music

  • ItCantFinal 200da

    BUST is excited to exclusively premiere SUSU's new song and video, “It Can’t Be Over.” The song is the lead single off of their upcoming debut EP, Panther City. The single is a catchy tune about not wanting a relationship to end, featuring soulful guitar and rich vocals.

     

    The New York-based band is known for blending of rock ‘n’ roll and soul. SUSU, led by Liza Colby and Kia Warren, combines Liza’s psychedelic sensibility and Kia’s slow-burn aesthetic. Of the band, Liza says, “We aren’t shy about being black women in Rock and Roll. There is an aliveness, an awareness, and a spirituality to SUSU that are both timely and timeless.” The band’s music explores themes of femininity and sexual energy.

    “It Can’t Be Over” recounts a classic battle of the heart. The song asks the question: how do we choose to love while fighting for ourselves? The music video, premiering today, shows both frontwomen dealing with different relationships and fighting through them.

     

    You can watch the video below and check out the band’s website here.

    Video By: David Barron 
    Artwork/Photos: Sarah KC
    Vocals and Tambourine: Liza Colby & Kia Warren
    Guitar: Nik Lee
    Rhythm Guitar / Organ: Andrew Skates 
    Bass: Aden Bubeck 
    Drums: Josh Block & Jordan Richardson

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  • 4 surviving r kelly 1.w700.h467.2x b9005

    R. Kelly’s reputation as a sexual predator has been public knowledge for decades. In 1994, a 27-year-old R. Kelly married a 15-year-old Aaliyah, who he was mentoring at the time. In 2002, Kelly went to court after a video was released in which he allegedly performed sex-acts including urination on an underage girl. Kelly was charged with possession of child pornography as a result of the video, but he disputed, claiming he was not the man in the tape. The young girl refused to testify, and the jury ultimately found him not guilty.

    One of the saddest aspects of R. Kelly’s court case is perfectly summarized in Madeleine Davies’ essay for Jezebel in which she states, “R. Kelly’s court case became a national punchline with most people going after R. Kelly’s urine kink rather than the true heart of his crimes.” It was easier for people to make sophomoric golden shower jokes than seriously consider that a popular artist could be a dangerous predator. Kelly seemed to face no consequences for his crimes, selling millions of records and continuing to receive nominations for awards. 

    The lack of accountability for perpetrators like R. Kelly is not unusual and it’s why the Lifetime docuseries, Surviving R. Kelly, is a necessary and important watch. The six-hour series is airing in three installments. Comprised of dozens of interviews with survivors of Kelly’s abuse (all women of color, some underage at the time of their assault), the series traces his controversial past, explores how the abuses happened, and explains how Kelly has been able to persist in this behavior for so long. Showrunner dream hampton told Entertainment Weekly:

    “We wanted irrefutable evidence. Without leading any of these women, they all had the exact same stories, even if their interactions with R. Kelly were 15 years apart. All of them have stories about being physically abused, being videotaped without consent, being denied food or bathroom privileges as a punishment. All of them have stories about rules that were established early on.”

    hampton has spoken candidly about ensuring the stories of these women will be shared and remembered. An active presence on Twitter, hampton promotes and engages in the dialogue around systemic racism, the silencing of black survivors, and holding abusers accountable. 

    When the Manhattan theater hosting the initial premiere screening received violent threats, resulting in an emergency evacuation, hampton’s first priority was the survivors who were “retraumatized” by the experience, but ultimately she was not surprised. She spoke to ShadowandAct.comsaying, “When I said I’m at war with R. Kelly, this is what I meant. I don’t ever want to underestimate him. This is a man who has built systems around his abuse, which is something that you’ll see in the docuseries.” Lifetime released a statement saying the threat “was an intimidation tactic from R. Kelly to further silence these women.” Andrea Kelly, R. Kelly’s ex-wife, has said he was the person behind the threats.

    The final two instalments of the series will air Friday, January 4th at 9pm ET/PT and Saturday, January 5th at 9pm ET/PT. The first installment of the series aired January 3rd and can be viewed on Lifetime.com. “I hope that women can watch it in groups and take care of themselves. It’s going to be as triggering as triggering can be,” hampton noted in an interview with Complex.com. Despite the series' deeply upsetting subject matter, people are watching, engaging and tweeting their solidarity. 

    When asked if she has any final words on the matter, hampton told Complex, "Just believe black women. We tend to be the canary in the coal mine on a lot of these issues. It's no coincidence that #MeToo was founded by a black woman. Just listen to black women. That would be the last thing I want to say."

    Published January 4, 2019

    Image: Lifetime

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    https blogs images.forbes.com scottmendelson files 2019 05 hustle 1200x675 24958

    Whether it’s music for movies about male strippers, French revolutionaries, or, with The Hustle, female con artists, Anne Dudley has composed it all. One of only three women to have won the Oscar for Best Original Score (for The Full Monty in 1997), she’s become known for her eclectic choice of projects, which includes other ’90s hits The Crying Game (1992) and American History X (1998), as well as the Anne Hathaway/Hugh Jackman Les Misérables and last year’s Mamma Mia: Here We Go Again. I caught up with Dudley and got the scoop on her composing process, her thoughts on scoring for different genres of films, and the film score that inspires her to this day. 

    I’ve always been interested in film scoring – it’s something I always listen for when I’m watching a movie. I know that The Hustle is a remake of Dirty Rotten Scoundrels, so I was wondering what your approach is when you’re creating a score for a movie that’s a remake. Do you look to the original score for inspiration or continuity? How do approach that project?

    It all depends. Sometimes not. But in actual fact, in this case, Dirty Rotten Scoundrels, which starred Michael Caine and Steve Martin, was set in this same sort of Mediterranean south of France location. And it had this rather lovely score which featured a jazz violin in the style of Stephane Grappelli. And it sort of fit, and we tried different things, and we kept coming back to this idea of having something that was a little bit retro—a little bit based on the music of the ’30s, I suppose. I only watched Dirty Rotten Scoundrelsonce because I didn’t want to get overly influenced by it. And actually, apart from providing the story [for The Hustle], it’s completely different in every respect. But it did, in this case, provide a really good starting point.

    When approaching a film, do you look to genre first for creating the score? What’s your general process, if you have one?

    Well, I think with comedy, it’s very important… there’s a couple of things with comedy. I don’t like comedy scores which try too hard to keep telling you “this is a comedy.” There’s certain cliches that go around, like pizzicato strings. So I don’t like that. I like to find something which picks up the rhythm of the comedy, somehow. 

    And also, with a comedy, you can easily take away the humor. So it’s very important to keep the pacing of it going, and to keep the lighthearted nature of it going. I think in many ways, a comedy is more difficult than drama. [The music can’t] bring a scene down—it needs to sort of bring the scene up, if that makes sense.

    When you are working with material that already incorporates a lot of songs like Mamma Mia: Here We Go Again or The Full Monty, how do you craft the music to fit in? 

    That is a specific task to do sometimes. For example, with Mamma Mia, because ABBA have written so many brilliant songs, it was our deliberate intention wherever we could to find an ABBA song I could arrange in such a way that it would sound like the score. There’s all sorts of ABBA songs—there’s “Honey Honey” in my score—which don’t actually appear in the film, but the whole soundtrack has a feeling of unity, I suppose, because it’s all mostly the same songs. And with The Full Monty, there was a certain style to the songs. They had a lot of brass in them. They were quite soulful. And that had an influence on the score. The nice thing about The Hustle is that it doesn’t have many pop songs at all so the music score is, in a way, very much more important in actually establishing a musical tone for the film.

    Do you think of character motifs in any of your films? Or are your first concerns rooted in genre?

    I don’t really follow character motifs, particularly. I think you can get into a right pickle if you do that all the time. I sometimes like motifs that represent abstract things, like you might have a motif for loyalty, or love, or resilience, or something like that. Especially when you’re doing a long running TV series, actually, because those sort of motifs can help you bring a unity to the drama. And a lot of the characters will experience, say, resilience at some point or another, and you have something that represents that, that can be very useful. That works better for me than finding a theme for a character, which can be a bit confusing if you have two or three character in the same scene. It becomes very constricting, I think.

    You’re also the composer for the BBC series Poldark. What was your approach for that?

    There’s a couple things in Poldark. There’s a historical section which has a bearing on what I did. Specifically, it’s set in Cornwall, which is way out in the west of England, and we wanted to find a sort of, if you like, a Cornish style, whatever that is. And I looked at some of the folk music which came from the west of England. I looked at the melodies and harmonies and what sort of character that had. Obviously, the score has to do lots of things. I was just working on the fifth series of Poldark, so there’s a lot of hours of drama to come. And you need to have a lot of things to draw on. […] I just wanted to give them music with the character of England and of Cornwall. There is a little bit of music that [the characters in Poldark] play and sing, and those are actual folk songs, mostly, and that has a bearing on the whole style of the score. But the score needs to do the normal things a score does. It needs to underline the drama, reinforce the emotions, do all those sorts of things.

    When you’re working on a movie that’s got a very serious political theme like American History X, what’s that approach?

    Well it’s a similar approach. You’re trying to find the right sound for that particular film. I spoke to the director about using a boys’ choir, which he was very keen on […] The Ed Norton character has almost a missionary religious zeal about his beliefs. And we used the choir to sort of reinforce this self-aggrandizement that he has. He’s completely convinced that he’s right at the beginning of the film. Towards the end, he loses his faith in his right-wing ideology, and the music sort of then drifts away and starts doing other things. It was quite a challenging film to do, really. It’s pretty serious stuff […] You have to get a balance between being too full of yourself and being bland. 

    You also worked on Les Misérables. That entire film is sung pretty much all the way through, so what did you see as your role?

    I was there on spec a lot of the time—almost all of the time, because the singers are singing live, and most of them weren’t primarily singers. They were mostly actors. And they needed help—they needed to warm up properly; they needed to go through the songs so they were completely okay with them. It was a continuous process. I think my role on that film is described as “music producer.”

    Then after the actors had finished, and we were in post-production, I was responsible for getting the orchestration to make it sound like the orchestra had been there live as well, since of course it hadn’t been. [The actors] were singing with a live piano—an electric piano, so we weren’t getting any sound on set. And they had earpieces which you can’t see because they were all [removed]. Video effects managed to take them out in post-production. So they were singing live, and whatever they wanted to do for each performance, the pianist was following them. The songs have varying tempos, and the actors weren’t restricted by having to have a predetermined tempo. Most people don’t do musicals like that, because it’s very challenging. We felt we were breaking new ground. 

    I see you’ve done scores for horror films. I can imagine that with horror, the sound is sometimes the most important thing when it comes to preparing the audience.

    The trouble is with a horror film, once you’ve watched it as we do when work on the score ten, twelve, twenty, thirty times, you lose any sense of tension, because you know what’s going to happen. So you have to keep reminding yourself that the audience is only going to watch it once. You have to sort of put yourself back in the mind of the audience, and not give away what’s around the corner. You can make a very bland scene very tense, which might be a good thing. The thing with a horror film is that you have to undermine the audience’s expectations. You have to keep shocking them. It was not something I felt that was really particularly my sort of bag. 

    Is there a project that you see as the essence of your method or style?

    I like to keep fooling people by doing completely different things all the time. Thirty years ago, I was in an avant-garde pop group called The Art of Noise, and we just used samples all the time and a lot of electronic keyboards and that was that. Then, I did a TV series which was based around 1920s jazz, and then I did American History X, which is very serious classical choral stuff. I do genuinely like to keep doing different things, which can confuse people, because people like to pigeonhole. They like to say, “oh, [this composer] does comedy scores” or “[that composer] does very dramatic scores.” I think most composers would hate people to think that they only did one sort of thing.

    What recent film scores have you liked?

    Well, of the Oscar contenders, I really liked Alexandre Desplat’s score for Isle of Dogs. I could just tell that nobody had been on his back, and that he’d done something that was really original, really funny, and very unconventional. And I think that was fantastic.

    What’s another movie score that you consistently think of, or that you like to listen to again and again?

    One of the scores that I always keep coming back to is not particularly well-known. It’s very old now. But I remember hearing it and being so inspired by it that it made me want to write film music. It was John Williams’ score toThe Witches of Eastwick. I don’t know if you’ve seen that movie.

    I have seen that movie! I didn’t know that was John Williams. He’s done everything!

    It’s fantastic. I listened to the music before I saw the movie. The music has its own character and it just fits so beautifully in the film. The two of them together become something else, which is what you would like to think music can do to a film […] I thought “gosh, if I could ever write anything that was half as great as that…” and I’m still trying. 

    The Hustle is in theaters now.

    Top photo via MGM / The Hustle

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    Attention all Phoebe Bridgers fans: do not remove your skeleton costumes. With the recent announcement of her four Grammy nominations (Best New Artist, Best Rock Song ("Kyoto"), Best Alternative Music Album (Punisher), and Best Rock Performance ("Kyoto")), it’s probably best to keep them on.

    According to an interview with The New York Times, Bridgers received her Grammy nomination news via a flood of texts from her mom while in bed with a migraine. How relatable! Bridgers’ second solo album, Punisher, was released in June on Dead Oceans to the acclaim of not only critics but also people who like to cry in their cars — yeah, I’m talking about you. 

    In late November, Bridgers’ released Copycat Killer, a collaboration with string-instrumentalist and composer Rob Moose. The EP transforms four Punisher favorites (“Kyoto”, “Savior Complex”, “Chinese Satellite”, and “Punisher”) into delicate, violin and cello-laden ballads. 

    Can't get enough Bridgers? Check out her latest video for "Savior Complex", directed by Phoebe Waller-Bridge — because two Phoebes are better than one.    

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    Top image: Phoebe Bridgers' Live Performance of "I Know The End" on Late Night with Seth Meyers

     

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    There is no question that last night’s Billboard Music Awards stood out from previous years. Not only did the event, which takes place in L.A.'s Dolby Theater, happen without a live audience, but stars such as Demi Lovato, Lizzo, and Killer Mike used their platforms to highlight important current and political issues. In case you missed it, here are some of the most noteworthy moments.

    1. Demi Lovato performed her newest song, “Commander in Chief,” a protest against President Trump.

    Lovato’s performance was illuminated in front of a message, displayed in block letters, which read "VOTE!" and was not broadcasted on NBC. However, Lovato still got her message across. “Commander in Chief, honestly/If I did the things you do/I couldn't sleep, seriously/Do you even know the truth?" she asked. "We're in a state of crisis, people are dying/While you line your pockets deep/Commander in Chief/How does it feel to still be able to breathe?”

    Despite receiving backlash on social media, with fans advising Lovato keep politics out of her performance, she fired back. “You do understand as a celebrity, I have a right to political views as well?" she wrote on her Instagram Story. "I literally don't care if this ruins my career. This isn't about that. My career isn't about that. I made a piece of art that stands for something I believe in.”

    Following the song’s debut, Lovato released the music video, with the caption on Instagram: “I'm calling on all of you, please join me in voting for this year’s election. Find your voter information at iwillvote.com.”

    2. Lizzo accepted the Top Song Sales Artist Award while reminding fans to channel their inner power and get out and vote.

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    “When people try to suppress something, it’s usually because that thing holds power. They’re afraid of your power. There’s power in who you are, there’s power in your voice, so whether it’s through music, protest, or your right to vote, use your power, use your voice and refuse to be suppressed,” Lizzo said. She also wore a one-shoulder black dress with “VOTE” printed in bold letters throughout.

    3. Killer Mike received the first-ever Billboard Change Maker Award for his activism in social justice.

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    The award was presented by Keisha Lance Bottoms, the Mayor of Atlanta, Killer Mike's hometown. In his speech, Mike said, “Kids out there that sing and dance: What you do is worthy…You are artists and your goal should be to express the very reality around you in the very most beautiful or ugliest of ways you see fit. Kids who run and dance and sing and jump and all that, all the things they tell you don't matter -- you matter more than you know.”

    4. Bad Bunny accepted the Best Latin Artist Award and dedicated his win to Latina and Puerto Rican women.

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    The singer said, “Without you, there wouldn’t be anything, nothing, nothing; not music, not reggaeton, nothing.” Behind him stood Ivy Queen and Nesi, two prominent women reggaeton performers.

    5. John Legend dedicated his performance to his wife, Chrissy Teigen, following her pregnancy loss.

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    Legend performed his song “Never Break,” off of the album Bigger Love, starting, “This is for Chrissy.” The couple recently shared news of the loss of their son, Jack, only a month into Teigen’s pregnancy, and Teigen was praised for openly discussing her miscarriage, and the grief surrounding it, on social media.

     
     
     
     
     
    View this post on Instagram
     
     
     
     
     
     
     
     
     

    We are shocked and in the kind of deep pain you only hear about, the kind of pain we’ve never felt before. We were never able to stop the bleeding and give our baby the fluids he needed, despite bags and bags of blood transfusions. It just wasn’t enough. . . We never decide on our babies’ names until the last possible moment after they’re born, just before we leave the hospital. But we, for some reason, had started to call this little guy in my belly Jack. So he will always be Jack to us. Jack worked so hard to be a part of our little family, and he will be, forever. . . To our Jack - I’m so sorry that the first few moments of your life were met with so many complications, that we couldn’t give you the home you needed to survive. We will always love you. . . Thank you to everyone who has been sending us positive energy, thoughts and prayers. We feel all of your love and truly appreciate you. . . We are so grateful for the life we have, for our wonderful babies Luna and Miles, for all the amazing things we’ve been able to experience. But everyday can’t be full of sunshine. On this darkest of days, we will grieve, we will cry our eyes out. But we will hug and love each other harder and get through it.

    A post shared by chrissy teigen (@chrissyteigen) on

    Legend sang, “Whenever life is hard/We'll never lose our way… I just know I'll always follow the light in your heart/I'm not worried about us/And I've never been/We know how the story ends… We will never break/Built on a foundation strong enough to stay… You are the explanation of what love really means/It's bigger than you and me/It's one plus one equals three/When we talk about forever/Then forever's what we mean.” 

    Images: Screenshots of the BBMAs from NBC's YouTube livestream

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  • albumcovers 6f153  

    Welcome to the second half of our music reviews from our February/March 2018 issue! (See the first half here.) March brings us new albums from the Breeders, the Orielles, U.S. Girls and more. Read our reviews here and listen to the playlist below. 

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    THE BREEDERS
    All Nerve 
    (4AD)

    Upon hearing there was a new Breeders record coming out after nearly a decade, my excitement was tempered with reservations. What can we realistically hope for without getting set up for disappointment? Nearly 30 years and four albums (plus a few EPs) into their career, one might expect to find the Deal sisters—that’s ex-Pixies bassist Kim Deal, later joined on guitar by her twin sister Kelley—going through the equivalent of an ’80s Bob Dylan phase. (Ugh, OK maybe not that bad.)

    Thankfully, All Nerve is a venerable work of art, complete with unique and unpredictable stop-and-go chord progressions and lyrics that linger in your mind even when you don’t fully understand their meanings. The album’s lead single/crown jewel, “Wait in the Car,” wakes you up with the sort of “aooh-aooh” pop harmonies not heard since the Breeders’ 1993 hit record Last Spash. (And seriously, is there anything more beautiful than two humans with identical DNA harmonizing?) Other tracks like “Walking With a Killer” are dominated by bassist Josephine Wiggs and dabble in sparser experimental arrangements. While darker songs like “Nervous Mary” and “MetaGoth” still manage to shred as much as the band’s earlier works. Archetypal alt-rock bands often struggle to remain relevant in a genre that’s also struggling, so it’s refreshing when new music from icons not only reinforces their status, but also surpasses expectations. With All Nerve, the Breeders continue to reign as the gold standard in perfectly crafted pop weirdness. 5/5 –BREE MCKENNA

     

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    LIZA ANNE
    Fine But Dying
    (Arts & Crafts)

    Since her 2014 debut, The Colder Months, Liza Anne has mastered a sense of melancholy with her smooth voice. But her latest LP, Fine But Dying, has a greater sense of urgency and anxiety. Lead single “Paranoia” features melodic vocals that slip into dissonant talk-singing. Tension slowly builds, and, almost without warning, crunchy guitars blare through your speakers. Meanwhile, “I’m Tired, You’re Lonely” has the saccharine sorrow of a country song. Fine But Dying mimics the pace of a heartbeat—frantically racing and then slowing down to take a breath. 3/5 –MARY KINNEY

     

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    CAMP COPE
    How to Socialise & Make Friends 
    (Run for Cover)

    Melbourne-based indie-rock trio Camp Cope returns for its second LP, offering up another appealing helping of clever, self-aware lyrics. The opening track, appropriately titled “The Opener,” discusses sexism and self-entitled men in the music industry. On the title track, Georgia Maq’s voice reaches toward a cathartic scream as she laments the end of a relationship. “I can see myself living without you,” she sings, “And being fine/For the rest of my life.” The band’s style of wry lyrics over slightly off-kilter guitar work is reminiscent of ’90s feminist indie greats like Team Dresch and Sleater-Kinney—a welcome nod to the past and a spark of hope for the music industry’s future. 5/5 –ADRIENNE URBANSKI

    AnnaMcClellan YesAndNo 4978d

     

    ANNA MCCLELLAN
    Yes and No
    (Father/Daughter Records)

    Anna McClellan has no problem getting cozy with that weird sense of feeling everything at once. On Yes and No, her second collection of piano-driven monologues, the singer/songwriter goes deep on love, life, the female condition, and the restlessness that comes with wanting so much simultaneously. From the folksy twang of “Happy Type” to the nervy bounce of “It Just Makes Sense,” McClellan sings straight into your brain, nailing every ounce of uncertainty you’ve ever felt with a stack of driving melodies and one super-fresh voice. Get your ears on this ASAP. –MOLLIE WELLS

     

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    THE ORIELLES
    Silver Dollar Moment
    (Heavenly Recordings)

    Halifax, U.K., trio the Orielles—Sidonie B. Hand-Halford (drums), Esmé Dee Hand-Halford (bass, vocals), and Henry Carlyle Wade (guitar, vocals), aged 21, 18, and 17 respectively—sounds like summertime on its debut LP, Silver Dollar Moment. The semi-surreal lyrics and somewhat lysergic musical sensibilities pick up hints of ’80s indie (think C-86-style melodic janglers) and ’90s Brit pop (think Pulp at their most disco) put through a breezy, infectious filter all their own. The restless guitar pop of “Let Your Dogtooth Grow” and the unsinkable chorus on standout track “I Only Bought It For the Bottle” are all set for your vitamin-D playlist. –EMILY NOKES

     

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    U.S. Girls
    In a Poem Unlimited
    (4AD)


    Meghan Remy has produced another unclassifiable masterpiece under the U.S. Girls moniker, In a Poem Unlimited. Remy’s music, which is simultaneously hummable and harsh, creates a surreal world that is equal parts frightening and sexy. Stylistically, the album ranges from disco (“M.A.H.”) to experimental jazz (“Time”) to ’90s R&B (“Pearly Gates”) to acid house (“Incidental Boogie”) without skipping a beat. Despite these disparate influences, In a Poem Unlimited never feels derivative or disjointed. In fact, this album has a distinctly pop sensibility that makes it surprisingly accessible. If you’re not already a U.S. Girls fan, this should convert you. –SARAH C. JONES

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    STARCHILD & THE NEW ROMANTIC
    Language
    (Ghostly International)

    Bryndon Cook—better known as Starchild & The New Romantic—is aiming for center stage with Language. After assisting Solange with her Seat at the Table Tour, the soulful wunderkind brings his best work to the forefront. The title track prepares us for the smoothly sexy ride ahead, while songs like “Mood” and “Only If U Knew” channel the late Prince in feel. Meanwhile, “Black Diamond” and “Can I Come Over?” travel to a whole other era, with album closer “Hand To God” wrapping the project up nicely. Is it possible to travel back to the future with one album? If so, then Language is it. –KATHY IANDOLI

     This article originally appeared in the February/March 2018 print edition of BUST Magazine. Subscribe today!

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    One year after the groundbreaking New York Times exposé about Harvey Weinstein, Amanda Palmer and Welsh songwriter Jasmine Power have released a powerful video accompaniment to their protest song, “Mr. Weinstein Will See You Now.” The totally crowdfunded video (all profits are being donated to #TimesUp) is a female tour de force, directed by Noemie Lafrance, shot with an all-woman cast and crew, and featuring sixty women artists. It’s NSFW—shots include full-nudity and implicit assault. It’s a tough but essential watch. Shots of solemn, white Oxford-clad women alternate with anguished dance. As the final shot expands to a full choir, the sorrow—and defiance—is palpable. BUST spoke with Palmer about #MeToo and the difficult, but necessary, process of making this vision a reality.

    “Mr. Weinstein Will See You Now” features the work of more than 60 women and the video concludes with a choir; why was it important to have such a strong collective, female presence?

    This moment in time and the progress that we are just beginning to grasp is so clearly about the power of the collective. So while we could have choreographed a video with five killer professional dancers, the sheer force of the number wouldn't have been an ingredient. It's also always important for me to include my community in what I make. This story isn't just my story—it's theirs. I come from a punk and performance art background, and it's always important to me that we all create together. I believe that everybody should be involved in making art, not just the so-called "professionals." So a lot of the women you see in the video have literally never been in front of a camera before, much less naked and raging in front of a camera. And there's something innately powerful about giving all these women a chance to be on the other side of the screen. It reflects what's been happening in the #MeToo era in general: women at every level are grabbing back the narrative, and the very platforms in which that narrative gets told.

    So, the video was totally crowdfunded—how does that interact with the video’s narrative or themes?
     
    The fact that this video was crowdfunded is essential. People are so used to seeing content appearing on their screens that they don't often think about where the funding comes from, and most musicians are still very loathe to express how the art-sausage gets made. Every time you see an expensive video, that money had to come from somewhere, and videos themselves don't earn any money. No major label would have ever funded this project. I was on a major label for many years and I have friends who still have to do battle in giant boardrooms to convince a bunch of men that their ideas are worthwhile. I don't want to work in conditions like that—it's why I went indie ten years ago. I would also never let corporate dollars fund a piece of work like this. I mean, I'm from the '80s and '90s and still believe that selling out is real. I think that having Dove Soap or Mac Cosmetics fund art like this literally undercuts the point of the art.

    Feminist art has to be able to exist in a liberated playing field without boundaries, without permissions, without dudes up in marketing telling you that your work is too this, too that, or "off brand." Fuck that. That's the sort of idiocy that trapped us in this mess in the first place. So if you're not independently wealthy, and there's no money coming from labels, and there's no money coming in from sponsorship, the only answer left is crowdfunding. The media is in a strange freefall right now, and people are so hungry for truth and authenticity in art and storytelling. This is why you're seeing people starting to flock to journalists and writers and musicians on platforms like patreon. I've been working on building my patreon for over three years, and I now have 12,000 people giving me about $3-4 a month so that I can make the art I want to make without having to answer to a higher power, and more importantly, without having to rely on the mainstream media to push my work into the world. And that feels like a revolutionary act right now. 

    Rape is (to say the least) a difficult topic to depict, and even imply, in a music video. Can you tell me about the process of translating that topic into visuals?

    Noemie [Lafrance, the music video director] and I discussed this at length and so carefully when we laid out the plans for the choreography, cast and crew. One of the most important things you'll notice is that Weinstein himself isn't represented in the video. Nor is a rape depicted. The song was written as an argument in a woman's head: Jasmine's voice and my voice are pitted against one another as if two sides of a woman's brain—"escape right now and deal with the consequences" versus "just lie back and let's get this over with." So many women I know have had to deal with that inner, crazy-making decision at one point or another. It was such a difficult thing to write about, especially with a specific title like that: these weren't our experiences, and we were using Weinstein as a springboard to a much larger conversation. I actually leaked the title of the song to my patreon blog before it came out and I got a text from one of my feminist journalist friends—Laurie Penny—saying, basically: "Eek - don't call your song 'Mr. Weinstein Will See You Now,' it's not your story to tell, Amanda. Be really careful and don't get yourself into a typical kerfuffle." And I challenged her and said: "Listen, when Weinstein is on the cover of every newspaper and his name is now synonymous with #MeToo, I think we're at the point of fair use." And she said: "Don't." And I said: "What if I just emailed Rose McGowan and asked her permission?" and Laurie said, "Wow. That's fair, I guess."

    So I wrote to Rose McGowan—whose book I had just finished reading, which played no small part in the inspiration for this song—and sent her the track and the lyrics. I asked for her blessing to use the title. And she told me that the song made her heart race and cry, and to go ahead and use the title. And I have to say, that whole exchange gave me so much hope for feminism. Laurie calling me out, my reaching out to Rose, all of us discussing the etiquette of story, respect and ownership together. Like feminism itself: it's always going to be messy as fuck, and nobody is ever going to agree completely, but we have to keep working together to keep this fire burning. Otherwise we are going to perish in the flames of in-fighting and useless battles over the nuances of language and consent while the patriarchy just marches along and crushes our chances.

    The song was originally released in May as a response to Weinstein’s crimes, but the video arrived in the midst of Kavanaugh’s confirmation. How do you think the timing has affected the conversation surrounding “Mr. Weinstein Will See You Now”? 

    Oh my god, it was too poetically painful. The video release date was set for the 5th of October, which was the one year anniversary of the New York Times article on Weinstein, but as fate would have it, that was also when the hearing and the vote for Kavanaugh was going down. I hadn't planned to do a screening for the video—I've never done that—but I just happened to be in L.A. that week making a record and I said: fuck it, I really want to get everybody together in one room. Every artist and woman I know right now is just in a state of shock, being on the internet just wasn't enough. So I booked a theater and a few hundred people got to huddle in the dark and watch it together. And we did what needs doing right now: we talked. We wept. People got up and grabbed the mic and shared stories. A six-foot tall man wept in my arms while he told me about his assault and how people find it so hard to believe because he's such a huge dude. Making art and gathering people together is what I do. It felt like the strongest response I could possibly have to Kavanaugh: to get women in a room and share our stories. 

    How has the process of filming this video personally changed you?

    I've been making art and music videos like this for so many years and it wasn't until Trump was elected that I started proactively using my Patreon money to hire crews with more women. the "Mother" video that I shot was with a female director and a crew that was predominately women, plus a lot of them brought their kids, and I was like: holy shit, it's actually incredible when you have a film set that's run by women, there's just a completely different energy. And with the Weinstein video, Noemie and I committed to a cast and crew that was almost entirely female as well. And I can't quite describe the feeling in that room, but it was alchemical. As if we were harnessing something really massive and giving a pointed message to the universe with the act of making this video. And every woman on that set commented on it, and felt it. That video wasn't just about the product we were making, it was about the act of communion that birthed it. I think it fundamentally changed every woman in the building. We left feeling like we had a posse, we had hope, we had a voice. I said to the whole cast while we were rehearsing: even if the footage all gets lost in the river tonight: the point of this video has been archived. Because we're all here, we're all feeling this, and we're going to take this feeling back out into the world tomorrow. 

    What’s the change—big or small—you hope to provoke in viewers?

    I've already read some comment from women who said that the video provided them a real catharsis. That's the ultimate purpose of this work. And if just one person found a sense of camaraderie or healing as a result of this video, that's enough for me. 

    Top photo: Youtube / Amanda Palmer

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    Busy Philipps Discusses Her #MeToo Experience And Her Mission To Take Down The Patriarchy In BUST Exclusive Interview

  • Fake It Flowers Beabadoobee f8a00
    Filipino-British artist and 2020 Brit Awards Rising Star nominee Beabadoobee is slated to release her debut album, Fake It Flowers, in October.

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  • WAP screenshot ad06c

    Ben Shapiro, conservative commentator and the king of bad takes, recently reacted to the new Cardi B and Megan Thee Stallion song, "WAP," on his show for the conservative outlet, The Daily Wire. And it’s a doozy to watch. Not only does Shapiro prove that he has no rhythm, but he also completely misses the point of the video. But despite how bad his take is, the video is kind of entertaining because of how bad it is. Throughout the video, Shapiro laments about the vulgarity of the song and says p-word instead of pussy.

    People on Twitter were not slow to clown on Shapiro and his video.

    The video has sparked a couple of comedic mashups of the song with his video and I gotta say, even though I hate Ben Shapiro with every fiber of my being, the remixes are entertaining.

    Towards the end of his video, after he reads through the lyrics, Shapiro went on to make yet another bad take to add to his collection. “This is what feminists fought for. This is what the feminist movement was all about, and if you say anything differently it’s ’cause you’re a misogynist, see?” What this disgusting little man refuses to realize is that feminism is a multifaceted movement and that women talking about their pussy because they want to is not degrading.

    There is something special about having our bodies being talked about by men and viewed through the lens of men for so long and then flipping that script on its head. That’s what this video is about and that’s what feminism is about. No one is saying that all women have to talk about their pussies or sex, but feminism is allowing women who have been historically not allowed to talk about these things to talk about them.

    Of course, with anything women do, Shapiro wasn’t the only man to open his mouth to give his opinion when he wasn’t asked. A Republican running for a congressional seat in California said that the two singers were raised “without God and without a strong father figure.” Errol Webber, another politician said that the song was “one big advertisement for promiscuity.”

     

    These comments were met with backlash, considering men have expressed their sexuality in music for so long and there’s nothing wrong with female sexuality.

    Cardi B even joined in on the fun of clowning on Shapiro. She posted a tweet reacting to the remix with a bunch of laughing crying emojis and posted another tweet commenting on how made conservatives were about the song. It's safe to say, that in like most instances, Cardi remains unbothered.

    While you don’t have to like the music or the music video, the backlash these two rappers are getting from men is ridiculous, but obviously not unexpected. Women should be able to express their sexuality without being criticized for being exploitative, especially if they're expressing their sexuality on their own terms and in their own way.

    Header image: Screenshot from the WAP Music Video

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  • Billie Eilish 2020 f6528

    Last night Billie Eilish, 18-year-old Grammy winner, and Gen-Z icon began her Where Do We Go world tour in Miami that included a protest about her experiences with being body shamed. Since the teenager’s breakthrough and rapid success in the music industry and online, Eilish has developed a look- baggy, androgynous clothes, neon hair and pointed acrylic nails- which she has mentioned is to keep her figure anonymous. And subsequently avoid the criticism that women, particularly young women, experience from the public.

    In a 2019 Calvin Kelin campaign, she said, “Nobody can have an opinion because they haven’t seen what’s underneath. “Nobody can be like, ‘she’s slim-thick,’ ‘she’s not slim-thick,’ ‘she’s got a flat ass,’ ‘she’s got a fat ass.’ No one can say any of that because they don’t know.”

    Fan recorded videos showed Eilish’s interlude for the concert as a slowed-down clip of her slowly undressing down to her bra along with a frank monologue about her feelings toward the public’s need to judge a woman for her body.

     

    Here is the full speech:

    “You have opinions — about my opinions, about my music, about my clothes, about my body.

    Some people hate what I wear, some people praise it, some people use it to shame others, some people use it to shame me, but I feel you watching — always — and nothing I do goes unseen.

    So while I feel your stares, your disapproval or your sigh of relief, if I lived by them, I’d never be able to move.

    Would you like me to be smaller?

    Weaker?

    Softer?

    Taller?

    Would you like me to be quiet?

    Do my shoulders provoke you?

    Does my chest?

    Am I my stomach?

    My hips?

    The body I was born with, is it not what you wanted?

    If I wear what is comfortable, I am not a woman. If I shed the layers, I’m a slut.

    Though you’ve never seen my body, you still judge it and judge me for it.

    Why?

    We make assumptions about people based on their size.

    We decide who they are, we decide what they’re worth. 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?”

    Image Courtesy of Wikimedia 

     

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  • Screen Shot 2021 07 20 at 4.38.48 PM 87d74

    Britney Spears has declared on Instagram that she's done with performing until her dad steps down from her conservatorship. "For those of you who choose to criticize my dancing videos... look I'm not gonna be performing on any stages anytime soon with my dad handling what I wear, say, do, or think!!!!” Britney announced in her post. She then went on to say that she would rather dance in her living room than be controlled on stage. Jamie Spears has been left as the sole conservator of Britney Spears’ finances following the resignation of Britney’s manager, Larry Rudolph, and Bessemer Trust, a professional wealth management firm that was meant to become the co-conservator of Britney’s estate along with her father.

    Spears and her new lawyer, Mathew Rosengart, both want dad Jamie Spears to take a hike and relinquish his role as his daughter’s conservator. Former federal prosecutor Rosengart was chosen a few weeks following Judge Brenda Penny’s ruling that Spears be able to select her own legal representation. This decision came about after the resignation of Spears’ previous lawyer Samuel Ingham III who asked to be dismissed as a result of the public court hearing in which Spears condemned her conservatorship, calling it “abusive.” 

    Screen Shot 2021 07 20 at 4.35.42 PM 56ff8Screenshot via Youtube

    The pop-icon has made it abundantly clear that her father is the main ringleader in the battle to keep her under lock and key. Papa-Spears has maintained an iron grip over what his daughter wears, her diet, and what she posts, in addition to enforcing 70-hour work weeks. The conservatorship also bars her from marrying or having more children. She told NBC News that she wants to get rid of her dad and charge him with conservatorship abuse, adding that “this conservatorship has allowed my dad to ruin my life." 

    Spears’ new attorney Mathew Rosengart, told CNN reporters just outside of the courthouse that they will “be moving promptly and aggressively for his removal.”  For now, Spears is trying to make the best of her situation: posting videos of herself doing cartwheels, horseback riding, and dancing from the comforts of her home.

    Top Photo: Screenshot Via Youtube

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  • BAND 1 Kevin Van Witt 6a17b

    As a queer woman of color, it is not often I go out to a show on my normal stomping grounds and see someone representing for myself and others who identify the same. When I first ran into tubafresh it felt like a breath of fresh air, to not only see a band who was doing something different and holding down a unique sound but also, to be frank, wasn't just made up of a bunch of white people. We sat down with band leader Chanell Crichlow and discussed the difficult necessity of being unique and carving out spaces where there otherwise aren't.

    So tell the readers a bit about Tubafresh.

    I started this project in 2015 and started as a Chamber group (classical music that is composed for a small group of instruments) and moved onto a more synth, string bass vibe to its core. We have bass two keys, trumpet, flugabone, and drums. I like to think of it as sexy gay music full of drama and intensity. Now I am feeling ready to address issues beyond the attraction to other people or disappointments with love. So that’s the direction I'll be heading towards when writing new music this year.

    Speaking of sexy gay music, I love that you write about it. I honestly don’t recall the last time I saw a female artist sing about gay sex.

    Yeah, we don’t have enough representation song-wise for it, that’s why I like writing it. I realized when I was having sex with my partner we were having sex to all these guys singing about their girl. So I wanted to make songs for people to have sex with their queer partners and be like, oh yeah, this is a song for me. I love doing it because we need more of it.

    Photo by Kevin Van Witt

     Do you find it hard to navigate the industry being a queer woman of color?

    Yeah. I mean, I was just reading something by Mitski where she talks about never taking the space she occupies for granted. Thinking about the space that we take up isn't even a second thought for some people, I think white cis men can often take that stuff for granted. I’ve thought about this a lot. I am a brass player, I play tuba which is a big instrument mostly played by white men. Mostly white men play classical music because that's what their parents could afford, but a lot of people of color can't afford the lessons or the instruments. I’ve spent a lot of time in spaces where I don’t belong and I always felt it was so important to be who I was in those spaces, a black woman, and a gay person. I felt like it was super powerful. Now that I am in this more pop culture industry, I feel people don’t want to see bodies like ours, big bodies, masculine bodies, feminine bodies that are in complete control of how they appear. It is really difficult to navigate but I try to work with people who respect me exactly as I am. That’s hard because there are not that many outlets who do. I think you have to create your own, so that's what I'm doing.

    BAND 2 Kevin Van Witt 9f20fPhoto by Kevin Van Witt

     What kind of advice do you have for the younger generation of artists when it comes to finding their voice in an over-saturated industry?

    Find your voice, listen to yourself, which I think is a lot harder than people think. I sometimes can’t even hear myself. Listen to yourself and try to experiment, don’t try to do the same beats everyone else is doing.  You will go through shit in life, which will make you a better artist and if you are not scared to put your emotions into the art form you’ll have something really unique. But you can't be scared of the uniqueness. A lot of people are really scared of being unique, We want to conform to what we think will get the listens, or what we think a record company is going to like. We conform all the time, but if you're willing to take that risk and not conform, that's where you find your voice. Each person's voice is completely unique, you just have to believe in that, see it and open it up. It is a lot easier to just be yourself.

    First photo by Kevin Van Witt

    Catch tubafresh twice this weekend:

    Friday, the 17th at Mad Liberation Festival 8:30 pm.

    Saturday, the 18th at Berlin NYC for Saint Mela's release show.

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  • Bully Sugaregg f8a86

    Nashville-based Bully returned to rural Minnesota to record their “happy-go-lucky/fuck-it-all” third studio album. Frontperson Alicia Bognanno teamed up with Grammy Award-winning producer John Congleton to blend her raspy, urgent vocals with dynamic bass-heavy melodies. The playful, cheeky lo-fi elements are a departure from their previous album, which brings unexpected pockets of levity, like playing in rain puddles. “Let You” showcases Bully’s beloved, signature head-banging rhythms, but the stripped-down penultimate track, “Hours and Hours,” illustrates Bognanno’s emotional growth: “I’m pulling out my hair/Trying to figure this out/…I’m not angry anymore/I’m not holding on to that.” –Kelli Ebensberger 

    BULLY
    SUGAREGG
    (Subpop)

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  • Music Header List 79b46 

    The year of 2018 has been undoubtedly heavy. Marching into a new year through obstacles like political corruption, climate change, and various astrological retrogrades (to name a few), it is a good time to look back at the year and see how many artistic women have been making music and using their voices, regardless of the state of affairs. Cat Power returned after a 6-year hiatus. Neko Case is back after a quiet 5 years. And hell, it's been 8 years since we've heard anything from Robyn. Stunning studio album debuts have been released as well by genre-bending Japanese band CHAI, Scottish electronic producer SOPHIE, and the venerable queen, Cardi B. Since there are so many more releases that deserve honorable mention, we’ve gathered up the top picks from BUST co-founder Laurie Henzel and BUST music editor Emily Nokes and we’re listing them here in the order of their release dates. 

    CHAI Pink a8496

    1. CHAI
    Pink
    (Burger Records, USA release in February)
    Read our review.

      

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    2. U.S. Girls
    In a Poem Unlimited
    (4AD, Feb 16)
    Read our review.

     

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    3. Camp Cope
    How to Socialise & Make Friends
    (Run For Cover, March 2)
    Read our review.

     

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    4. The Breeders
    All Nerve
    (4AD, March 2)
    Read our review.

     

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    5. Soccer Mommy
    Clean
    (Fat Possum, March 3)
    Read our review.

     

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    6. Cardi B
    Invasion of Privacy
    (Atlantic, April 5)
    Read our review.

     

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    7. Speedy Ortiz
    Twerp Verse
    (Carpark Records, April 17)
    Read our review.

     

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    8. Bodega
    Endless Scroll
    (What's Your Rupture, June 1)
    Read our review.

     

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    9. Neko Case
    Hell-On
    (ANTI-, June 1)
    Read our review.

     

    10. Shannon Shaw
    Shannon In Nashville
    (Easy Eye Sound, June 8)
    Read our review.

     

    220px Snail Mail Lush2 153da

    11. Snail Mail
    Lush
    (Matador, June 8)
    Read our review.

     

    12. Lily Allen
    No Shame
    (Parlophone, June 8)
    Read our review.

     

    SOPHIE OIL OF EVERY PEARLs UN INSIDES 78151

    13. SOPHIE
    OIL OF EVERY PEARL’s UN-INSIDES
    (Transgressive, June 15)
    Read our review.

     

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    14. Jenn Champion
    Single Rider
    (Hardly Art, July 13)
    Read our review.

     

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    15. Mitski
    Be the Cowboy
    (Dead Oceans, August 17)
    Read our review.

     

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    16. Tirzah
    Devotion
    (Domino, August 28)
    Read our review.

     

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    17. Christine and the Queens
    Chris
    (Because Music, September 21)

     

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    18. Cat Power
    Wanderer
    (Domino, October 5)
    Read our review.

     

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    19. Neneh Cherry
    Broken Politics
    (Neneh Cherry, October 19)
    Read our review.

     

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    20. Georgia Anne Muldrow
    Overload
    (Brainfeeder, October 26)

     

    21. Robyn
    Honey
    (Embassy One, October 26)

     

    22. boygenius
    boygenius EP
    (Matador, November 9)
    Read our review.

     

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  • Cardi B Photo by Chris Allmeid cropped ad736

    In a string of Tweets, Bronx rapper, Cardi B, has hinted at her desire to become a member of Congress. “I think I want to be a politician. I really love government even tho I don’t agree with Goverment [sic],” she wrote. Cardi B, whose real name is Belcalis Marlenis Almánzar brought up implementing stricter gun laws, having constructive debates across party affiliations and the prospect of her returning to education to “focus up” and eventually “shake the table” in politics.

    And this isn’t the first time Cardi B has spoken out about politics and injustice in America. She pulled out of the Super Bowl to supportColin Kappernick who famously kneeled during the national anthem to raise awareness of racial inequality and police brutality towards black people in the country. She also endorsed Bernie Sanders in his 2016 campaign, and in August of last year sat down with him (in typical Cardi B fashion, in a nail salon because “you know I love nails. You know what I’m saying?”) to talk about policies and change. And we cannot forget about the viral rant during the '18-'19 Government Shutdown:

    The video titled “Cardi B's nails are juuuust a little different than mine. Our views on the issues are pretty similar” was posted shortly after she asked followers on social media what questions they’d ask a democratic candidate. And Cardi B didn’t hold back. She bluntly asked what Sanders proposes to do about police brutality, low-income, healthcare, DREAMers, DACA, and taxes. Throughout the discussion, it’s abruptly clear that Cardi B is passionate and knows what she’s talking about; there are certain moments when Sanders is visibly impressed and vehemently agrees with the statements she’s making.

     

    Cardi B has equally been as involved online with her followers about her distaste for Trump. In a Tweet about the Iran conflict she said, “Naaaaa these memes are fuckin but shit ain’t no joke ! Specially[sic] being from New York. Its[sic] sad this man is putting Americans[sic] lives in danger. Dumbest move Trump did till date... I’m filing for my Nigerian citizenship.” Other people she’s called out before have been Tomi Lahren (or Tammy, or Toyota or Tabitha).

    No matter how much Cardi B has proved her knowledge and concerns around politics, her tweets and involvement have irritated people, because after all what does a ex-stripper, Afro-Latina from the Bronx who has worked several minimum wage jobs to get by know about life and inequality? One of her former high-school teachers, Joan Hill, however, came to her defense in a now viral Facebook post detailing her much higher than average academic record while at school. She wrote, “a) she probably scored higher than you on the US History regents exam and was in my AP got class b) you're not nearly as busy as her, and what have done to advance political discourse in this country? c) She has a national platform and is using it to speak about things that are important... why can't we respect that?” Finishing with a lesson many people should take note of before criticising a woman exercising her fame to spread a positive message “STFU and take a seat.”

    Here's to Cardi B Almánzar on the ticket in 2024! 

     

    via GIPHY

    Image by Chris Allmeid via Wikimedia  

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  • JwPangIg b5dd7

    CAT POWER
    Wanderer
    (Domino)

    It’s been six years since Cat Power, aka Chan Marshall, released her last album, which is a long time even by her standards. Thankfully, she’s back with Wanderer, a blissful return to form that will satisfy every corner of her fan base. On her last album, 2012’s Sun, Marshall played with on-trend synths and Auto-Tuned vocals, and while there’s a little bit of that on Wanderer, listeners who prefer her folksier offerings will appreciate this album as well. 

    There are gorgeous, piano-based tracks that evoke “I Don’t Blame You”—most notably on an instantly classic cover of Rihanna’s “Stay”—as well as moodier songs like the acoustic “Black.” (If you miss Marshall’s depressive lyrics of yore, the latter track’s “angel of death” refrain will feel like a healing balm.) On “Woman,” Marshall teams up with her one-time tour mate Lana Del Rey for a driving anthem about learning to rely on yourself above all else, but the album’s real standout is the title track, repeated as an outro in a different key. Both versions will leave listeners haunted, in awe of Marshall’s ability to conjure whole landscapes using nothing but her voice. (5/5)

    By Eliza Thompson
    Wanderer is out October 5, 2018.
    This article originally appeared in the October/November 2018  print edition of BUST Magazine. Subscribe today!

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    Do you enjoy brunch, but like sleeping late more? If so, you will love Grunch, New York City’s only grunge brunch that combines the best of both parties. And, to celebrate Women’s History Month, Grunch is spotlighting the Lilith Fair, the first all-female music touring festival. Be there March 17th at Huckleberry Bar where resident DJs That's So Raben, DJ Wonder and Big Vic will turn the clock back to the '90s when women were dominating the music charts and radio. There also will be live performances from special guests Sandflower and MopTop

    Tracklist 59f2f

    Get tatted at the live tattoo pop-up booth or peruse the vendors for some vintage threads. The Glendalough open bar will be keeping spirits high. And no need to worry about oversleeping. The party starts at 4pm and will continue until 10pm. Check out the playlist courtesy of Grunch below to get you in the mood!

    Photos courtesy of Grunch

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    The queen of country is teaming up with the queen of wigs. Dolly Parton and Sia have recorded a new rendition of Parton’s “Here I Am.” The song originally appeared on the album Coat of Many Colors, and NPR describes the new version as “a bit slower, as a gospel-infused statement of purpose.” The Parton/Sia version is featured on the soundtrack for Netflix’s Dumplin’. In addition to being the soundtrack’s executive producer, Parton contributed six new compositions, which were co-written and co-produced by Linda Perry.

    Jennifer Aniston, Miranda Lambert, Mavis Staples, Miley Cyrus, Elle King, Rhonda Vincent and Alison Krauss also partnered with Parton on the Soundtrack. The film is a musical comedy based on Julie Muphy’s book, Dumplin’, about a former beauty queen, played by Aniston, and her plus-size teenage daughter (Danielle Macdonald), who is inspired by Dolly Parton’s music and enters into a beauty pageant. Rolling Stonereports the film is set to hit Netflix later this year. The Dumplin’ Original Motion Picture Soundtrack will be released November 30th via Dolly Records/RCA Nashville.

    Dolly photo header via RCA Records/WIkimedia Commons

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    London-based punk band Dream Nails has joined forces with Irish-Italian director Guen Murroni to create a spectacularly political video with a not-so-wee bit of mockery. The band’s 2018 single "Vagina Police" won’t only have you jamming out, but will also get you pumped up to continue the fight for you and your friends’ reproductive rights.

    Dream Nails wants to not only change the conversation about abortion, but to bring attention to the madness of the anti-abortion lobby ahead of the Irish abortion referendum. “It's absolutely ridiculous,” says the band in an email, “and they have no right getting in the way of a woman's choice to become a mother or not." And oh, how the video’s absolute absurdity makes you want to join their fight (and slightly piss yourself).

    But conjuring up political mockery is all but new for this riot grrrl-quartet. You could say "Deep Heat" was the band’s Donald Debut: it's a brilliant tune about hexing Trump’s nether regions. But in addition to their musical messages, the band is known for brewing up some seriously wicked shows, creating powerful zines, and playing fundraisers for charities they’re passionate about. Not to mention that they’ve already headlined Glastonbury's Sisterhood stage and shared a spotlight with killer bands such as Cherry Glazerr and Bleached.

    The video's director, Guen Murroni, said in a statement, "This video is dedicated to our sisters in Ireland who have been campaigning tirelessly for decades for the abortion referendum we're finally having in May. It's also for the women of El Salvador, Malta, the Vatican, Chile, the Dominican Republic and Nicaragua who live with the strictest abortion laws in the world."

    Lead singer Janey said, “We've produced a zine on 'reproductive justice' to go alongside the vinyl to make clear that globally, people's bodily autonomy is impacted in ways that extend far beyond abortion. For example, forced sterilisation of trans people, women in prison having to give birth in shackles, and the obstacles lesbian parents face. The struggles we face are different, but they are all connected.”

    The video for "Vagina Police" is paired with an assortment of dreamy goods, such as a 7” vinyl and the free zine about reproductive justice. 100% of the proceeds from the song will go towards Abortion Support Network, a UK charity that provides financial assistance and accommodations for women who have to travel outside of Ireland in order to access safe and legal abortions.

    So drop what you’re doing and go watch "Vagina Police,"  released by Everything Sucks Music, and definitely spread the spread-leg-love at Dream Nails’s Bandcamp.

    Top photo from "Vagina Police"

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    We are so stoked to head out to Croydon, NH for the 5th annual Wild Woods Music and Arts Festival. The carefully curated lineup accompanied by the intimate vibes make this the perfect festival to gather with your music family. The two-day festival, slated to be one of its bigger years, will be held on Page Farm from August 10th-11th. The stacked lineup features live music from Hayley Jane of Hayley Jane and the Primates and Yes Darling, Lespecial, Emancipator Ensemble, Consider the Source alongside so many dope artists, musicians, and producers.

    Photo provided by Wild Woods Music and Arts Festival

    The festival grounds are sure to impress and activate all of the senses. The stages and environment will be framed by the members of the Reliquarium which includes the incredible woodworking queen, Miss Ivy Ross. The Reliquarium combined with Sonic Beating, Brainwave Lasers, and some of the best lighting and projection on the east coast will create a magical woods environment you won't want to miss!

    14068303 921342164662311 1465815692972629883 n e4e89Photo by Isaac Nines

     The festival will also be offering a variety of classes including, but not limited to, an acoustic yoga set with Hayley Jane, workshops on consent, CBD, and acrylic painting. You may even be able to catch me doing leading a sound meditation workshop, but who's to say ;).

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    First photo by Patrick Hughes Photography 

     

    Take a listen to the dope artists you can find here!

     

    2018 Artists:
    Lotus
    Emancipator Ensemble (Full Live Band)
    Pink Talking Fish
    Yheti
    Orchard Lounge (official)
    Kung Fu
    Mr. Bill
    Consider the Source (Electric + Acoustic Sets)
    lespecial
    Moon Hooch
    Octave Cat ft. Jesse Miller of Lotus, Eli Winderman of Dopapod
    The Widdler
    The Breakfast
    Strange Machines
    Conrank
    G-Nome Project (Two Sets)! 
    Hayley Jane Acoustic Yoga Set

    Sermon Takeover featuring...
    Mr. Bill B2B Frequent
    Chee.
    Frequent
    Keota
    DeeZ
    G-Space
    Maxfield
    Mood.
    iX
    Harsh Armadillo
    DigitalVagabond
    Bearly Dead
    Swimmer
    Zoo Logic
    beardthug
    MALAKAI
    Revibe
    The Edd
    Moses
    YUNG ABNER
    SHANTYMAN
    Daze Inn
    cakewalk
    Woke
    Pilot Wings

    Live Painting and Gallery Displays by
    The Reliquarium
    TJ Spurge
    Ryan Gardell
    Heilig Art
    Katy McManus, Artistry Approach
    Colette Aimée
    Seth Leibowitz
    Diverse Medium: The Art of John Shook
    FOGGer Art
    Amphista
    Alexia Velez
    ALI LAZ
    A.L. Grime

     

     

    See you in the woods!

     

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