fanzines and head over to Mosswood Meltdown to grab tickets asap because this festival is going to be soooo Cool Schmool.

Check out our previous interview with Allison in 20216 here and her interview with Liz Phair from 2018 here.

Top Image: courtesy of the artist

Kid Sistr consists of Becca Webster on drums, Sabel on guitar and vocals, and Sara Keden on bass and vocals. Sara and Becca met as children while playing music together at an after-school program. Later while at the University of Miami, Sara met Sabel and the two booked a hometown show with Becca. Immediately, they realized they had found something special and continued to book hometown shows during college breaks.

During the COVID-19 pandemic, Kid Sistr took to TikTok where they performed covers of songs and gained a cult following.

“Around that time we started using social media as a tool to reach more people… We were posting on TikTok funny short clips, and we did this series covering songs from movies that we really liked… to show our personalities,” Becca said.

During the COVID-19 pandemic in 2020, they released their first original songs together. Their lighthearted and welcoming personality as a band continues to shine both on social media and on the road; they distinguish themselves by giving away friendship bracelets with phrases like “ur mom” on them to fans. Taking fan interaction from social media comments to interacting with them on tour has been “really, really exciting,” Sara explained.

Kid Sistr pulls a lot of their inspiration from their move to Los Angeles from the East Coast two years ago, and being “very online,” said Becca. Sabel said that her own inspiration came from finding a talented musical community at college. In the bleak days of the pandemic, it is easy to see how their energetic sound drove fans desperate for lightheartedness and connection to their music.

As for the name Kid Sistr, it comes from the oldest-sister role that bonds the three band members. “We want to be like a big sister figure to any other young kids that want to get into music or are intimidated by it. I feel like growing up as the oldest sister, you take on that role at the beginning. We’re all very close with our siblings,” said Sabel. “It’s just down to the core of who we are because didn’t have the older sister to say, ‘you can do this.’”

Becca added, “In terms of our songwriting and storytelling, I feel like that aspect is really important… As eldest sisters, you take on this role where you’re experiencing everything first and you’re setting examples…You are able to help your younger siblings through it.” They are simultaneously the role models who normalize all the awkward parts of growing up, and the indescribably cool girls— with shimmering makeup, patterned clothes, and bright-colored Instagram feeds— we all would have looked up to.

“We try to tell stories with our songs and express feelings and desires, and various emotions that come with being women in this world. Really, it’s for all of the young people so they can feel a little less alone,” Becca explained, and for them to “have a big sister.”

Their debut single, Little Sister Song, seems to sum up their identity. The song serves as a letter to their little sisters about being between childhood and adulthood. The lyrics state, “She walks like a woman and talks like a little girl,” which touches on the often dark realities that exist between these phases and the impact of the world’s perception on them. They often poke fun at these serious themes, while simultaneously acknowledging the gravity of the reality needed to share these sentiments and their reactions. They normalize the part of change that must be grappled with in all of its pitfalls and glory. It paints a realistic portrait of their identities and their relationships (especially with their own sisters), all while reminding us how much fun we can have relishing in womanhood.

“I was thinking a lot about representation… I like to trick myself sometimes and pretend and step away from the politics of it all,” Sara said.

“I can pinpoint the point in my childhood and adolescence where I saw myself represented, and I remember those to this day. [For example,] being 10 years old seeing a girl play guitar. I remember those moments,” Sara said. “I think it’s a great privilege to be part of the lineage of women creating, and queer women creating.”

“We’re definitely in a vulnerable spot being all women,” Becca said, “But at the same time I’ve had so many musical experiences where I was the only girl in the room and those were so uncomfortable for me. I felt like I couldn’t really be myself and I had to put on this weird masculine front.”

Kid Sistr discussed with BUST the inevitability of always getting asked about being women in music and the double standard that men are not forced to discuss their gender alongside their talent.

“​​Now, I do feel [that] I love getting that question because it’s very important to acknowledge it. It is more of a rare occurrence. Women in music are the minority,” said Sabel. “We are acknowledging it, and we’re talking about it, because it’s important and cool.”

Regarding representation, BUST asked Kid Sistr about having to step into the role of being a figure for others to look up to while simply trying to do what they love.

“Really, we’re just three girls having fun doing stuff,” Sara told BUST. “But the reality is that they are forced to be the representation that is so desperately needed of women in the musical world.” We also discussed not having the choice of wanting to serve as a representation of women in the musical world but still having to act upon that role.

“I think for me, it’s very liberating,” Becca responded. “I feel like I spent a lot of my childhood and adolescence as a musician covering up that fact and trying to fight it. And trying to make myself fit into these very male spaces, especially as an instrumentalist. Especially as a drummer… I feel like I kind of was always trying to hide that part of myself. Now, being able to talk about that has made me feel a lot more comfortable and feel like I’ve been able to kind of express my femininity even while tearing up the drum kit. There’s a duality there. But I really, really love and really value that.”

Another important element is their humor. On X-Tape, their latest song, they were able to “build a complete world around” the song with its accompanying music video, according to Sara. They poke fun at the traditional classroom setting and instead teach a sex-positive sex-ed class in the video, to lyrics that state “I’m just a girl and I’ll do what I want.” This matches their merchandise, where they sell birth control cases with “Kid Sistr <3’s Safe Sex” written on the front.

From the Kid Sistr Store.

As an independent band, they are “working girls,” and have huge dreams for what’s to come next. They do not appear to be limiting themselves to a singular identity or genre anytime soon, as slower song “Dallas” and their punk-inspired vocals on “X-Tape” prove their vast range of ability.

Sabel said, “We have big aspirations and we love music, and love writing. We’re definitely not going to slow down.” They use humor, irony, and joy to discuss huge themes such as humanity, misogyny, friendship, queerness, and even more. These layers are evident in their willingness to experiment and venture into the unpredictable and unknown. So keep an eye out for Kid Sistr, either on their current tour or along for the ride on social media. Be sure to stream their songs as they redefine the musical universe and maybe even invent their own.

Top photo by Emily Entz.

Erykah Badu—the queen of neo-soul and arguably one of the coolest women on the planet—is hitting the road this summer on a 25-city tour starting June 11. Can’t wait to see her go on and on (and on and on)? Go to unfollowmetour.com to find out if she’s hitting a town near you.

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2. The Blackening

Photo Credit: Glen Wilson

Co-written by Tracy Oliver (who previously brought us Girls Trip), this horror/ comedy flick follows seven Black friends who go away for a weekend in the woods where there’s a killer on the loose. They can’t all die first, so they rank their Blackness and use their knowledge of horror movie tropes to survive. Piss your pants laughing when it comes to theaters June 16.

3. TLC Forever on Lifetime

Photo Credit: Dennis Leupold

Which one are you? Crazy, Sexy, or Cool? Follow the drama and tragedy that came with fame for TLC’s Left Eye, Chili, and T-Boz as they become one of the most iconic girl groups of the ’90s in this Lifetime documentary airing June 3.

4. Survival of the Thickest on Netflix

Photo Credit: Winnie Au

Michelle Buteau stars in this Netflix series based on her autobiography. Written and produced by Buteau, the show, which hits the small screen July 13, follows her as she goes through a breakup, gets her styling career off the ground, and plunges back into the dating pool with help from her two besties.

5. Ahsoka on Disney+

Photo Credit: LUCASFILMS

Star Wars fans first met Rosario Dawson’s character, Ahsoka, in the second season of The Mandalorian, and now she’s back in her own series premiering in August on Disney+. The story follows the former Jedi knight as she tries to save the galaxy. Fingers crossed we get another Lizzo and Baby Yoda moment!

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6. I Inside the Old Year Dying by PJ Harvey

Photo Credit: Steve Gullick

Indie-rock goddess PJ Harvey is bringing her spooky vibes, unique voice, and harrowing lyrics back to the mic with her 10th studio album, I Inside the Old Year Dying. Bask in her melancholy magic when it drops July 7 on Partisan Records.

7. The Story of Art Without Men by Katy Hessel

For as long as humans have been making art, there have been women artists. Yet, until recently, they were glaringly excluded from history. This bothered Katy Hessel, so in 2015, she launched the IG account @thegreatwomenartists and then a podcast of the same name. Now, her new book from W.W. Norton & Company is continuing this important work by digging up all the forgotten women who mastered their crafts and finally giving them their due.

A teaser of the book debuts on her podcast: Listen now

8. Mosswood Meltdown featuring Bratmobile and John Waters

Wow, wow, wow! The legendary riot grrrl band Bratmobile is reuniting after 20 years at the Mosswood Meltdown festival in Oakland hosted by John Waters. The lineup also includes BUST faves Le Tigre, the Rondelles, and Gravy Train!!!!, so grab tickets for the July 1 and 2 dates asap at mosswoodmeltdown.com.

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9. Pageboy: A Memoir by Elliot Page

The Umbrella Academy star is speaking his truth. This memoir, out June 6 from Flatiron Books, takes readers from Elliot Page’s breakout role in Juno to being forced into the Hollywood starlet mold to his transition—allowing him to finally navigate Tinseltown on his own terms.

10. “It’s Pablo-matic: Picasso According to Hannah Gadsby”

Photo Credit: Ben King

Hannah Gadsby shot to fame with her groundbreaking one-woman show, Nanette, and now she’s sticking it to the man. Well, one man in particular—Pablo Picasso. Opening at the Brooklyn Museum on June 2, this exhibit, co-curated by Gadsby, will feature works by Picasso alongside those by feminist artists, including the Guerrilla Girls and Cindy Sherman, and plenty of pointed commentary.

Check out Hannah Gadsby introducing “It’s Pablo-matic” on SoundCloud: https://soundcloud.com/brooklynmuseum/hannah-gadsby-picasso-introduction?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Top Image: Photo Credit: Fred Yonet

BUST has been a home for many incredible stories over the years, and has held a special place in the hearts of many over the decades. (If you’re feeling sentimental, check out this retrospective we did for our 25th anniversary, where readers share their favorite moments about the magazine.) As time passes and the social landscape changes, BUST has continued to publish fresh and innovative features on the coolest feminists of today.

BUST, like boygenius, was formed independently by a trio of badass women. BUST started out as a homemade zine in 1993. The first few issues were photocopied, stapled together, and distributed by its three founders, Laurie Henzel, Debbie Stoller, and Marcela Karp.

In those 30 years, we’ve created a bi-annual craft fair, published several books, and have had over 10,000 subscribers as of 2018. For our 30th anniversary issue, we decided to celebrate with boygenuis, the indie-rock supergroup that’s taking the world by storm.

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boygenius is composed of indie-rock singer Julien Baker, viral folk sensation Phoebe Bridgers, and singer-songwriter Lucy Dacus. In our summer issue, released on June 1st, the trio discussed their rise to being one of the most influential feminist supergroups of the modern age. The members of the band talk with BUST about their blooming friendship, their (sometimes rabid) fanbase, and Kristen Stewart, who directed the band’s short film. They also discuss their debut studio album, The Record, which was released earlier this year on March 31st.

Dacus and Baker had previously been acquainted since they both performed together in Washington DC back in 2016, but after performing on the same bill in 2018, all three women got together to record a promotional single for the tour. They decided that they were having too much fun to stop, and later that year, they released their first official EP as boygenius. How did they land on their unique and discordant name? How did the COVID-19 epidemic affect their success? How do they feel about their adoring fans? And who the hell is Maxine? You’ll just have to pick up our newest issue to find out!

But boygenius isn’t the only thing we’re highlighting this summer. Here are some other cool things to look out for in the 2023 Summer issue.

Check out our feature on Malaysian film producer and screenwriter, Adele Lim. Lim talks with us about her new R-rated comedy, Joy Ride, which came out June 7th. Joy Ride is the first major studio film with an all Asian-American (and predominantly female) cast. The film is raunchy, delightful, and diverse. Lim was open with BUST about the real-life inspiration behind Joy Ride, Asian-American representation in media, and her lengthy list of credits (including Disney’s Raja and The Last Dragon, and Crazy Rich Asians). “We’re finding joy and reveling in our own messiness, just like any other white guy’s R-rated comedy.” Succinct, substantial, and chock-full of intersectional feminism, Adele Lim’s feature is a must-read.

But that’s not all the intersectionality we have to offer; check out the other pieces on writer and activist Rachel Cargle, and our feature on comedian and “cat daddy” Marc Maron.

Photo Credit: Elizabeth Caren

This issue is also full of fun treats for those long hot summer days, like our recipe for grilled peaches, and DIY Balboa Bars. The only thing better than enjoying a cool homemade treat on a hot summer day is looking cool while you do it. Take a look through our ‘Looksee’ feature, where we list all the things we’re into this season, like this cutely packaged sunscreen, these size inclusive swimsuits, and unique sunnies to shield your eyes from the sun’s rays. There’s more cool attire featured throughout; our Get The Look section highlights several Malibu Barbie-themed accessories, like these Moxi roller skates, and this vintage polaroid film camera. But we’re just as comprehensive about our fashion coverage as we are with our anthropology.

This summer’s issue is also full of cool cultural pieces and historical topics, like the extensive feature on the lives of women in the rural mountains of Tibet. The story, written by Eleanor Moseman, details Moseman’s time spent with Tibetan villager Jamyang Tsomo and her family. It covers Tsomos daily chores, which include tending to yaks, harvesting barley, and looking after her family. Jamyang Tsomo’s story is a phenomenal glance into the lesser covered fierce women of the modern world. And she’s not the only cool cultural feature we have. This Summer’s issue also has an inside scoop on “one of the Middle Ages most fascinating figures,” visionary St. Hildegard of Bingen, written by noted historian Dr. Eleanor Janega.

So if you haven’t subscribed already, you’re definitely missing out. There’s something so special about receiving a physical print publication in the mail. It’s nostalgic, and reminiscent of the simpler bittersweet days of adolescence. Relieve the days of reading horoscopes aloud to your bestie and skimming the pages of a magazine for cute summer accessories. Alternatively, indulge your curiosity for knowledge by checking out our features on the historic town of Dublin, or the origins of Midsummer (the Scandinavian Pagan tradition, not the Ari Aster film!) And of course, as always, there’s way more!

We here at BUST are proud to provide a platform for everything; and our digital articles are no different. From updates on the new Barbie Movie, to abortion rights, and from Taylor Swift & Ice Spice collaborations, to coverage on an all girls robotics team in Afghanistan, there’s always an exciting online feature for you. Sounds enticing? Keep an eye out for us on your news feed, as well as on your local newsstands. Here’s to another 30 years. And 30 more after that!

Subscribe now to get your hands on this 30th Anniversary issue!

Top Image: Photo Credit: Ramona Rosales

The single’s repetitous melody is an excellent back up to Violet’s saccharine-sweet vocals, building gently, keeping tempo, creating tension until Violet’s explosion of “my god! my god”! (This song is about sex, folks!) MY GOD! has all the elements of a hit pop single: an inescapable ear worm of a melody; catchy, sexy and easy-to-belt-out lyrics, and a nice and healthy dose of queer joy.

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Violet spoke with Flood Magazine about her inspiration for the song.

“I saw a TikTok video posted by a queer woman,” she shared, “where she said, ‘When you have sex with a girl who’s only been with men before it can really be a sexual awakening because for the first time she’s thinking, what does sex look like to me if i’m not absolutely prioritizing my partner’s pleasure over mine—or sometimes at the cost of mine?’ It made me think about how heterosexual women have so often been conditioned to prioritize a man’s pleasure to the point of being out of touch with their own desire. What would that look like to honor your desire? It was a whole awakening for me.”

Violet’s not-so-subtle lyrics celebrate the euphoria of prioritizing your pleasure, but it’s more than just great sex– it can often be a spiritual experience as well. Violet’s cheeky play on religious regalia in her photos (and upcoming music video) and her frisky devotional lyrics prove that sexual joy is truly a transcendent experience.

Two hearts electric and eager/one touch and I’m a believer,/ you got me coming all undone/ baby, I’m confessing/ like how you undressing/ it could be a blessing/ if we do it ri-i-i-i-ght. If you keep it up imma see the light/ open up the gates to my paradise/ like MY GOD! MY GOD!

Tessa’s last album Bad Ideas came out in 2019 and several songs on that LP including Crush, I Like The Idea of You, and Bad Ideas encompass similar topics. Violet is not afraid to unabashedly ask for what she wants, speak openly about what turns her on, and be all around a sex-positive role model.

Not only are these messages still salient four years after their release, her sound is just as fresh and dialed in as it was when her last album came out. Violet has a tangible grasp on what works in the digital space– her messages are thoughtful and clear, her hooks are fetching and the overall production has all the elements of virality.

MY GOD! comes fresh off the last single, YES MOM, which became a viral TikTok sensation. Recognize these lyrics?

Bet you’ve been a fan of me/ See me in your fantasies / Everything I got, I got working for me so/ Eat that, peep that, I’m the one to beat, yeah (yeah)/ I’m the one to beat, yeah/ I’m the one to beat, yeah

MY GOD! will be released in its totality on July 14, and Tessa Violet will be hitting the road on a nation-wide tour shortly after. Check out her dates to see if she’s coming to a town near you!

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Top photo: by Sarah Pardini, courtesy of Tessa Violet

This upcoming live NYC concert will feature a full band. Ms. Danilova is an exciting and powerful performer. I can attest to this having seen her live a several times and highly reccomend attedning this upcoiming show. It’s gonna be a hot one! 

For more information about both video and live show please visit zolajesus.com and Le Poisson Rouge’s website, lpr.com.

Photo credit: Shervin Lainez

1.) Join a Queer Book Club (Or start your own!)

Literature has been a powerful part of queer history since its inception. Sapphic authors, like Eva Kotchever and Radclyffe Hall, were both persecuted for their literary works, which contained overt lesbian themes. For a wonderfully chill and bookish Pride celebration, host a book club to honor one of these infamous queer writers. We suggest Hall’s most controversial novel, The Well of Loneliness, which was the subject of obscenity trials in both the US and UK. You can also join a queer book club, like Sapphic Lit, which is a literary pop-up held in over 55 countries. Sapphic Lit is hosting events all over the globe for Pride month this year, including pop-up bookstores and book swaps. Check out their full list of events here.

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2.) Have A Queer Movie Night

Whether you’re looking for a quiet night in with your favorite queer rom-com, or a fun interactive night out with your peers, LGBTQIA+ cinema is a unique way to celebrate Pride this year. Organizations like The Bush Cinema Club, New York City’s Dyke Cinema Club, and Toronto’s Queer Cinema Club host monthly intimate screenings of queer films. The screenings are small, seating only around 50-100 people. They’re sometimes even held in private West Village lofts, or barely known dive bars. The events are usually accompanied by themed refreshments, and the occasional aphrodisiac popcorn. Annual film festivals like the Queer Vision Festival in the UK are also holding screenings of independent queer films all throughout Pride month. Can’t make it to Toronto, New York, or Great Britain? Audience participation isn’t the only way to get involved: you can also donate your time to any local queer-owned cinema organization. You can even hold your own private cinema screenings with your friends, and include some fun treats of your own. Check out volunteer opportunities for The Bush Films here, and check out our list of sapphic movies written by women here!

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3.) Go To A Silent Disco

When you’re queer, dancing is a revolutionary act of defiance. Throwing on some Jessie Ware tunes and letting loose is a great way to get down this Pride season. It’s no secret that Disco served as a safe haven for queer individuals, both out and closeted. Disco also provided a platform for queer people of color, something that remains few and far between to this day. But long gone are the days of sweat-stained velour and Studio 54. And because roughly 60% of all LGBTQIA+ individuals experience anxiety, a packed room full of blaring music might be the last place you want to be this Pride. Luckily, there’s a loophole. Silent discos have been cropping up, and they’re a great way to experience a fun night out ​​— without all the overwhelm. For a small fee, attendees rent a pair of headphones with several “music channels” that can be switched over the duration of the party. Most silent disco events are operated by Silent Events. The rental company crafted the multisensory experience as an alternative to the loud, anxiety-inducing environment that clubs and concerts foster. It’s a low pressure way to enjoy cool, queer tunes with friends. You can check out their nation-wide list of upcoming events here.

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4.) Start a Riot

Pride wouldn’t exist without riots. The first Pride parade was a riot. If it weren’t for Marsha P. Johnson throwing the first brick at the Stonewall Inn (and the infamous riots that ensued afterwards,) it’s hard to believe that we’d have the agency that we do today. Maybe don’t put yourself in danger of being arrested, but see what local protests or grassroots movements are going on in your area. New York City’s Queer Liberation March would be a great start, as they initially organized to reclaim Pride from corporations by honoring the initial intent of the Stonewall Riots. And if you can’t make it out to the East Coast, QLM offers livestreams of all their events. Additionally, the website pridefinder.com is a marvelous multipurpose resource for finding a myriad of queer events, parties and protests alike. It’s global, and even includes a list of welcoming queer cities across the world. Check out their list of upcoming event pride events for 2023 here.

5.) Support Your Local LGBTQIA+ Historical Site

Museums with queer exhibits, going on LGBTQIA+ historical walks, and speaking with elder queers in your community are all great ways to immerse yourself in the more historical aspects of Pride this summer. There are plenty of amazing museums across the world that are full of rich archival history, like the Leslie-Lohman Museum, nestled in the streets of NYC’s SoHo. The museum houses a small gift shop, a private event space, and a collection that spans over 300 years. But you don’t have to be in the city of the Stonewall Riots to explore the historical significance of the event; There’s a whole museum dedicated to the Stonewall Riots in Fort Lauderdale, of all places. The Stonewall National Museum & Archive was initially a small queer library that has since grown into a museum that hosts movie nights, tours, and fundraisers for the local LGBTQIA+ community. They even have a digital collection if you can’t make it in person. There’s also the ONE Archives in Los Angeles, California, which is known to be “the oldest active LGBTQ organization in the United States,” and hosts the Circa Queer History Festival every pride month. To find a comprehensive list of LGBTQIA+ historical museums across the world, check out this travel list.

Whether it’s supporting queer-owned artists, flipping through a book, or watching a campy queer flick with your friends, we hope you find some informative, eccentric, and innovative ways to honor your LGBTQIA+ community this summer. Don’t be afraid to break tradition!

Top Photo Credit: Norbu Gyachung via Unsplash

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Arlo Parks

British musician Arlo Parks already has grammy-noms under her belt from her debut album Collapsed in Sunbeams. The bisexual artist JUST released her sophomore album, My Soft Machine on May 31 (stay tuned for a BUST review)! “My queer identity has always made its way into my music because it’s who I am,” Parks told The Pink News. “I remember the first time I heard somebody singing a song about being queer and using pronouns that I felt I could apply to love stories that I had been through, then also wanting to give that back to people. A big part of encouraging people is making them feel less alone.”

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girl in red

Norwegian indie pop singer Marie Ulven Ringheim aka girl in red, has reached cult-status for young lesbians and other WLW. The artist, who originally identified as gay, now calls herself queer, an umbrella term that not only encapsulates the identities of LGBTQ+ people, but also represents the spirit of the community too. “I think having all this queer art and music and movies and photography and paintings, it’s so important and all that shit is gonna help this world move towards a better place,” Ringheim told Gay Times. “Seeing all these girls and boys making them gay tunes, I’m just like, ‘Yaaas!’” girl in red’s biggest hit (so far) is her song I Wanna Be Your Girlfriend, a tune chocked full of young and eager longing: “I don’t want to be your friend, I want to kiss your lips. I want to kiss you until I lose my breath.”

Brittany Howard

The Alabama Shakes frontwoman with an impressive solo career and some ethereal vocals, Brittany Howard, didn’t become fully aware of her lesbian identity until her mid-twenties, according to The Independent. Howard grew up in the religious south, a place with no representation of who she was: a young Black queer girl. While talking about a same-sex crush in her song Georgia, she told Vulture: “When I was younger, I wish I had a song like that. To be represented by someone who thinks more like me, rather than being represented by these giant images in the media, like, ‘This is what it looks like to be gay…’ I don’t look anything like that.”

Syd

Musician Syd (formerly Syd tha Kyd) has had a long career in music, though she just entered her thirties. The musician started turning heads at age 16 when she was a part of the collective Odd Future with artists like Tyler, the Creator, Earl Sweatshirt, and Frank Ocean, then went on to start her own band The Internet. Syd, who is gay, tries to balance bringing her queerness to the forefront of her public image. “ I’ve always made it a point to just be gay,” she told The Guardian. “It was just like: ‘Look, there’s a girl in the video with me. What else do I need to say?’” Syd is a frequent collaborator with Kehlani, another gay artist with impeccable vocals check out their beautiful vocal blending on the song Birthday.

Rina Sawayama

The gorgeous and talented Rina Sawayama has had a jam-packed career, as a triple-threat: actress, musician and model. Her 2018 track Cherry exploded on the scene and was a song that openly discussed her pansexual sexuality. “I guess people find bisexuality harder to identify with,” Rina told Gay Times. “Gay male culture is very strongly represented, and lesbian culture is represented too, but bisexual culture is still in a formative stage where people are still learning to own it and making it what it is. I know it makes me sound really old school, but pansexual is a new word for me,” she says. “I grew up identifying as bisexual, because even maybe four or five years ago the language just wasn’t there, I don’t think. It’s such a new thing, so I’ve been getting used to my new identity.”

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Top photo: screenshot of “Lipstick Lover” Music Video from the official Janelle Monáe YouTube Channel.

Specifically, she asked, “How is Lizzo still THIS fat when she’s constantly moving this much on stage?! I wonder what she must be eating.” Ugh. Barf. Other people then decided to chime in on an issue they know nothing about and debate whether or not being fat was a part of Lizzo’s ‘brand.’ How can your body be your brand??”

Lizzo saw these comments, because even though some people seem to think differently, Twitter is a publicsocial media platform. The singer responded by stating, “Y’all really need to touch grass… I’m not trying to BE fat. I’m not trying to BE smaller. I’m literally just trying to live and be healthy. This is what my body looks like even when I’m eating super clean and working out! Y’all speak on shit y’all know NOTHING ABOUT and I’m starting to get heated.” While her statement was perfect, it’s annoying she still has to comment on this kind of awful behavior at all.

Lizzo went on to state, “ALSO: to the people who haven’t had an original thought or fresh air in years… BEING FAT ISN’T MY ‘BRAND.’ BEING FAT MY BODY LOOKS [LIKE]. THAT’S IT. THAT’S ALL. My ‘brand’ is FEEL GOOD MUSIC. My ‘brand’ is CHAMPIONING ALL PEOPLE. My ‘brand’ is BLACK GIRL LIBERATION.” Once again, an incredible statement by Lizzo that we wish she didn’t have to make.

Recent hateful comments about her body have also made Lizzo speak up about her hesitancy to continue in the music industry. The singer stated, “Y’all don’t know how close I be to giving up on everyone and quitting and enjoying my money and my man on a FUCKING FARM…” While we’d be devastated to see her go, we can’t blame her for wanting a more quiet life away from people who feel that they have the right to comment on another person’s body.

Thankfully, many fans have come to Lizzo’s defense. With one fan tweeting, “It’s ridiculous that Lizzo has to login everyday and see think pieces about her body. She’s performing a sold out tour, serving face, on a tv show every other night. Instead of talking about her success, people are constantly trying to steal her light.”

Another fan summed up this issue perfectly, stating, “I wish y’all would just be honest and say what really bothers y’all about Lizzo. She makes you feel bad because you’ve lived your whole life attaching yourself worth to thinness and to see her live bold and talented in a big Black body bothers you.”

While we hope Lizzo doesn’t quit music, we also fully support the icon in whatever decision will lead her to the happiest life. After all the joy she’s created for us, she deserves to feel the same joy in return!

Top photo: Screen grab from Lizzo – Tina Turner Tribute & Like a Girl – Phoenix, AZ 5/24 from Garrett Harer on YouTube

Eilish isn’t happy with the comments she’s receiving as she transitions from her baggy t-shirts and basketball shorts to a more feminine-punk style. Eilish began the clapbacks in a series of Instagram stories by stating the following: “I spent the first 5 years of my career getting absolutely OBLITERATED by you fools for being boy ish and dressing how i did & constantly being told i’d be hotter if i acted like a woman.” She calls out those accusing her of being a “sellout” for her change of style, calling them “bozos”.

Billie via her Instagram story! pic.twitter.com/n62AQyr8ar

— Billie Eilish Tours (@billieeilishtrs) May 27, 2023

The Grammy-winning singer has openly expressed the reasons as to why she selects certain aesthetics. In a 2019 Calvin Klein campaign, she explains that she donned her old baggy style to avoid comments and attention about her body, “I never want the world to know everything about me. I mean that’s why I wear big, baggy clothes. Nobody can have an opinion because they haven’t seen what’s underneath.”

But as Eilish spiced up her style, hate still came into her life. Just one year after the Calvin Klein ad, paparazzi captured the singer in a more form-fitting (yet comfy) outfit that revealed her figure. This resulted in an abundance of sexualized commentary about her body, and Eilish responded to them by reposting on her Instagram a TikTok by Chizi Duru in which the blogger asks for society to normalize real bodies, “Guts are normal; they’re normal. Boobs sag, especially after breastfeeding. Instagram isn’t real.” And this is only one of the many times that Eilish had to defend herself and stand her ground.

That same year, the “Bad Guy” singer posted a short film titled “NOT MY RESPONSIBILITY” which she also utilized to kick-off her shows during her 2020 Where Do We Go World Tour. The empowering video shows Eilish removing her staple oversized zip-up to reveal her figure, saying “We make assumptions about people based on their size. We decide who they are. We decide what they’re worth.”

She ends the video with a series of rhetorical questions, asking “If I wear more, if I wear less, who decides what that makes me? What that means? Is my value based only on your perception? Or is your opinion of me not my responsibility?” This eloquent short-film transcended Eilish further into her search for authenticity and expression through her fashion.

But calling the critics a bunch of “bozos” wasn’t all that the singer wanted (and needed) to say. Eilish continued on to give us a little “fun fact” saying, “did you know that women are multifaceted!!!!!??? shocking right?? believe it or not women could be interested in multiple things.” Say it louder for the people in the back, girlfriend!

Stating that femininity doesn’t equal weakness, Eilish voiced her opinion of self-expression, “totally unheard of and insane to want to express yourself differently at different times.” If Billie wants to wear an oversized tee, then let her. If she wants to wear a dress, then let her. She can rock it all, and that doesn’t make her a “sellout.”

We’ve seen Billie transcend many different styles over the years, from her neon-green hair roots to her iconic blonde girl era and to many, many more – her self-expression through her looks is one-of-a-kind (and never a miss). And while it may be draining to do this repeatedly, we are proud to see Billie dismissing the haters and setting her boundaries. Needless to say, she slays in anything she wears.

Top image: Screen grab from “Billie Eilish – NOT MY RESPONSIBILITY” on YouTube

H.E.R

Grammy-award winner H.E.R aka Gabriella Samiento Wilson started her musical career incredibly young. The multi-instrumentalist was only 10 years old when she performed live on the Today show, playing the piano and singing Alicia Keys’ If I Ain’t Got You, demonstrating her rich vocal chops and setting the stage for what would later become a full-fledged musical career.

H.E.R is a Black and Filipina American, who was recently on the cover of Vogue Philippines, talking about her family’s history, favorite Filipino foods, and how she tries to connect to her culture in unique ways. While reprising the role of Belle for the live-taped performance of Beauty and the Beast (alongside Josh Groban and Rita Moreno) she paid tribute to her Filipino heritage by having an artist write out the name “Belle” on her costume, using the Filipino pre-colonial writing system called Baybayin.

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Japanese Breakfast

Indie-pop sensation Michelle Zauner, aka Japanese Breakfast, took the music world by storm with the release of her debut studio album Psychopomp. The Korean-American artist has not only gained critical acclaim for her music (she won Record of the Year at last year’s Libera Awards for Jubilee), she also penned the #1 New York Times Bestseller memoir Crying in H Mart, chronicling her experiences growing up in a Korean-American household, the death of her mother and the “reckoning with her identity that brought her to reclaim the gifts of taste, language, and history her mother had given her.” The incredible dream-pop artist is going on tour this summer, so check out her website to see if she’s performing near you!

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Olivia Rodrigo

Disney-darling and queen of teenage angst, Olivia Rodrigo, has made herself a household name over the past few years. The Filipina-American musician has won over 60 awards across the country for her music and is only just beginning. Her debut album Sour is the longest-running debut album in the Billboard 200 Top 10 in this century! Not only is she a songwriting prodigy, she’s also an inspiration for other young Asian American girls looking for more representation in their media. “I sometimes get DMs from little girls being like, ‘I’ve never seen someone who looked like me in your position,'” Rodrigo shared in an interview with VMagazine “And I’m literally going to cry, like just thinking about it. I feel like I grew up never seeing that.”

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Hoku

Hoku, born Hoku Christian Ho, is the soundtrack of every 2000s girl’s stroll down memory lane. The Native Hawaiian pop singer was responsible for some of the era’s most persistent ear-worms including her debut single, Another Dumb Blonde, that was released in 2000 and was the theme song to the Snow Day.

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Hoku’s most iconic tune Perfect Day was the introduction song on Legally Blonde, it was the background to Elle Woods getting ready, the start of one of the most important films in cinematic history. While her singing career was short lived, her impact lives on!

Jay Som

Bedroom-pop baby Melina Mae Cortez Duterte aka Jay Som rose from her DIY roots into stardom after the release of Everybody Works in 2017. The daughter of Filipino immigrants, Jay Som cites her culture and family history as an influence on her music. “I am Filipino-American, both of my parents moved from the Philippines to live here. I grew up in a very obviously Filipino household with those cultural customs because my mom is just like that,” she told She Shreds, “I was supportive because I knew they understood their position in the US, like everything wasn’t going to be handed to them, they knew they had to work hard and they did work very hard when I was growing up. At a young age I really understood that, it definitely tied into my views of music.” Jay Som’s dreamy vocals are always backed by a dreamy mix of electric and slide guitarlayerd with other sparse elements that create her addicting cinematic soundscapes.

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Raja Kumari

Raja Kumari, born Svetha Yallapragada Rao, is an Indian-American rapper and classical dancer, trained in Kuchipudi, Kathak, and Bharatanatyam styles. After discovering the Fugees’ album The Score in fifth grade, the world of hip hop opened up to her. By the age of 14, she was a recognized freestyle MC and has blossomed an incredible career in the years since. She has collaborated with musicians such as Fall Out Boy, T.I., Gwen Stefani, Fifth Harmony as well as solo career. In 2020, her single Attention Everybody was released, where she performs in her native language, Telugu. And if that wasn’t incredible enough, last year she started her own independent record label, Godmother Records.

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Karen O

It’s hard to get more iconic than Karen O, the Korean-American lead vocalists of the Yeah Yeah Yeahs. Born in Seoul, Karen O moved to New Jersey and later attended Oberlin College and NYU’s Tisch School of the Arts, where she and her future bandmates formed the band that would go on to be colleagues with legends such as The Strokes, The White Stripes, and other aughts garage/post-punk revivalists. With hits from every album including Heads Will Roll, Maps, Gold Lion and Date With the Night, Karen O is responsible for some of the era’s most memorable tunes.

While interviewing Japanese Breakfast for Interview Magazine, Karen O stated, “There was no one out there I could relate to in that specific way. There were definitely a few mega inspirations and influences, and I was trying to think of some who aren’t white, because the entertainment and music industry is highly populated by white folks. I remember seeing Kazu Makino, from Blonde Redhead perform, just whipping herself across the stage, and I felt this envy, like, ‘Man, I want to be able to do that.’ There were no Korean or Korean-American rockers I could turn to, but there were a few Japanese girls, like in Cibo Matto, that were pretty awesome. But what really drove me towards music was the misfit mentality.”

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Hayley Kiyoko

Lesbian queen Hayley Kiyoko, started her career off strong– with pop-star Vitamin C asking her to join an all-girls singing group, The Stunners. That band created a number of songs, including Let’s Hear it for the Boy which was featured on the iCarly soundtrack. After an impressive stint in acting, the Japanese-American singer released her debut EP A Belle to Remember, kicking off her solo musical career. Hit singles including Girls Like Girls, Demons, Cherry, and What I Need has cemented her role as a pop star.

“Growing up biracial — my mom’s Japanese Canadian and my dad’s Caucasian — it took a long time for me to really connect and embrace my Asian heritage,” Kiyoko told PEOPLE. “I was never white enough, I was never Asian enough, but I also was never straight enough. For most of my adolescence, my sexuality kind of took over my struggle with fitting into society, and then as I was able to learn and accept myself, later in life, I started to unpack my culture and my roots.”

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Raveena

The hypnotizing Raveena released her second album Asha’s Awakening last year, a concept album from the perspective of a Punjabi space princess. The album received a lot of critical and mass acclaim– with Eric Torres from Pitchfork describing her sound as “like slipping beneath a down blanket at the end of the night.” Raveena’s parents are Indian Punjabi immigrants who moved to Connecticut to raise their family. Raveena’s ethereal vocals are so stunningly crisp, her recordings sound like they’re being played right in the room with you. Just last year, she became the first Indian woman to play at Coachella, stating “absolutely nuts that it took that long for an Indian to be invited to play there.”

“I hope I can push the ways in which South Asian artists are received in the West,” said Reveena in an interview with SheThePeople. “ We are sensual, beautiful, and talented and have so much to offer in high art spaces. Our art is truly magnificent and so many of us need more chances to shine on the world stage. I hope I can be a small part of that eventual cultural shift.”

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Mitski

Mitski Miyawaki, known by her mononym Mitski, is a Japanese and American singer-songwriter that has climbed the ranks in the last decade. After releasing her first two albums while studying at the SUNY Purchase Conservatory of Music, she graduated, moved to the city and released her third album Bury Me at Makeout Creek on Double Double Whammy records in 2014. That album, and the next album Puberty 2, garnered critical acclaim from around the world. Just last year she won “Best Live Performer” at the AIM Independent Music Awards. While talking to Dead Oceans, she reflected on feeling “half Japanese, half American but not fully either” – an idea she confronts on the clever ‘Your Best American Girl’ – a super-sized punk-rock hit created to deconstruct and poke fun at that genre’s surplus of white males. “I wanted to use those white-American-guy stereotypes as a Japanese girl who can’t fit in, who can never be an American girl,” she explained.

Stream These and Other Incredible Asian and Pacific Islander Musicians Below

Top photo:Ebru Yildiz via Pitch Perfect PR

But it wouldn’t be a celebrity tell-all without a bit of drama. According to Page Six, production of the book has been put on hold indefinitely. Some of the more raw stories might paint certain A-list celebrities in an unflattering light, which has caused them to send “strongly worded legal letters” to the book’s publisher, Simon & Schuster.

“Britney is brutally honest in the book — there are a lot of nervous A-listers,” a source told the US Sun reporters. “There’s a fair amount of throwing people under the bus, [as well as] talking about past relationships, some of whom will be revealed for the first time ever.”

We can already think of several individuals who would object to a Britney Spears tell-all. First and foremost, The entire Spears family. Perhaps Justin Timberlake, Kevin Federline, Christina Agulera, P!nk, Colin Ferrel and plenty of other notable names would also be vehemently opposed to a Britney-lead exposé.

However, last week, Britney shared that she has reunited with her mother after three years, and that they have begun to make things right.

“My sweet mama showed up at my door step yesterday after 3 years … it’s been such a long time … with family there’s always things that need to be worked out … but time heals all wounds !!! And after being able to communicate what I’ve held in for an extremely long time, I feel so blessed we were able to try to make things RIGHT !!! I love you so much !!! Psss… I’m so blessed we can have coffee together after 14 years !!! Let’s go shopping afterwards !!!”

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https://www.instagram.com/p/CssRIeitCTB/

We’ve been following Britney’s journey for years, and look forward to learning the perspective that’s been hidden for years— her own. Maybe this part of her new journey will be the happy ending for the book, and for the singer herself.

“Britney wants this to be her moment to set the record straight,” the source shared.

The original release date was supposed to be this past February, but the legal letters, amongst other delays, have pushed the release date back to the Fall of this year. Regardless of when it will be released, I think it’s safe to say the world is ready to hear Britney’s side of the story.

Top Image: https://www.flickr.com/photos/rhysadams/, CC BY 2.0, via Wikimedia Commons

Swift made the announcement on her official Twitter page on May, 24th. In just over 24 hours, the post had nearly 60 million views. This is one of the many recent developments for Swift, who is currently on the road for massively popular eras tour, and planning to release a re-recorded version of her earlier album Speak Now on June 7th. But there’s a huge elephant in the room; Taylor Swift’s alleged new beau, Matt Healy has had a nasty track record of problematic offenses, including a situation regarding some disparaging things said about Ice Spice. And many are starting to speculate that Swift’s cacophonous collaboration with the rapper is a performative attempt at damage control.

Matt Healy is the lead singer for the popular indie group The 1975. If you were on Tumblr circa 2014, then you’re probably familiar with the band, as they were a pinnacle in the soft grunge/post-hipster aesthetic that was popular at the time. And now many are speculating that he and Swift are an item. Although the two haven’t outright confirmed their relationship, both have made appearances on each other’s tours, with Taylor appearing onstage at the 1975’s UK tour this January.

But Healy has been in hot water for numerous problematic comments over the years, and his podcast appearance on the Adam Friedland Show this past January definitely didn’t do any favors for his already questionable public image. The contents of the episode became the subject of some murky controversy that is only now reentering the pop culture stratosphere as a result of Swift’s collaboration with the Ice Spice as well as Swift’s budding potential relationship with Healy.

The remarks made were so offensive, that both Apple and Spotify pulled the episode from their platforms. When discussing Healy’s attempt to “slide into the DMs” of rapper Ice Spice, hosts Adam and Nick stated that she “sounded like a chubby Chinese lady” and an “Inuit Spice Girl.” whilst simultaneously mocking Asian accents.

Healy even made a half-hearted public apology to the rapper earlier this year while on stage performing with the 1975 for their tour, where he stated that he was “kind of a bit sorry if i offended you”.

The Internet has been clamoring over the podcast appearance for months, but could the controversy merely be a result of misinformation? The comments are undoubtedly explicitly racist. All members of the podcast, ironically are not, are punching down; using their platform to spread derogatory remarks about people of color. That being said, there’s quite a bit of controversy surrounding not only what was said, but who said it. When listening to the episode (which is still available on Youtube), it’s apparent that the tasteless and racially motivated comments regarding Ice Spice weren’t actually made by Healy. Although he did find it humorous — and enthusiastically participated in the conversation — the most offensive parts of the show were spearheaded by the hosts, Nick Mullen and Adam Friedland. The hosts of the show thrive on the use of “ironic offensiveness,” which many have argued contributes to the same problematic behaviors they are aiming to criticize.

It’s also pretty par for the course. The Adam Friedland Show thrives off of its association with the “dirtbag left” socio-political movement. People have criticized the show extensively; there are even petitions to get the show removed. It’s full of vapid lowbrow half-attempts at sophomoric comedy, which is unsurprising, considering the fact that the show was originally called “C**Town”. The most liked comment on the episode featuring Matt Healy reads: “This is one of the tamest episodes of [this podcast].” which is saying quite a lot, since the episode also contained references to Japanese concentration camps and hardcore torture porn (which Healy admitted to watching, and describes the girls as “getting absolutely brutalized”). As a result, many people are questioning Healy’s association with the podcast, and ergo, Swift’s association with Healy. And in light of this new, seemingly random collaboration with Ice Spice many are starting to re-evaluate the authenticity of Swift’s activism, since she’s never once collaborated with a woman of color.

Although there is merit to the level of cultural insensitivity and brash vulgarity displayed by both parties, to vilify Healy, and thus Swift for this would be misguided. It would be much more apt to do so for the problematic things Healy has actually said, because this certainly isn’t the first time he’s been under fire for his offensive comments. In 2019, he faced an outpour of backlash for the islamophobic and anti-theistic rhetoric he voiced in an interview for Brut, where he states: “You can’t criticize Islam as a set of ideas… because you’re inherently criticizing people. But that’s a problem with society because Islamophobia does exist, people are bigoted. But what that really is is thick, bigoted people not liking brown people. Whereas I love people, I love brown people. I just don’t know when I’m allowed to be offended. Religious people are always allowed to be offended…”

Although it’s not Swift’s responsibility to account for a man’s disparaging comments, many are still dubious about what this could all mean for her fanbase. Many Swifties are finding it hard to believe that Swift is associating with Healy at all, much less dating him. Others are speculating that Swift is using Ice Spice for what might be a transparent attempt at damage control. Regardless of if it’s a PR stunt or not, the unexpected collaboration is on everyone’s mind.

And since this Ice Spice-Taylor Swift collab has only been out for a day, it’ll be interesting to see how this Healy-Spice-Swift drama will all unfold.

On Wednesday, May 24th, Turner’s official Instagram page announced her death with a tribute post, stating the following, “It is with great sadness that we announce the passing of Tina Turner. With her music and her boundless passion for life, she enchanted millions of fans around the world and inspired the stars of tomorrow. Today we say goodbye to a dear friend who leaves us all her greatest work: her music. All our heartfelt compassion goes out to her family. Tina, we will miss you dearly.”

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A post shared by Tina Turner (@tinaturner)

The two-time Rock & Roll Hall of Fame inductee and 12-time Grammy winning artist passed away peacefully in her home near Zurich, Switzerland after publicly battling several health issues, including intestinal cancer, a stroke, and kidney failure.

Born Anna Mae Bullock in Nutbush, Tennessee in 1939 to a poor family, her parents split and she was raised by her grandmother. Turner spent her teenage years immersing herself in the music scene, mainly performing at Club Manhattan, where she eventually met Ike Turner in the 50s. Together, they became known as the Ike and Tina Turner Revue, performing together for nearly 15 years and achieving great hits such as “River Deep – Mountain High” and “Proud Mary.” In 1969, they also toured as the opening act for The Rolling Stones. The couple got married in 1962, but the relationship was tumultuous, leading to Turner slowly building her solo career after she disbanded in 1976 from Ike’s constant, violent abuse. This inspired her iconic comeback during the 80s with the release of her album Private Dancer, exploding her back into the music industry with hits like “What’s Love Got to Do with It.”

Turner embarked on her solo journey during the late 70s amidst the sexist and racist industry that she was determined to prove wrong. She was the first female black artist to be on the cover of Rolling Stones and in 1975, she played the role of “Acid Queen” in the award winning musical film Tommy. In 1981, an interview with People Magazine marked the first time Turner ever openly discussed her abusive relationship with Ike Turner.

In 1986, Turner published the powerful autobiography, I, Tina, where she extensively described the abuse she suffered during her 16-year marriage with Ike. Since then, Turner not only became one of the most valued musicians of her time, but she also created a much-needed platform for saving survivors of domestic abuse.

Over the years, Turner had been candid about her battle with mental health issues, which included a suicide attempt in 1968. She was also transparent about her struggles with post-traumatic stress disorder as a result of the abusive marriage. In recent years, along with her health issues, she hd faced even more tragedy, including the deaths of two of her four sons in 2018 and 2022. In 2021, Turner bid her final farewell to her fans with the release of HBO’s documentary TINA, where she vulnerably explores her life, recounting her harrowing past, and entering a more quiet chapter of her life.

With her strong voice and fierce attitude, Turner created a long-lasting legacy for herself as a musical heroine, winning awards like the Grammy Lifetime Achievement Award and a Guinness World Record Award for the largest paying audience during her 1988 tour. Turner has inspired millions through her extravagant life and numerous talents, and she will forever be recognized as one of the world’s most loved and cherished musicians. To honor and remember her legendary reputation and vitality, here are ten of our favorite Tina Turner songs to play on repeat to bid her a loving farewell.

“All I Can Do Is Cry”

“Proud Mary”

“Private Dancer”

“What’s Love Got to Do with It”

“We Don’t Need Another Hero”

“Typical Male”

“The Best”

“I Don’t Wanna Lose You”

“I Don’t Wanna Fight”

“It’s Only Rock ‘N’ Roll (But I Like It)” feat. Lisa Fischer

No one can deny that Tina Turner established one of the most powerful and inspiring legacies in not only the music industry, but across the world. It’s hard to say goodbye to the “Queen of Rock n’ Roll”, but her music and story will further live on as we cherish all of her accomplishments.

She Altered The State of Pop Music With Her 1981 Album, Nightclubbing.

Nightclubbing was one of those rare albums that defined an era.Its addictiv melodies and avant-garde visuals were unlike anything  that had ever been seen before. Pitchfork stated that Nightclubbing is “a record that further cemented her iconic status in pop culture.” And we have to agree. Jones is still active in the music scene; in fact, she was included as a feature on Beyoncé’s song “MOVE” for her 2022 album Renaissance.

Her Subversive and Androgynous Style

Grace Jones is much more than an incredible performer, she’s also a style icon. In fact, She influenced the cross-dressing movement of the 1980s. As stated by The New York Times, “her predatory, androgynous style subverted notions of race and gender.” This couldn’t be more true. Some of her most iconic looks include a blue and red jumpsuit (with matching red glasses of course) which she wore to a book release party for Madonna in 1992, and a bustier made to look like a woman’s chest which she wore at a performance in Amsterdam in 1981. Many of your favorite stars such as Lady Gaga and Rihanna have also been influenced by Jones’ unique and trendsetting style.

#OTD Grace Jones (May 19, 1948) Jamaican-American model, singer/songwriter, producer, actress. Jones influenced the cross-dressing movement of the 1980s & has been an inspiration for many artists including Annie Lennox, Lady Gaga, Rihanna & Solange.

Sexuality#History pic.twitter.com/5mdLekaKJO

— Jazz the Professor (@LikeButta3) May 19, 2023

She Had her Own Exhibit at the Museum of African Diaspora in San Francisco

The exhibit in question was titled The Grace Jones Project, and it ran from April to September. The Grace Jones Project was “a collection of more than 20 contemporary artworks interspersed with vintage album covers, videos of her performances, and wall text detailing Jones’s global influence.” The exhibit also showcased work by artists who had been influenced by Jones over the years. Most of the art pieces dealt with the themes of Black identity, queerness, and how these idnetities intersect with art and self expression. 

She’s a Knight

It’s true! Jones has obtained Knighthood status via the Order of Jamaica. Not only this, but she received the honor in style. As stated in an article written about the event, “As she glided up to the platform where Governor General Sir Patrick Allen stood waiting for her, her wide brimmed hat and A-shaped dress stood out.” Iconic.

happy 75th birthday to the iconic Grace Jones, who i just found out has knighthood with the Order of Jamaica. i see you, sista secret agent, i see you. pic.twitter.com/IEq33rBFnG

— upfromsumdirt (@upfromsumdirt) May 19, 2023

She’s Served as Inspiration for Multiple Superheroes

It’s been rumored that the creator of the X-Men character Rogue asked an illustrator to design the heroine in Jones’ likeness. Unfortunately, the illustrator then just drew a white character with a flattop. *Sigh*. That being said, apparently the first iterations of the X Men character Dazzler also had some character design inspo from Jones. 

Wow, Grace Jones really inspired a lot of comic book artists. https://t.co/Zwxa3wISDJ https://t.co/Sz64IhU4au pic.twitter.com/8jOttFEJZH

— Craig Seymour, Black gay music critic (@craigspoplife) May 11, 2023

She’s Always Taken a Progressive Stance on Gender Expression 

In a 1984 interview with Interview Magazine, Jones stated “The future is no sex. You can be a boy, a girl, whatever you want.” The quote was in reference to the fact that she often presents in an androgynous fashion. This also wasn’t the only time Jones commented on gender issues and gender fluidity, in a 2018 interview with W Magazine, Jones stated “I think the men that embrace their female side are the stronger men.” Clearly, Jones has been progressive and open-minded on gender for years now (and continues to be) which we love to see.

“The future is no sex. You can be a boy, a girl, whatever you want.”

Grace Jones, 1984 im „Interview Magazine“ pic.twitter.com/XIdPuLEFTv

— Rolf Saxer (@rolf_saxer) May 11, 2023

Her Hula-Hooping Act She Does at Her Shows

One thing Grace Jones has never been not, is boring. Ever. At her headlining performance for 2015’s Afropunk, Jones appeared on stage donning a tribal print that was designed for her by artist Keith Haring. During her grand finale, Jones performed her song, “Slave to the Rhythm” while both topless and hula-hooping. It was truly a sight to behold. Performers take note: there is no excuse for a boring performance, especially when Grace Jones literally hula-hooped for over three minutes straight while singing! (AND she does this at many of her shows!)

Grace Jones has truly had a legendary first 75 years. We’re wishing her a very happy birthday, and we can’t wait to see what she has in store for the future!

Top photo credit: Gary Friedman, Los Angeles Times, CC BY-SA 4.0 via Wikimedia Commons

Is It Right?
2020 Manhattan.
The sirens are omnipresent. Every five minutes, sometimes less.
Is It Right?
Our neighbors wheeled out to the ambulances, some of them not even making it and dying in the street.
Is It Right?
And us, stuck in the apartment.
The virus takes us, swarms us, shifts the very foundations I thought I knew best.
The fever lasts 51 days.
The trauma longer.
Is It Right?
When the thermometer finally reads 98.6 the world is still shut down. There is abject panic, a kind I have never known before and hope to never know again. There are also life saving grants, a vision of a new life in Europe, a kernel of hope.
(All of those things can be true together, after all)
Is It Right?
Trauma.
It shifts us, shapes us, changes us.
Makes us into an ever changing mosaic, a composite of the pieces we keep putting back together.
Is It Right?
2021 Amsterdam.
We live here now, healing one beautiful bike ride at a time.
I continue a song I started in Manhattan, based on a simple question.
Is It Right?
The song comes quickly. I lean into the question, grow with the acknowledgment of uncertainty.
Is It Right?
2021 Giverny.
2022 Manhattan.
With the song’s music video I try to honor the disorienting, isolating and ultimately empowering experience of it all.
Is It Right?
The gauzy safety I found in Europe.
The gorgeous shocking clarity of my beloved New York City’s skyline.
The dizzying disorientation of those two together.
Is It Right?
For this I bring in Dutch director Lyon Pol and one of my oldest friends, Joseph DiGiovanna, a brilliant artist who among many other things deals with long COVID to this day.
Is It Right?
2023 Los Angeles.
May rings in Mental Health Awareness Month.
Do I have any answers?
Is It Right?
(What is right, after all?)
I am grateful to be alive and still considering.
Is It Right?
I shift, grow, expand.
Center my own mental health without seeking an arbitrary finish line.
Is It Right?
I know better than to rely on rigid concepts like “right” or “wrong” now.
Know better than to look for answers.
I treasure, instead, the ability to question.

Photo by Janette Beckman

It’s hard to believe that the 90s were only 10 years ago…

Because they’re not. 30 years have passed since 1993! 

It’s been three whole decades since the rise of oversized flannel shirts, Doc Martens, the premiere of The X-Files, the inauguration of Bill Clinton, and the original launch of TY’s Beanie Babies. It’s also been about 30 years since we here at BUST began operations, and we’ve come a long way since that very first issue, (which was xeroxed and stapled together; can you believe it?!) In order to celebrate 30 years of publication, here are 7 feminist albums that are also celebrating their 30th birthday with us this year. Beware: some of the records on this list may surprise you!

Liz Phair – Exile In Guyville

Many know Liz Phair as the singer of the melodic and lovey-dovey pop song, “Why Can’t I?”, which makes sense considering the song was Phair’s only charting Top 40 Hit. But before hitting pop radio airwaves with boppy love songs, Liz Phair was a grungy lo-fi artist who wrote angsty songs about sex, isolation, and yearing on cassette tapes she passed out like candy on Halloween. Exile In Guyville is the debut studio album from the indie-rock singer-songwriter, who previously released cassettes under the pseudonym “Girly-Sound” (the Girly-Sound Tapes have since gained a massive underground cult following.) Exile In Guyville, which was a song-by-song response to the Rolling Stone’s Exile on Main St. has received tons of underground critical acclaim; publications Spin and the Village Voice: Jazz & Pop Critics Poll both named it the “Best Album of 1993,” and Rolling Stone ranked Exile In Guyville as 56th on their list for the “Greatest Albums of All Time.” Songs like “Fuck and Run” explore themes of craving intimacy through lyrics that oscillate between brash vulgarity and poetic vulnerability. Liz Phair’s music has had a major impact on third-wave feminism, and her song “Batmobile” was featured in the 1996-2000 riot grrrl documentary Dirty Girls. Just as recently as 2017, the aforementioned song “Fuck and Run” went viral after Phair performed it at a Planned Parenthood rally in 2017.

Björk – Debut

Icelandic experimental artist Björk changed the music industry forever with her 1993 debut album, aptly titled Debut. Before this, she had been part of the ‘80s band The Sugarcubes, but it was this solo album that really allowed her to make her mark. The album explores a variety of genres, including psychedelic rock, alternative dance, shoe-gaze, art pop, and electronic house. Debut ranked 31st on LGBTQIA+ magazine Out’s “Greatest, Gayest Albums of All Time,” and the hit single “Human Behavior” received a Grammy nomination for the “Best Video of The Year.” Despite paving the way for female noise artists and defying gender roles in her performances, Björk has had an up-and-down relationship with the feminist movement. In a 1996 issue of BUST, when asked if she was a feminist, she claimed that “feminists really… bore me to death.” She’s since expressed full support of feminism in recent years. That being said, Debut was the first in a long line of successes for Björk, who has since earned numerous accolades, awards, and even her own retrospective at the Museum of Modern Art in 2015. 

Janet Jackson – janet.

Janet (often stylized as janet.,) is the fifth R&B album from musician Janet Jackson. At the time of the sultry album’s release in 1993, Jackson had only recently switched record labels, and her new contract with Virgin Records made her the highest paid artist in the industry at the time. The album is a deeply erotic, experimental, and sophisticated masterpiece that focuses primarily on women’s sensuality paired with experiences of rage, lust, voyeurism, and longing. The album’s lyrics were primarily written by Jackson, who has claimed that janet. is her most personal album ever. Maturely romantic jams like “That’s The Way Love Goes” work in harmony with intense electro-rock dance songs like “If.” The album expertly showcases Jackson’s range, and reinvented her pop stardom image into that of an international sex symbol. It’s been speculated that the audacious sensuality displayed by Jackson in this era is responsible for an influx of sexual liberation within young women during the mid-90s. The infamous cover for both her issue of Rolling Stone and for her self-titled album features Jackson topless, with her breasts being held up by an obscured man (who was her then-husband at the time.) The cover stirred up major controversy, mainly amongst her deeply religious family members. But Janet Jackson’s bold embrace of black women’s sexuality was monumental activism in the 1990s; as she stated in the accompanying interview for her 1993 Rolling Stone Cover, “For me, sex has become a celebration; a joyful part of the creative process… You could say I’ve entered a happy phase of sexuality… Listening to my new record, [i think that] people intuitively understand the change in me.” 

Nirvana – In Utero

Nirvana is mostly known for bringing the grimiest underground movement of the 90s to the forefront of pop culture. Their hit 1991 song “Smells Like Teen Spirit” changed both the music and fashion industry for good. Happily, Nirvana has always been an outspokenly feminist band, and their 1993 album In Utero exemplifies that best. Tobi Valli of Bikini Kill was Nirvana frontman Kurt Cobain’s close friend and partner before his relationship with Courtney Love. He was also good friends with Kathleen Hanna, who inspired the title for “Smells Like Teen Spirit.” Valli was even the subject of the song “About A Girl,” which explores the complicated nuance of love and relationships from a humanistic (and thus subversive) standpoint. The emotional vulnerability and personal connection with the subject of the song was unusual for rock stars at the time, who usually expressed more misogynistic views. In Utero also features the song political anti-assault “R*** Me,” of which Cobain has had to clarify the intention numerous times: “…Having to resort to doing something like that is almost embarrassing… People didn’t understand the songs ‘About A Girl’ or ‘Polly’… So I decided to write this in a way that’s so blunt and obvious that no one can deny it.”

In 1992, Nirvana performed a benefit concert for the Opposition to Measure 9 (which was a bill that called for the cessation of the “promotion of homosexuality”), which the band publicly denounced. Stating, “Nirvana wants to do their part to end bigotry and narrow-mindedness everywhere.” They also turned down the opportunity to perform with Guns N’ Roses on their “Use Your Illusion” tour. When asked why, Cobain stated the following: “Those people are total sexist jerks, and the reason we’re playing this show is to fight homophobia in a real small way. [Axl Rose] is a fucking sexist and a racist and a homophobe, and you can’t be on his side and on our side.” This would be the last studio album Nirvana would ever record before the death of Cobain one year later, in April of 1994.

Ani DiFranco – Puddle Dive

Anti-corporate queen Ani DiFranco has been a mainstay in the underground alternative scene since she created her independent record label, Righteous Babe Records, in 1990. DiFranco is a member of the LGBTQIA+ community and an outspoken anti-consumerist activist. In 1993, long before her Grammy nomination for “Shy” and right around the release of BUST’s first ever issue, she released her fourth studio album titled Puddle Dive. The folk-rock album channels the bleakness of touring through the country and dives into DiFranco’s relationships on the road. The album embodies a twangy and upbeat sound, which is contrasted with poetry-beat lyrics that express disquietude, rage, and contemplation. This is best exemplified in the song “Blood In The Boardroom”, which recounts her experience with unexpectedly getting her period at an uppity boardroom meeting. “It ain’t no hassle, it ain’t no mess/Right now it’s the only power/That I possess/These businessmen got the money…/But I can make life/ I can make breath/Sitting in the boardroom/The I’m-so-bored room/I didn’t really have much to say… So I just left a big brown bloodstain. On their white chair.”

PJ Harvey – Rid Of Me

This dynamic album from punk blues singer-songwriter PJ Harvey took the world by storm nearly 30 years ago. The album features outstandingly raw and grungy hits like “Man-Size,” which explores themes of toxic masculinity and Harvey’s desire to be “set free” of girlhood. The album is characterized by askew time signatures and heavy guitar riffs, which are accompanied by Harvey’s primal and ethereal vocals. Simon Reynolds for The Guardian has said that he was “immediately struck by how thunder-quakingly Led Zep the drums [in Rid of Me] sounded.” When asked by BUST in 2004 if she was a feminist, Harvey responded by saying “I mean, it doesn’t cross my mind. I certainly don’t think in terms of gender when I’m writing songs.” PJ Harvey collaborated with another artist on this list; she and Björk joined forces to perform a haunting cover of “I Can’t Get No Satisfaction” at the 1994 Brit Awards.  

Four Non-Blondes – Bigger, Better, Faster, More!

Bigger, Better, Faster, More! Is the only album ever released by the 90s alternative-rock band, Four Non-Blondes. The album was home to their biggest hit, “What’s Up?” and the song was even listed on Harper Bazaar’s 53 Greatest Feminist Anthems of All Time. That’s no surprise, considering that the lead singer of Four Non Blondes, Linda Perry, is an outspoken feminist and a member of the LGBTQIA+ community. She even created her own record label, We Are Hear, which has signed popular artists like Imogen Heap, Dorothy, and Natasha Beddingfield. Perry has also been inducted into the “Songwriters Hall of Fame”, and has been nominated for 5 Grammys. Although many have written off the band as a one-hit wonder, real ones know that the impact of both Linda Perry and the Four Non-Blondes remains pertinent today. 

It’s been a wonderful 30 years. Here’s to (at least) 30 more.

Top Photo Credit: Mick Haupt via Unsplash

After five long years without a new music release, fans of Janelle Monáe will be pleased to hear that the actress and singer is finally back in the recording studio. The “Pynk” singer just released her newest single and dropped a video to go along with it. “Lipstick Lover” is the second single off of Monáe’s newly announced upcoming album, The Age of Pleasure, which is set to be released on June 9th. 

The single feels like what summer would sound like if it was a song. Monáe is the queen of blending elements of funk, R&B, and disco to create pop perfection, which is exactly what she did on “Lipstick Lover.” Its’ message of queer joy and catchy refrain make this a must-add to your Pride 2023 playlist. 

 

 

 

 

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A post shared by Janelle “Jane” Monáe (@janellemonae)

The video is as vibrant as the single. Directed by Alan Ferguson and Monáe herself, it follows Monáe as she navigates through an exuberant (and delightfully gay) summer pool party. The song and video also explore themes of both community and self-love, in all definitions of the term. These are not new motifs for Monáe, who has been consistently honest and wonderfully experimental in her music over the course of her career. Her 2018 album Dirty Computer featured songs that explored queerness, community, and self-love, similarly to “Lipstick Lover.” Though the production, instrumentals, and general vibe of the album’s first two singles (the first of which being “Float”) introduce new musical elements that lead us to believe that The Age of Pleasure will be something we’ve never heard before.

Monáe has clearly stayed busy since the release of Dirty Computer. She’s appeared in several blockbuster films including Glass Onion and Antebellum, and she’s consistently been one of the best dressed at the Met Gala for the past few years. That being said, we’re so excited to see Monáe returning to music. Her joyful, quirky, and sweet melodies truly make her an important and distinctive queer voice in the music industry.

Top photo: Screen grab from “Janelle Monáe – Lipstick Lover [Official Music Video]” from @janellemonae on YouTube

Lana Del Rey gave fans a treat on Wednesday with the music video release of “Candy Necklace” featuring Jon Batiste. The 10-minute greyscale video showcased a very glamorous Del Rey as she transformed into some of Hollywood’s most famous female icons, including Marilyn Monroe, Veronica Lake, and Elizabeth Short (known as ‘Black Dahlia’).

“Candy Necklace” is featured on Lana Del Rey’s ninth studio album Did You Know That There’s a Tunnel Under Ocean Blvd.  While this isn’t the first time Del Rey has paid homage to classic Hollywood, this music video features a personal touch as we watch her go from blonde to brunette, from pearls to diamonds. 

The video starts with a natural and excited Del Rey on her way to Los Angeles, symbolizing the start of her career. By the end of the video, she returns to film on the same set, but her appearance is completely different, including the car she’s in, the necklace she wears, and the fact that her career ends up killing her. 

In her first tribute scene, she wears a classy, Marilyn-coded look with a short, blonde wig to tie it all together. She is shown to be comfortable around the cameras, and she’s no longer in pearls. She’s accepted Hollywood, and based on the flashy diamonds around her neck, Hollywood has accepted her as well. She says to her team “I don’t know how to not be a robot…it’s not working anymore for me” as she is seen on different cameras putting on a show and having fun. The juxtaposition of the scene was a direct tribute to Monroe and could even be attributed to the starlet’s last interview with Life Magazine in 1962.

In the video, Del Rey describes just exactly what the message behind the music video is, saying, “all these women who change their name, change their hair like me—it’s like they all fell into these different snake holes—the whole point is how you learn from that and not fall into your own thing.”

The behind the scene shots of her as Veronica Lake are among some of the best. At this point, Del Rey is no longer a timid, people-pleaser in the industry. She flips the camera off and yells at the staff to “get out of the shot”. She’s bold, glamorous, and holds the perfect amount of “Hollywood-spoiled”. She becomes the object of the male gaze and then comes the perfect transition to the Black Dahlia which foreshadows Del Rey’s death at the end of the video. Surrounded by the bright camera flashes from the swarm of reporters, Jon Batiste is shown grimacing at the casket referencing Black Dahlia’s mutilated death. 

All of these women that Hollywood created and destroyed were perfectly reflected through Del Rey and caught beautifully on camera by director Rich Lee. The video ends with an artistic shot of an actual candy necklace, diamonds, and pearls falling into a pool of blood. Del Rey is seen on the Hollywood Walk of Fame where she gets her own star. Cameras are still surrounding her, and she smiles with the crowd, but her neck is bare which symbolizes her death. The video fades into color and represents her name continuing to live on in the present—like Monroe, Lake, and Black Dahlia.

Top photo by Lana Del Rey on Youtube. 

There’s no denying Doja Cat is an icon. From consistently pushing the boundaries of fashion, to dropping some of the most anthem-worthy tracks of the 2020s, Doja has earned her place in the limelight. But unlike other mega-celebrities, Doja is online; communicating with her fans and, dare we say, sometimes being a bit of an internet troll. 

 

 

 

 

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A post shared by Doja Cat (@dojacat)

On Tuesday, Doja took to the internet to announce the name of her new album. But the title reveal isn’t what makes her string of tweets so memorable– she also told her fans that her two latest albums were just “mediocre pop” that she made to profit, and that all her fans were fooled. 

“Planet Her and Hot Pink were cash-grabs and yall fell for it,” she penned on Twitter. “Now I can go disappear somewhere and touch grass with my loved ones on an island while yall weep for mediocre pop.”  

planet her and hot pink were cash-grabs and yall fell for it. now i can go disappear somewhere and touch grass with my loved ones on an island while yall weep for mediocre pop.

— DOJA CAT (@DojaCat) May 9, 2023

After tweeting about her last two albums, she shared that fans were wrong about the title of her upcoming album. “It’s not called hEllMoUth either it’s called ‘First of All‘ and yes I’m announcing the album title right now,” she tweeted.

its not called hEllMoUth either its called “First of All” and yes I’m announcing the album title right now.

— DOJA CAT (@DojaCat) May 9, 2023

Some fans didn’t care, and just wanted her to quickly drop the album, while others were still reeling about her “mediocre pop” comments, hoping that she was trolling about that assessment.

i am not letting my granny out until you drop it pic.twitter.com/3ZYusp95vJ

— alex (@greedyforlove) May 9, 2023

Now, Doja is feeding off the feedback and haters. Just hours ago, she returned to twitter to let her fans know she’s reading through everyone’s comments. 

“Everyone so angyyyyyyyyyyy MUUUAHAHAHAHAHAHAHAHAHAHAAHAHAHHA,” she tweeted. Following up with “My stage name is no longer doja cat its Emcee Flapchunks the 3rd and youll address me as such” 

everyone so angyyyyyyyyyyy MUUUAHAHAHAHAHAHAHAHAHAHAAHAHAHHA

— DOJA CAT (@DojaCat) May 11, 2023

My stage name is no longer doja cat its Emcee Flapchunks the 3rd and youll address me as such

— DOJA CAT (@DojaCat) May 11, 2023

This isn’t the first time Doja took to social media to share her goofy and unfiltered thoughts with the world, or even just to play a little trick on her audiences. Not even a month ago, Doja went on Instagram Live to “preview” her new album, where she played one second snippets. As fans rolled into the live, and asked her to hear more, she went on Youtube to just play a bunch of random beats and songs, laughing while reading comments. A lot of her fans got in on the joke, asking her to freestyle or laughing with her, but others not so much. “Bro, are you okay?” one instagram user asked. 

Doja’s candor and presence on social media leaves her vulnerable to lots of negativity, bad takes, and unwanted feedback about her music, her talent and her choices. While Doja is rolling with the punches, it may be the haters that fuel some of her more troll-like takes– or at least that’s what we’re hoping, because we’re big fans. 

Hot Pink and Planet Her were both award winning albums that had several viral singles including Get Into It (Yuh), Kiss Me More, and Ain’t Shit from Planet Her and Say So and Like That from Hot Pink. Maybe Doja is just trolling for more exposure, but Doja says that these albums were mediocre– well, we’re excited to see what could possibly come next. 

Top photo: screengrab from Doja Cat’s Instagram

Dolly Parton made a promise that she would “earn” her place in the Rock & Roll Hall of Fame after her induction, and gee golly, she meant it. Her first-ever rock album, Rockstar, is officially on its way, and the tracklist will surely turn you into a rock fan, if you’re not already.

Joined by some of the most legendary rock musicians, Rockstar will include 9 original tracks and 21 rock anthems being reborn, and it’s going to rock our socks out when it’s released on November 17. 

“I’m so excited to finally present my first Rock and Roll album, Rockstar!” Dolly shared in a statement. “I am very honored and privileged to have worked with some of the greatest iconic singers and musicians of all time and to be able to sing all of the iconic songs throughout the album was a joy beyond measure. I hope everybody enjoys the album as much as I’ve enjoyed putting it together!” 

 

 

 

 

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After her initial request to be removed from the 2022 Rock & Roll Hall of Fame nominations, and later humbly accepting the induction, it’s clear that Dolly has been working from 9-5 (and overtime) to give us an all-new version of the country singer/songwriter. 

But Dolly Parton can never let go of her glamorous, star-striking moves and…who could ever turn down the Dolly Parton? She asked for a Beatles reunion. She got it. She wants Lizzo to play the flute on “Stairway to Heaven”? You bet that she got that request. If Dolly wants to rock, she is going to rock hard, and the tracklist speaks for itself. 

Rockstar tracklist:

1. “Rockstar” (special guest Richie Sambora)
2. “World on Fire”
3. “Every Breath You Take” (feat. Sting)
4. “Open Arms” (feat. Steve Perry)
5. “Magic Man” (feat. Ann Wilson with special guest Howard Leese)
6. “Long As I Can See The Light” (feat. John Fogerty)
7. “Either Or” (feat. Kid Rock)
8. “I Want You Back” (feat. Steven Tyler with special guest Warren Haynes)
9. “What Has Rock and Roll Ever Done For You” (feat. Stevie Nicks with special guest Waddy Wachtel)
10. “Purple Rain”
11. “Baby, I Love Your Way” (feat. Peter Frampton)
12. “I Hate Myself For Loving You” (feat. Joan Jett & The Blackhearts)
13. “Night Moves” (feat. Chris Stapleton)
14. “Wrecking Ball” (feat. Miley Cyrus)
15. “(I Can’t Get No) Satisfaction” (feat. P!nk & Brandi Carlile)
16. “Keep On Loving You” (feat. Kevin Cronin)
17. “Heart of Glass” (feat. Debbie Harry)
18. “Don’t Let The Sun Go Down On Me” (feat. Elton John)
19. “Tried to Rock and Roll Me” (feat. Melissa Etheridge)
20. “Stairway to Heaven” (feat. Lizzo and Sasha Flute)
21. “We Are The Champions”
22. “Bygones” (feat. Rob Halford with special guests Nikki Sixx and John 5)
23. “My Blue Tears” (feat. Simon Le Bon)
24. “What’s Up?” (feat. Linda Perry)
25. “You’re No Good” (feat. Emmylou Harris and Sheryl Crow)
26. “Heartbreaker” (feat. Pat Benatar and Neil Giraldo)
27. “Bittersweet” (feat. Michael McDonald)
28. “I Dreamed About Elvis” (feat. Ronnie McDowell with special guest The Jordanaires)
29. “Let It Be” (feat. Paul McCartney and Ringo Starr with special guests Peter Frampton and Mick Fleetwood)
30. “Free Bird” (feat. Ronnie Van Zant with special guests Gary Rossington, Artemis Pyle and The Artimus Pyle Band)

November seems eons away after seeing all of these legendary musicians join forces with Dolly, but luckily we’re getting a little preview this week. The lead original track “World on Fire” is available on all streaming platforms May 11, coinciding with a world premiere performance of the song at the Academy of Country Music Awards (which she is also hosting! Again, she’s working overtime.) 

“This is a song I felt very inspired to write,” said Dolly in her statement. “I think it speaks about everything and to everyone this day and time. I hope it is something that will touch you and maybe touch enough people to want to make a change for the better.”

 

 

 

 

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Dolly Parton is the most iconic as they come, and her new album is a rebirth for several of the rock hits that shaped our musical generation. Now available for pre-order, Rockstar is going to send us back to those black leather, smoky cigarette days, and what better way to celebrate the fall season with some classic rock on our stereos. 

Top image: Curtis Hilbun, CC BY 3.0, via Wikimedia Commons

Taylor Swift’s Eras Tour is in full swing, and Cities are Competing to Make the Grandest Gesture as she arrives. What better way to keep track of the celebrations than by ranking them from the best to the lamest in a numbered list.

1. Tampa, Florida

Tampa didn’t play around. The mayor of the city, Jane Castor, made Swift the Mayor for a day, as well as presented her with a key to the city. In a one minute video for the star, Castor stated, “We know Glendale changed its name, Arlington made a street sign, and Vegas illuminated their Gateway Arches, but here in Tampa, we’ve got a reputation to uphold,” Castor said of the stunts pulled by other cities to make the “Eras” stops a little more special. “We want to go bigger. So I want to present you with a key to the city.” The mayor (Castor, not Swift) stated towards the end of the video, “Mayor Swift has a nice ring to it,” and we couldn’t agree more.

2. Glendale, Arizona 

Swift started her tour in Glendale, Arizona, and adorably, the city “renamed” themselves for Swift’s arrival to “Swift City.” While this was a sweet gesture, little did they know that they would now set a precedent for every city to follow. Glendale was really the OG in this hilarious competition, and having a city named after you, even if it was temporary, is a very warm welcome.

 3. Arlington, Texas

Swift’s next stop was Arlington, Texas, where she played three shows at the AT&T Stadium. Arlington truly went all out. The city had Swift-themed festivities going on all weekend, renamed a street to Taylor Swift Way, and, to top it all off, they gave Swift a key to the city. Given that there were multiple parts to this gift, our very scientific calculations place Arlington at number three.

 4. Nashville, Tennessee

Not only did Nashville Mayor, John Cooper, proclaim May 5-7, Swift’s performance dates, as “Taylor Swift Homecoming Weekend,” (Swift grew up in Nashville), but he also decreed a bench to the “Cardigan”-singer. The bench sits in Nashivlle’s famous Centennial Park, a reference to her song “Invisible String,” which also features the lyrics  “Green was the color of the grass where I used to read at Centennial Park.” Maybe not the grandest gesture, but it’s super endearing given Swift’s connection to the city.

Nashville has installed a bench in Centennial Park in honor of Taylor Swift, with lyrics from her track ‘invisible string.’

“For Taylor Swift, a bench for you to read on at Centennial Park.” pic.twitter.com/RRtcKUjThc

— Pop Base (@PopBase) May 4, 2023

5. Houston, Texas

Swift then traveled back to Texas for her Houston shows, and Houston was prepared for her. Harris County Judge, Lina Hidalgo, informed the public that NRG Stadium, where Swift was performing, would be renamed to NRG Stadium (Taylor’s Version) during the weekend she was performing. Banners and signs with the stadium’s new name were hung at the entrances. A very cute gesture, but a tad lackluster compared to some of the other cities. Isn’t everything supposed to be bigger in Texas?

thank you taylor swift for scheduling a concert in houston just for my birthday !! pic.twitter.com/MMqD2uBFMN

— Megan Menchaca (@meganmmenchaca) April 23, 2023

 6. Las Vegas, Nevada

After her opening shows in Glendale, Swift made her way to Las Vegas, Nevada, to play two nights at the Allegiant Stadium. In honor of Swift’s presence in the city, Vegas lit up their iconic Gateway Arches ahead of both of her shows. The arches’ colors were specially chosen to represent the popstars 10 albums. While this was a super cute move, the celebration unfortunately looked a little lame in comparison to some of the other city’s presentations.

Las Vegas will light up their Gateway Arches in Taylor Swift eras colors every night until she performs in the city on Saturday. pic.twitter.com/ojZEObZGgJ

— Pop Base (@PopBase) March 23, 2023

Top photo: Screen grab from “Taylor Swift invited to be honorary Tampa mayor ahead of tour stop | ANC” from @ANCAlerts on YouTube

(Note the above image was generated by feeding the headline of this article into Canva’s AI text-to-image generator)

In a not-so-surprising turn of events, futuristic synth-pop musician and Elon Musk’s ex, Grimes, is releasing an AI-powered music app. In a string of tweets, the self-proclaimed “A.I. Popstar for the Martian Ministry of Propaganda,” unveiled new software called Elf.Tech, where users can create songs using her voice. The songs that users make are completely “without penalty” and are safe for commercial use.  

I’ll split 50% royalties on any successful AI generated song that uses my voice. Same deal as I would with any artist i collab with. Feel free to use my voice without penalty. I have no label and no legal bindings. pic.twitter.com/KIY60B5uqt

— ?????? (@Grimezsz) April 24, 2023

The singer, who just parted ways with her label, Columbia Records, said “I’ll split 50% royalties on any successful AI generated song that uses my voice,” in a tweet. “Same deal as I would with any artist I collab with. Feel free to use my voice without penalty.  I have no label and no legal bindings.”

5 – we ask for 50% splits on master recording royalties in exchange for a grimes feat and distribution. There’s a *small* chance we can organize getting you publishing $ as well but we can’t guarantee this yet. But I hope we can!! Would be cool.

— ?????? (@Grimezsz) April 30, 2023

Elf.Tech was released following the controversial viral AI-generated song,
Heart on My Sleeve that featured the voices of The Weeknd and Drake. Though the song was taken off streaming platforms, the issue still lingers: How is AI-generated art going to be regulated? Who owns the copyright? Who owns the IP? How can you stop a speeding train? 

Several artists have come out against the use of AI-generated art, stating that the works, whether they be videos, voice clips, songs, illustrations, etc, are created using an amalgamation of existing artwork that were utilized without permission or compensation. Not only are these works created using unpaid art, they also create works in a real person’s likeness, profiting off of an actual human being without being legally obligated to compensate that person. 

I know people have been using AI of my voice to have fun, make my characters cuss or do other out of pocket things, etc. This is all done without my consent and it does feel extremely weird. If you see clips out there, please know it’s without my permission. Thank you.

— Cristina Vee Valenzuela (@CristinaVee) February 13, 2023

Grimes, however, is trying to get ahead of the machine through this new app. “I think it’s cool to be fused with a machine and I like the idea of open sourcing all art and killing copyright,” said Grimes in a tweet. “I’m just curious what even happens and interested in being a guinea pig.” 

Though copyright and compensation may not be a big concern for Grimes, it doesn’t mean that this technology won’t rob working artists of their likeness, and in ways, their autonomy. Cherie Hu, Founder of Water & Music, told Complex Magazine, “The concept at the core of why creative AI could be so disruptive is that the friction between having an idea, and manifesting that idea in the form of a creative work, has essentially gone down to zero. Barriers in distributing music have already been collapsing, with anyone now able to list their music on streaming services for free. To see the same barriers collapsing in the creative process means that the playing field of who can be an “artist,” in the sense of being an active participant in the music economy, will continue to increase dramatically.”

Elf.Tech users can either record directly in the app, or upload audio that will then be fused with Grimes’ likeness. The file can be registered with Grimes as the main, secondary, or a featured artist. Each AI-generated song that features her voice will ensure she has 50% royalty splits of the master recording, that can be released on platforms or used in commercial use, such as in a television show or commercial. 

Alongside Elf.Tech’s launch, Grimes announced two new AI-themed songs, “Music For Machines” and “I Wanna Be Software,” that will be released in the near future. And while the musician may be embracing the way of the machines, we’re not yet convinced. 

Happy Lesbian Visibility Day! In honor of today (and the entirety of Lesbian Visibility Week) here are 6 lesbian musicians that we think deserve to be more visible!

Fanny

Fanny was the first all-female rock band to release an album on a major label. Also, it just so happens that two of Fanny’s members — June Millington and the drummer Alice de Buhr — are lesbians. A documentary titled Fanny: The Right to Rock came out in 2021, and discusses the h1istory of the band. After dealing with tons of sexism in the music industry, Fanny still became a household name for many rock and roll fans. If you’re looking to listen to some rock music but don’t want to stick to the very male, very white artists that have been deemed to be “the classics”, give Fanny a try! Their 1972 album Fanny Hill is nothing short of a masterpiece. It makes sense as to why they’ve collected fans such as David Bowie and Bonnie Rait over the years.

Nikki Glaspie

Iconic lesbian drummer ​​Nikki Glaspie has played with countless iconic artists, including Chaka Khan, George Michael, and Beyoncé. Impressively, Yamaha named her one of the best drummers out there today. The Berklee College of Music alum also leads a jazz/funk trio called The Nth Power. Their 2021 album Reverence features complex and melodic instrumentals that make this album the perfect listen for a rainy summer day. 

The Blow

The Blow is an electro-pop duo made up of girlfriends Khaela Maricich and Melissa Dyne. Though many music publications have placed them into the pop category, the band prides itself on their ability to blend genres. If you’re looking to get into experimental music, The Blow is a great band to start with, as well as a great way to support lesbian artists! Their cover of 10cc’s “I’m Not in Love” is a must-add to your classic rock playlist. Their 2017 album Brand New Abyss is another great place to hop on board to their hypnotizing (and delightfully weird) discography.

Feloni

Fun fact about Feloni: She was the first “out” rap artist to release a hip-hop album. The album in question is called A Woman’s Revenge, and it centers on the lesbian perspective. The Detroit rapper is still making music today, too! You can hear some of her latest singles on your streaming platform of choice. Her 2022 single “Know You Better” is proof that she’s a voice in rap that demands your attention.

Peach PRC

With her hot pink aesthetic and bubble-gum pop sound, Peach PRC is an artist you need on your radar for the days you need to pick me up. Peach has been growing her TikTok presence for many years now, and you might even recognize her song “God Is A Freak” which went viral at the beginning of 2022. Peach’s TikTok success even landed her a record contract with Republic. We can’t wait to see what bangers she gifts us next!

Flor Amargo

Flor Amargo is a non-binary Mexican singer. Amargo studied classical piano at the National Conservatory of Music, and their classical training mixed with their own unique musical perspective makes their music so fun to listen to. Their 2019 song “Tiempo” features a delightful brass band that is guaranteed to put a smile on your face. Amargo is also a music therapist, and some of their songs are so wonderful they feel like therapy all on their own.

Celebrate Lesbian Visibility Week by adding one (or all!) of these artists to your monthly playlist. Though today might be a special day, they deserve your streams all year.

Top photo: screen grab from “FANNY: The Right To Rock – Official Film Trailer” from @FANNYTheRighttoRock on YouTube

La Luz frontwoman Shana Cleveland is out and about playing shows in support of her third album Manzanita, released by the label Hardly Art Records. Accompanied by a steel guitarist, keyboardist, and drummer, Cleveland and her band performed a fantastic set at NYC’s Mercury Lounge last Friday.  

Live Photo by Michael Levine

Cleveland sang whilst strumming her acoustic guitar, and wowed the adoring audience with her self-penned material. Emotional mid-tempo tunes effortlessly transitioned into fun, upbeat numbers. Shana’s smooth as silk vocals wafted across the room in songs such as “A Ghost,” “Gold Tower,” and “I’ll Never Know.” Cleveland’s music has a dreamy ambiance reminiscent of Alternative musician Kendra Smith, who was a founding member of post-punk/psychedelic bands like the Dream Syndicate and Opal. After informing the audience about her merchandise table, Cleveland quipped, “I feel like a used car salesman. But I believe in the product!” So did everyone who gathered for her set on that clear Spring night.

The show’s opener, Maita, was the perfect musical act to warm the crowd up. Maita featured songs from her latest release, Best Wishes, off the independent punk label Kill Rock Stars Records. She gave the audience some background on her setlist, which was filled with songs inspired by Maita’s various adventures and professions. This includes the song “Pour The Tea,” which describes her experiences working at an Asian restaurant in which she was required to wear a kimono. It’s amazing that this talented singer-songwriter took an unpleasant experience and spun it into a beautiful song.

I highly recommend seeing both of these kick ass artists live as their tour continues. For more info regarding their tour dates, visit shanacleveland.com and maitamusic.com.

Top photo: Photographed by Kristin Cofer

If you thought your love for Lizzo couldn’t grow any more, just wait. Lizzo kicked off the second leg of her tour with a bold (and glittery) statement against Tennessee’s new anti-drag ban, and she isn’t afraid to bring pride to Tennessee in true Lizzo-fashion.

The Grammy Award-winning singer performed with over a dozen drag queens during her Knoxville performance on Friday. Among them are many drag performers who have competed on RuPaul’s Drag Race, including Aquaria, Kandy Muse, Vanessa Vanjie and others, all of which Lizzo thanked in an Instagram post on Saturday.  

 

 

 

 

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A post shared by Lizzo (@lizzobeeating)

Prior to bringing out the performers, Lizzo made a powerful speech as to why this concert has an importance. “In light of recent and tragic events and current events, I was told by people on the internet, ‘Cancel your shows in Tennessee, Don’t go to Tennessee,” said Lizzo to her crowd at the Thompson-Boling Arena, who immediately responded with boos. (To be fair, we would also be heartbroken if Lizzo canceled her show). 

“Their reason was valid, but why would I not come to the people who need to hear this message the most?,” responded Lizzo as the crowd once again began to cheer. “Why would I not create a safe space in Tennessee where we can celebrate drag entertainers and celebrate our differences?” She has posted the video of her addressing the Tennessee drag ban on her social media accounts with the caption, “Knoxville you have my heart. Thank you for creating a safe space with me.” 

 

 

 

 

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A post shared by Lizzo (@lizzobeeating)

The “About Damn Time” singer also shared a video of the high-spirited performance, where she led her invitees onto the center stage before they all lined up to form a rainbow with their color-specific, glamorous outfits. 

 

 

 

 

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A post shared by Lizzo (@lizzobeeating)

The Tennessee drag ban aims to restrict “adult cabaret entertainment,” on public property or in front of minors. The term was defined as “topless dancers, go-go dancers, exotic dancers, strippers, [and] male or female impersonators.” It threatened violators with a misdemeanor or a felony for repeated offenders. It was signed by Republican Gov. Bill Lee in March, but was temporarily blocked in April by a federal judge who ruled a lack of compelling evidence to implement the legislation. Civil rights groups have also criticized the bill, stating that it is a violation of free speech. 

Other states are following Tennessee’s footsteps. Earlier this month in Florida, Republican Gov. Ron DeSantis received a similar bill (and is expected to sign it) after it was approved by the Florida Senate. 

“What people in Tennessee are doing is giving hope, so thank you so much for standing up for your rights, protecting each other, and holding the people accountable who should be protecting us,” said Lizzo to her Tennessee crowd. 

As we tumble through a repeat of homophobic history, Lizzo has made sure to tell us it’s bad b*tch o’clock. So play your fave Lizzo song, and watch an episode (or two…or three) of RuPaul’s Drag Race to support your favorite drag queens. 

Top photo: Screengrab via Lizzo on Instagram

We’ve always predicted what the future would look like. From flying cars to self-tying sneakers, (ya know, like the ones Marty wears in Back to the Future Part II) or the notorious prediction of robots taking over, we want to know what the future holds for us – and we’re starting to get a better idea of it. 

Artificial Intelligence (AI) has been around for much longer than we think. While the first AI program was successfully created in 1955 to prove mathematical theorems, the non-human-based intelligence has come a long way to prove its abilities, and it continues to do so. We’ve seen AI being used in science, education, entertainment, and customer service. More recently, it’s making its way into one of our most beloved art forms – music. 

It’s pretty likely that while mindlessly scrolling on social media, you’ve come across a catchy tune that you wanted to add to your playlist only to realize…it’s not a real song. Instead, an artificially intelligent bot-form program created a song and paired it with the voice of a famous singer. And it’s alarming just how convincingly real they sound.

To us, this can be a little thrilling. We love it when our favorite musicians cover other artists’ famous songs, and AI allows for this to happen. AI cover songs use their ability to take a musician’s voice without their input, and pair it with another hit song. TikTok user, Adam Barrera, explains how fans of pop icon Ariana Grande are combining her voice with already released songs (since we’re all craving a new album), as well as other mind-blowing examples. 

@adamtheflop This is SCARY #arianagrande #sza #billieeilish #lanadelrey #ladygaga #music #ai #adamtheflop ♬ Blade Runner 2049 – Synthwave Goose

Lately in the music industry, a new example of AI’s mind-boggling abilities went viral. A TikTok user, who goes by ghostwriter977, created a song through AI called “heart on my sleeve” that features the vocals of Drake and The Weeknd. The 1-minute snippet, which has now been taken down, was written by ghostwriter and then replaced the vocals through an AI program, and the product sounded insanely real. 

Another artificial intelligence program recently combined the vocals of Rihanna for a cover of Beyonce’s hit, “Cuff It”. A Twitter account by the name of “Rihanna Facts” posted a 51-second snippet of the AI cover, which has gained over 6 million views. While some comments praise the cover, others are a little bit more creeped out.

IA Rihanna from ChatGPT singing Beyoncé’s “Cuff It” pic.twitter.com/1TAmHEDAKv

— Rihanna Facts (@Nevernyny) April 13, 2023

AI music has been extremely popular on TikTok, with certain accounts being made solely to post AI covers of famous artists. This AI cover of Dua Lipa singing Rihanna’s hit single, “Diamonds,” is only one of the hundreds of AI songs posted on a TikTok account.

@dimitbarbosa Diamonds by Dua Lipa AI #dualipa #fyp ♬ Diamonds – Diamonds

For musicians, the rise of AI technology is starting to become concerning, as well as for music labels and streaming services who are raising their eyebrows at these non-human machines. Earlier this month, Universal Music sent an email, with an ominous warning, to streaming services like Spotify and Apple Music. They ask for these services to prevent AI companies from accessing copyrighted songs considering that AI companies “train” their machines with copyrighted music without the required consent. The email also acknowledges that the right steps need to be taken in order to protect “our rights and those of our artists.”

The legalities of AI created music remains unresolved, but it could be answered soon. Getty Images has filed a class action over AI companies using their copyrighted material for their machines. A group of visual artists also filed a similar case after AI platforms used their copyrighted material. The concerns for AI music could become a legal topic in no time.

While we would love to hear a variety of artists covering our favorite songs, artificially created music doesn’t have a soul behind it, and musicians do. It’s scary (yet impressive) how much technology has advanced. AI “art”, however, will never compare to the real, human-based emotions expressed through an artist’s work. 

Top photo: Photographed by Caught In Joy via Unsplash

Nearly 25 years since they disbanded, riot-grrrl pioneers and punk phenoms Bikini Kill are back on the road and sounding as bright and powerful as ever. Now on tour, Kathleen Hanna and drummer Tobi Vail are sharing stories from their history, and the state of the world. Here are a few things on their minds: 

Their Messages Mean More Now Than Ever

Bikini Kill songs are chock full of feminist messaging. Throughout their career, they’ve written songs about abortion, rape, slut shaming, misogyny, white privilege and more. Their songs have backtracked feminist moments across generations, but sadly, their messages are needed now more than ever.  “I woke up in 2023 singing the same songs I sang when I was 25, and now I’m 54,” said Hanna. “And what’s scary as hell is I’m feeling them more today than I did then.” After the overturning of Roe v Wade last summer and the deterioration of the country, Bikini Kill’s songs ring just as true in the 2020s as they did in the early ‘90s. With abortion rights basically obliterated, trans lives being legally threatened, an increasing number of racial and religious hate crimes and years of near-daily mass murders being completely ignored, Bikini Kill’s ethos is still (unfortunately) necessary.

Punk Isn’t Just a Genre

“Seriously, punk is more than a genre,” Hanna reminded the crowd towards the end of the set. “It can be about creating community and creating spaces outside of corporate culture.” Though the punk subculture is closely tied to music, you don’t need a musical bone in your body to live by a punk ethos. Anti-corporatism, DIY, anti-consumerism and anti-authoritarianism are at the heart of the punk mindset. Anyone who lives these values and are dismissed by “traditional” culture (read: white, male, cis, straight, wealthy, able-bodied, neurotypical) are likely to have a streak of punk in them. Hanna’s words aren’t just lip service, as pioneers in the riot-grrrl movement, the members of Bikini Kill have “united women and girls against capitalist and patriarchal cultural ideologies” for over three decades.

They’re Celebrating Life While Acknowledging Things Are Fucked

Throughout their career the members of Bikini Kill have experienced a lot of loss, heartbreak and adversity both in their personal lives, and as active participants in the world around them. During their show on Wednesday, April 19, they shared stories of friends they lost to drugs, suicide and other tragedies through the years. Both Vail and Hanna paid tribute to their late friend Kai, who passed years ago but  would otherwise be celebrating a birthday that very night. Hanna shared a touching story where he helped her after a tough moment, and cried along with her instead of trying to find a solution. “Find that happy medium of celebrating that we’re all still fucking alive, but also acknowledging how fucked up everything is. It shouldn’t be a separate part, we can be sad and joyous at the same time, we can hold those things in our hands at the same time.”

They’re “Preaching to the Converted” 

During the show, Hanna shared that sometimes they get criticized for making music for people who align with their ideologies. “People say: ‘aren’t you preaching to the converted with your music?’,” said Hanna.  “I’m like ‘yeah!’ Yeah I am, we make music for people who care about the planet not burning up, and understand the connections between racism, classism, sexism, homophobia, and transphobia. Yeah we make music for those types of people because it’s not Larry the Cable guy who is making comedy for us. It’s not like Tim Allen is going to show up and write good punk songs, although that would be fucking hilarious.”  She then goes on, further “preaching to the choir” about how in a world that’s against you, it’s hard to get up every day and live a life of resistance. “I don’t want to say this song is about not giving up, because sometimes you have to give up,” said Hanna before going into their song, Resist Psychic Death. “But then the next day you can do a little thing, and then the next day you can do a big thing.”

Feminism Helped Hanna Release Self-Guilt

“When I first started learning about feminism, when I was I guess about 19 or something, and I took it very seriously, said Hanna.” “I was very happy because I found out a lot of stuff that happened to me like rape, sexual harassment, my professor not giving me an evaluation, but a back rub, all that stuff was not my own personal affliction, it was tied to all this other stuff, and I wasn’t the only one it was happening to.”

She goes on to share a story about a group of women that helped her see how feminism plays out in day to day life. “I remember at our school Evergreen State College, in the bathroom someone started writing a list of rapists on the wall,” shared Hanna. “The administration kept going in and cleaning it up, and the women kept going in there and writing it back up. That was such a huge inspiration for me to be in a band and write songs because I was just being one of those women, writing that name on that list over and over and over to warn other people.”

Top photo: Kathleen Hanna at the Riverside Theater, photo by: Melissa Miller

1.) “I Love You Mary Jane” Cypress Hill ft Sonic Youth

We love Kim Gordon here at Bust. We’ve spoken to her several times about her life, her memoirs, and most famously, her band Sonic Youth. But in a small corner of stoner culture exists an anomaly, a Cypress Hill song featuring a hook by Kim Gordon. It’s not well known, considering the fact that it only appears on the soundtrack for the obscure 1993 movie Judgement Night (it’s got a 35% rating on Rotten Tomatoes). It’s a shame, because this song with Sonic Youth and Cypress Hill was the collaboration we never knew we needed. Gordon’s purry vocals, which croon the lyrics “Suga come by and get me high” against the classic West Coast hip-hop sound make this the best 4/20 song you’ve probably never heard of. 

2. ) “So High” – Doja Cat

Real Doja Cat fans remember this catchy 2014 hit. “So High” was Doja Cat’s debut single off of her debut EP, Purrr!. “So High” is a flowy, vaguely psychedelic R&B tune that embodies the soft and cushiony feeling of a good hybrid strain. The twinkling windchime-like melody over a heavy trap beat, coupled with Doja Cat’s cute weed references makes this a perfect song for the “holidaze” or for hot summer nights. Although Doja Cat has since expressed her dislike of the song, it still remains a stoner cult classic. 

3.) “Drugs” – Lil’ Kim

“Drugs” is the 7th track off Lil Kim’s 1996 album Hard Core, and has shown up on numerous stoner playlists in the last 20 or so years. “Drugs” features a mellow acoustic guitar riff, clever lyrics, and a hook by the Notorious Biggie Smalls. It’s definitely a song for those of us who need blunt-proof lip gloss. Lil Kim isn’t shy about enjoying bougie (an AAVE term that is short for “Bourgeoisie“, or high-class) smoke sessions. With lines like “My girls rock Chanel and smoke mad marijuana” and “Inhale this… feel the mist through the uterus,” this is a 100% certified stoner girl anthem. 

4.) “Girl Blunt” – LeiKeli47

What exactly is a “Girl Blunt”? According to the official stoner girl reddit page, r/ENTwives, a “girl blunt” is simply a joint or blunt rolled with rose petals or other floral mixes, (like Spliff, an herbal smoke blend from the queer-owned brand 69 Herbs.) It’s also a killer song by up-and-coming rap artist LeiKeli47 that gained viral attention from women in Tik Tok’s marijuana community in 2021. You’re probably not a stranger to the lyrics “This s*** is a girl blunt, I only smoke girl blunts.” The beat is reminiscent of other bad bitch songs like “Lip Gloss” by Lil Mama, and is arguably the catchiest song on the list, with comedic yet expertly crafted lyrics that’ll have you buying baby pink rolling papers. 

 5.) “Let’s Get High” – Letters To Cleo

Letters To Cleo is a criminally underrated female-fronted alternative rock band that gained popularity in the 90s with the hit “Here and Now.” The lead singer Kay Hanely, also provided a majority of the vocals for the 2001 movie, Josie and The Pussycats. Their 2008 song “Lets Get High” is the perfect bedroom rock song for heavy bong rips. Its chill vibes mirror the atmosphere of lyrics like “Let’s get in touch with what’s alive, it’s magical, let’s get high.” The song somehow manages to encapsulate the feeling of packing a sativa-filled bowl on a sunny spring day. Agan Traders clothes aren’t required to listen to this 2000s alt-rock banger, but they’ll definitely help you get in the mood.  

6.) “When I Get Low I Get High” – Ella Fitzgerald

If you wanna light up a “jazz cigarette” and feel like a vampy dame, this old school Ella Fitzgerald song will have you feeling the need to do just that. “When I Get Low I Get High” is a jazzy, big band sleeper hit that was originally recorded in the 1930s by Chuck Webb, and popularized by Fitzgerald, who dabbled in her own cannabis usage. The song details a woman who is down on her luck, so she gets high to shed the troubles of her day, which is something I think all of us can relate to. 

7.) “Good Puss” – COBRAH

If you’re someone who uses cannabis to get in touch with your sensuality, then Cobrah’s song, “Good Puss”, featuring brazen rapper Cupcakke is going to be all over your Spotify Wrapped this year. Cobrah is a Swedish electronic artist who incorporates otherworldly, fetish-inspired costumes into her performances, and the music video for “Good Puss” is no exception. With an addictive house beat that goes hard enough to make your heart pound, and lyrics like “Real good puss, I just wanna feel good, gotta lay down with some good kush,”  you’ll be blasting this on your speakers during your next hotbox session.”

Some honorable mentions include Missy Elliott’s “Pass That Dutch,” Lil’ Debbie’s “4/20,” Kali Uchi’s “Moonlight,” Lana Del Rey’s “High By The Beach” and Aliah Sheffield’s beautifully hilarious underground song, “Where is My Weed,” which you absolutely need to check out if you haven’t already.

Whether you spend the day making your own edibles, smoking with friends, cooking up a homemade batch of cannabutter, or advocating for medical marijuana access in your area, you’ll need something to jam out to while you do it. Throw on this playlist, hit your baby pink dab pen, and enjoy yourself this 4/20. 

Top Photo Credit: Kym MacKinnon via Unsplash

French-singer/songwriter JAIN is back with her third full-length album, The Fool, set to be released this Friday, April 21st. 

The album is sonically stunning, with JAIN exploring the full spectrum of human emotions through a unique and bold sound that makes you feel like you’re chilling on a comet flying through space. Most notably though, JAIN knows how to make fun, dance-worthy music without falling short lyrically. The Fool is one of those rare pop albums that proves pop is a genre that isn’t just a blast to listen to, but also demands your attention. 

The album’s title track, “The Fool” is a psychedelic dance-pop banger, and the lyrics “I’m floating like a fool” perfectly set the stage for the vibe of the rest of the album. The video that was released for “The Fool” also helps us visualize this conceptual album. The video depicts the singer floating through space, which is exactly how one would describe the sound of this track, and several others on the album.

The Fool also does a fantastic job of staying thematically and sonically consistent without being repetitive. Several of the tracks, like “Take a Chance” and “Save The World,” are perfect for driving with the windows down on a summer night, or dancing around a bonfire with your friends.

JAIN also shows her vulnerable side throughout the album, with songs like “Falling” that explore the beginning of a new relationship, and “The Balance,” which explores trying to navigate those days where it feels like up is down and down is up. The closing track, “Outro (Goodbye),” wraps the album up in a shiny star-printed bow. As JAIN bids us farewell singing “Goodbye, I’ll see you in the sky” the final track ends on a more stripped-down note that makes us excited to see what JAIN has in store next. 

Photo credit: Manuela Brice SME, Sony Music

Throughout the LP, you can hear how JAIN seemlessly blends elements of funk, pop, and psychedelic rock to create a truly hypnotic listening experience. Fans of Stevie Nicks and Mitski will surely find a track they love on The Fool, as we can confirm it is certified skipless.

Top photo credit: Manuela Brice SME (@Manufauque) Sony Music

Disco devotees, dust off your dancing shoes because dynamo Jessie Ware is back with an explosive new single, Begin Again. This new track, along with her two latest singles Pearls and Free Yourself, are a part of her upcoming album That! Feels Good! which will be released on April 28. And if it’s anything like her 2020 globally-nominated and critically-acclaimed album, What’s Your Pleasure?, the new drop will be chock-full of catchy and feel-good ear worms. 

According to Ware’s press release, the song was where her new album began. “On a miserable afternoon during lockdown, [I was] dreaming of human touch, escapes to Brazil, beach bodies, holiday romances, all of it,” said Ware. “I absolutely adore this song and I’m so excited for you to hear it, to hear the beautiful production by James and horns by Kokoroko, it’s the song that I knew I wanted to make as soon as I finished ‘Remember Where You Are.’”

Charlie Di Placido directed the film that stars Ware and a slew of back-up dancers take stage. The song starts strongly with a chorus singing “I work all night / I do my thing / Just killin’ time / Need a friend / Is this my life? / Beginning or end? / Can I start again? / Can we start again?” before Ware breaks off into her own vocals, talking about starting over after “realities take over all my dreams.” 

Ware has had a big hand in revitalizing the disco sound in the pop-music sphere. Her songs are designed to get you dance-floor ready and could compete with hits from the biggest disco divas including Donna Summer, Chaka Khan, Gloria Gaynor and others. 
Maybe because it’s Friday, (or maybe because the song’s that great) this new tune seems like the perfect welcome to the weekend. Wash away your work (or school) worries, start again, and “gimme something that’s better than it seems!” 

 

 

 

 

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You can pre-order Jessie Ware’s upcoming album That! Feels Good! through her website shop.jessieware.com 

Top photo: screengrab from the “Begin Again” music video, directed by Charlie Di Placido

America’s Sweetheart, Ice Spice, has joined forces with the queen herself Nicki Minaj for a remix of her song “Princess Diana.” The original version of the song is featured on Spices’ EP Like..? which was released earlier this year. The EP came with massive critical acclaim, and placed Spice in the spotlight to become a viral sensation.

The remix now includes a new verse from Minaj, where she showcases her impeccable rap skills with iconic lines such as “I be eatin’ my spinach/ They tried to clone my image/ They burned they London Bridges/ None of them bitches British.”

The remix also led to Ice Spice earning her first #1 on the US iTunes chart.

Spice also released a music video for the remix, which of course features herself and Minaj front and center, decked out in pink. The video has a Bratz-doll vibe, (and even features dolls of the rappers themselves). It also serves as a perfect combination of Minaj’s Barbie and Spice’s kawaii aesthetics, and is extremely eye-catching.

Minaj and Ice Spice have been publicly friend-crushing over one another for a while now, with Minaj commenting “Gag. The People’s PRINCESS. Catch it!!!” on Spices’ Dazed Magazine cover. Spice charmingly responded to Minaj’s praise with “ya heard da QUEEN.”

ya heard da QUEEN ? https://t.co/HNkw7ay5mq

— Ice Spice ☆ (@icespicee_) March 13, 2023

But if you thought that was the only Ice Spice/Nicki Minaj news for the week, you’d be wrong! The “Princess Diana” remix dropped nearly simultaneously with Minaj’s announcement of her brand new record label, Heavy On It, under which she also signed Ice Spice to a partnership! We hope this means that this dynamic duo will team up again in the future. They truly are the most legendary princess and queen pairing we’ve seen since Anne Hathaway and Julie Andrews in The Princess Diaries.

Top photo: Screen grab from “Ice Spice & Nicki Minaj – Princess Diana (Official Music Video)” From @IceSpice on YouTube

The “Pacify Her” singer rose to fame in 2012 due to her appearance in the third season of The Voice, and despite being eliminated by an audience vote during the fifth week, Martinez’s two-tone hair and unique voice garnered significant attention. After her first two albums, Cry Baby and K-12, the artist took a hiatus from the music industry. So obviously, Martinez had to make her comeback iconic.

Her third studio album, PORTALS, was released on March 31st, transporting fans into a dimension of fairy-core creatures and a green-hue environment that is full of extraterrestrial oddities. The release of the album and its new aesthetic has shocked Martinez’s fans – her appearance is unrecognizable.

“DEATH”, the first track of the record, marks the end of Martinez’s hiatus, with a repeating chorus, “Back from the dead, back from the dead. I’m back from the dead, back from the dead,” referencing the end of her four-year hiatus. The music video for the track also shows a mushroom-shaped tree with “RIP CRYBABY” carved onto it before Melanie morphs from her old persona into her new form, marking the end of her babydoll era.

Leading up to the release of PORTALS, Martinez posted a reel to her Instagram on February 21st with a catchy beat in the background, and a large egg slowly being zoomed into with the caption, “Incubating.”

View this post on Instagram

A post shared by melanie martinez ⟡ (@littlebodybigheart)

Martinez has now hatched out of her egg into a pink-colored creature with extravagant color-changing hair, four big eyes, and mystical outfits. Her new persona is achieved with prosthetics that create this creepy, yet eye-catching aesthetic.

Fans, however, couldn’t stop (and still can’t stop) talking about the unrecognizable artist. Many fans were quick to jump into social media to express their mixed feelings about Martinez’s entrance into a new dimension. While some stated their dislike of Martinez’s look, like in this tweet where the singer is compared to a pink version of “Gollum” from The Lord Of The Rings, other fans admired her creativity in achieving an aesthetic that hasn’t been done before. Another tweet jokingly mocked those who dislike the new style, telling them, “STFU. LOOK AT MELANIE, THEY’RE STUNNING.”

Melanie Martinez looks stunning in new picture ? pic.twitter.com/hfOFyMGbWV

— Aaron (@isolatedplant) April 5, 2023

“i like melanie martinez but now… her new style is-

STFU.
LOOK AT MELANIE, THEY’RE STUNNING#portals pic.twitter.com/8p4AqQ7KV7

— ` dani (@dnaristuff) April 4, 2023

A fashion-analyzing TikTok user (@dressedcodes) posted a video answering questions about the transition from Martinez’s highly loved Cry Baby aesthetic into her new PORTALS era. The comment section itself shows the mixed opinions of fans.

@dressedcodes Replying to @dollface2002 #greenscreen #melaniemartinez #melaniemartinezedit #melaniemartinezfashion #melaniemartinezoutfits #fashionwriter #personalstylist #outfitideas #fashioncollage #styleanalysis #fashionhelp #fashionjournalist #outfitinspo #ootd #grwm #fashionnerd #fashiongirl ♬ original sound – Sydney

Martinez also received criticism for copying Björk’s mystical aesthetic, like how she presents herself in her album Utopia, but a Twitter user (@larynxvoid) debunked the accusations in a thread. Martinez has been creating and playing around with different fairy-like styles for a long time. She’s been ready to transcend into her new persona for years.

Thread where I explain how Melanie Martinez didn’t steal bjork’s concept. pic.twitter.com/P5o17AfkOD

— seb (@larynxvoid) March 3, 2023

It’s hard for us to say goodbye to Melanie Martinez’s Cry Baby era (it was so iconic we have to mourn), but this new galaxy we have entered with PORTALS makes us excited for projects we can expect to see from the singer in the future.

Top photo: Screengrab from Youtube, “DEATH” Melanie Martinez 

The new “Barbie” movie has fans in an uproar, and it also has some celebrities feeling nostalgic. The live action film is set to come out July 21, and is filled with stars like Ryan Gosling, Margot Robbie, Kate McKinnon, and Issa Rae. The trailer dropped on Tuesday, April 4th, and it has the Internet ablaze with memes, criticisms, and Tiktok filters. But one celebrity in particular is finding the “Barbie” movie nostalgic. In honor of the new Barbie film, Missy “Misdemeanor” Elliott posted a throwback to her 1997 video “Beep Me 911” on Friday April 7th, just to remind us that she’s been setting trends since last millennium.

 

 

 

 

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A post shared by Missy Elliott (@missymisdemeanorelliott)

“Beep Me 911” is a Barbie themed music video collaboration with the R&B girl group 702, and is directed by Earle Sebastian. The video is set in a dollhouse and features neon pink backgrounds paired with striking metallic outfits. 702 makes their appearance in campy body-con dresses that Mattel would be proud of. To further the theme of the video, Elliott and the backup dancers move stiffly, and the video is primarily filmed in stop-motion, as if to mirror the movement of Barbie Dolls. Elliott initially received backlash for the video’s kitschy aesthetics, and she wasn’t shy about bringing that up, stating that people “clowned” on her when they first saw the video. This isn’t the first time Elliott has brought up her innovative and trendsetting music videos. In a 2018 Twitter post, she emphasized how her creativity sparked backlash, citing the music video for “Beep Me 911” as a prime example. 

Fun fact about this video below “Beep Me 911” there was a show on MTV can’t remember the name they would critique videos & back then they clowned me & Tim for being Barbie dolls & Ken’s dolls?? I cried?but I realised we was just a lil ahead of da game? https://t.co/a9OnHjBBLE

— Missy Elliott (@MissyElliott) July 2, 2018

Even though Aqua’s “Barbie Girl” premiered around the same time, Elliott’s edgy and sensual take on the Barbie kingdom was something else entirely, and her influence remains unmatched. Video effects that Elliott has used, like fish-eye lenses, digital words flashing on-screen, and stop-motion animation, have been seen in videos like Beyonce’s “7/11,” Rihanna’s “Rude Boy,” and P!nk’s “Get The Party Started.” “Beep Me 911” has even had an influence on the music videos of today; Megan Thee Stallion & Cardi B’s music video collaboration for their song “WAP” features an homage to the flamboyant dollhouse aesthetic displayed in Elliott’s 1997 video. 

Elliott has been a mainstay in the mainstream since the early 90s, both performing in her own group, Sista, and writing songs for celebrities like Aaliyah and the girl group Total, as well as co-producing songs for artists like Whitney Houston, Beyonce, and Mariah Carey. Her first album, Supa Dupa Fly debuted on at #3 on the Billboard Top 100, and went platinum as a result of the hit single “The Rain.”  Elliott’s video for 2008’s “Ching-a-Ling ” was the first 3D music video created by a woman, and she’s still making history. In 2020, Supa Dupa Fly was 93 on Billboard’s “500 Greatest Albums of All Time.” Earlier this year, it was announced that she would be the first ever female rapper inducted to the Rock & Roll Hall of Fame. She’s also been a trendsetting icon since she showed up to 1998’s Lilith Fair in what would become her signature garbage-bag style tracksuit; Billboard, NME, and Rolling Stone have all praised the look, and Solange even paid tribute to it at 2017’s Met Gala. 

As with many things, Elliott was drastically ahead of her time with the styling and creative direction for “Beep Me 911,” and now its overblown maximalist vibes have come full circle. One thing is for sure though, If there’s a Barbie sequel, they need to get Missy Elliott in for a cameo.

Top Photo Credit: Screenshot of “Beep Me 911,” Warner Music Group

This upstate quartet played an electrifying killer set to a sold out, packed house featuring selections from their brilliant third album Bellevue (Ipecac Recordings). The band tore the shit out of songs like “Dig Your Hips,” “Be My Enemy,” Greta Van Fake,” and “Ma Likes To Drink” with such high energy it was as if sparks were flying out of their instruments. Each member of the group, Kendall Wind on bass, guitarist Nick Casa, drummer Macky Bowman (who’s stage attire consisted of only white briefs, tube socks and sneakers), and the incomparable Sam Quartin on rhythm guitar and lead vocals gave 1000% playing one of the tightest and most rockin’ sets this jaded old dog has ever been witness to. Sam Quartin is one of the most mesmerizing front persons to ever grace a stage. if Iggy Pop and Patti Smith had a musical baby it would be Ms. Quartin. Their final song for the evening was a rousing rendition of PJ Harvey’s “50Ft Queenie” which left the adoring audience screaming for more.Sam Quartin of the Bobby Lees (Photo: Leslie Lyons)

Forget about paying ridiculous amounts of money to see tired icons like Madonna and Bruce Springsteen, or younger overrated acts like Billie Eilish and Taylor Swift. Instead catch this stellar band when their tour rolls into a city near you. The Bobby Lees music will make you shake your bones and satisfy your soul like no other band will.

Photos by Leslie Lyons

Drummer Macky Bowman of the Bobby Lees (Photo: Leslie Lyons)

Bassist Kendall Wind of the Bobby Lees (Photo: Leslie Lyons)

Nick Casa of the Bobby Lees (Photo: Leslie Lyons)

Live Video by Michael Levine

Sad news for alternative rock fans. Vivian Trimble, multi-instrumentalist of the New York-based alternative rock/rap band Luscious Jackson has passed away at the age of 59. 

On Thursday, April 8th, The Luscious Jackson Instagram account made a post in her honor, stating, “We are heartbroken to announce the passing of our beloved friend and band member Viv on Tuesday. She had been in treatment for cancer for several years and developed a complication on Monday. We were not expecting this. She was a great friend and a gifted musician and choreographer, but it was being a partner to David and a mother to Nate and Rebecca that Gave her the greatest joy. We are devastated beyond words to lose our graceful sister.” 

 

 

 

 

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Shortly after this post, the group also shared a slide show of some of their most beloved moments with Trimble.

 

 

 

 

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A post shared by lusciousjackson (@lusciousjackson)

Some of Luscious Jackson’s greatest hits include the song “Naked Eye” and “Citysong.” The group was one of the many alternative bands of the 90s that defined the music scene. Their unique blend of indie-rock and rap elements have turned them into a household name for many rock fans. Luscious Jackson was a beloved group of the 1990s. They played huge shows ranging from Lollapalooza to Lilith Fair, and even made an appearance on The Rosie O’Donnell Show.

Trimble herself was an extremely talented and multi-faceted musician. Throughout her career, she worked with many other iconic artists such as Breeders’ bassist Josephine Wiggs and Emmylou Harris. Trimble and Luscious Jackson lead singer, Jill Cunniff, also created a separate acoustic band named Kostars who released the album Klassics With A “K” in 1996.

Vivian Trimble had a unique musical style that is hard to be replicated. She was loved by many, and our condolences go out to her family and friends.

Kelsea Ballerini delivered a powerful and poignant opening speech at the 2023 CMT Awards on Sunday, paying tribute to the victims of the Nashville school shooting. Ballerini began her speech by naming all the victims, three of them being 9-year-old children and three elementary teachers – Evelyn Dieckhaus, William Kinney, Hallie Scruggs, Dr. Katherine Koonce, Cynthia Peak, and Mike Hill.

The country pop singer/songwriter was one of the two co-hosts, along with Kane Brown, for the CMT Awards. Ballerini emotionally stared into the camera during the opening of the show, referencing the tragedy from March 27th, and how three children, along with their friends and teachers, “walked into The Covenant School and didn’t walk out.” 

“The community of sorrow over this and the 130 mass shootings in the U.S. this year alone stretches from coast to coast,” said Ballerini before she recalled her own personal experience. “I wanted to personally stand up here and share this moment because on August 21, 2008, I watched Ryan McDonald, my 15-year-old classmate at Central High School, lose his life to a gun in our cafeteria.”

“Tonight’s broadcast is dedicated to the ever-growing list of families, friends, survivors, witnesses and responders whose lives continue to forever be changed by gun violence,” said the Tennessee-native, who has been open about her gun violence experience that happened in her hometown of Knoxville.  “I pray — deeply — that closeness and community we feel for the next few hours of music can soon turn into action, like real action, that moves us forward together to create change for the safety of our kids and our loved ones,” Ballerini said as she ended her speech to begin the awards ceremony. 

Along with her hosting responsibilities, the singer also performed her single “If You Go Down (I’m Goin’ Down Too,)” joined by four drag queens as her back-up dancers. She was joined by RuPaul’s Drag Race alum’s Manila Luzon, Olivia Lux, Kennedy Davenport, and Jan Sport. The colorful and confetti-filled performance came as a political statement after a judge blocked an anti-drag law from taking into effect. 

Ballerini has been receiving support from those admiring her political positions. Many Twitter users expressed their appreciation for the way the singer is using her platform to comment on nation-wide issues. Television writer and producer, Carina Adly Mackenzie, retweeted Ballerini and commented, “Kelsea Ballerini kicking off the CMT Awards with an earnest, gut-wrenching plea for common sense gun control & then filling her stage with drag queens for a song about solidarity. My kinda country.”

Another user tweeted a picture of Ballerini with her drag-queen stars and stated “kelsea ballerini performing with drag queens on a country music award show AND talking about gun violence/control….she’s a fucking icon.” She truly is. 

Kelsea Ballerini kicking off the CMT Awards with an earnest, gut-wrenching plea for common sense gun control & then filling her stage with drag queens for a song about solidarity.

My kinda country. https://t.co/xghINXTyWr

— carina adly mackenzie (@cadlymack) April 3, 2023

kelsea ballerini performing with drag queens on a country music award show AND talking about gun violence/control… she’s a fucking icon pic.twitter.com/KHb1ykDdnX

— dakota (@duhxkota) April 3, 2023

Ballerini made for an unforgettable host, and her powerful stance on gun control and pro-drag – especially at an event whose fans are usually associated with conservative viewpoints – has us looking forward to seeing how else she utilizes her platform to speak out on political issues.

Top photo: Screen grab from “Kelsea Ballerini Performs “IF YOU GO DOWN (I’M GOIN’ DOWN TOO)” from @CMT on YouTube

It’s been two years since Lana Del Rey’s last new album release, and she’s back and better than ever with 2023’s Did You Know There’s a Tunnel Under Ocean Blvd.

Her last album, Chemtrails Over The Country Club, released in 2021, was met with universal acclaim, but Chemtrails was slow and dreamy, which is nothing Del Rey fans aren’t used to. In fact, one of the main criticisms Del Rey has faced is the lack of range and variety when it comes to her songs. Her fans’ annoyance with this is expertly detailed in the The Tab’s article: “Is it Me, or Do All of Lana Del Rey’s Songs Sound the Same?”

But with ..Ocean Blvd, she’s back to prove everyone wrong. The lead single, which shares the same name as the album, was released on December 7th of 2022, but the standout single, “A&W,” was released on Valentine’s Day earlier in 2023. The title of the single serves as a double entendre; the “A&W” stands for “American Whore.”  It’s also a reference to the popular soda drink and fast-food conglomerate of the same name, which is a callback to the themes of consumerism she’s explored in her previous works. The swift piano-playing underneath the rich guitar makes the song sound just as haunting as it does hopeful. The disorienting, cacophonous transition in the middle of the song gives way to a dazzling, upbeat riff that’s dripping with opulence. Laden with a syrup-thick trap beat, Motown-like background vocals, and Lana’s sonorous singing, “A&W” is on track to become Lana’s most experimental song ever. Even Pitchfork called it a “chimeric folk-trap ballad” (which are four words we’d never thought we’d see together in the same sentence.) 

The song itself, whose chorus ends with the powerful line “…This is the experience of bein’ an American whore…” explores the difficulty with possessing sexuality in a misogynistic society. In the song, she brings up assault, and follows it with the lines, “Do you really think that anybody would think I didn’t ask for it? I didn’t ask for it. I won’t testify, I already fucked up my story.” Her nonchalant approach to the issue is poignant and visceral, and mirrors the apprehension many women have faced when it comes to speaking out against sexual violence. 

Lana ends the song even stronger than she started it. The breakdown in the song “A&W“ is reminiscent of Del Rey’s earlier hits, like Diet Mountain Dew, especially with its upbeat bubblegum pop baseline (and its reference to sickly sweet soda brands). Some fans are even calling it a “return to form,” happy to hear the classic Del Rey sound that we all know and love. In fact, “A&W”  has become Del Rey’s second most popular song on the music streaming service Spotify, surpassing well known hits like Young & Beautiful. Entertainment magazine Billboard even ranked the song as the best track on the album.

Lana Del Rey’s new album makes a strong impact on this week’s singles chart, with “A&W” holding at number 8, “The Grants” rising to number 15 and two debuts: “Peppers” featuring Tommy Genesis at number 25 and “Candy Necklace” featuring Jon Batiste at number 40. pic.twitter.com/UOeF56xQkw

— The Week on Repeat Charts (@WeekOnRepeat) March 26, 2023

But …Ocean Blvd Isn’t all about “being an American Whore”. The album also explores themes of consumerism, religion, and 60s-70s counterculture; the nearly 5 minute long interlude is a sermon from Megachurch pastor, Judah Smith. In the background, you can hear Del Rey stifling giggles, and both agreeing & disagreeing with the preacher’s words. But it has some fans asking, “why?”

Lana baby what is Judah smith interlude lmao it’s giving conversion therapy cult leader pic.twitter.com/0egLS0XABE

— ? (@heyjaeee) March 24, 2023

Despite the division it’s themes has caused, …Ocean Blvd has a more subdued vibe than her previous albums, Born To Die: Paradise Edition, and Ultraviolence. Despite its shoegaze-y melodies and psychedelic vibes, it’s still an amalgamation of all the albums that came before it. Her fascination with death is still present, yet is less angsty and sophomoric than it has been in the past. Instead of lyrics like “Choose your last words, this is the last time, ‘Cause you and I—we were born to die”, instead she takes a more elevated, metaphysical approach in songs like ‘Fingertips,’ where she solemnly sings,  “… if I take my life, Find your astral body, put it into my arms… I’ll give you a blanket. Your spirit can sit and watch TV by my side”

Songs like “Sweet” showcase Del Rey’s powerful and resonate vocals, and lines like “Lately, we’ve been makin’ out a lot, Not talkin’ ’bout the stuff that’s at the very heart of things” and “Sweet in bare feet, You can find me where no one will be” showcase the idyllic fantasy of rural seclusion. Because Del Rey’s previous albums like Born To Die and Lust For Life focus on the dichotomy between city and suburban life, Ocean Blvd’s focus on quiet towns with small populations is a minute but welcome change. 

Ocean Blvd might just be her most controversial album yet, but Del Rey’s fresh approach to her classic Americana aesthetic has us all wanting more. So baby, put on heart-shaped sunglasses, we’re gonna take a ride!

Top album art from LanaDelRey.com

It’s International Transgender Day of Visibility! In light of the exclusion trans and non-binary individuals face both in the music industry and within society at large,  we curated 6 amazing trans and non-binary musicians that you need to know about!

Shea Diamond

Shea Diamond is a singer, songwriter, and a trans rights activist. Diamond has been posting some incredible TikToks on transgender awareness in an effort to keep the public informed on how we can help fight anti-trans legislation. Her music generally falls into the category of R&B, but she is also known to cross genres into hip-hop and folk. Her 2021 single, “Smile,” is guaranteed to put you in a good mood no matter what. Diamond’s powerful lyricism and addicting melodies make her a must-add to your summer playlist.

Laith Ashley

You may have seen Laith Ashley’s name before, and that could be because he starred as the love interest in Taylor Swifts’ music video for her song “Lavender Haze.” But Ashley has been making a name for himself long before Swift. While Ashley has become well known as a model, (he’s walked in New York Fashion week!) He also makes incredible music. One of his most recent songs is the uptempo, pop-heavy “Like Me”, though Ashley has been putting music out on Spotify since 2017. If you enjoy artists like Zayn Malik or Justin Bieber, then you’ll definitely find a Laith Ashley song that you love.

THE BLSSM

THE BLSSM is an Australian non-binary pop artist. THE BLSSM made waves in 2021 with their debut EP, BLSSM, which featured upbeat yet emotionally honest tunes such as “HARDCORE HAPPY.” One of the coolest things about THE BLSSM is how they’re practically inventing their own genre. THE BLSSM’s music bounces between shoegaze, indie pop, alternative rock, and everything in between, which makes them incredibly fun to listen to. Their newest single, “WHO’S TO SAY” just dropped today, and is a mid-tempo springtime anthem that you need to hear.

Nat Puff (Left at London)

Nat Puff, who also goes by the stage name Left at London has been putting out unforgettable music that centers queerness and navigating the world in its current state. She’s also made herself accessible to her fans through her hilarious Twitter presence, which is definitely worth a mention. For example, on former President Trumps’ recent indictment, Puff tweeted, “personally i think they should wheel trump out in a tiny lil cage onto baseball fields during games so ppl in the stands can throw peanuts at him.” And yeah, we agree. Puff is also one half of the duo WOW OK, and you can find her music on all streaming platforms.

personally i think they should wheel trump out in a tiny lil cage onto baseball fields during games so ppl in the stands can throw peanuts at him.

— ⌘ left at london ⌘ (@LeftAtLondon) March 31, 2023

Shamir

Shamir Bailey is a singer/song-writer who is quickly becoming a star. His 2022 album, Heterosexuality, received critical acclaim, and gifted us with bangers such as “Abomination” and “Reproductive.” Shamir has drawn similarities between his identity as a queer artist and his capability to defy genre boundaries. In an interview with the Philadelphia radio station WXPN, Shamir stated,  “Not only am I a Black queer artist that rejects genre, but I am super DIY artist that refuses to be boxed in in a way a lot of Black and/or queer artists are put in for the sake of success.” Shamir is definitely an artist you’re going to want to keep an eye on.

Laura Jane Grace

Laura Jane Grace is not just any singer; she’s a punk icon. She’s most well known for being the lead singer of the band Against Me! which has produced incredible punk songs like “Transgender Dysphoria Blues” and “Thrash Unreal”. In 2015, Grace even teamed up with Miley Cyrus and Joan Jett to perform a cover of The Replacements’ song “Androgynous.” One of the most exciting aspects of Grace’s music is how she isn’t afraid to be political. Check out her 2020 song “Hanging Tree”, where she calls out the violence that has been perpetuated in Trump’s America with the lyrics “Babies born into apocalypse/ Got no vision, got no taste for death/ You can’t trust a man with hair like that/ Too much deception, no self-conscience.”

While today may be Trans Visibility Day, we hope this list provides you with some artists that you can stream all year long!

Top image: Screen grab from “Shea Diamond – Smile (Official Music Video)” from @iamsheadiamond on YouTube

Friday, March 31st was a big day for boygenius fans as we finally received their long awaited debut album, the record. Even better, the record wasn’t boygenius’ only drop this Friday. The band released a short film/long-form music video titled the film (purposefully stylized in lowercase, just as their album and band name) directed by Twilight star and queer icon Kristen Stewart. the film features three boygenius songs, “$20,” “Emily I’m Sorry,” and “True Blue” which also happen to be the first three singles the band released from this album. As we dive into the minds of Julien Baker, Phoebe Bridgers, and Lucy Dacus, each member gets their moment to shine throughout the video.

The video starts off with the rock-forward and Baker-led “$20.” We see the camera pan over Baker sleeping in a racecar bed (as every rockstar should.) The audience is seemingly shown what she’s dreaming about. Throughout Bakers’ segment, we get to see Baker, as well as a young Bridgers (played by Avery Tiiu Essex) and a young Dacus (played by Fiona Rose) racing, playing outside, fixing up a car, and excitingly setting the car on fire. Throughout these scenes, the video perfectly captures the feeling of youthful rebellion that the song expresses.

Bridgers’ segment is next, which features a song she takes the lead on, “Emily I’m Sorry.” Just like the song, this portion of the video appears to be more stripped down while having many moving parts in the background. We see Bridgers, wearing a white tee shirt and blue boxers, standing in the middle of a monster truck course. As the song goes on, monster trucks leap over obstacles behind Bridgers. The video ends with Bridgers, at this point joined by Dacus and Baker, setting another car on fire, with the match being lit by Baker. This is possibly a metaphor to represent Bridgers’ choice to let go of the past.

The final segment is Lucy Dacus’, and features the song “True Blue.” The vignette features Dacus longingly ruminating on the color blue. About halfway through her segment, Dacus is joined by Bridgers and Baker, who assist Dacus in painting a wall royal blue, covering themselves in paint in the process. We also see Dacus making out with both Bridgers and Baker, which is a win for queer women everywhere.

The video concludes with the trio hugging in bed, showing their comfort and closeness as both collaborators and friends.

Stewart did an incredible job capturing the band’s close bond through each of their scenes. In 2022, it was announced that she is set to make her feature film directorial debut with The Chronology Of Water, starring actress Imogen Poots. Stewart has clearly proven she has what it takes to be one of Hollywoods’ best up and coming directors with her work on the film.

The film is a great example of the amazing art that can be created when queer women artists from different mediums come together. We hope that Stewart and boygenius will continue to work together in the future!

Top image: Screen grab from “boygenius – the film” from @xboygeniusx on YouTube

The day that fans of Phoebe Bridgers, Julien Baker, and Lucy Dacus have been waiting for has finally arrived, boygenius’ debut album, titled the record, is out now. 

The record is, for lack of a better term, a flawless album. And we’re not the only ones who think so, Baker, Bridgers, and Dacus received glowing reviews from esteemed music magazines such as NME and Rolling Stone. In fact, both media outlets even named the record as being an instant classic, and we couldn’t agree more. 

The record begins with an acapella track, “Without You Without Them,” which shows how well the trios voices work together in harmony. The lyric “I want you to hear my story and be a part of it” foreshadows the honest and emotional journey listeners are about to embark on. Songs like “$20,” “Not Strong Enough”, and “Satanist” showcase the bands incredible musicianship and rock n’ roll abilities, while more pulled back, reserved tracks such as “Cool About It,” “Emily I’m Sorry,” and “We’re in Love” demonstrate that the trio doesn’t need frills or fancy production to prove they’re one of the best bands out there right now. 

Boygenius also does an amazing job showcasing their personality with songs such as “Leonard Cohen,” which includes witty lyrics such as “Leonard Cohen once said there’s a crack in everything, that’s how the light gets in, and I am not an old man having an existential crisis at a Buddhist monastery writing horny poetry, but I agree.” *chefs kiss*

Longtime fans of boygenius will also be happy to hear the groups closing track, “Letter to An Old Poet,” which references a fan favorite song “Me & My Dog” from their 2018 EP. The group changed a famous lyric, “I want to be emaciated” to “I want to be happy,” which exhibits the bands emotional growth over the past five years.

But wait! There’s more! Boygenius is also embarking on a North American tour starting on April 12th in Pomona, California. The band will also be touring Europe starting in August. More information and tickets can be found here.

Top image: Screen grab from “boygenius – Emily I’m Sorry (from “the film”)” from @xboygeniusx on YouTube

Taylor Swift was honored with the Innovator Award at the iHeartRadio Music Awards on Monday, March 27th, and her friend Phoebe Bridgers made an appearance at the event to present the award. As Bridgers walked onto the stage, she sarcastically stated, “I love public speaking so… I’m not shaking.” But those nervous jitters clearly faded away quickly, as the singer/songwriter then went on to give an immensely heartwarming speech about how important Taylor’s songs were to her development as a songwriter. She stated, “Gradually, my songs started to suck less because instead of trying to sound interesting, I just started telling the truth. Taylor has always told the truth. She’s written songs from exactly where she is.” Taylor’s truth-telling and the snapshots into her real life are both reasons the star has amassed a loyal fanbase of Swifties over the years. 

As Phoebe stated at the end of her speech, We’re also “thankful to have grown up in a world with Taylor Swift… or The World: Taylor’s Version.”

It was fun to see these two reunite ahead of Bridger’s scheduled appearances as an opener for Taylor Swift: The Eras Tour. Swift has mentioned in many interviews that Bridgers is one of her favorite artists. The two collaborated on a “From the Vault” track (meaning a previously unreleased song) on Taylor’s 2021 album Red (Taylor’s Version). The song, “Nothing New,” contains powerful and thought-provoking lyrics such as “how can a person know everything at eighteen and nothing at twenty-two.” The tune perfectly encapsulates Bridgers’ and Swifts’ theme of authenticity in their songwriting, and the emotional chaos that comes with being a young adult.

Winning the innovator award wasn’t the only victory Taylor had that night. She also won the award for Song of the Year for her song “Anti-Hero.” Swift noted how special this win was to her, as this was the first time she didn’t pick a first single based on how well she thought it would do on the radio, or on whether or not it would become a ‘hit.’ Well clearly, that strategy worked for her, because “Anti-Hero” may be one of her biggest hits yet.

Better yet, the award was presented to her by the “Boy’s a liar Pt. 2” singers PinkPantheress and Ice Spice. The trio shared a hug as Taylor accepted the award, and the photos the three took together after the ceremony sent Twitter into a frenzy. 

One user imagined a reboot of the film Hocus Pocus with the three artists, tweeting, “Hocus Pocus if it slayed.”

Hocus Pocus if it slayed https://t.co/GHMy5ZEtRf

— Brooklyn (@bklynb4by) March 29, 2023

Music reporter Jack Irvin also joined in on the commentary, tweeting, “no thoughts just taylor swift hugging ice spice and pinkpantheress.” It’s true, it was a hug we didn’t know we needed until we got it.

no thoughts just taylor swift hugging ice spice and pinkpantheress pic.twitter.com/oceKmsWNPp

— jack irvin (@jackirvinwho) March 28, 2023

Gen Z queen and America’s newest sweetheart, Ice Spice, also made an appearance in the video dedicated to Swift’s Innovator Award win, in which the rapper refers to Swift as ‘selfless.’ 

?| Dolly Parton, Selena Gomez, Justin Timberlake, Ice Spice, Simone Biles, Miles Teller, Ed Sheeran, Alex Morgan, and more were featured in Taylor Swift’s Innovator Award honoree video
pic.twitter.com/Ol3kl2QK0U

— Taylor Swift Updates ?️ (@swifferupdates) March 28, 2023

We hope this means we can expect a collab in the future. Starting a petition for an Ice Spice feature on one of the 1989 (Taylor’s Version) From the Vault tracks.

Top photo: Screen grab from “Taylor Swift Accepts The 2023 iHeartRadio Innovator Award!” from @iHeartRadio on YouTube.

The feminist punk-rock protest group Pussy Riot announced on March 6th that they’ll be going on tour this spring!

The tour will include six stops in Vancouver, San Francisco, Seattle, Portland, Guadalajara, and Trenčin, Slovakia.

Three of the shows will be festival performances, which includes the Belltown Bloom festival in Seattle, Washington on May 5th, where they will be headlining. (Artists such as Mannequin Pussy and Skating Polly will also be playing Belltown Bloom, so it’ll be a bit of a feminist utopia.) Other festival performances include the Corona Capital music festival in Guadalajara on May 21st and the Pohoda Festival in Trenčin on July 6th-9th. 

 

 

 

 

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Pussy Riot and their founder, Nadya Tolokonnikova have been keeping busy by working on some amazing projects. The group recently contributed a piece titled Fragile Masculinity Genesis to the Sotheby’s “My Body, My Business” auction. Soetheby’s is one of the world’s largest brokers of fine art. Fragile Masculinity Genesis is a scultpture designed to look like an eggplant. According to Tolokonnikova, “Lighting the wick of this sculpture gives birth to a broader Fragile Masculinity project that is set to unfold in the upcoming months and involves sculpture, performance, audi-visual work and a total installation by Pussy Riot.” 

We’re so excited to keep up with this project, and we should also mention, the “My Body, My Business” auction raised over $100,000 for Planned Parenthood! Another Pussy Riot piece, Putin’s Ashes, was recently on display at the Jeffrey Deitch Gallery in Los Angeles this February, and received massive critical acclaim. Check out BUST’s coverage of the piece here! 

 

 

 

 

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You can grab tickets for any of Pussy Riot’s upcoming shows at Pussyriot.love. The tour is set to kickoff on April 19th in Vancouver. (We hope they play “Police State!”)

You can also keep with with Pussy Riot and Nadya’s art by following @nadyariot and @pussyriot on Instagram.

Top Photo: Pussy Riot in 2021. Игорь Мухин at Russian Wikipedia, CC BY-SA 3.0, via Wikimedia Commons

Singer, songwriter, actress, icon, legend, and cat lover Taylor Swift made an announcement on her Instagram yesterday, March 16th, that she would be releasing four songs at midnight in honor of her upcoming tour. Three of the four songs she released were re-recordings of some of her old hits, (now branded with Taylor’s Version, of course). Those included, “Eyes Open (Taylor’s Version),” “Safe & Sound (featuring Joy Williams and John Paul White) (Taylor’s Version),” and “If This Was A Movie (Taylor’s Version).”

Both “Eyes Open” and “Safe & Sound” were originally featured on the soundtrack for the 2012 book to movie adaptation The Hunger Games, and have now been placed onto Red (Taylor’s Version). Many fans were wondering if Swift decided to drop these two tracks due to the fact that The Hunger Games has been trending recently, with both the addition of all four original movies to Netflix, and the highly anticipated prequel, The Hunger Games: The Ballad of Songbirds and Snakes, coming out later this year. Regardless, if you were a tween or teen girl between the years of 2010 and 2014, last night was a big night for you. (It was for me.)

Fans also have been talking about how Swift was able to reunite Joy Williams and John Paul White, who once performed under the name The Civil Wars, for “Safe & Sound” (and who were featured on the original version of the song.) This was no small feat, as The Civil Wars had broken up in 2012 due to “internal discord and irreconcilable differences of ambition.” But, as we know, if anyone has the power to bring people together (and make miracles happen in music,) it’s Swift. 

The third re-release Taylor gifted us last night was “If This Was A Movie (Taylor’s Version)” which originally appeared on Swift’s 2010 album Speak Now. However, Taylor’s Version of the song has now been placed onto Fearless (Taylor’s Version), which of course, has caused speculation. Many Swifties are wondering if this means Swift will be dropping her third re-recorded album Speak Now (Taylor’s Version) soon.

As a recap, Swift began re-recording her first six albums in 2020, after her master’s were sold away from her from Scott Borchetta to Scooter Braun. Swift is the first musician to ever embark on this journey, and she has sparked a ton of conversation about artist’s rights to their own work. 

Finally, the last song that Swift released last night was “All Of The Girls You Loved Before”, which was a song meant for her 2019 album Lover. (No Taylor’s Version is attached to this song, as Swift already owns the rights to every track on Lover). This was a track Swifties had never heard before (unless you count the leaked snippet on TikTok, which I don’t.) Its bright chords, catchy chorus, and introspective lyrics perfectly encapsulate the Lover era, and we’re so excited that we got some new Taylor content even when she’s so busy preparing for her tour. The question still remains as to whether or not Swift ever sleeps, and right now we’re leaning towards no.

We’re hoping Swift will perform some (or all) of these new tracks on The Eras Tour, which begins today (!!!) in Glendale, Arizona. Fittingly, the mayor of Glendale has temporarily renamed the city to Swift City.

Top photo: Screen grab from “Safe & Sound (Taylor’s Version)” from Taylor Swift on YouTube

If you’ve been a fan of Miley Cyrus since her double-life, blonde wig, Disney star era, then you are no stranger to the ever-changing genres in her discography. Her most recent album, Endless Summer Vacation, released this past Friday, takes us on a journey through her eclectic musical evolution. 

The pop sensation’s jarring ride throughout her 17 years in the entertainment industry made her a staple in the tabloids. Since her release of Younger Now in 2017, she has proved to all observers that she doesn’t fear being criticized for expressing herself. Prior to her latest release, each of Cyrus’ albums have tended to focus on a different musical genre that made each new release stand out from previous work – but Endless Summer Vacation is a combination of all the musical experiments she has used in the past. Her long-play SHE IS COMING (2019) introduced us to an all-new Miley Cyrus that eased us into the release of her 2020 album, Plastic Hearts, filled with her raspy, powerful voice that is an ode to the women of rock ‘n roll. 

The release of Endless Summer Vacation falls at a pivotal point for Cyrus’ career, and she uses all of her life experiences and musical trial-and-errors to invite the audience to join her self-discovery journey. From her controversial twerking on Robin Thicke at the 2013 VMA’s to finding love with her teenage sweetheart, Liam Hemsworth—and then a public divorce from the actor‚ her new album represents a full circle of growth and it’s an album you need to listen to (even if you’ve never considered yourself a Cyrus fan).

In addition to her album, Cyrus also made a comeback to Disney by releasing a Backyard Sessions documentary on Disney+. In the film, not only does she beautifully sing tracks from her latest release, but she also provides an interview about what each song means to her and touches on her old Hannah Montana days by singing the nostalgic “The Climb.” Whether she is expressing herself through her music, outfits, or aesthetic, Cyrus expresses in her documentary that “this album feels like it’s a kind of concoction of all of the best of those sounds that I’ve tried out”.

“Flowers,” her teaser single for the album released in January, immediately connected us to the Miley we all love – independent, valiant, and self-loving. Fans were quick to note that the song is a response to Bruno Mars’ well-loved hit, “When I Was Your Man”, and she even includes the demo of “Flowers” in her album where she confirms that the single is a replayed sample. The song celebrates self-love, and when explaining the meaning of the hit single in her documentary, Miley quotes Mama Ru (a.k.a the queen of all drag queens, RuPaul), “If you can’t love yourself, how in the hell are you gonna love somebody else? Can I get an amen?”

Right before releasing the full long-play, Cyrus released “River”, and fans again began to theorize that her album will be a reflection of empowerment and how to find your own self-worth after a relationship—and they were right. This song will make you wish you were dancing in a disco knowing you are the moment.

There is not a simple genre into which Endless Summer Vacation can be categorized as. With tracks featuring Sia and Brandi Carlile, Cyrus shines her talent at being able to sing just about any style. The album travels through country-pop, empowering ballads, club-popping, art-rock, and more. “You” and “Wonder Woman” gives us a taste of her soothing and cooing voice while “Jaded” and “Muddy Feet” (featuring the iconic Sia) brings us back to her Plastic Hearts days with her compelling, throaty voice that makes you want to scream-sing along with her in the car. There is a song for every need and desire, especially if you are experiencing a moment when you need to remind yourself that your own self-compassion is more important than anything else. 

Cyrus has long ditched her days of neon lights, spunky hair and latex outfits and brought us a culmination of her artistic growth with this latest release. If you’ve never considered looking into her discography, this album is the perfect way to step into her work, and, as Miley says in her documentary, “The journey is usually the part you remember anyways,” so believe us when we say you won’t regret it.

Photo, top: Screenshot from Youtube, “Flowers” Miley Cyrus

On Tuesday, a freelance journalist by the name of Lachlan Markay decided he wanted to attack Meg White’s drum skills. Meg White is an American drummer who makes up one half of the rock duo The White Stripes with ex-husband Jack White.

Specifically, (in a since-deleted Tweet) Markay wrote, “The tragedy of the White Stripes is how great they would’ve been with a half decent drummer. Yeah yeah I’ve heard all the ‘but it’s a carefully crafted sound mannnn!’ takes. I’m sorry Meg White was terrible and no band is better for having shitty percussion.” Boooo! 

Ironically, this guy was replying to a Tweet from National Review which said that “‘Seven Nation Army’ has a strong case to be considered the best song of this century thus far.” So clearly, Markay’s opinion is not a popular one.

“Seven Nation Army” has a strong case to be considered the best song of this century thus far. | @baseballcrank https://t.co/2QxDeHDqAc

— National Review (@NRO) March 14, 2023

Luckily (and obviously) Twitter users immediately came to Meg White’s defense, and we got some killer tweets out of it. 

One of those Twitter users was one of Jack White’s other ex-wives Karen Elson, who stated “Not only is Meg White a fantastic drummer, Jack also said the White Stripes would be nothing without her. To the journalist who dissed her, keep my ex husband’s ex wife’s name out of your f*cking mouth. (Please and Thank you).” We love women supporting women! Another user by the name of @WildeRESISTER tweeted, “Meg White is such a bad-ass goddess woman that Jack Gillis took *HER* surname when they married. Love that! Bow down, bitches.” *chef’s kiss* 

Not only is Meg White a fantastic drummer, Jack also said the White Stripes would be nothing without her. To the journalist who dissed her, keep my ex husband’s ex wife name out of your f*cking mouth.
(Please and Thank You) https://t.co/qnnxgT3Rxh

— Karen Elson (@KarenElson_) March 14, 2023

Meg White is such a bad-ass goddess of a woman that Jack Gillis took *HER* surname when they married.
Love that!
Bow down, bitches ? pic.twitter.com/yf8JgszulG

— Renee ?? (@WildeRESISTER) March 13, 2023

Legendary musician and drummer/frontman of The Roots, Questlove, joined in on the roast of the journalist, tweeting, “I try to leave “troll views” alone but this here is out of line af. Actually what is wrong w music is people choking the life out of music like an Instagram filter—trying to reach a high of music perfection that doesn’t even serve the song (or music).” Questlove never has a bad take! And we love how he commented on White’s unique style in drumming. 

I try to leave “troll views” alone but this right here is out of line af. Actually what is wrong w music is people choking the life out of music like an Instagram filter—-trying to reach a high of music perfection that doesn’t even serve the song (or music) pic.twitter.com/hCj43qNpcG

— Plug 5. (@questlove) March 14, 2023

Meg White has been a giant in the rock world for years now. Through her co-founding of The White Stripes, she became a key figure in the rise of the garage rock movement of the early to mid 2000s. Her drumming style is incomparable to anyone else, which is often why people who think they are “rock experts” say that her skills aren’t “technical” enough. 

In reality, White’s drumming created a brand new, incredible sound in rock music. According to Robin Murray for Clash Magazine, “It’s her primitivism – if you can even call such human nature technical skill such a reductive term – that lies at the core of the band. Much of Jack White’s solo career is worthy, but it also dips into trad territory. The White Stripes could be a wild, thrilling, truly unhinged experience, and that’s predominantly due to the spaces Meg White opened up.” Meg White never drums her songs in the same way, and that’s one reason it’s so exciting to watch her perform and hear her play.

Meg White has proved time and time again that her ability shouldn’t be questioned, yet it still seems to be an issue for men who don’t like the idea of women being better at making rock music than them.

Top photo: John Griffiths, CC BY-SA 2.0 via Wikimedia Commons

Hole frontwoman and guitarist Courtney Love is calling out the Rock & Roll Hall of Fame for remaining a boys club, nearly 40 years after its inception. In a viral instagram carousel, Love shares a text conversation she had with Dave Grohl, drummer of Nirvana and friend of Love’s late husband Kurt Cobain, explaining why she’s pissed about the famed awards ceremony. 

“Have fun at the rock hall Dave,” Love writes in a text. “Make sure and hold the seats of Tina Turner & Carole King, who have been eligible for over 30 years each!”

 

 

 

 

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Love also shared a tweet from music critic Jessica Hopper, who responded to an article from Musical Connection called “Rock & Roll Hall of Fame Celebrates Women Who Rock.” Though the article is about a series of Women’s History Month events hosted by The Rock & Roll Hall of Fame, Hopper is quick to point out the hypocrisy of the celebration. 

“719 inductees to The Rock & Roll Hall of Fame, only 61 are women,” Hopper cites. That’s 8.48%.”

Love isn’t the first musician to criticize the sexist nature of The Rock & Roll Hall of Fame. In 2019 when Janet Jackson was (finally) inducted, she pleaded in her acceptance speech, “Rock and Roll Hall of Fame, please, 2020 induct more women.”

Just last year, singer Alanis Morissette dropped out of performing at the induction ceremony. In an instagram story she explained her perspective as a woman in music. “Many decades I’d put up with condescension, dismissiveness, exploitation, physiological violence and an overarching anti-women sentiment.”

She goes on to imply she dropped out of the performance because she’s “at a point in my life where there’s no need for me to spend time in an environment that reduces women.” 

It’s been just over a month since the 2023 Rock & Roll Hall of Fame nominees were announced. This year’s list includes four solo female artists, Kate Bush, Sheryl Crow, Missy Elliot and Cyndi Lauper and two other female nominees, Meg White of the White Stripes and Gillian Gilbert of New Order. 

This year’s roster still falls short of the “female-centric” class of 2021, which included six solo female nominees as well as the members of the Go-Go’s. Of that class, only Tina Turner, Carole King and the Go-Go’s were actually induced. 

The 2023 inductees will be announced in May, and we’ll have to wait and see if the Rock & Roll Hall of Fame is ready to start actually honoring their women nominees in equal numbers. 

& patriarchy is never a surprise & boomer bro music biz never stops furiously reinscribing itself etc etc But @rockhall tut-tutting out here all hashtag Women’s History Month — I cannot abide it.

REMINDER: ONLY 8.4% OF INDUCTEES IN THE RNR HALL OF FAME ARE WOMEN.

— Jessica Hopper (@jesshopp) March 10, 2023

 Top photo by Amber Gray, styled by James Rosenthal, makeup by David Tibolla, hair by Charley Brown

In a move that could have won “the sweetest gesture” award, Lady Gaga ran to the aid of a photographer on the red carpet during the 95th annual Academy Awards. Captured on a viral clip, Lady Gaga was walking the carpet before the ceremony when she heard a thud and concerned gasps from the audience. 

The Oscar-nominee turned around and rushed back to help the fallen photographer, who was just getting back on his feet when she arrived. In true “mother monster” fashion, she helped him regain his composure before continuing down the carpet in her stunning sheer Versace gown. 

As the tweet circulated, fans praised the singer and affectionately reaffirmed that she is, indeed, “mother.” 

She is the definition of mother

— cole (@vercuzi) March 13, 2023

mother always helping

— Stream bloody mary (fan account) (@dailyLGpicz) March 13, 2023

Gaga, who wasn’t scheduled to perform during the ceremony, showed up to the red carpet with BloodPop, the co-writer of the nominated song, Hold My Hand from Top Gun: Maverick.

The singer ended up giving a surprise performance of the song completely bare-faced, with ripped jeans, a t-shirt, and a pair of black Chucks.

Before she jumped into the song she gave a shout-out to BloodPop and explained that the song was deeply personal and that “we all need each other, we need a lot of love to walk through this life.” 

Top Photo: Screengrab from “Lady Gaga Performs ‘Hold My Hand’ at Oscars 2023” from ABC on YouTube

I’m waiting for John Cale to take the telephone. And I’d be lying if I said I wasn’t mumbling mantras to myself in an attempt to wrestle my nerves into submission after his manager put me on a brief hold. “I am confident. I am worthy!”

A co-founding member of the ’60s avantgarde band the Velvet Underground, Cale is an icon—a musical demigod whose debut album with the Velvets is widely considered one of the best rock records of all time. Heck, he even taught David Bowie to play the viola. “‘Taught’ is a curious word,” Cale says, laughing, as he carefully walks me through a memory. “At our Town Hall concert, he wanted to play on ‘Sabotage.’ He said, ‘Hey, can I play viola?” Cale tells me, emulating Bowie’s shy tone. “I said, ‘Yes, come here, let me show you how to do this.’”

There’s a laid-back electricity about Cale. The multi-instrumentalist, composer, and producer is chatting with me from a recording studio in downtown Los Angeles. And his Welsh accent is ever present, despite decades as an ex-pat. “It was a fleeting friendship,” he says of Bowie. “Two ships passing in the night.” One that Cale examines in the animated video for his single, “Night Crawling,” off his new album, Mercy, out now. In the video, the two prowl the streets of 1970s N.Y.C. “That’s kind of a dark moment,” he says. “We didn’t really get a lot done. We were more into partying than we were into writing songs, and we paid the price for that.” “I realized how much time I’d been wasting,” he tells me of the years prior to his sobriety. “The most important thing I learned from having a hard look at myself was how to make things potent.”

Now 80, Cale has a remarkable six-decade-long catalog of work. Despite writing dozens of albums and film scores, and producing debut records for both Patti Smith and the Stooges, he’s managed to always maintain his curiosity. “How do you carve a really elegant mess out of strange emotions?” he asks. “When COVID happened, I didn’t know what to do…but what I didn’t do was lose a sense of melody. Certain things came out in songwriting that I was really happy I still had,” Cale says of writing Mercy.

As the conversation turns to one of the album’s standout tracks, “Moonstruck (Nico’s Song),” Cale transforms a little. “Everybody suddenly has started realizing that she gets better all the time,” he says, speaking of his late bandmate Nico’s life in the present tense. “How she handles herself lately and how she handled herself years ago is different, but the songs themselves—and you might appreciate this as a songwriter yourself, Kelly— she really got better.”

“I was just there trying to help her [Nico] and understand what the solution for her issues with music may be, but it got better and better and better. It’s important to help people see a way out.”

Cale is kind to me, uncovering my musical background and weaving me into his stories. “I mean, she wrote in English even though she was German. It was a strange world but the more I let her continue, the better she became,” he says. “I was aware she was having intonation issues, but it never prevented her from coming up with a melody that worked,” he tells me of the challenges Nico’s partial deafness presented. 

His admiration for Nico is palpable, having produced most of her solo albums and even composing a ballet based on her short life. “I pushed her. She was so insecure,” he says. “I was just there trying to help her and understand what the solution for her issues with music may be, but it got better and better and better. It’s important to help people see a way out.”

Empowering others through music is a theme Cale echoes throughout our conversation. “Don’t be frightened of mistakes. You learn a lot more by making mistakes in your songs than not having them,” he says sincerely. “You have more to think about, more to hear, and it pays off.”

Top photo: Jeaneen Lund (@jeaneenlund)

What do you get when you combine otherworldly sensuality with luscious lo-fi beats? Columbian-American neo-soul artist Kali Uchis’ Red Moon In Venus is here to answer that question. 

Uchis is putting an alternative twist on R & B with her brand new album, which was released on March 3rd. She also announced that she’d be touring the US to promote the new release, with 20 dates taking place across the country. On January 23rd, Uchis posted a stunning set of instagram photos, draped in the same mesh blood-red fabric that was sprawled out underneath her, with the caption: “RED MOON IN VENUS 3.3.23 Tour dates on the last slide”

 

 

 

 

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Kali Uchis has come a long way since the last time we wrote about her.  In 2019, Uchis was touring Europe with Jorja Smith, fresh off the release of her debut studio album Isolation. Since then, she’s released several EPs and the Grammy-nominated studio album, Sin Miedo which included features from other alternative sirens like Rico Nasty and SZA.

This year, she’s upping the ante with her third studio album, Red Moon in Venus. Alongside themes of divinity, sensuality, and tranquility, the album is deeply raw and emotional. Songs like the single “Moonlight” incite feelings of blissfulness and self-induced passion. Uchis croons the words “I just wanna get high with my lover..”  But with lyrics like “Veo una muñeca cuando miro en el espejo,” (which translates to “I see a doll when I look into the mirror,”) it’s hard to believe that Uchis isn’t singing about lovin’ on herself. It’s not far-fetched; when discussing the inspiration for Venus with Consequence Magazine, she stated that “This body of work represents all levels of love — releasing people with love, drawing love into your life and self-love.” 

The visuals we’ve received from the Venus era so far reflect the powerful love-based motifs that influenced Uchis during the creation of the album. The music video for “I Wish You Roses” features clips of the glamorous singer dressed as unearthly flowers while she poses alongside CGI renderings of hyperphysical plants.

The elaborate and ethereal looks range from shocking to sweet. In one shot, Uchis is painted in pink and red ombre makeup, adorned with soft and petal-like fabric, meant to imitate a dewy red rose. 

In other scenes, she’s sensually running a rose over her ivory dress, or she’s laying nude in a pool of blush-pink rose petals, American Beauty-style.

The not-so-subtle sexual messages behind the petal imagery incite feelings of passion and femininity, which is exactly what the artist says she was going for when she discussed the album more in depth, again with the publication Consequence, “Red Moon in Venus is a timeless, burning expression of desire, heartbreak, faith, and honesty, reflecting the divine femininity of the moon and Venus… It’s believed by many astrologers that the blood moon can send your emotions into a spin, and that’s what I felt represented this body of work best.”

Bottom Line? Red Moon in Venus is an ethereal ode to sensuality and emotion. It’ll be the soundtrack to every sultry siren’s self-care ritual.

You can listen to the album here, and find dates for the Red Moon In Venus Tour here.

Top Image: Screengrab from “I Wish You Roses” – Kali Uchis by UMG

Happy International Women’s Day! Check out these badass international female musicians that you should listen to today

Ibeyi

Ibeyi is a French musical duo composed of twin sisters Lisa-Kaindé Diaz and Naomi Diaz. The sisters sing in four languages, including French, English, Spanish, and Yoruba. Their music can be best described as jazz with beats influenced by Afro-Cuban and French culture. Their 2022 album, Spell 31, was described by Pitchfork as a syncretic celebration of sounds and traditions that shimmers with color and joy. If that’s not enough of a selling point to check out this dynamic duo, then we don’t know what is.

Netta

Netta Barzilai, the Israeli singer who goes by the stage name Netta, rose to fame after winning the 2018 Eurovision song contest with her song “Toy.” Her music ranges from a combination of pop, R&B, and hip-hop. She somehow finds a way to perfectly combine low-fi chill beats with uptempo melodies that creates truly hypnotic music.  Netta’s newest singles prove that her Eurovision win was not a grand finale for her, but only the beginning.

Oumou Sangaré

Oumou Sangaré is a name you need to know if you don’t already. Not only has the Malian singer won a Grammy, but she’s also earned her own nickname by fans and members of her community, “The Songbird of Wassoulou.” The star’s music can best be described as “treading a fine line between her attachment to the traditional music of Wassoulou, the region of Mali which she hails from, and technological dislocation.” Her newest album, Timbuktu, will be released on April 29th, and we couldn’t be more excited.

Noga Erez

Noga Erez is an Israeli alternative/electronic musician whose work has been influenced by legends such as Björk and Kendrick Lamar. Erez’s unique music style has caught the attention of some of the greats, including rapper and feminist icon Missy Elliot. Her newest single, “NAILS,” is a collaboration between the two, and its punchy, bubblegum beats and lyrics make this a track you need to hear right now.

CHAI

If you’re looking for a rock band that sounds like a combination of ABBA and Tame Impala, it’s your lucky day. Mana, Kana, Yuki, and Yuna make up CHAI, a Japanese rock band setting out on a mission to redefine what it means to be “cute.” In an interview with Pitchfork, the group explained that they see themselves as ““Neo-Kawaii,” or “New Cute”—a phrase they coined to signal a move towards the embrace and celebration of human imperfection.” In fact, the very first song they wrote together, “Gyaranboo,” is about embracing and loving your body hair. How cool is that?

Moonchild Sanelly

Sanelisiwe Twisha, known by her stage name, Moonchild Sanelly, is a South African musician who created the genre “future ghetto punk.” While rocking her signature blue afro, Sanelly has been effortlessly transgressing genre boundaries in music. She went from being nominated at the 22nd Annual South African Music Awards for Best Alternative Album, to joining forces with Beyonce for her hip-hop anthem, “MY POWER”. Moonchild Sanelly is a true trailblazer in the music industry, and we feel so lucky we get to reap the musical benefits of her unique creative vision.

Pomme

Pomme is a French indie pop singer whose voice could best be described as “bewitching.” Her debut album, À peu près, released in 2017, received widespread critical acclaim. Pomme’s latest album, Consolation, was released in August of this past year and has been described as one of her most beautiful bodies of work yet. If you’re into folk-pop, Pomme is definitely an artist that should be on your radar. 

Elisapie

Elisapie, born Elisapie Isaac, is a Canadian-Inuk musician whose recent cover of Blondie’s “Heart of Glass” is making waves. The true title of this cover is “Uumati Attanarismat,” as the artist sings the song beautifully in the language of Inuktitut. Elisapie has also been creating astounding original music for years as well. Her 2018 album, The Ballad of the Runaway Girl, garnered her a Juno Award nomination for Indigenous Music Album of the Year.

Vava

Vava is the stage name of Chinese rapper Mao Yanqi. Vava has been winning over audiences in both China and internationally for years now and garnered an even larger platform after the rapper’s song “My New Swag” was featured on the soundtrack for the 2018 blockbuster hit Crazy Rich Asians. Her fun, upbeat songs such as her single “New World,” prove that not only is Vava an artist to watch, but also one that will be around for a long time.

Sevdaliza

Sevadaliza is an Iranian-Dutch singer-songwriter, who also happens to be a record producer, director, and visual artist. Talk about a quintuple threat. Throughout her discography, Sevadaliza demonstrates both that she is one of the most interesting artists out there, and also that she cares about other women! One of Sevadaliza’s newest songs, “Women Life Freedom,” is a powerful anthem that shows support for the women who have been fighting oppression from patriarchy in Iran for years, as well as “oppressed women around the world”

Top Photo: Suleika Muller courtesy Ibeyi

Singer/songwriter extraordinaire Margo Price’s “Til the Wheels Fall Off” tour rolled into N.Y.C. this past Saturday and her adoring fans at Webster Hall were totally blown away.

Clad in a black midriff top and matching leather jeans, like Nancy Sinatra meets Chrissie Hynde, Margo and her band opened with “Been To The Mountain” from her latest album Strays. Margo’s six piece band were tight as could be and tore it up on songs “That’s How Rumors Get Started,” “Four Years of Chances,” and the pro marijuana “Light Me Up.” Not only did Ms. Price accompany herself on both acoustic and electric guitar, she also killed it on the drums during “Change of Heart.” 

At one point Margo slipped away while the band played on, and reappeared in a Paco Raban like Silver minidress and matching stilettos. Answering a pink princess phone on stage, Margo began singing the song she duets with Sharon Van Etten on Strays “Radio.” Price’s phenomenal voice was in fine form throughout, especially on quieter numbers like “County Road.” Then letting it rip on a new song “Shelter Me” in which she played a tambourine and rocked a cowbell while she shook it across the stage. 

After performing “Tennessee Song,” Margo commented that she’d lived in the state for twenty years and “Fuck the Drag Bill!” Which received a big cheer from the crowd. The audience was also treated to a stellar cover of the Jefferson Airplane’s psychedelic classic “White Rabbit” that would’ve made Grace Slick proud. Closing with “Hurtin’ on the Bottle,” Price and her way hot band left the audience screaming for more. Do not miss this uber talented artist and her accomplished musicians during the remainder of this tour. Margo is a STAR!!

Los Angeles-based riot grrrl band, The Linda Lindas have been absolutely crushing it recently. Not only did their 2022 album release, Growing Up garner massive success, but they have also been partnering up with some legendary artists.

On February 22nd, the girl band made two huge announcements on their official Instagram. One of which was that they would be opening for the alternative rock band, The Breeders. The show is set to take place on April 13th at The Glass House in Pomona.  But if you think that’s cool, the band ALSO announced that they will open for Blondie on April 19th! Yes, that Blondie!

 

 

 

 

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While neither Blondie nor The Breeders are riot grrrl bands, the fact that these household names recruited The Lindas to open for their shows proves that the riot grrrl subgenre is not only alive and well, but extremely popular for fans of all types of rock n’ roll. (It also proves that The Linda Lindas are badass.)

The Linda Lindas became a band in 2018, and since then, their popularity has (clearly) grown exponentially. After being noticed by Riot Grrrl pioneer and founder of Bikini Kill Kathleen Hanna, she and comedian Amy Poehler worked together to get The Linda Lindas in Poehler’s 2021 film Moxie. The band also recorded a cover of Bikini Kill’s “Rebel Girl” for the film. Their connection to Moxie allowed the band to gain an even bigger following, and even helped introduce many young girls to the riot grrrl movement.

The Linda Lindas growing success proves that riot grrrl is here to stay. Women rock just as hard as men do, if not harder. The band members’ ages range only from 12-18, and at their young ages, they’re already playing some of the most well-known venues in the Los Angeles area. Despite that, their prodigal-like youth has created some rather annoying obstacles.  They charmingly pointed out that they would only be able to open for one of the two upcoming Breeders’ shows. “We are only playing the Pomona show! [the venue] Belly Up is 21+ and too far on a school night!” The band wrote in their Instagram caption this past Wednesday. 

Earlier this year, the punk rock band Paramore also announced that The Linda Lindas have a brief stint opening for them on their North American tour later this year. In case you’ve lost count, that’s now three iconic artists who want the Linda Lindas to be a part of their shows.

 

 

 

 

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You can purchase tickets to see The Linda Lindas at one of their upcoming shows here. We can’t wait to see what this group of rebel girls does next!

Top Photo: Screengrab from The Linda Lindas – Performance video for MOXIE premiere from The Linda Lindas on YouTube

Over the past few years, we’ve seen some amazing talent emerge from TikTok, whether through participating in a viral dance trend, or having a clip of their song being used over a viral dance trend, the short form video platform has proved useful for young creators looking to make it big. One creator who has found success on the platform is Ice Spice. While the Bronx-based rapper has been hard at work making iconic beats outside of the social media platform, her viral “Buss It” challenge and cute, catchy, (and clippable) hooks have helped her reach an even wider audience. Other artists, such as rising star and rapper GloRilla have found a huge audience on TikTok, and even more established artists such as Nicki Minaj and Coi Leray have turned into “TikTok’s darlings.” 

@icespicee

like..?

♬ Boy’s a liar Pt. 2 – PinkPantheress & Ice Spice

@glorilla03

 

♬ original sound – Gloria Boyd

TikTok seems to be picking up on the power they have to shed light on amazing artists, as they recently created a new campaign titled #WomenInHipHop, in which the platform hopes to “highlight established and emerging female rappers who are shifting the culture with their tunes.” The campaign started on February 22nd, and is set to run through March 8th. The dates of the campaign are very intentional, as TikTok stated they purposefully wanted these women to be highlighted in honor of both Black history month and women’s history month. Though, as I’m sure many would agree, honoring women in hip-hop should definitely be an all-year celebration. The platform plans on spotlighting these iconic women in a variety of ways including playlists and exclusive artist interviews featuring Rico Nasty, ExMiranda, Big Boss Vette and Haviah Mighty in partnership with MuchMusic.

TikTok has also created a curated list of #VisionaryVoices, where they honor Black creators who have been creating and defining culture through their art. Ice Spice and Maiya The Don, both future legends in hip-hop, are featured on their list of 15 honorees. 

The list is not only meant to highlight established Black artists, but also creators in the Black community that have contributed amazing art to the world through TikTok. According to the platform “From originating viral trends to elevating Black Joy through music, fashion, wellness and more, the #BlackTikTok community is at the forefront of culture and industry-shifting innovation.”

And the celebration doesn’t end there! On February 22nd, TikTok took over the Bremner Billboard above Scotiabank Arena to feature all the rising rap girlies, Big Boss Vette, Latto, Monaleo, Coi Leray and Exmiranda. Each of these artists have gained a huge following on TikTok.

@latto777 Lottery ft. @igobylu out now ?? #latto #fyp #lottery ♬ Lottery (feat. LU KALA) – Latto

So many women in rap and hip-hop have been able to build and sustain a large fan following by using TikTok. Many of these women have *also* gone on to find success through grammy nominations (GloRilla) and chart-topping hits (Ice Spice). We’re pumped that the platform is giving these artists the flowers they deserve. Looking to honor an iconic woman in rap or are a rapper yourself hoping to find a bigger audience? Use the hashtag #WomenInHipHop now through March 8th to try to get a new set of eyes on your work, or rep a rapper you adore.

 Top Photo by TikTok

If you’ve been on TikTok in the past month, you may have seen a rapper by the name of Ice Spice—and if you haven’t, you might be surprised to discover that she currently has a top 10 single on the Billboard charts. But whether you’re already a fan or just a fan-to-be, the question is the same: who is this charmingly talented red-head?

Isis Gaston, known now by millions as Ice Spice, is a 23-year-old rapper from the Bronx who has won over mass audiences with iconic trap singles and her signature pose. (The rising star is  often photographed with her hands on her chest and tongue over her top lip). Her stage name has the most Gen Z origin story imaginable: It was the name she used for her “Finsta” account. (A separate Instagram account many younger users create to post things they wouldn’t deem cool enough or professional enough for their main accounts.)

While Ice Spice has been putting out music since 2021 (her first single being “Bully Freestyle,”) many first heard of her either from her viral TikTok of Erika Banks’ “Buss It” challenge, where participants changed from a “boring” outfit into a more dressed-up outfit over Banks’ song or when rapper/pop-star (and friend of hers) Lil Nas X dressed up as her for Halloween this past October. However, Spice is much more than just an internet trend, and her hit singles such as “Bikini Bottom” and “Munch” prove that the starlet is here to stay.

 

 

 

 

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The former SUNY student released her first EP “Like..?” in January, and since then, Ice Spice’s career has been on an upward trajectory, as the rapper continues to gain more and more Munchkins (the name Spice lovingly bestowed onto her fans) each day. This week she received her first Billboard top ten single, “Boy’s a Liar Pt. 2” with collaborator and alt-pop icon PinkPantheress. While “Boy’s a Liar Pt. 2” debuted at number 14, it quickly climbed to the number four spot on Billboard’s Global chart.

 

 

 

 

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Music is not the only place Spice has shined, as Ice Spice has quickly become a key figure in the fashion industry, repping brands such as Michael Kors and scoring a collab with Beyoncé’s clothing line, Ivy Park. Ice Spice also has a signature sense of humor that makes her all the more relatable. She recently clapped back at someone making fun of her outfit by replying with “u wouldn’t get it.” Men never do, *eye roll*. Another hilarious tweet of hers was, “i be liking shit by accident kms”, in which she proved that she really is just like us!  

u wouldn’t get it https://t.co/fn6YEmDR6t

— Ice Spice ☆ (@icespicee_) January 18, 2023

i be liking shit by accident kms

— Ice Spice ☆ (@icespicee_) February 14, 2023

So why does Ice Spice resonate so well with Gen Z audiences? For starters, she has a charisma and magnetism that sets her apart from other rising stars. Not only did she write an amazing rap over a tune that was inspired by SpongeBob (the cartoon that laid the foundation for the generation’s sense of humor), but she’s also not afraid to be completely authentic and true to herself. As she stated in a recent video for Genius, “Everybody was trying to be like, “oh, she a one-hit wonder da da da, but it’s’ like, now what? Two-hit wonder? Like, the fuck?” Couldn’t have said it better myself.”

While her lyrics are of course smart and witty, they’re also just fun. In “Munch,” Spice raps, “Sayin’ you love me, but what do you mean?/ Pretty as fuck and he like that I’m mean.”

Baddest bitch out, you shittin’ me?/ If you ain’t a baddie, can’t sit with mе.” For a generation that has come of age over multiple devastating historical events (a global pandemic, the election of Trump, the list goes on) many Gen Z-ers are ready for some light-hearted entertainment in our playlists.

Ice Spice is continuing the legacy of badass women leading the rap industry. The pop culture icon listened to Lil Kim and Nicki Minaj growing up, and is a fierce supporter of women having a large presence in the rap world. In a recent interview with Vogue, Spice stated, “I’d rather there be more girls [in the industry], I feel like there’s so much more men rapping than girls, and I think it should be balanced.”

Honestly, Heaven Haile at Pitchfork couldn’t have put it better, “At a time when everyone is clamoring for the titles of queen and king of rap, a young, often queer, and chronically online community hungry for ’90s cultural nostalgia has dubbed Ice Spice “this generation’s Princess Diana.” In other words, she’s America’s sweetheart at the moment. Though, we have no doubt that Spice will move from princess status to queen status in no time.

Top Photo: Screen grab from “Munch (Feelin’ U)” from WORLDSTARHIPHOP on YouTube

On Valentine’s Day, Lana Del Rey gifted us her newest single, “A&W,” from her upcoming album, Did You Know That There’s A Tunnel Under Ocean Blvd which is set to be released on March 24th. 

Notably, the song is over seven minutes long, and unlike most songs over three and a half minutes, this one is actually worthy of its length. Her brutally honest lyrics and melancholy voice are reminiscent of her 2019 album Norman Fucking Rockwell. Fans of Rey’s earlier hits will probably enjoy this song as well, as the latter half of the track utilizes similar sounding production to some of her more pop-centric hits that we heard in her Ultraviolence era. 

In “A&W,” Rey captures the ongoing confusion and disorganized cluster of thoughts that come from existing in a patriarchy. Her words almost resemble a descent into madness, though one that is all too common for those struggling to find a place in a world that hasn’t always been kind to them. “Yeah, I know I’m over my head but oh/ It’s not about having someone to love me anymore/ Now this is the experience of an American Whore.” According to producer Jack Antonoff, the title of the song is a reference to the lyric “American Whore”, and also a reference to the popular American fast-food chain. Subverting famous American iconography is a common theme across Rey’s work. (Her 2012 song “Cola” is a great example of this.)

One of the most powerful moments in the song arrives in the second verse, in which Rey repeats a phrase she already sung, “I mean, look at me/ Look at the length of my hair, and my face, and the shape of my body/ Do you really think I give a damn/ What I do after years of just hearing them talking” but then replaces the latter half of the lyric with “If I told you that I was raped/ Do you really think that anybody would think/ I didn’t ask for it?” With this line, Rey not only allows us to bear witness to her story, but she echoes a common fear that is held by so many gender-oppressed people, and specifically survivors of sexual assault.

With A&W, Lana Del Rey continues to prove that she is a true visionary in music. In fact, she will be given the Visionary Award at this year’s Billboard Women in Music Ceremony, which will take place on March 1st. Rey’s visionary status very much stems from her commitment to relaying her own truth and experience, whether that be in the form of a spoken word poetry album (Violet Bent Backwards over the Grass), or in a remixed club banger like “Summertime Sadness.” Lana has never shied away from expressing her truest form throughout her discography, and now that includes “A&W.”

Top Photo: Screengrab from Lana Del Rey – “Did you know that there’s a tunnel under Ocean Blvd” (Audio) on YouTube.

It’s that time of year again! Billboard is amping up to honor some of the greatest women artists working in music right now, and to say we’re excited is an understatement. Billboard is recognizing 8 phenomenal honorees, and we’re here to break it down for you.

SZA – Woman of the Year

A win for SZA is a win for sad girls everywhere! The most coveted honor at the ceremony is Billboard’s Woman of the Year, and this year the award is going to the queen of moody, alternative R&B, SZA. Truly, there is no one more deserving than SZA to hold this title for 2023. Her 2022 album SOS was a true chart-topper, as it was the first album by a woman to spend its first four weeks at No. 1 in a year, since Adele’s 30. Not to mention, the album gave us iconic hits such as the pop/rock-centric “F2F”, and, of course “Kill Bill”, her tongue-in-cheek tune about her plot to kill her ex boyfriend, which is a scenario I’m sure many of us have imagined (just kidding… sort of). SZA’s 2017 album CTRL immediately elevated her to icon status and gave us emotional and melodic tunes that we can relate to regardless of whether we’re feeling as cool as “Drew Barrymore” or are experiencing a case of the “20 somethings.” Her collaborations with artists such as Lorde, Rihanna, and most recently, Lizzo, are setting her up to become a music legend any day now. Though, she’s already a music legend in our eyes.

Becky G – Impact Award

Many Gen Z’rs may know Becky G best from her iconic 2014 hit “Shower,” or her role as the Yellow Ranger in 2017’s Power Rangers. But these moments are just snapshots of Becky G’s expansive career. In fact, G’s massive success as a Latin American pop artist led her to win the first-ever American Music Award for Favorite Latin Female Artist in 2020. Her newest album, Esquemas, was released in 2022, and gifted us with the hit “MAMIII” featuring G’s long-time friend and star in her own right, Karol G. Becky G has been making a more-than-noticeable impact on pop music, and we’re sure the story is just beginning for her.

Doechii – Rising Star Award

Tampa-based rapper Doechii is receiving this year’s Rising Star Award, and we’re so excited to see Doechii finally getting the attention she deserves! Doechii has been steadily gaining a loyal fan base for years now, especially since her breakout hit “Yucky Blucky Fruitcake” from her 2020 EP Oh The Places You’ll Go. She also delivered a stellar performance at last year’s BET awards.The artist performed her hit single, “Persuasive,” which actually is a collaboration between the rapper and Billboard’s Woman of the Year, SZA! Just based on the waves she’s made so far, Doechii is a star we will continue to see rise. 

Ivy Queen – Icon Award

Puerto-Rican singer Ivy Queen is receiving the coveted Icon award this year, which makes sense for the woman who is commonly referred to as the “Queen of Reggaeton.” Queen has not only been making hits since 1997, but she has continued to center the experiences of women within much of music. One of those songs is “Quiero Bailar,” in which she sings about wanting to dance and decentering the male gaze. When asked about the status of women in Urbano music in a 2019 interview, Queen stated, “I wish I could hear more empowering songs towards us. Ones that fuel us with the power we already have. We aren’t complementary things. We’re the lifeline. We need to embrace that.” “Icon” is definitely a label that Queen has earned.

Kim Petras – Chartbreaker Award

Fresh off her historic Grammy win for Best Duo Pop Performance for her single “Unholy” with Sam Smith, Kim Petras is set to receive Billboard’s 2023 Women in Music chart topper award. Kim Petras is truly the perfect recipient for this award, as she also became the first out trans artist to reach number 1 on the Billboard chart in October of 2022. Petras has also been gifting us chart-worthy hits for years now, with her hit song “Coconuts” going viral on TikTok in 2021, and her 2018 single “Heart to Break” being the perfect embodiment of bubblegum pop. We’re so excited to see what Petras does next.

Lainey Wilson – Rulebreaker Award

Lainey Wilson has been redefining what it means to be a country music star, so Rulebreaker is the perfect award to be given to the Nashville singer and actress. Her latest album, Bell Bottom Country, is filled with tunes that can be described as what she calls “country with flare.” Wilson was the most nominated artist at this year’s Country Music Awards this past November, and ended up taking home two trophies in the categories of Female Vocalist of the Year and New Artist of the Year. Wilson’s eclectic style, music, and overall persona is giving us serious Dolly vibes, who of course is also an iconic rule breaker in country music.

Lana Del Rey – Visionary Award

If Lana Del Rey had to be described in only one word, “visionary” would definitely be the one we’d pick. The “Born to Die” singer is receiving Billboard’s Women in Music Visionary Award at this year’s ceremony ahead of the release of her upcoming album, Did You Know That There’s a Tunnel Under Ocean Blvd, which is slated for March 24th, 2023. Lana Del Rey has been defining pop music for the past decade, and her critically acclaimed 2019 album Norman Fucking Rockwell showed audiences the power and depth that pop music can hold. In fact, Lana Del Rey is such a visionary, that in 2022 NYU announced a new course that would be taught on her discography and how it connects to feminism titled “Topics in Recorded Music: Lana Del Rey.” On a totally unrelated note, does anyone know where I can find the application for NYU?

TWICE – Breakthrough Award

The South-Korean girl group TWICE is being honored at the ceremony as this year’s breakthrough artist. The group, made up of nine members, ​​Jihyo, Nayeon, Jeongyeon, Momo, Sana, Mina, Dahyun, Chaeyoung, and Tzuyu, has been performing and releasing music since 2015. TWICE released their seventh studio album (and fourth Japanese album), Celebrate, in July of 2022, along with a new EP, Between 1&2, in August. The group is also set to release another EP, Ready To Be, on March 10th 2023. With recent performances on MTV and a growing number of Instagram followers (they already have over 27 million) it’s no secret that TWICE is breaking through to new audiences.  

The Billboard Women In Music ceremony will take place on March 1st, and as if it couldn’t get any better, the ceremony is being hosted by comedian and Abbott Elementary creator and star Quinta Brunson! You can find out more about the ceremony and this year’s nominees here.

Top photo: @billboard on Instagram

 While goth culture has never fully disappeared, it certainly is under a spotlight right now, with the growing popularity of Netflix’s series Wednesday, starring Jenna Ortega. For her role as Wednesday Addams, Ortega choreographed a dance that would end up going viral on TikTok. When asked about how she came up with the dance, Ortega stated she pulled inspiration from videos of goth kids in clubs from the ‘80s, and pointed toward music legends such as The Cramps, New-wave singer Lene Lovich, and queen of the night, Siouxsie Sioux. 

Siouxsie Sioux, born in 1957 in London, England as Susan Janet Ballion, is best known for her gothic-rock/post-punk band Siouxsie and the Banshees. The group rose to fame during the historical UK punk movement in the late 1970s, and went on to become one of the most successful bands that originated in that era. According to journalist Kris Needs, Siouxsie and the Banshees can be described as “Fearlessly experimental but boasting an uncanny pop sensibility, their 20-year reign would see them invent goth while regularly enlivening the charts with edgy, classic singles.” 

Photo by Michael Lavine

While many within the goth subculture debate who it was that actually “invented” what we now know as goth, there is no question that Siouxsie and the Banshees created a lasting impact with their quintessential hits such as “Spellbound,” “Halloween,” and “Peek-a-Boo.”  The group even broke into top 40 radio with singles such as “Dear Prudence” (a cover of The Beatles song) and “Hong Kong Garden,” which reached number 7 on the UK singles chart in 1978. 

Siouxsie Sioux and friend and future Banshees bassist Stephen Severin bonded over their love of the band Sex Pistols. They were loyal fans and followed the band on tour, and were even part of what is now known as Bromley Contingent, a group of punk young adults who were devoted to the Pistols. Their membership in this group would lead to the formation of Siouxsie and the Banshees in 1976 with help from Sex Pistols manager Malcolm McLaren.

Siouxsie and the Banshees was not the only creative project of Sioux’s, as she and Banshees drummer (and former husband) Budgie also worked together to form the band The Creatures, which began as a side project and then blossomed into a full-time gig after The Banshees officially dissolved in 1996. Siouxsie Sioux has also put out some incredible solo work, ranging from haunting mid-tempo hits like “Love Crime”, to more grungy, rock-centric songs such as “Into a Swan.”

Siouxsie’s easily recognizable look has served as inspiration for goths everywhere. She can most often be seen wearing fishnets, leather, spiked jewelry, and wearing her hair in a spiky updo. Her iconic dark eye makeup pattern has become a recognizable image among goths and in pop culture as a whole, appearing on T-shirts, stickers, patches, and album covers. Sioux stated this in a 2005 interview on her iconic fashion, “I think it was probably one of the first looks and attitudes to come along to empower women, and I know I felt so powerful and strong walking out in the street. Nothing frightened me.” In this same interview, Siouxsie expressed her love for “Vivienne and Malcolm’s shop” in reference to the fashion shop owned by Malcolm McLaren and the late legendary punk fashion designer Vivienne Westwood. 

Siouxsie’s success as a musician was no easy feat, as the music industry was not ready to accept women as global superstars who didn’t fit into a certain mold. According to Sioux, “The industry found it totally unacceptable that women could run around looking and sounding like that and with that attitude.”

Album cover for A Kiss in the Dreamhouse by Siouxsie and the Banshees, 1982

And now, the moment that goths and punks have been waiting for for a decade has finally arrived– Siouxsie Sioux is back! After not performing since Yoko Ono’s Meltdown Festival in 2013, Siouxsie and the Banshees have just announced a European tour in addition to a stop in the US. Siouxsie will be headlining Cruel World Festival on May 20th in Pasadena, CA along with Iggy Pop. More information on Siouxsie’s tour dates and how to buy tickets can be found here. 

Siouxsie and the Banshees also released their ninth compilation album, All Souls, in October of 2022. The album includes some of The Banshees greatest hits that also celebrate the fall season. We’re hoping this means we may also be getting a Siouxsie and the Banshees full reunion tour soon!

Regardless, we’re happy to see Siouxsie reclaiming her rightful place in the moonlight where she belongs. With her mesmerizing performances, powerful lyrics, and subculture-defining looks, Siouxsie is a feminist icon, as well as a role model to all who strive to be a creative force and look amazing while doing it.

Top Photo: Siouxsie Sioux, 1980 by Mantaray100 from Wikimedia Commons

Since the UK-based group’s conception in 2015, Drahla has been bending, meshing, and defying genre – and their latest single, “Lip Sync” is no exception. This release comes just before the band’s long awaited EU tour – which kicks off this Valentine’s Day – and follows the surprise release of their previous single, “Under the Glass,” which was Drahla’s first new material since their acclaimed debut album, Useless Coordinates, along with a cover of Psychic TV’s “Godstar,” dropped in 2019. 

The trio’s unique approach to the genres of post-punk, no-wave, and art-rock feels like a callback to avant-garde pioneers of the ‘80s Sonic Youth, but with fresh, contemporary sensibilities. Consisting of singer/guitarist Luciel Brown, bassist Rob Riggs, and drummer Mikey Ainsley, the band’s sound is equal parts nostalgic and brand new, and was perhaps best described by The Guardian as, “…swaggering, controlled chaos.” With a gloomy, post-punk sound and a punchy bassline as the backdrop, “Lip Sync” incorporates upbeat, danceable rhythms with just enough noisiness to keep things intriguing – including freestyle saxophone. Sonic juxtapositions are what make Drahla’s music so distinct – from the contrast of Luciel Brown’s dissonant chords and sweet-sounding vocals to the ways in which “Lip Sync” is simultaneously minimalist and heavily layered.

“Lip Sync” is paired with a music video filmed, edited, and directed by Brown and Riggs and inspired by American mixed-media artist Bruce Nauman’s 1969 visual art piece of the same name. In regards to their latest release, Drahla says, “Lip Sync is an autobiographical account of self-deflection. It explores the idea of syncing to social norms, conversation, and expressions to converse without being fully present – taking on a converged guise to fit different interactions.”

“Lip Sync” is the second single to land from Drahla’s upcoming, as yet mostly unwritten, new album. Further new material will follow through this year. 

The band kicks off their first EU tour since 2019 on February 14th in Rotterdam, and their tour dates continue as follows.

Photo Credit: Drahla

Feb 14 – Rotown – Rotterdam, NL (w. Crows)

Feb 15 – Vera – Groningen, NL (w. Crows)

Feb 16 – EKKO – Utrecht, NL (w. Crows)

Feb 17 – Makroscope – Mulheim, DE

Feb 18 – Molotov Skybar – Hamburg, DE

Feb 20 – Entrepôt – Arlon, BE (w. Preoccupations)

Feb 21 – La Boule Noire – Paris, FR

Feb 22 – L’aéronef – Lille, FR (w. Preoccupations)

Feb 23 – Mc Daids – Le Havre, FR

Stream Drahla’s music here and keep up with the band online through Facebook, Instagram, Bandcamp, and Spotify. 

Top Photo Credit: Drahla

Kim Petras and Sam Smith made LGBTQIA+ music history Sunday night at the 65th annual Grammy Awards as they accepted the award for Best Pop Duo/Group Collaboration for their smash hit, “Unholy.” The award made Petras the first transgender woman to win a Grammy in that category. Smith, who is non-binary, won their first Grammy in 2015. Prior to this year’s Grammy awards, “Unholy” was already a history-making release: The raunchy collab reached number 1 on the Billboard Hot 100 chart in its fourth week, making Petras and Smith the first openly transgender woman and non-binary person, respectively, to reach number 1 on the charts. The now-iconic duo walked onstage to accept the award together before Smith stood behind Petras and handed her the mic so she could deliver a powerful acceptance speech.

“Sam graciously wanted me to accept this award because I’m the first transgender woman to win this award,” she began, eliciting raucous cheers and a standing ovation from fellow musicians in the audience. The German-born pop star went on to thank those who paved the way for her historic win, including Madonna (“I don’t think I could be here without Madonna”), her mother (“My mother believed that I was a girl and I wouldn’t be here without her and her support”), and her dear friend Sophie, the experimental transgender producer, songwriter, DJ, and pioneer of the hyperpop genre who tragically passed away in 2021 at the age of 34. Sophie received a Grammy nomination in 2018 in the Best Dance/Electronic Album category for her only studio album, Oil of Every Pearl’s Un-Insides.

“I just want to thank all of the incredible transgender legends before me who kicked these doors open before me so I could be here tonight. Sophie, my friend who passed away two years ago, who told me this would happen and always believed in me. Thank you so much for your inspiration, Sophie. I adore you, and your inspiration will forever be in my music,” said Petras.

.@KimPetras thanked the late Sophie for being a transgender pioneer in her #Grammys acceptance speech. Read more about the groundbreaking artist’s legacy https://t.co/1TQbdvt231

— Pitchfork (@pitchfork) February 6, 2023

  Later that evening, Kim Petras and Sam Smith set the Grammys stage on fire – literally – as they performed their winning single, “Unholy,” with Petras dancing in a cage surrounded by devilish dominatrixes with whips – who just so happened to be RuPaul’s Drag Race stars Gottmik and Violet Chachki, who also made a red carpet appearance alongside the award-winning duo. 

Okay but @gottmik & @VioletChachki performing with Grammy WINNERS @kimpetras and @samsmith is my new religion ? #GRAMMYs pic.twitter.com/RFuMDhrNLF

— RuPaul’s Drag Race (@RuPaulsDragRace) February 6, 2023

 The campy spectacle triggered quite the dramatic reaction from the conservative crowd, going so far as to fuel “Satanic Panic” conspiracy theories peddled by right-wing pundits like Ted Cruz.

This creative rebellion against conservative Christian ideals was intentional. In a backstage interview following the controversial performance, Petras revealed that the inspiration behind it was a lack of religious acceptance for herself and her collaborator. “I think a lot of people, honestly, have kind of labeled what I stand for and what Sam stands for as religiously not cool, and I personally grew up wondering about religion and wanting to be a part of it but slowly realizing it didn’t want me to be a part of it,” she said. “So it’s a take on not being able to choose religion. And not being able to live the way that might want you to live, because as a trans person I’m already kind of not wanted in religion.” 

#Grammy winner Kim Petras on the religious inspiration behind her award show performance, “It’s a take on not being able to choose religion. And not being able to live the way that people might want you to live.” https://t.co/JUB36VWZsf pic.twitter.com/SWMyhltZ7R

— Variety (@Variety) February 6, 2023

 In the Grammys press room, Kim Petras explained the significance of her win – and breaking into pop music’s mainstream – as a transgender artist. “All these years are going through my head of people saying I’d be a niche artist because I’m transgender, and my music would only ever play in gay clubs – and what’s wrong with that, because I love gay clubs – but now I got a Grammy for making gay club music with my friend,” she said. “It’s the best feeling in the world.”

Kim Petras is the first transgender woman to receive a Grammy award in the Best Pop Duo/Group Collaboration category, and the only other transgender woman to have won a Grammy award since electronic music composer and synthesizer pioneer Wendy Carlos won three in 1969. Carlos is well-known for composing the soundtracks for the famous Stanley Kubrick films The Shining and A Clockwork Orange. 

Kim Petras Grammy win was historic.

But lets not forget about the first transgender woman to win, Wendy Carlos.

Without her, electronic music as we know it would not exist – she won 3 Grammys for Switched-On Bach.

Subscribe to support my work!https://t.co/P0jdMiOPJF

— Erin Reed (@ErinInTheMorn) February 6, 2023

 Petras is set to appear at and be honored by the Billboard Women in Music Awards on March 1st, 2023.

Top Photo: Screengrab from YouTube

The Rock & Roll Hall of Fame, located in Cleveland, Ohio, has announced their 2023 induction nominees, and while we’d still love to see more gender equality on the lineup, some truly badass women did receive nominations this year. Last year’s ceremony made waves with Dolly Parton receiving, then declining, then still receiving a nomination for a coveted spot in the Rock Hall, and Alanis Morissette making a public commentary on the status of women in rock after people questioned her absence at the ceremony. This year’s list of nominees shows that women are continuing to make huge contributions to rock music, and a few of them are finally getting the recognition they deserve.

Kate Bush

Let’s be honest, Kate Bush could have written “Let it Be” but The Beatles couldn’t have written “Wuthering Heights.” This is actually Kate Bush’s fourth time being a nominee for induction into the Rock & Roll Hall of Fame. If it was up to us, she would have been inducted on her first nomination, but Bush has a good chance this year after she finally received a place in the spotlight when her 1985 song “Running Up That Hill (A Deal with God)” made a HUGE resurgence (and became a chart-topper) after its use in Stranger Things Season 4. 

Sheryl Crow

Sheryl Crow’s easily recognizable voice and fun mix of country, rock, and pop in many ways defined popular music in the 90s. The “All I Wanna Do” singer expressed shock and gratitude over her nomination, tweeting, “I am BLOWN AWAY by the @rockhall nomination… it really means so much to me.” While Crow may be shocked by her nomination, her contributions to rock & roll make her spot on the list more than well deserved.

I am BLOWN AWAY by the @rockhall nomination… it really means so much to me. Thank for your support, and for being a part of the voting process! Love you all! (The Fan Vote is open now through April 28th at https://t.co/Sp8ELhqF4z) https://t.co/MTU0YLjNE2

— Sheryl Crow (@SherylCrow) February 2, 2023

Missy Elliott

There is almost always a rapper on the nomination list for Rock Hall inductees, which makes sense given how rap continues to be a major influence for rock & roll music. But Missy Elliott is not just any rapper, she’s THE rapper, as well as a pop culture icon and musical genius. Elliott’s nod is also historic, as she is the first female rapper to appear on the list of nominees. Stream Supa Dupa Fly to celebrate!

Cyndi Lauper

Grammy-award-winner Cyndi Lauper is also getting some very well-deserved recognition, as the “Girls Just Wanna Have Fun” singer appeared on the list of nominees. Lauper has not only gifted us with amazing pop hits, but she’s also done truly incredible activist work for both women and LGBTQ+ communities. In 2008, Lauper created True Colors United, an organization aimed to help end homelessness for LGBTQ youth.

More women!

Bush, Crow, Elliot and Lauper were not the only women who appeared on the nomination list. New Order (the band which includes guitarist Gillian Gilbert) and The White Stripes (the rock duo which features drummer Meg White) were also nominated. The nominations of Gilbert and White, in addition to Bush, Crow, Elliot and Lauper are proof that women have a place in rock, and that they are defining the genre. 

A full list of nominees can be found here, and you can vote for your favorite artists here! The inductees will be announced in May.

Top photos: @rockhall on Instagram

As we navigate a patriarchal world that leaves us infuriated every day, sometimes we need a soundtrack that matches our emotions. Few things are more cathartic than blasting intense music when your emotions are overwhelming, and few genres of music scratch that itch quite like punk. Feminist punk bands have been challenging the patriarchy with fast guitars and angry screams for decades – like Crass in the ‘70s and ‘80s and the “Riot Grrl” movement of the ‘90s giving birth to bands like Bikini Kill, Sleater-Kinney, and Bratmobile. But it took a bit longer for room for feminism to be made in lesser-known, heavier subgenres of punk. While some are no longer active, these five contemporary bands have pushed social, political, and creative boundaries, carving out niches for themselves to express fury that’s been quietly brewing for too long.

BRAT

This New Orleans-based group is as beloved for their brutal, face-melting instrumentals as they are for their Y2K-informed, unapologetically pink imagery. Referring to their genre as “Barbiegrind” and “Bimboviolence,” BRAT’s bold embrace of the bubbly hyper-feminine – including using Britney Spears samples–in a genre typically characterized by dark imagery and a tough-guy attitude makes vocalist Liz Selfish’s deep gutturals hit that much harder.

G.L.O.S.S.

An acronym that stands for “Girls Living Outside Society’s Shit,” G.L.O.S.S. was an in-your-face trans-feminist group that grew sick of the cis, white, male dominance within hardcore punk. The band’s frontwoman, Sadie “Switchblade” Smith, referred to G.L.O.S.S. as a direct reaction to the exclusion of people of color, women, transgender people, and disabled people in music spheres and in society as a whole. Fast, upbeat punk riffs serve as the high-energy backdrop for Smith’s overtly political lyrics, which touch on topics ranging from police brutality to transgender pride. Though G.L.O.S.S. broke up in 2016, their musical and political influence is still prominent.

Scowl

In the world of hardcore punk, Scowl has been dominating the last few years, going so far as to make it onto this year’s Coachella lineup. Their popularity comes as no surprise, given their straightforward, punchy riffs that will be hard to get out of your head and genuine, yet controlled rage in vocalist Kat Moss’ growls. Scowl’s recurring floral motifs – in their logo, merchandise, and Moss’ on-stage outfits – show refreshing feminine self-expression in a type of music formerly thought to be a “boys’ club.”

The HIRS Collective

The explicit, continuing purpose of The HIRS Collective, a grindcore project with ever-changing participants, is “to fight for, defend, and celebrate the survival” of LGBTQIA+ people, people of color, women, and “any and all other folks who have to constantly face violence, marginalization, and oppression.” With features from such legendary musicians as Shirley Manson of Garbage and Laura Jane Grace of Against Me!, the collective’s typically short, brutal songs serve as a big middle finger to our bigoted world and a comfort to those pissed off and hurt by it.

Punch

Punch is a band that sounds like their name, with almost overwhelmingly fast guitars and screams from vocalist Meghan O’Neil that are so powerful and angry it feels cathartic just to hear. Though Punch has been on hiatus since 2014, their sound and lyrical content are as impactful as ever. In addition to feminism, veganism and struggles with addiction are topics common in Punch’s lyrics. The title of their 2014 album, They Don’t Have to Believe, was derived from a speech by feminist punk icon Kathleen Hanna of Bikini Kill and Le Tigre.

Heavier subgenres of punk have continued to move towards feminist ideas and inclusivity in recent years, and more artists now more than ever have been making music to scream, cry, and swing fists to that actually gives a voice to those who have been silenced and kept out of heavy music scenes for far too long.

Top Photo: Screengrab from @brat_band on Instagram

This year brings us the 65th annual Grammy awards, and even though it’s a landmark year for the Recording Academy, the nominations, announced November 15th 2022, have left people feeling both excited and angry—as they always do. While some artists have finally received the recognition they deserve, there have also been some major snubs. But one take-away from this year’s nominations is that loads of women—from Diana Ross to Björk— are getting their well-deserved flowers. 

The Top Four

Women topped the four most highly coveted categories at the Grammys: Record Of The Year, Album Of The Year, Song Of The Year, and Best New Artist. Beyoncé (“BREAK MY SOUL”), Lizzo (“About Damn Time”), Doja Cat (“Woman”), Adele (“Easy On Me”), ABBA (“Don’t Shut Me Down”), Mary J. Blige (“Good Morning Gorgeous”), and Brandi Carlile (“You And Me On The Rock”) are all up for Record Of The Year, with Beyoncé, Lizzo, and Adele also up for song of the year. 

Album Of The Year also features some incredible female artists, such as Voyage by ABBA, 30 by Adele, RENAISSANCE by Beyoncé, Good Morning Gorgeous (Deluxe) by Mary J. Blige, In These Silent Days by Brandi Carlile, and Special by Lizzo. Though, many have pointed out a few noteworthy snubs from this category, including Rosalía for her album MOTOMAMI, and Megan Thee Stallion for her album Traumazine. Best New Artist also featured a majority women-led category, with Anitta, Muni Long, Samara Joy, Latto, Molly Tuttle and Wet Leg all up for the prize. 

Pop Nominees

Outside of the “big four,” even more categories featured some of our favorite female artists. In the pop categories, Kim Petras has been nominated for Best Pop Duo Performance for her hit song “Unholy” with Sam Smith. The legendary Diana Ross has also been nominated for Best Traditional Pop Album for Thank You. If Ross wins, it will shockingly only become her second Grammy, proving what many of us already know: the recording academy is far from perfect. Norah Jones is also competing in this category with her holiday album I Dream Of Christmas (Extended). One notable snub from the pop categories is the South Korean girl group BLACKPINK, who have seen incredible success in the pop genre, and will even be headlining 2023’s Coachella music festival. 

Rock Snub

Unfortunately, the rock categories are lacking in female representation, given how many women are making incredible rock music right now. The only women present across the genres’ four categories being Brandi Carlille. Carlille is nominated for Best Rock Song and Best Rock Performance for her song “Broken Horses.” Soccer Mommy could have easily been a contender for the rock categories, as her 2022 album Sometimes, Forever, gifted listeners with some of the best indie-rock of the year. However, the Grammy’s might slightly make up for this massive oversight given how many cool women are present throughout the alternative categories. 

Alternative Music

Nominees for best alternative music performance include Big Thief for “Certainty”, Wet Leg for “Chaise Lounge”, Florence + the Machine for “King”, and Yeah Yeah Yeahs featuring Perfume Genius for “Spitting Off The Edge Of The World.” The best Alternative Music Album nominees are equally iconic, also featuring Big Thief for Dragon New Warm Mountain I Believe In You, Wet Leg for their debut album Wet Leg, Cool It Down by Yeah Yeah Yeahs, and *drum roll please* Fossora by Björk. Below you can watch the music video to her song “atopos” from the nominated album.

R&B

The R&B categories delivered too, with “CUFF IT” (Beyoncé), “Good Morning Gorgeous” (Mary J. Blige), “Hrs & Hrs” (Muni Long), and “Hurt Me So Good” (Jazmine Sullivan) being featured in the majority-female category for Best R&B Song. Beyoncé, Blige, Long, and Sullivan also appear again in the R&B slate with nominations for Best R&B Performance. Beyoncé is nominated for her performance of “VIRGO’S GROOVE”, Blige is nominated for her performance of “Here With Me” (Ft. Anderson .Paak), Long for “Hrs & Hrs”, and Sullivan for “Hurt Me So Good”.

Rap Snubs

The rap categories are very much lacking in female representation, especially with all the amazing rap that has come out by female artists over the past year. Notable snubs include Nicki Minaj for her hit single “Super Freaky Girl”, and Megan Thee Stallion for her critically acclaimed album Traumazine. That being said, the rap categories did feature *one* woman, Doja Cat, who is nominated for Best Rap performance for her song “Vegas.”

Country Music

Next up is country. Women are kind of killing it in country music right now, and the Grammy’s have noticed. The women nominees for best country solo performance include “Heartfirst” by Kelsea Ballerini, “In His Arms” by Miranda Lambert, and “Circles Around This Town” by Maren Morris. Lambert and Morris also make an appearance in the best country album category, with Lambert being nominated for her album Palomino and Morris for Humble Quest. 

Ashley McBryde has also been nominated for her album Ashley McBryde Presents: Lindeville. Taylor Swift is nominated for Best Country Song for “I Bet You Think About Me (Feat. Christ Stapleton) (Taylor’s Version) (From The Vault)” which appeared on her most recent re-recorded album, Red (Taylor’s Version). 

Latin Music

Moving on to the Latin categories, Christina Aguilera is nominated for Best Latin Pop Album for Aguilera. Once again, women are kicking ass and taking names in the alternative categories with Best Latin Rock or Alternative Album featuring three extraordinary women artists, Mon Laferte for her album 1940 Carmen, Gaby Moreno for her album Alegoría, and Rosalía for her album MOTOMAMI. Though, as previously stated, many fans and critics believe Rosalía should have been nominated in several other categories.

And More…

Some final notable nominations include Shemekia Copeland’s nomination for Best Contemporary Blues Album for Done Come Too Far, and Viola Davis’s nomination for Best Audio Book, Narration, and Storytelling Recording for her memoir Finding Me. The new category, Songwriter Of The Year, included three female songwriters; Amy Allen, Nija Charles, and Laura Veltz. Allen has written for artists such as King Princess, Lizzo, and Harry Styles. Charles has worked with icons such as Beyoncé and Missy Elliot, and Veltz worked on Demi Lovato’s recent album Holy Fvck, including helping to write the powerful and personal song “29” which made headlines in 2022. 

Last but not least, Doja Cat, Adele, and Taylor Swift all received a nomination for best music video for “Woman” (Doja Cat), “Easy on Me” (Adele) and “All Too Well: The Short Film” (Swift).

Click here to see a full list of this year’s Grammy Award nominees, and be sure to tune in to the 65th annual ceremony on February 5th at 7PM ET on CBS.

Top photos: (Diana Ross) John Mathew Smith & http://www.celebrity-photos.com from Laurel Maryland, USA, CC BY-SA 2.0
(Bjork) Georges Biard, CC BY-SA 3.0

Fans have been waiting six long years for Rihanna—the woman, the myth, and, of course, the legend— to return to the music industry, and now she’ll be back with a performance that could shake a football field. In February, the biggest sporting event of the year is coming to Phoenix, Arizona: the NFL Super Bowl LVII. There will be tailgating, food, face paint, some dudes running around with a football, and of course, the real reason anyone will be tuning in: a half-time performance by Rihanna. 

For years, fans have been looking out for a concert or even an album from this 41-time music award winner. One of her most famous achievements is receiving the Favorite Female Artist Award in 2008, 2010, 2015, 2016, and 2018 from the American Music Awards. She has also received the Best Collaboration Award in 2016 for “Work” Feat. Drake, which also got 1.4 billion streams in the U.S alone. Rihanna has raked in 9 Grammy Awards, 12 Billboard Music Awards, 13 American Music Awards, and 7 MTV Music Awards, receiving 68 nominations overall from all major league music awards. 

She started her career in 2005 with her first platinum single “Pon de Replay”, selling 1 million copies in America and 4 million worldwide. It only goes up from there. She has written, produced, and recorded most of her pieces and her hard work has certainly paid off. 

The latest album she released was way back in 2016, “Anti”, which, as reported by Chart Data, made Rihanna the first female Black artist to have their album chart for 200 weeks on the Billboard 200! 

.@rihanna‘s ‘ANTI’ has now spent 200 weeks on the Billboard 200.

It’s the first album by a black female artist to reach this milestone in the chart’s history.

— chart data (@chartdata) December 2, 2019

She has not been completely out of the spotlight since then, having dropped the song  “Lift Me Up” for Marvel Studios’ Black Panther: Wakanda Forever, Released in November of 2022, the single made number 2 on the Billboard charts and has 40 million streams since its release. It was also been nominated for Best Original Song at the 2023 Critics Choice Awards, Golden Globes, and The Oscars.

Her Apple Music Super Bowl LVII Halftime Show Trailer is titled Rihanna is Back. Garnering 5.2 million views on YouTube in just over a week of its release, the 30-second trailer had millions glued to the screen. It only takes a moment for us to see her strobe-lit, Tyra-Banks-style strut as we hear background voices, and then witness her outfit which causes us to take a second look. But that wasn’t enough til she stitched in one of her most popular songs “Needed Me.” And if you know the song, then you know what she is bringing to the table.

You’d think she’d already grabbed everyone’s attention by the throat to await an amazing performance, then she goes and drops some new merch. Savage X Fenty by Rihanna, released in 2018, Rihanna’s fashion line,  began with lingerie and sleepwear, but now incorporates her new Superbowl game day collection. If you ever wonder what you could wear if you  scored some tickets or will be, like me, watching it from your living room, then I would recommend buying: 

Limited Edition LVII Hoodie, $112.95

Limited Edition LVII Surprise Tee, $59.95

And of course we can’t forget an accessory or two, like the  Limited Edition LVII Beanie, $32.95

As I hold my breath, filled with excitement, so will others until we all get to see the biggest comeback of all time. Tune in on February 12th on Fox, starting at 6:30 pm. 

Top image Courtesy Apple Music

On Wednesday, January 18th, 2023, the day that fans of Phoebe Bridgers, Julien Baker, and Lucy Dacus had been waiting for since 2018 finally arrived. boygenius has officially returned. Fans had been speculating about a possible reunion of the trio since around November, when Baker, Bridgers, and Dacus were spotted taking photos together in brightly colored clothing at a seemingly random corner in Los Angeles. Rumors about new music from the group also started spreading when they were announced as a performer at this year’s upcoming Coachella music festival. 

 

 

 

 

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A post shared by Phoebe Bridgers (@phoebebridgers)

Turns out, the photos that fans saw the group taking together were very much intentional. They were recreating a famous Nirvana photo shoot (which originally appeared in Mademoiselle Magazine in 1993) in which the band was dressed head to toe in colorful crop tops and skirts. This recreation, as we now have come to find out, was for an upcoming issue of Rolling Stone. That issue has finally come to fruition, as on Thursday, January 19th, Rolling Stone revealed their next cover stars to be boygenius. The trio’s cover is a recreation of Nirvana’s 1994 Rolling Stone cover, where Nirvana appeared in blue suits and red ties, with the tagline “success doesn’t suck” sprawled across their photo. On the 2023 cover, Bridgers appeared front and center as lead singer Kurt Cobain, with Baker to her left as drummer Dave Grohl, and Dacus to her right as bassist Krist Novoselic. Just like the original cover, the singer/songwriters wear blue suits with red ties, adorned with buttons and pins that represent their solo work. 

 

 

 

 

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A post shared by Rolling Stone (@rollingstone)

These iconic photos were not the only thing fans of the group were blessed with as of late. boygenius has also released three new songs in support of their upcoming (and first) full-length album, titled the record set to be released on March 31st. The songs, “$20”, “Emily, I’m Sorry, and “True Blue” are each lead by a different member of the group, with Baker taking center stage on “$20”, Bridgers taking the lead on “Emily I’m Sorry”, and Dacus commanding “True Blue.” Each song demonstrates the respective artists’ musical identity with grungy rock instrumentals grabbing our attention in“$20”, and “Emily, I’m Sorry” and “True Blue” centering a more stripped-down, folky, alternative rock sound that we’ve come to love from the artists. 

boygenius is on a mission to take up space in the music industry. In their recent Rolling Stone interview, Angie Martoccio writes, “boygenius love classic rock — after Bridgers spoke to Paul McCartney on Instagram Live in 2021, she broke down in tears. But boygenius also love to subvert male hero worship of all kinds — their band name is a reference for overconfident men who are praised for their every thought — and more than anything, they just want to be treated like famous bands of dudes.” Each member of the group doesn’t shy away from their identity as a queer woman, and themes of queer love, understanding identity, and finding belonging can be heard throughout many of their tracks. For example, in “Emily, I’m Sorry”, Bridgers laments, “Emily, I’m sorry, baby/  You know how I get when I’m wrong/ And I can feel myself becoming/ Somebody I’m not.” Their honest lyrics and take-no-shit personalities have allowed them to build a fanbase of loyal supporters who identify with their music. On their fanbase, Bridgers states, “We have the kind of superfans that John Lennon had, but some of our relatives don’t think we make any money. Like, ‘When are you going to get a real job?’”

Fans have been celebrating the trio’s return with several hilarious tweets since the official announcements and photos by the band and the Rolling Stone cover. One fan tweeted, “i am filing a class action lawsuit against boygenius for emotional damages. You may be entitled to compensation, too.” Another tweeted, “new boygenius era i’m on the floor.”

i am filing a class action lawsuit against boygenius for emotional damages. you may be entitled to compensation, too.

— caleb hearon (@calebsaysthings) January 18, 2023

new boygenius era i’m on the floor pic.twitter.com/iYMhfaII5M

— beanie baby (@hello_aubs) January 18, 2023

And a personal favorite of mine, one fan recreated one of those famous, kitschy One Direction Tumblr Posts from 2012 with the members of boygenius. 

now that boygenius is back i want more attention for this pic.twitter.com/HI9BVKdZ90

— mary♡ (@ahoyboygenius) January 22, 2023

boygenius, as well as the solo work of its members, have been known for their emotional gut-punching lyrics and haunting melodies. It seems as though their fans are getting very excited to be emotionally devastated by the band once again when the record drops on March 31st, and I am one of them.

Top Photo: boygenius on YouTube

“Multiply”, sonically, is hypnotic in the best possible way. Oasis dazzles listeners with her melodic, clear voice and soulful runs. Her video perfectly matches the vibe of the song, showcasing Oasis’ impeccable bass skills and providing visuals filled with vintage fashion, bright blues, and lots of sparkles. Oasis’ honest and charming lyrics such as “My ovaries, calling calling/ It’s destiny you’re just in time/ Don’t blame it on me/ Cuz my world keeps turning/ You make me wanna multiply” make this cheeky song a necessity for your spring playlist. In an interview with Rolling Stone, Oasis stated, “‘Multiply’ is about that very real thing that happens to many women when their hormones start saying ‘I want a baby,'” She went on to say, “It can be purely hormonal, or desperately romantic.” The sound is reminiscent of many old school R&B classics that we love with Oasis’ own unique artistry mixed in, which makes a really exciting and refreshing track.

Be sure to check out Lotus Glow when it drops on March 3rd.

Top Photo: Adi Oasis on YouTube

Ethel Cain’s 2022 hit “American Teenager,” from her album Preacher’s Daughter, has been rapidly gaining attention lately after being included on former President Barack Obama’s “end of year roundup” playlist. The playlist has become a tradition for the former president, in which he lists his favorite songs that came out that year. 

 

 

 

 

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A post shared by Barack Obama (@barackobama)

Ironically, “American Teenager” heavily critiques patriotism and the United State’s involvement in the wars in Iraq and Afghanistan with the lyrics, “Another high-school football team/ The neighbor’s brother came home in a box/ But he wanted to go so maybe it was his fault/ Another red heart taken by the American dream.” Cain commented on the former president’s decision to include her song, tweeting, “Did not have a former president including my anti-war, anti-patriotism fake pop song on his end of year list on my 2022 bingo.”

did not have a former president including my anti-war, anti-patriotism fake pop song on his year end list on my 2022 bingo

— ????? ???? (@mothercain) December 24, 2022

Cain, a 24-year-old singer-songwriter from Florida, is one of the newest artists to be included in the genre of “sad girl pop”. The definition of “sad girl pop” differs based on who you ask, but can generally be thought of exactly as its name implies; popular music created by women or girls that includes lyrics or melodies that express sadness. Though its exact origins are unknown, the term “sad girl pop” started being used frequently during what many Gen Zers refer to as the “Tumblr era”, which generally refers to the years 2012-2016 in which Tumblr became the preferred social media platform for alternative teens to post about music, art, or anything that was on their minds.

These years simultaneously saw the rise of artists such as Lana Del Rey, Halsey, and Sky Ferreira, who created moody, indie pop tunes that are still beloved by the generation. Though it should be noted that grungy, emotional pop music that could be described as “sad girl pop” has existed for years with artists such as Kate Bush, Fiona Apple, Alanis Morissette, and many others. The term has seen a spike in popularity in the last few years with the rise of artists such as Billie Eilish and Phoebe Bridgers, who discuss themes like loneliness, relationships, womanhood, and what it means to be human throughout their body of work.

While the “sad girl pop” sub genre has created a space for women to talk about their darker emotions, there has also been some discussion concerning whether or not labeling these artists’ music as “sad girl pop” has become an oversimplification that hides what these women are truly trying to say. In a 2018 interview with Exclaim magazine, Bridgers pushed back on the “sad girl” label. She explained that while she understands where the name came from, she does not want audiences to think of her melancholy songs as a gimmick or as lazy songwriting.

Phoebe Bridgers. Photo by Thomson200, CC0, via Wikimedia Commons

This commodification of “sad girl-ness” has also perpetuated a form of idealized white femininity. While there are many women of color creating what could be labeled “sad girl pop”, such as Mitski, SZA, and FKA Twigs, they are often not placed in the same mainstream category as artists such as Bridgers, Lana Del Rey, or Lorde. In her 2022 article, “We Need To Talk About WOC Being Excluded From Sad Girl Pop”, Isabella Gemignani writes, “But, sad girl pop does look a certain way. Meaning that, from the outside, all the sad girls seem white, thin, and almost formulaic”. When whiteness and thinness is elevated by music professionals within the subgenre of “sad girl pop”, only one version of womanhood is able to be fully explored. In many ways, this does a disservice to many “sad girl pop” artists who are trying to shed light on the full spectrum of womanhood, and on different aspects of the human experience.

The failure to promote artists of color is not a new phenomenon in the music industry. Presenting “sad girl pop” as a new version of white femininity is how the pop industry makes it more palatable and marketable to audiences who are uncomfortable with anything that lies outside of the status quo. In actuality, many of these artists, from SZA to Bridgers to Cain, are discussing themes that would not be considered palatable to those who are committed to upholding systems of oppression. For example, Mitski calls attention to the climate crisis in her 2018 song “Nobody” with the lyrics, “Venus planet of love was destroyed by global warming/ did its people want too much too?”  In 2021, Lorde released the song “Mood Ring”, which calls attention to and condemns cultural appropriation. While the pop industry may want to market these women as fitting into a certain mold of femininity, ironically, being a “sad girl” often means expressing how the gender binary has failed us. Lana Del Rey expresses this feeling several times on her 2019 album Norman Fucking Rockwell. In the song, “hope is a dangerous thing for a woman like me to have – but I have it”, she laments, “I was reading Slim Aarons and I got to thinking that I thought/ Maybe I’d get less stressed if I was tested less like/ All of these debutantes/ Smiling for miles in pink dresses and high heels on white yachts/ But I’m not/ Baby, I’m not.”

While each of these artists writes songs that could be considered sad, they are also often expressing other emotions that get hidden under this unifier, namely, rage. Rage can be heard in Phoebe Bridgers’ primal screaming at the end of her 2020 song “I Know the End” or felt in FKA Twigs’ “Cellophane” as she exclaims “Why don’t I do it for you?” 

It’s important to question whether or not wrapping up all these artists with a bow labeled “sad girl” leads to an oversimplification, and, at times, a misunderstanding of what they’re really trying to say. These misunderstandings can even lead to a former president advertising an artist who offered a brutal critique of the way his administration handled a war. 

Top photo by Joe Mason on Unsplash

After waiting 5 long years since her last album, SZA’s SOS did not disappoint. In it, SZA delivers 68 minutes of emotions that many of us know all too well. 

Following her previous album, CTRL, which debuted in 2017, SZA fans have been expecting a lot from her next release. Since CTRL, SZA stayed busy by working on multiple collabs with other artists as well as releasing a few singles in between like “Good Days” and “Shirt.” CTRL was SZA’s debut album, and it was the perfect combination of intimacy and relatability that led fans to fall in love with her (along with her beautiful vocals, of course). CTRL was a huge success, even being Certified Triple Platinum as of August 2022, which is why it’s no wonder that fans have had high expectations for SOS. 

As we know, everything SZA puts into her albums has meaning—so naturally, we want to analyze every element, starting from the cover. On November 30th, SZA released the cover art for the album which already had fans going wild in her Instagram comments. The cover art for SOS depicts SZA sitting alone on a plank surrounded, by nothing else but the vast open ocean. This image is an obvious nod to a popular photo of Princess Diana taken back in 1997.  

SZA confirms theory that Princess Diana inspired her ‘SOS’ album cover. pic.twitter.com/61biLn7JXm

— Pop Base (@PopBase) December 7, 2022

Many people don’t know this about SZA because it isn’t super prevalent in her music, but she was previously a marine biology major, which could also be why she was drawn to the image of Princess Diana and wanted to replicate it on her album cover. Another prominent aspect of the image is how isolated she is just sitting all alone. The image of Princess Diana also elicited strong feelings of loneliness that SZA likely wanted to replicate. The title of the album also being “SOS” signifies to us that maybe SZA is trying to call out for help with this album after feeling alone for so long. All of those feelings of isolation are reflected in her music on this album, as it really is just her and her thoughts that we get to experience as viewers/listeners. 

One of the things that SZA does best is to capture a dichotomy of emotions. Going from feeling invincible in her song “Kill Bill,” singing “I might kill my ex/Not the best idea,” to crashing down into a pit of despair just praying for someone to love her in “Special,” singing “I wish I was special/I gave all my special/Away to a loser/Now I’m just a loser.” This new album really encapsulates how well SZA has evolved from CTRL both musically, lyrically, and emotionally. From seeking revenge with “Smoking on my Ex Pack” and “F2F” to getting in your feels with “Nobody Gets Me” to getting hyped with “Shirt” and “Too Late” and everything in between, SOS has it all. 

 If you haven’t already, stop what you’re doing and go listen to SOS from start to finish (I’ve already done it 4 times) because that’s the only way to truly experience all there is that SZA has to offer with this new album. 

Album cover image, top: Mezzabottac, CC BY-SA 4.0 via Wikimedia Commons

For many artists, the times of pandemic isolation presented as many new challenges as new opportunities for creative expression. UNI and the Urchins successfully harness the lonely uncertainty of lockdown to create a gloomy yet hopeful masterpiece that oozes 90s nostalgia with their brand new single and video “Covid’s Metamorphoses.” 

Bassist Charlotte Kemp Muhl has directed all of UNI and the Urchin’s videos and mini-films, as well as engineered, mixed, and mastered the band’s upcoming debut album Simulator (Out 1/13/23 on Chimera Music). A self-described workaholic and diehard control freak whose biology is composed of 70% cup ramen and useless science factoids, Kemp Muhl, along with bandmates David Strange and Jack James, creatively utilizes the band’s pandemic experience in this chilling new release. When it comes to the artistic decisions behind the music video, “We filmed “Covid’s Metamorphoses” in an abandoned, asbestos-filled building- which felt like an architectural metaphor for our psychic neglect during the pandemic. Kafka’s or Covid’s Metamorphoses – doesn’t matter; cuz both apply to that fiberglass chrysalis of lockdown… the roaches of intrusive thoughts crawling through the ruins of our frontal lobes, or invoking the digital gods for meaning as our species mutated into something less human.” 

The bassist/director/engineer/probably wizard goes on to explain how the collective pandemic experience for UNI and the Urchins brought them to new heights as a band. “…from that furnace of isolation, unable to see each other or play together as a band, we developed a creative independence – Kemp learning how to mix and master and play her own guitar solos, Jack finally leaving his job at the pizzeria to become the disco queen of New York City, and David starting his wildly successful company after being a homeless bum on Kemp’s couch for years. Newly hatched and covered in glitter placenta, we emerged from that Greek epic all the stronger for it. And hopefully the world did, too.”

UNI and the Urchins new single and music video is out today, premiering exclusively on BUST. Watch the full video here: 

A eulogy to one’s own mother is one of the most intimate and emotional works of literary art. Björk’s “Sorrowful Soil” encapsulates that raw emotion through both song and visuals in her new video. This captivating film was shot in front of the actively erupting Fagradalsfjall volcano. Along with the release of her music video, Björk shared her feelings and motivations for this piece in a press release. According to Björk, this song was written before her mother passed, and she wanted to capture that feeling of knowing that your loved one is going to die but having to accept it as there is nothing else to be done. In an interview with ELLE Magazine, Björk commented that “the song is sad in tone, and it’s typical of what people feel before an ailing parent passes away–that whole beginning of the last part of their life.” Shot through an oval frame, we are given a look at Björk’s emotional acknowledgment of her mother’s mortality. This song is Björk’s nod to what she calls the “last chapter” in her mother’s life.

On Björk’s new album Fossora, both “Sorrowful Soil” and her other song “Ancestress” were written for her mother. “Ancestress” was her “take on funeral music, but ‘Sorrowful Soil’ [was] written two years before and mirrors more that last chapter” according to Björk. The concept of the “last chapter” came about from lyrical improvisations. Björk did not intend to write “Sorrowful Soil” the way it is now. She shared on Fossora that it came to her as she “thought [she] was writing another song but then when [she] edited it [she] threw away most of the stuff and this is what stood there staring at [her].” The result of this became what Björk calls an “attempt at a eulogy.”

PHOTO: VIDAR LOGI

Our roots are dug/Into sorrowful soil

In an interview with Pitchfork Björk mentioned how she chose to highlight the power of the erupting volcano throughout the video because she felt it effectively portrayed her mother’s energy. Yet another reference to her late maternal figure was the way in which Björk focused the lyrics of her song. By using nature metaphors, Björk is able to elicit feelings of hopelessness and loss. When singing “Our roots are dug/into Sorrowful soil” she alludes to the fact that these emotions are inescapable. Björk stated in the press release that “the lyric is an attempt for a eulogy and instead of the dry fact-checking.” Rather than simply recounting the specific details of her mother’s life Björk wanted to “celebrate the biological data.” Her lyrics “In a woman’s lifetime/She gets four hundred eggs/But only two or three nests” attempt to do just that. This was a very intentional choice made by Björk. She shared with ELLE that “normally epitaphs are patriarchal in nature in that they only list the facts about a person” she wanted to combat this by honoring her mother’s life with a matriarchal focus.

Björk also shares about when she visited her late grandfather at the hospital and how she remembers receiving a pamphlet that described the best way to comfort loved ones before death. She shared that the pamphlets instructed loved ones to “give [their loved ones] to-do lists (dry-cleaning and such) but also ask if they did well.” Björk chose to end her song with a reference to this as an ode to comfort both her mother and grandfather when singing “You did well/You did your best/You did well.”

PHOTO: VIDAR LOGI; STYLING: EDDA GUDMUNDSDÓTTIR

Top Photo By Vidar Logi; Styled By: Edda Gudmundsdóttir

Nina Hagen first rose to fame as an actor and musical theatre performer in East Germany in the early 1970s and by mid decade, made her way to freedom in West Germany. Hagen was trained in the Weimar cabaret tradition of Brecht and Weil, and was an opera prodigy, who grew up a fan of Folk, Psychedelic, and Glam Rock. Visiting Punk-era England and hanging out with bands like The Slits and Sex Pistols influenced Nina greatly. She returned to Germany and formed the Nina Hagen Band in 1977

Nina created an over the top visual look with her ever changing hair color, which she was the first to popularize, and her ‘everything but the kitchen sink’ dress sense and extreme make up. Which everyone from Cyndi Lauper and Madonna to Nicki Minaj and Lady Gaga, and just about any present day Drag artist you can name, have coopted and claimed as their own invention. Not so. Nina did it all first. Her vocal style was the most unorthodox since Yoko Ono and she could sound like a Demon one minute, and Opera icon Maria Callas the next with every other sound imaginable in between. Hagen has incorporated just about every musical genre there is into her repertoire. As a staunch activist, the subject matter of her songs has ranged from railing against world wide injustice, African female genital mutilation, New Age spiritual beliefs, and even UFOs. The later which she witnessed on a beach in L.A. when pregnant with her daughter Cosma Shiva Hagen. Not to mention a love song or two. Nina is as radical and limitless as they come. Everything young people are expressing presently Nina has been living for five decades. She is a leader in a world of followers.

After an eleven year hiatus Nina is about to release a new album, Unity, and a new single “United Women Of The World.” This song is an appeal to women worldwide to join together, be loud, celebrate themselves, and fight for their rights with dignity, resilience, and not to take any bullshit from anyone. This new song is a catchy, danceable, Reggae, Punk anthem. Nina’s old friend, the incomparable Lene Lovich, contributes vocals on this track as well as German born singer Liz Mitchell of the British vocal group Boney M. The accompanying video features a diverse representation of both cis gender females as well as those who identity as fluid and undefined. This is a stellar return for a truly gifted and unique artist. New generations will now get the opportunity to find out what many have know for years: Only one person dares to be Nina Hagen!

Top Photo by Gabo.

Need a refresher on Nina’s brilliance? here are some classics:
Naturträne

Zarah

Smack Jack

Fall is almost at its last breath, which means winter is just around the corner. With winter approaching, is it coming down to your last chance to switch up your fall playlist. But don’t worry, darling; there’s still time to embrace the last bit of fall before the inevitable Christmas music. BUST has made it easy for you with the BUST Magazine Fall 22 Playlist already ready and available. The playlist is a compilation of selected singles from new album releases to put you in the mood for rainy days and cozy times. Here’s our take on what to listen to this fall. 

Yeah Yeah Yeahs

Cool It Down
(Secretly Canadian)

Nearly a decade-long hiatus didn’t stop the Yeah Yeah Yeahs from bringing their all to Cool It Down. The project brings us everything we’ve come to know and love about the group, with some obvious evolution. The first single, “Spitting Off the Edge of the World,” reintroduces the beautifully haunting vocals of Karen O, mixed with the coos of Perfume Genius. Other standouts, like “Lovebomb,” are breathy and erotic, while “Wolf” delivers bouncy synths for what is destined to appear on a movie soundtrack. The energy ramps up for “Fleez” and “Burning,” but then chills back down for “Blacktop” and picks back up for “Different Today.” The project ends with pure poetry (literally) on “Mars.” Despite having only eight tracks, Cool It Down brings a deeply layered experience, joining together new and forever fans. Transcending place, space, and time as always, Yeah Yeah Yeahs have yet another hit on their hands. – Kathy Iandoli

Kaitlyn Aurelia Smith

Let’s Turn It Into Sound
(Ghostly International)

Experimental composer and ambient artist Kaitlyn Aurelia Smith is known for imaginative synthesizer-driven soundscapes, but this release may be her most emboldened yet. She single-handedly recorded it at her home studio over a few months as a way to explore and process feelings about these uncertain times. As the album title suggests, KAS used her tools and ingenuity to channel those emotions into elaborate layered arrangements. On “Is It Me or Is It You?” her processed vocals soothe over each unexpected twist while the song boisterously builds up before droning off. “Pivot Signal” combines neoclassical nods with pops of pop. It’s an album that’s complex, creative, and beyond classification, much like the artist herself. – Cindy Yogmas

Dry Cleaning

Stumpwork
(4AD)

After their debut album New Long Leg landed them on many 2021 top-10 lists, Dry Cleaning is back with Stumpwork. The London-based four-piece returned to Wales to record the album with producer John Parish and engineer Joe Jones, where they found freedom to expand sonically, incorporating prog, psych, and a bouncier, groovier pop sound. Inspired by themes like calamitous politics and the loss of loved ones over the past year, the album showcases their surrealist lyrics, now paired with a warmth and sensitivity. Fervent pop anthems weave jangly guitar, familiar driving bass, and a flavor of existential disparity through softer, dreamier tracks (“Kwenchy Kups,” “Gary Ashby”) and the post-punk sounds we fell for first (“Don’t Press Me”). 
–Carlee McManus

The Bobby Lees

Bellevue
(Ipecac Recordings)

For their third album, the Bobby Leesreturn with a vehemently noisy axe to grind and an ever-expanding DIY sound. The imaginative quartet leans heavily into experimental grit on this one, slyly softening their reckless blows with borderline ballads and well-timed toe taps, all fused together with punk-forward playfulness. Tracks are conceptually heady, with an overarching theme of mental health (the album’s title is a nod to both the famed N.Y.C. mental hospital and to vocalist/guitarist Sam Quartin’s state of mind at the time of writing). Melodically uncontainable, Bellevue is stark, sinuous, and delightfully discombobulating throughout. – Rachel Reed

Ezra Furman

All of Us Flames
(ANTI-)

On All of Us Flames, Ezra Furman revisits lonely terrain and cries out for the brokenhearted. Fiery, full throttle, and bound by atmospheric connections, the Chicago singer/songwriter draws us in through streams of consciousness, gentleness, mosh-worthy riffs, and an elegant desecration of the world’s decided stage. The final work of a trilogy, Furman calls it “a queer album” for when “you start to understand you arenot a lone wolf, but part of a larger whole.” Raging with inner light and cruising into eternal dusk, Furman cuts herself fully loose, leaving a drop of deep red blood on every incandescent track. – Rachel Reed

The Beths

Expert in a Dying Field
(Carpark)

The endearingly brash-but-melodic New Zealand indie power-pop rockers the Beths provide listening comfort and joy on their third full-length. Recorded at guitarist Jonathan Pearce’s Auckland studio, further patched together remotely in quarantine, and ultimately finished in L.A., Expert in a Dying Field pairs joy with well-executed sonic chaos. Vocalist/guitarist Elizabeth Stokes shares the impact of an array of relationships, picking them apart and underlining the maddening symptoms that stress and anxiety unleash. Stokes’ vulnerably relatable writing never seems too heavy, though, and is securely cradled in the capable arms of catharsis-amped, scuzzed-up guitar rock. This is one that will help get you through to the other side. – Erin Wolf

Big Joanie

Back Home 
(Kill Rock Stars) 

On Back Home, Black feminist punk band Big Joanie delivers heartfelt DIY songs with a heavily nostalgic ’90s sound. “In My Arms” showcases the London-based trio’s seamless harmonies and tight musicianship with an infectious groove reminiscent of the best indie rock of the post-punk era. Replete with synths and swooning vocals, the storytelling on songs like “Insecure” and “Today” conjure the emotional introspection of the new romantics; the driving beat on “Sainted” evokes the fast cars and refracted lights of London on a rainy night. Emo for grownups, Big Joanie summons diverse eras and sounds with a unique alchemy all its own. –Camille Collins

Photos: (Yeah Yeah Yeahs) David Black; (Big Joanie) Sam Keeler

This article originally appeared in the Fall 2022 print edition of BUST Magazine. Subscribe today! 

Peaches is a rock star, producer, director, visual artist, and performance artist who rose to fame in the electroclash era of the early 2000s and whose terrifically transgressive albums—including Fancypants Hoodlum, The Teaches of Peaches, Fatherfucker, Impeach My Bush, I Feel Cream, and Rub—are absolutely part of the feminist canon. Think you know how Peaches stays so juicy? Then take the quiz!

Born in Ontario, Canada, on November 11, 1966, Peaches’ given name is ________.

a. Merrill Nisker
b. Alecia Moore
c. Lesley Sue Goldstein
d. Cherilyn Sarkisian

In 2000, Peaches moved from Canada to this European city, and it has been her home base ever since.

a. London
b. Paris
c. Rome
d. Berlin

Peaches’ stage name is an homage to a song by which legendary performer?

a. Aretha Franklin
b. Nina Simone
c. Tina Turner
d. Madonna

This year, Peaches went on a world tour celebrating the 20th Anniversary of her groundbreaking album________.

a. The Teaches of Peaches
b. Fatherfucker
c. Impeach My Bush
d. I Feel Cream

Complete the following Peaches quote: “I do think every kind of ________is a privilege and therefore has a responsibility. Once you have any privilege, you have a responsibility to use it for a bigger purpose.”

a. sex
b. feminism
c. art
d. activism

Answer Key: 1.a, 2.d, 3.b, 4.a, 5.c

Photo: (Peaches) Ramona Rosales

This article originally appeared in the Fall 2022 print edition of BUST Magazine. Subscribe today! 

Karen Elson is finally ready to have some fun. “Being a model, I felt for many years like I had to work extra hard to prove myself as a musician. I felt like I couldn’t just be good—I had to be incredible at it. I had to almost bleed for it,” the singer/songwriter/supermodel says of her recording career, which began with the 2010 album The Ghost Who Walks.

“I got older, and I got more comfortable in my skin. Also, there was something about COVID—it’s been such a reckoner. There’s just been this shift in me,” says Elson, 43. “I can’t take myself seriously anymore. I really can’t.”

Partow dress; House of Harlow boots; Bowen NYC Earrings; KATKIM ring.

Not taking yourself seriously must be easier said than done when you’re one of the more recognizable faces—and heads of hair—in fashion. The U.K.-born Elson, who now calls Nashville home, has been working as a model since she was 15 and has walked the runway for everyone from Anna Sui to Marc Jacobs to Alexander McQueen, and appeared on every imaginable major fashion magazine cover. In 2020, she released The Red Flame, a memoir-meets-coffee-table book chronicling her career so far. In between that and raising the two teenagers she shares with ex-husband musician Jack White (they divorced in 2013), she’s also an advocate for models. As a member of the Model Alliance’s Worker Council, Elson is a visible and vocal advocate for the Fashion Workers Act, which would regulate modeling agencies and establish labor protection for models, hair and makeup professionals, stylists, and other creatives.

Bird necklace; Bowen NYC earrings; Vintage suit and shoes.

For a time, the pressure she felt caused Elson to fall out of love with music, she says, but at the start of the pandemic, she began taking long walks around her Nashville neighborhood, listening to the stuff she grew up on—Nirvana, the Hives, Cocteau Twins, Sonic Youth. “I had this really extended downtime, and it was the first time since I was a teenager that I stayed in one place long enough to really consider how I was feeling,” says Elson. “When I was young, music was my escape from pain. Certain songs made you feel like, ‘I’m not alone in the world and this other person understands these weird, complicated feelings, I also have.’ I became like that teenager in my bedroom again. I fell in love with the escapism that music presents.”

ODEEH Lounge Set; Marla Aaron necklace; Rings: KATKIM and THE‘VIT.

Letting go sounds good on Elson. Her latest album, Green, released earlier this year, is a clear and deliberate shift away from the moodier sound that defined her earlier work. For Green, Elson joined forces with fellow Nashville residents Daniel Tashian and Ian Fitchuk, acclaimed for their collaborations with Kacey Musgraves, to create a sound that is happy, silly, and reflective. “My first few records definitely lend themselves to lonelier concepts—and darker ones,” says Elson, whose second album, 2017’s Double Roses, was reductively called a “divorce album” by many critics. But this time, she explains, “I wrote the majority of the album during the height of COVID, when there was just so much uncertainty in a manner that, globally, we hadn’t experienced before. I felt like the world was so heavy that I needed a light—emotional sunlight.”

L’agence dress and sweater; THE‘VIT necklace and ring.

Tracks range from the playful “Modern Love,” on which Elson recalls the pitfalls of being an old soul looking for love in the Internet age, to “Fergus in the Sun,” an ethereal tribute to her cherished cat, written the day before he died. “I wanted it to feel like, if you were away on vacation and you heard this record, you could just sit there with your drink and enjoy it. I wanted it to sound good on vinyl. That was the motivation. [There] was not any dark, tortured, artist motivation for this record.”

Over the summer, Elson performed songs from Green during a three-day residency at Café Carlyle, New York City’s famed cabaret. It was a full-circle moment. “I saw Eartha Kitt there when I was 21,” explains Elson. “She walked past me and she took her mint out of her mouth and put it on my dinner plate, and I was just like, ‘I love this woman, and one day I want to do what she’s doing.’ And 20 years later, there I was on that stage, performing.”

There’s a lesson to glean here, and Elson says it plainly. “Life is short, and life is fleeting. We’ve got to enjoy every fucking minute we’ve got here.”

Interview by Sabrina Ford

Photographed by Diana King

Styled by Leslie Stephens // Makeup by Anais Shiba

 This article originally appeared in the Fall 2022 print edition of BUST Magazine. Subscribe today! 

MUSIC REVIEW: BETH ORTON

Weather Alive

(Partisan Records)

I interviewed Ms. Orton once and she revealed that one her favorite albums is Joni Mitchell’s classic Blue. One could draw comparisons with Orton’s latest release, Weather Alive (her first in six years), because of the intimate lyrics and the sparse musical arrangements. Although Orton is known for being a guitarist, most of these songs are piano based and enhanced with both electronic and natural instrumentation. “Friday Night,” “Fractals,” and “Haunted Satellite,” keep the moderate beat going contrasting with the quieter ambient songs like “Weather Alive” and “Unwritten.” In a sea of musicians Beth Orton rises to the top with her most satisfying stand out musical achievement yet.

Photo Credit: Eliot Lee Hazel 

Buy/Stream it here. And be sure to catch her live if you can:

BETH ORTON TOUR DATES
7 OCT 2022 / UK / Birmingham / Academy 2
8 OCT 2022 / UK / Brighton / St. Bartholomew’s Church
9 OCT 2022 / UK / London / KOKO
10 OCT 2022 / UK / Norwich / Arts Centre
12 OCT 2022 / UK / Bristol / St. George’s
13 OCT 2022 / UK / Glasgow / Classic Grand
15 OCT 2022 / UK / Manchester / RCMN Concert Hall
16 OCT 2022 / UK / Leeds / Brudenell Social Club
NOV 1 2022 / Washington, DC / Sixth & I
NOV 2 2022 / Philadelphia, PA / World Café Live
NOV 3 2022 / Montclair, NJ / First Congregational Church
NOV 5 2022 / New York, NY / Bowery Ballroom
NOV 6 2022 / Somerville, MA / Crystal Ballroom
NOV 7 2022 / Montreal, QUE / Le Studio TD
NOV 8 2022 / Toronto, ONT / The Great Hall
NOV 10 2022 / Chicago, IL / The Mayfield
NOV 11 2022 / Milwaukee, WI / Pabst Theatre
NOV 12 2022 / Minneapolis/St. Paul, MN / The Cedar
NOV 14 2022 / Denver, CO / Oriental Theater
NOV 17 2022 / Los Angeles, CA / Teragram Ballroom
NOV 18 2022 / San Francisco, CA / Bimbo’s
NOV 20 2022 / Portland, OR / Mississippi Studios
NOV 21 2022 / Seattle, WA / Neptune
NOV 22 2022 / Vancouver, BC / Hollywood Theater

The Beths

Expert in a Dying Field
(Carpark)

The endearingly brash-but-melodic New Zealand indie power-pop rockers the Beths provide listening comfort and joy on their third full-length. Recorded at guitarist Jonathan Pearce’s Auckland studio, further patched together remotely in quarantine, and ultimately finished in L.A., Expert in a Dying Field pairs joy with well-executed sonic chaos. Vocalist/guitarist Elizabeth Stokes shares the impact of an array of relationships, picking them apart and underlining the maddening symptoms that stress and anxiety unleash. Stokes’ vulnerably relatable writing never seems too heavy, though, and is securely cradled in the capable arms of catharsis-amped, scuzzed-up guitar rock. This is one that will help get you through to the other side. – Erin Wolf

The Bobby Lees

Bellevue
(Ipecac Recordings)

For their third album, the Bobby Leesreturn with a vehemently noisy axe to grind and an ever-expanding DIY sound. The imaginative quartet leans heavily into experimental grit on this one, slyly softening their reckless blows with borderline ballads and well-timed toe taps, all fused together with punk-forward playfulness. Tracks are conceptually heady, with an overarching theme of mental health (the album’s title is a nod to both the famed N.Y.C. mental hospital and to vocalist/guitarist Sam Quartin’s state of mind at the time of writing). Melodically uncontainable, Bellevue is stark, sinuous, and delightfully discombobulating throughout. – Rachel Reed

Kaitlyn Aurelia Smith

Let’s Turn It Into Sound
(Ghostly International)

Experimental composer and ambient artist Kaitlyn Aurelia Smith is known for imaginative synthesizer-driven soundscapes, but this release may be her most emboldened yet. She single-handedly recorded it at her home studio over a few months as a way to explore and process feelings about these uncertain times. As the album title suggests, KAS used her tools and ingenuity to channel those emotions into elaborate layered arrangements. On “Is It Me or Is It You?” her processed vocals soothe over each unexpected twist while the song boisterously builds upbefore droning off. “Pivot Signal” combines neoclassical nods with pops of pop. It’s an album that’s complex, creative, and beyond classification, much like the artist herself. – Cindy Yogmas

 This article originally appeared in the Fall 2022 print edition of BUST Magazine. Subscribe today! 

 social share image: screenshot from youtube 

Ring the alarm! Beyoncé has surprised fans and hinted at a world tour for her album Renaissance scheduled to begin in the Summer of 2023. On Saturday, October 22, Variety reports that at the WACO Theater‘s Wearable Art Gala, the singer auctioned off a package that included two tickets to one of her upcoming concerts a year from now. Although she hasn’t officially confirmed that a tour will take place, fans are ecstatic and shared pictures of the auction online. 

Beyoncé confirmed a Renaissance summer 2023 world tour at tonight’s #WearableArtGala pic.twitter.com/7nTYe8SmFU

— The Bulletin (@onthebulletin) October 23, 2022

Beyoncé, Kendra G & Blue Ivy. ? #WearableArtGala pic.twitter.com/ElqxfUBBjl

— Beyoncé Access (@beyonceaccess) October 23, 2022

For the first time since her 2018 On the Run II Tour, Solange’s big sis will take to the stage and like a supernova, will provide a spectacular show that only she is capable of doing. At Art Gala, which was a charity event hosted by Keke Palmer, Beyoncé, Jay-Z, and Blue Ivy came to aid the theater (which was founded by Beyoncé’s mother and stepfather) in raising money to support their artistic programs and promote diversity in the arts. The fundraiser was Harlem Nights-themed and featured performances by Andra Day, Chloe & Halle Bailey. 

 

 

 

 

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A post shared by WACO Theater Center (@wacotheater)

Variety described the concert ticket package as being “Valued at a total of $20,000, United [Airlines] x WACO offers you a chance to see Beyoncé on her ‘Renaissance’ tour starting in the summer of 2023 at any of United’s national and international destinations around the world. This prize is complete with 2 first-class international United Airlines Polaris tickets to select cities with 3-night hotel accommodations at a Marriott property. And, to one of the most sought-after musical performances of all time, 2 concert tickets to Beyoncé’s ‘Renaissance’ 2023 tour with a guided backstage tour with Miss Tina [Beyoncé’s mother]!’”  

 

 

 

 

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A post shared by Beyoncé (@beyonce)

The very first Renaissance World Tour ticket holders ? pic.twitter.com/DwA2X3dCF3

— RENAISSANCE Updates ? (@B7Album) October 23, 2022

The Summer 2023 Tour follows the release of the singer’s latest album, Renaissance, which came out on July 29, 2022. Beyoncé’s 7th studio album has 16-tracks and was released by Parkwood Entertainment and Columbia Records, with lead single was “Break My Soul” featuring former covergirl Big Freedia. Renaissance was her first release since 2016’s Lemonade. 

 News of the tour went viral on Saturday night and since then fans have been expressing their excitement all over social media. 

Me after selling a kidney to attend Beyoncé’s Renaissance tour ? pic.twitter.com/Wn2ExWjsTf

— dani (@kordeilogy) October 23, 2022

BEYONCÉ TOUR INCOMING, THIS IS NOT A DRILL pic.twitter.com/jd3b945KSM

— ‎ً (@rumiyonce) October 23, 2022

Imagine the stadium lights going out and all you hear is

“THESE MUTHAFUCKAS AIN’T STOPPING ME”

— Jeremy Cousar (@Jeremycousar) October 24, 2022

Although the singer hasn’t officially announced tour dates, fans are thrilled about the possibility. We’ll be waiting with baited breath Queen Bey. 

 header: screenshot from youtube 

Throughout her 47 years in show business, Sainte-Marie has always done things on her own terms, and she has piles of awards to show for it, including an Oscar and a Golden Globe for her most widely recognized songwriting credit, “Up Where We Belong,” which she penned for the 1982 film An Officer and a Gentleman. And despite her unwillingness to fit into the rigid girl-pop mold of the ’60s, she was a success from the very beginning, nabbing Billboard’s Best New Artist award for her first aptly titled album, It’s My Way! in 1964, which famously featured her playing the mouth bow. As the ’60s progressed, she wrote iconic protest anthems like “Universal Soldier” and had hits with “Co’dine” (one of the first pop songs to openly reference drug use), and “Until It’s Time for You to Go,” a love ballad unabashedly written from the point of view of a woman in a noncommitted relationship. The latter was covered by Cher, Barbra Streisand, and Elvis Presley, and her material is still being performed by such varied artists as Courtney Love (“Co’dine”), Neko Case (“A Soulful Shade of Blue”), Dean & Britta (“Moonshot”), and Oakley Hall (“Co’dine”). 

Sainte-Marie met with me in New York recently to discuss her first release of new material in 13 years, Running for the Drum (Appleseed Recordings). It’s a collection of powwow, protest, club remix, rockabilly, and, of course, love songs, packaged together with a DVD documentary that will knock the socks off of fans and Buffy newbies alike. Dressed in a black top, black stovepipe jeans, pointy boots, a white jacket, and a beaded breastplate necklace (given to her by photog Annie Leibovitz), Sainte-Marie looks so amazing, it’s impossible to believe she’s actually 68. But she is, and she’s still rocking.

BUST: You’ve said that you grew up “a tan girl in a white community.” What was it like growing up with your adoptive parents in Massachusetts in the ’40s and ’50s?

Buffy Saint-Marie: It was bad. There were predators in the neighborhood. There were predators in the house. Sexual predators and bullies. So I kept to myself. When I first saw a piano when I was about three, that became my toy. I didn’t play Barbie dolls, didn’t play ball, none of that. Music and art were my toys, and I think that’s true of a lot of kids. 

B: Some of your songs feature you playing an unusual instrument called a mouth bow. Can you explain what it is and how it’s played?

BSM: I make them. You find a bent stick, and you attach a guitar string to both ends. The mouth bow is probably the oldest string instrument in the world. It’s based on a hunting bow. You put it up to your mouth, and your mouth becomes a resonating chamber like a guitar. As a matter of fact, you know Mick Jagger’s first movie, Performance [1970]? I multitracked mouth bows in that.

B: What was it like when you first came to New York in the early 1960s?

BSM: Well, I had just graduated from the University of Massachusetts in Amherst. My major was in Oriental philosophy, and I also got a teaching degree from the University of Massachusetts and later, a Ph.D. in fine arts. Around 1962, I came to New York figuring that I’d just get music out of my system. 

The early ’60s were about coffeehouses. They made it possible for students to go out at night and hear each other’s music. The scene had everything—Joan Baez was singing genuine folk songs, Bob Dylan was writing his own songs. Then there would be flamenco players and blues players, so it was everything at once. 

That was one of the reasons I’ve always felt comfortable making all different kinds of music. It comes out of that broad perspective, instead of being like the Supremes with songs that are all a certain style. Usually that’s the way it’s done. It makes it easy for record companies to figure out what bin to put you in. I mean, who the heck knows what bin to put my music in?

B: It comes up as folk on iTunes….

BSM: That’s it. They call it folk. [laughs] Anyway, in the ’60s, I started playing my songs at the Gaslight, and everybody liked it, and Robert Shelton of The New York Times came down and heard me play. He gave me this great review, and the Gaslight blew it up into this big sign and put it outside.

B: So, how did you get signed to Vanguard Records?

BSM: Well, they heard me at the Gaslight and they wanted me to record. The first time I got an invitation to go to Florida in February, [I thought] “I love show business!” For me it became about the travel. Something that made me different from the other singers of the time was that I’d use my airplane tickets to get me to indigenous areas and then I’d hang out. So if I had a concert in Sydney, Australia, I’d be out with aboriginal people. If I had a concert in Stockholm or Copenhagen, I’d be up in the Arctic with Sami people and of course with Native American people in North and South America too. But I was kicked out of the U.S. [market] pretty early, when Lyndon Johnson came along, and recently, I found out that I was on Richard Nixon’s enemies list.

B: Were you blacklisted by the government more for your anti–Vietnam War views or for being vocal about the mistreatment of Native Americans?

BSM: I don’t know much about that. They don’t tell me. Lyndon Johnson had FBI surveillance on me, probably because of my [antiwar] song “Universal Soldier.” And during the Nixon years, it would have been about Indian rights because we were kicking up a lot of truth. That was when native land was being transferred in secret to the U.S. government, especially the parts that included uranium, and I was out there talking about it on television. But I didn’t find out about my FBI surveillance until the ’80s, and I only found out about Nixon a couple of years ago. I got my FBI papers and they’re all blacked out. I continued to do concerts in the rest of the world. I just thought the U.S. didn’t care anymore.

B: What role does feminism play in your life and philosophy?

BSM: When I came to Greenwich Village in the ’60s, I was really green. I was afraid of men, really. I didn’t know that it was customary to kiss a businessman on both cheeks, and it creeped me out. I didn’t drink so I didn’t hang out at bars. The only reason I’m even on the peripherals of show business is because of coffeehouses. I was uncomfortable with men drinking because I knew what came next. Feminism wasn’t happening in those days. When I was hanging out with the founders of the American Indian Movement, they were pretty disrespectful to young women. I really loved them, but they didn’t have their heads together, and certainly, show-business people didn’t. Especially around a young woman looking like I did, because I looked really unusual, and I got a lot of attention and I had a figure. You know, the first singing dress I had, I ordered from the Frederick’s [of Hollywood] catalog! [laughs] I thought that’s what pretty was. But feminism didn’t start until a little bit later. I can’t say that I was a part of it, but I loved it.

B: In your travels, meeting with various aboriginal people, which culture do you think offers women the most equality?

BSM: I think I’ve learned the most about femininity and the effectiveness of women from my friends in the Iroquois Confederacy from upstate New York, on the Canadian border. That whole Iroquois Confederacy was made up of matriarchies, and their government used 100 percent of the brain power available, not just male, sexually aggressive, testosterone-based brain power. They used the feminine side as well, and there’s a big difference in legislation by women. In the Iroquois Confederacy, the clan mothers make many of the important decisions, including who gets to be a legislator. A lot of the U.S. government’s [etiquette] probably comes from the Iroquois Confederacy’s idea that one diplomat speaks at a time. That’s very female, and that’s very, very Native American. You know in Europe, you can watch Parliament and those boys are still yelling at each other, “Blah! Blah! Blah!” It’s just silly, old-fashioned, and immature. [The Iroquois Confederacy also developed] the whole idea of a caucus, where people get together at home so when you meet you’ve already come to a consensus. Caucus is not a Latin word; it’s a Mohawk word. So there’s a lot of influence still from women in the Iroquois Confederacy.

B: In 1974 you released an album called Buffy with a revealing photo of you on its cover. Was this shot approved by you, or was it the label using a sexy picture to sell records? 

BSM: No, I wanted it. It was about feminism. I was standing up for a woman’s right to take her own shirt off. Everybody said, “No, you can’t do that!” Of course, Sears put a pastie on it. Some of the people I was involved with thought it was a terrible thing to do, but I feel as though breasts are personal and sexuality is personal and I have a right to talk about it. There were a lot of people burning bras in those days, and there were a lot of women going topless. I think breasts are beautiful, and I don’t like the idea of them being considered smut. Also, a couple years later, I was breastfeeding on Sesame Street, so they kind of go together. It’s the same attitude.

B: That’s right, you actually breastfed your son Dakota in front of Big Bird! What a thrill that must have been! 

BSM: Big Bird was just sitting in his nest and I’m alongside him breastfeeding my baby, and Big Bird says, “Whatcha doin’ Buffy?” And I say, “I’m feeding the baby.” And he says, “Well, that’s a funny way to feed a baby.” I explained to him that the baby was getting everything he needed and I got to cuddle him, and [Big Bird] went back to playing, which is what children really would do. No titillation factor at all. For me, to move from being gagged and thought suspect for speaking out about Indian rights to getting a job on Sesame Street was perfect. I was being denied an adult audience because I couldn’t get airplay, but I got to speak to kids before they got into stereotyping and could speak to caregivers and tell them the simple message: Indians exist.

This article was first published in 2009. Subscribe today. 

header: Interstellar Rodeo 2015, Edmonton, Canada by Levi Manchak (wiki commons)

second photo: Buffy at Grand Gala du Disque 1968, Photo by Ron Kroon / Anefo (wiki commons)

For today Oct. 7th only, Good Music and Noise For Now has announced there will be a one time sale for the compilation album Good Music To Ensure Safe Abortion Access To All. The compilation album features exclusive never-before-heard songs, remixes, live demos and much more. Contributing artists such as Wet Leg, Tegan and Sara, Maya Hawke, David Byrne, and many more will be featured on the album. Additionally, you can pre-order t-shirts that feature Kim Gordon’s Liberate Abortion artwork via Noise For Now: https://noisefornow.org/shop

The overturning of Roe v. Wade has been devastating to many women across the U.S. Noise For Now, who are working with Abortion Care Network, support many independent abortion clinics. 100% of the proceeds will be donated to non-profit organizations to provide access to abortion care, and sends a direct message that Reproductive Rights are human rights! 

The Communications Director at Abortion Care Network, Jay Thibodeau, gave a recent statement, “Donating to keep clinics open in every state makes a huge difference to those who need care, and bold, public support for indie providers is deeply meaningful. It also matters that people who have, provide, and support abortion know that they are not alone: most people in the US support the right to abortion, and we are less alone when we can see and join unified, unapologetic calls to liberate abortion.” 

Order this amazing comp TODAY!! 

artwork by Kim Gordon

If you’re looking for a song that channels boss-bitch vibes and emphasizes the importance of being yourself and being heard, you should stream M.I.A’s new single, “Beep.” On September 30, 2022, British rapper and singer M.I.A .released the electronic dance-inspiring song of the year: “Beep.” The drop comes just ahead of the release of her sixth studio album, MATA, which is set to hit streaming platforms on October 14.  

 

 

 

 

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A post shared by M.I.A. (@miamatangi)

 The rhythm-heavy song makes you want to move your hips and sing along to the catchy lyrics about taking charge and being heard. With lyrics like “you can be who you wanna be” and “be free, like you already knew,” M.I.A. leaves listeners no choice but to embrace their true selves. She goes on to empower her listeners further with the lyrics, “used the pen on men and made a dent” and “bring a noise, make it count, yeah, do it again.” Throughout the song, M.I.A. inspires us all to use our voices to promote the social and political change we wish to see. 

The English rapper and singer burst onto the hip-hop and electronic music scene in 2004, and since then has become known for her songs “Paper Planes,” “Borders,” and “Bad Girls.” In her music, M.I.A. is known for highlighting political and social issues including immigration, feminism, identity, war, and more. Prior to the release of “Beep,” the singer also gave fans a sneak preview of the album with her singles “The One” and “Popular”. M.I.A. revealed her tracklist to fans on September 30 via Twitter. Her 13-track album is to be released through Island Records. 

TRACKX MATA 14 | 10 pic.twitter.com/SlqNf3fu0R

— M.I.A. (@MIAuniverse) October 1, 2022

“Beep” is available to stream on Apple Music, Spotify, and more. 

Images courtesy of Island Records 

Lizzo performed in Washington, D.C. on September 27th with a peculiar instrument: a crystal flute that was originally owned by President James Madison. Presented to her by the Library of Congress, Lizzo can be seen here playing and twerking on beat with the heirloom. 

The image of Lizzo twerking with such a relic provokes laughter, but the weight of the gesture coupled with her nonchalant manner, i.e. the twerking, holds more importance than just a talented flautist playing a few notes. Lizzo is also the first person to ever play the instrument. James Madison was the fourth President of the United States and one of the Founding Fathers behind the three-fifths compromise. 

YALL…

I PLAYED THE 200-YEAR-OLD CRYSTAL FLUTE FROM THE LIBRARY OF CONGRESS ON STAGE IN D.C. ???? @LibnOfCongress thank you pic.twitter.com/u07gCaRTH4

— FOLLOW @YITTY (@lizzo) September 28, 2022

Concerning the event, there have been some circulating tweets of supporters and deniers that this event was exactly the kind of whimsical protest we need to dismantle old representations of racism and politically restrictive thinking. Law Professor Tiffany Li acknowledged the unique form of symbolism that Lizzo’s performance represents.  

Lizzo, a Black female superstar, collaborating with Carla Hayden, the first African American and first woman Librarian of Congress, to use a flute from James Madison, the Founding Father who originated the 3/5 Compromise and also the Library of Congress itself? The symbolism!!! https://t.co/n5AQsjJwKH

— Tiffany C. Li (@tiffanycli) September 28, 2022

However, some white conservative men are unhappy with this iconic display of history making. Madison was a known owner of slaves during his Presidency, making Lizzo’s playing something he once owned even more of an incredibly patriotic “fuck you” to racial oppression within the United States. Of course, this kind of celebration of equality has to be Tweeted about by the patriarchy. Here’s one that displays just that. 

Lizzo is a morbidly obese weirdo in a thong twerking around on stage while playing with a priceless piece of American history. That’s the “level of care” we’re talking about. Also, I don’t give a flying shit if it’s an honor for HER. That’s not the point at all. https://t.co/uaeK8iVmJ2

— Matt Walsh (@MattWalshBlog) September 28, 2022

And of course, patriarchy is synonymous with Ben Shapiro. In a recent Tweet about the event he states, “that speaks to the, sort of, gentility of America’s founders being brought into a context that is vulgar. It’s the vulgarization of American history.” 

To the right, Lizzo playing James Madison’s crystal flute is the same as Snoop Dogg using it as a bong. It just ain’t white.

— ??? ????? ??????? (@HowCamJokes) September 30, 2022

President Trump would have never allowed James Madison’s crystal flute to be desecrated by a twerking Lizzo.

Joe Biden is making a mockery of this country.

— Brigitte Gabriel (@ACTBrigitte) September 30, 2022

Indeed he is. I’m so disgusted.

Someone reached out to Lizzo, she arrived & then asked if she could play it. But WHY was she so eager to play a white man’s flute?? It appears just to make a mockery of the situation!

— Kesha Powell (@KeshaPowell3) September 30, 2022

Her handling of the instrument has been called “playing” in a derogatory sense and a display that  “degrades our history” as stated by Greg Price. A man whose Twitter introduction reads, “God is real and dudes rock.”  

Lizzo played a crystal flute and a bunch of white people lost their damn minds. I argue if Trump took the flute and shoved it up his nose, these MAGA blatherers would call it a beautiful embrace of “our proud Western heritage.”

My column is an eye-roll:https://t.co/Zm7Ocv7qy6

— Rex Huppke (@RexHuppke) September 29, 2022

The people mad about Lizzo playing the Madison crystal flute are the same people mad about Halle Bailey being cast as Ariel the mermaid. It’s not logic-based outrage. It’s a distraction from actual issues worth paying attention to.

— Karen K. Ho (@karenkho) September 28, 2022

The significance of her performance as a classically trained African American musician playing an instrument that was once owned by a Founding Father who contributed to racial oppression seems to have been lost on those posting the impertinent Tweets. 

Photo by Lauren Perlstein

The queen of songwriting is back at it again with a new album, Midnights, and fans are counting down the days until its release. For the first time in two years, Taylor Swift is releasing new music and fans suspect that she will embrace an all-new sound in her upcoming album. Because of the track names, album art, and collaborations with other artists, Swift has led fans to believe that she may embrace a more pop-rock sound in her next album. 

When I think of pop-rock, I think of lyrically-light songs driven by strong electric guitars or drums. Pop-rock to me feels like the perfect blend of the mainstream airy, danceable pop sound with a bit of edge. We predict the vibe of Midnights will be reminiscent of Miley Cyrus’s latest album Plastic Hearts and Stevie Nicks’ solo albums like Trouble In Shangri-La. These are the darker pop-rock vibes that I can picture for Midnights. 

THIS is the vibe I predict for midnights…. Taylor Swift rock era?? #Midnights #Swifites pic.twitter.com/iDzzvIQGDY

— i’m bitter (@lexigg_) September 1, 2022

 Swift surprised fans by breaking the news about her 10th studio album Midnights on August 28 at the VMAs during her acceptance speech for her music video for the re-recorded version of her song “All Too Well (10-minute version).” At midnight after the awards, she posted on her Instagram and Twitter platforms that the 13-track album, which will be released on October 21, 2022, will feature “the stories of 13 sleepless nights scattered throughout my life.” 

 

 

 

 

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A post shared by Taylor Swift (@taylorswift)

 The release of Midnights marks the first release of entirely new music in two years, after a series of re-releases of some of her older albums (Fearless and Red). The singer began the process of re-recording her older albums after “her former record label sold them in a reported $300 million deal.” As Swift couldn’t obtain any of the rights to her older music that she recorded with Big Machine (as the ownership passed to Scooter Braun, known for discovering Justin Bieber), she decided at Kelly Clarkson’s advice to re-record her old albums. 

@taylorswift13 just a thought, U should go in & re-record all the songs that U don’t own the masters on exactly how U did them but put brand new art & some kind of incentive so fans will no longer buy the old versions. I’d buy all of the new versions just to prove a point ??‍

— Kelly Clarkson (@kellyclarkson) July 13, 2019

After surprising fans with the announcement of her new album, fans immediately began speculating and searching for Easter Eggs. Swift is famous for leaving clues and puzzles for her fans to solve in her lyrics, music videos, and social media teasers for music that is yet to come out. Some of the really well-known Easter Eggs include the use of John Mayer’s first name in “Dear John”, using the same caption “not a lot going on at the moment” for two Instagram posts in April and November 2020 hinting at the release of her sister albums, Folklore and Evermore, and so many more.  

Swift also started doing something she has never done before: announcing some of the track names for the album on TikTok. In a new series she coined “Midnights Mayhem With Me,” the singer uses an old-fashioned lottery ball machine to randomly select a track number to reveal the name of a song at midnight on various nights. She started the series on September 21, by revealing the name of track number 13, which is “Mastermind.” She then continued to surprise fans every few days at random with new episodes revealing track names, and on October 7, she completed 13 episodes and revealed 13 tracks. The song titles for the album include “Vigilante Shit,” “Question…?”, “Midnight Rain,” “Maroon,” “Anti-Hero,” “Bejeweled,” “Karma,” Lavender Haze,” “You’re On Your Own, Kid,” “Labyrinth,” “Sweet Nothing,” and “Snow On the Beach.”  

Although she hasn’t released any singles, she did release a behind-the-scenes description of “Anti-Hero.”

 

 

 

 

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A post shared by Taylor Swift (@taylorswift)

After hearing some of the track names and seeing the cover for the album, a few of my fellow Swifties and I have been theorizing that this album will mark the start of yet another era in Swift’s music.

 

 

 

 

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A post shared by Taylor Swift (@taylorswift)

The versatile musician made her debut in 2006 with her album Taylor Swift, filled with country ballads about growing up. After taking over the CMA with Fearless (2008), Speak Now (2010), and Red (2012), the 11-time Grammy winner switched gears and burst onto the pop music scene with 1989 (2014), Reputation (2017), and Lover (2019). Then, Swift surprised fans once more by embracing the alternative genre with her sister albums Folklore and Evermore (2020).

Although she has covered these various genres, in her nine previous studio albums, she has never released a pop-rock album. Fans think that Swift will enter her rock era with Midnights, and seems to have already hinted at it for fans in several ways, through some obvious and not-so-obvious Easter Eggs. In her TikTok series, she announced that “Snow on the Beach” will feature indie rock singer Lana Del Rey, and this will be their first collab. Because the singers are joining forces, fans believe this is reason enough to suspect that the album will have more of a pop-rock vibe. 

Snow on the Beach by Taylor Swift & Lana Del Rey will allegedly be the Lead single from #Midnights

It’s a pop-rock song with an instrumental outro. It is described as a mix of “Style” and “Pretty When You Cry”. pic.twitter.com/EEkPWktZhD

— The Cult Of Del Rey (@CinamonSlut) October 9, 2022

 The album cover alone is an Easter Egg: it’s completely different from her previous albums and definitely has a darker vibe. It features Swift staring at an open flame from a lighter, rocking her signature cat eye, a bob, and blue glittery eye shadow. In addition to the cover, the track names alone suggest that this album will have more of a rebellious feel than others. “Vigilante,” “Karma,” “Anti-Hero,” and “Mastermind” bring to mind badass female characters who get their revenge in movies like Kill Bill, Promising Young Woman, Miss Meadows, and more.  

Fans have been posting on Twitter since the album’s announcement similar thoughts about this theory.

You know what rhymes with clock??? Rock. Rock rhymes with clock. Midnights is a rock album. Thank you. #TSmidnighTS #TaylorSwift

— mj at midnight (@mjsversion) September 16, 2022

?| Producer Catherine Marks, who has been speculated that she could be a part of Taylor Swift’s ‘Midnights’ album, has followed a Swifties news account on her Instagram after they posted about the rumour!
She makes rock ? #MeetMeAtMidnight   #taylorswift pic.twitter.com/GR5D5Mo8BH

— Jason (midnights?) (@Jason_1389) September 8, 2022

midnights ? sad indie sleaze rock party girl chic #taylorswift #MidnightsTaylorSwift pic.twitter.com/4ROcq6QJd8

— lina?‍ (@tswizzlecat) September 1, 2022

 T-minus 10 days until Midnights is available to stream. In the meantime, you can buy merch for the album (including special edition vinyl records and more) on her website. 

Header photo by Makaiyla Willis via Wikicommons

YEAH YEAH YEAHS

Cool It Down

(Secretly Canadian)

Nearly a decade-long hiatus didn’t stop the Yeah Yeah Yeahs from bringing their all to Cool It Down. The project brings us everything we’ve come to know and love about the group, with some obvious evolution.The first single, “Spitting Off the Edge of the World,” reintroduces the beautifully haunting vocals of Karen O, mixed with the coos of Perfume Genius. Other standouts, like “Love Bomb,” are breathy and erotic, while “Wolf” delivers bouncy synths for what is destined to appear on a movie soundtrack. The energy ramps up for “Fleez” and “Burning,” but then chills back down for “Blacktop” and picks back up for “Different Today.” The project ends with pure poetry (literally) on “Mars.” Despite having only eight tracks, Cool It Down brings a deeply layered experience, joining together new and forever fans. Transcending place, space, and time as always, Yeah Yeah Yeahs have yet another hit on their hands. 

Listen to the album below:

This article was originally published in BUST’s Fall 2022 edition. Subscribe today!

Photo by David Black

Demi Lovato has made her most loyal fans extremely happy. For those who loved her albums Don’t Forget, and Here We Go Again, which were released in the mid-2000s and written during her years on the Disney channel, prepare to rejoice. Rock and roll Demi is back. HOLY FVCK is an absolute banger and a stark departure from her previously pop-dominated albums. This album delves into Demi’s most vulnerable moments without a filter and explores a new gritty rock sound with poetic lyrics that expose her truth about addiction, loss, and predatory relationships. On the new LP, tracks such as “Eat Me” featuring Royal & The Serpent establish a critique of the entertainment industry and consumption of celebrity figures. Lyrics such as, “you’ll have to eat me as I am” and “choke on it” beautifully describe her proliferation of personal championship and resistance to conform to norms previously imposed on the singer. 

In an interview with Vogue about the new gritty album, Lovato states “What I learned about myself making this record is that it’s okay to own your truth,” Lovato says. “I wanted to take my power back.” Suggesting this particular album represents an embrace of her authentic self. Lovato recently came out as non-binary, using she/they pronouns.  

Most strikingly, Lovato recently acknowledged an inappropriate past relationship she had with an older man when she was still a minor.  Her song, “29,” perhaps alludes to the circulating questions about her relationship with Wilmer Valderrama, a man twelve years her senior when they were together. In this song, Lovato sings that she is “finally 29, funny just like you were at the time.” This particular line is delivered hauntingly with strong electric guitar accompaniment, an intensity that matches the seriousness of each word. She states simply within the song, “17 29,” to showcase the extreme difference in age that needs no further explanation. This song, hopefully, will bring many survivors solace and perpetrators a reason to not sleep at night. 

Other songs on the album include very personal subjects such as her battles with drug addiction, particularly in the song “Skin of my Teeth.”  Lovato brings to light her recent and very public survival of a drug overdose on July 24th, 2018. In the track, “Skin of my Teeth” she plainly states in the first verse, “Demi leaves rehab again,” coupled with “go easier on me” and “goddamn it I just want to be free but I can’t because it’s a fucking disease.” 

This album celebrates individuality, survival, and sexuality, specifically in the track, “FREAK” with artist YUNGBLUD whose vocals give a sultry roughness against Demi’s clear melodic verses that aim to seduce. This album triumphantly salutes the artist’s early Disney-era albums we know and love her for. It’s an incredibly powerful album that says much about her desires to forge her own path, blazed in rock and roll. 

Top Photo: Still from YouTube. Demi Lovato – EAT ME feat. Royal & the Serpent (Official Live Performance) | Vevo

Santigold
Spirituals
(Little Jerk)

Santigold is back. Spirituals marks the singer/songwriter’s first release since I Don’t Want: The Gold Fire Sessions 2018 mixtape, and her first full-length since 2016’s 99¢. The mom of three took advantage of 2020’s lockdown to reconnect with her artistry, enlisting a prodigious set of producers and collaborators.

As the title reveals, she tapped into the sustenance of Black spirituals for inspiration to get over a famine of creativity. “[The title] touched on the idea of Negro spirituals, which were songs that served the purpose of getting Black people through the un-get-throughable,” she says in the press release for the album.

On the thematic “High Priestess” and “Witness”, the singler employs her trademark space oddity chant, scolding the haters who dare to count her out. “My Horror” recaps the mind-withering despair of quarantine, backed by the nursery rhyme melodies that cleverly heighten the eeriness. Synths and cymbals decorate the up-speed journey of “Fall First” to the call-and-response of a Black church service. 

Spirituals bravely ushers us into an unknown future, Santigold’s auspicious blessing to us all. 

By Camille Collins

Photo: (Santigold) Frank Ockenfels

This article originally appeared in BUST’s Fall 2022 print edition. Subscribe today!