Feminism, Pop-Culture | Posted by Emma E on 08/24/2011
Reversing Gender Roles With A Little Help From Ke$ha
When most people think of Ke$ha, feminism is not the first word that comes to mind. But I think her music does have some vaguely feminist merits.
I remember some time before I even discovered the FBomb (my life must have been so meaningless…) I was thinking about sexism in music. I remember thinking, “I wonder why most music by women is all about how much they love their guys, and men’s music is all about hooking up with random, personality-less girls at parties? Women almost never treat men like meaningless objects in music, but men do all the time.”
I tried to think of a song where women treat men like men treat them. The only one I could come up with was a little-known song from Ke$ha’s debut album, …
Pop-Culture | Posted by Julie Z on 08/21/2011
Support Women Artists Sunday: Haley Bonar
Haley Bonar (born 1983, Brandon, Manitoba) is an American alternative country singer-songwriter who hails from South Dakota. She has lived in Duluth and St. Paul, Minnesota. In July 2009, she moved to Portland, Oregon, where she currently resides. She plays guitar and keyboards and typically is backed sparingly, in some instances by only a drummer.
In 2003 Bonar’s album . . . The Size of Planets (Chairkicker’s Union) received favorable reviews in the Minneapolis press. The album spawned the single “Am I Allowed,” which was played on college radio stations.
In 2006 she released the album Lure the Fox,’, originally on Mary Ellen Recordings, whose owner, Mary Lewis, decided to help Bonar pay to record the album at Pachyderm Studio after reading a Star Tribune article about her in 2005. …
Pop-Culture | Posted by Julie Z on 05/21/2011
Saturday Vids: Out of the Vinyl Deeps – Ellen Willis on Rock Music
In 1968, the New Yorker hired Ellen Willis as its first popular music critic. Her column, Rock, Etc., ran for seven years and established Willis as a leader in cultural commentary and a pioneer in the nascent and otherwise male-dominated field of rock criticism. As a writer for a magazine with a circulation of nearly half a million, Willis was also the country’s most widely read rock critic. With a voice at once sharp, thoughtful, and ecstatic, she covered a wide range of artists—Bob Dylan, Janis Joplin, the Rolling Stones, Creedence Clearwater Revival, and the Velvet Underground,—assessing their albums and performances not only on their originality, musicianship, and cultural impact but also in terms of how they made her feel.
Because Willis stopped writing about music in the early 1980s—when, …