[T]he idea that men 'do,' while women 'be'... is at the core of the conventional gender binary. Women are linked to the natural and the timeless, while men innovate and make history. Men build civilizations and create great works, while women animate spaces and connect people with their nurturing souls and alluring energy... Think I'm wrong? Google 'Beyoncé' and 'force of nature,' then do the same for Drake. | | | | Miseducate this: Lauryn Hill in New York, 2006.
(Paul Hawthorne/Getty Images) | | | | |  | “[T]he idea that men 'do,' while women 'be'... is at the core of the conventional gender binary. Women are linked to the natural and the timeless, while men innovate and make history. Men build civilizations and create great works, while women animate spaces and connect people with their nurturing souls and alluring energy... Think I'm wrong? Google 'Beyoncé' and 'force of nature,' then do the same for Drake.”
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| | rantnrave:// What would a best-albums-of-all-time list look like in a world where the most important artists of all time were BEYONCÉ, MISSY ELLIOTT, ARETHA FRANKLIN, NINA SIMONE, LAURYN HILL and JONI MITCHELL? And why aren't they considered the most important artists of all time? Those two inextricably linked questions, the first explicit, the second implicit, are at the heart of NPR MUSIC's "150 Greatest Albums Made by Women," which seeks not to replace your favorite BEATLES-HENDRIX-PRINCE-KANYE arguments so much as it seeks to ask what the oxygen is like on a planet where those are the only arguments anyone seems to have. The list was compiled by nearly 50 women and is meant as an "intervention," ANN POWERS writes in a must-read essay that accompanies it (one of the best pieces of writing on popular music I've encountered this year). But it's not an "alternate history," she adds. It *is* music history, "touching upon every significant trend, social issue, set of sonic innovations, and new avenue for self-expression that popular music has intersected in the past fifty years." And it starts with the strangely radical proposition that women are at the center of what's good about music, rather than curiosities who sometimes make magic happen. You are still invited to argue, of course. That's what lists are for. Is it a tad too soon to call Beyoncé's LEMONADE the sixth best album ever made? Is her sister's A SEAT AT THE TABLE underrated at #134? Are there really 43 albums better than HEART's DREAMBOAT ANNIE? Where's RIHANNA? Have at it, girls. And boys... FADER immediately responds with 150 more albums, Rihanna included... Musicians trying to take care of themselves: JUSTIN BIEBER. PASSION PIT's MICHAEL ANGELAKOS... SOUNDCLOUD orders SoundCloud archiving project to stop, asserting a) copyright infringement and b) its intention to stay in business ... Major indie rock band promotes album with fake news campaign, has to correct fake news that wasn't part of the promotion. (Or was it? Don't know, don't know how to know, don't care.) | | | - Matty Karas, curator |
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 | NPR Music |
| Why make a list of the greatest albums by women? To start a new conversation, where musicians who have too long been marginalized are now at the center. | | |
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| NPR Music |
| This list, of the greatest albums made by women between 1964 and the present, is an intervention, a remedy, a correction of the historical record. It rethinks popular music to put women at the center. | | |
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 | Rolling Stone |
| Sarah McLachlan, Natalie Merchant, Suzanne Vega and other Lilith Fair alums look back on the legacy of their groundbreaking women-centric fest. | | |
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 | The Guardian |
| From Anne-Marie to Zara Larsson, the music industry is promoting more women than ever - but few seem to be making it to stardom. Is it because labels treat them differently to their male counterparts? | | |
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 | Vulture |
| For her first solo show in America in almost a decade, Missy Elliott arrived onstage in a vessel fit for a sci-fi pop empress. A large grey block with purple track lights was wheeled out by her dancers, background music swelled, mirror-lined doors opened, and out popped the queen, looking fresh and fierce. | | |
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 | Billboard |
| Taking a close look at the gap between music accelerators and venture capitalists in 2017. | | |
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 | Passion of the Weiss |
| Julian Brimmers has a fascinating track with Philly-based musician Moor Mother. The two touch on badminton, throwing up before shows, and squatting culture. | | |
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 | BuzzFeed |
| Music’s favorite all-sister trio on smashing genre divisions, the pop charts, and the patriarchy. | | |
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 | Music Tech Solutions |
| The bill perpetuates the myth of the “global rights database” that no one who understands the complexities believes will ever be created. It sounds logical, right? We have county recorders for real estate, the DMV for cars, why not a database for music? | | |
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 | Music Business Worldwide |
| Wixen Music boss Randall Wixen on the value of music and the future for publishing. | | |
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 | The Atlantic |
| "Game of Thrones" could have taken a lesson from either crossover. | | |
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 | Medium |
| Nearly all spins of pre-1972 recordings receive royalties from Pandora. But the just-introduced CLASSICS Act would provide equality for all recordings. | | |
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| The Guardian |
| ‘We recorded it in a jampacked Minneapolis club. It was sweaty and smoky and vibey as hell.’ | | |
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 | The Muse |
| Bosco is gearing up to release "b.," her second EP on Fool’s Gold Records. Anchored by her rich, warm voice, it’s full of songs that have roots in pop and R&B but aren’t bound by any genre mandates, the songs more united by their propulsive healing properties than any precept of type. | | |
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| Rolling Stone |
| Sara Evans talks bro country dominance in country music and opens up about her new album 'Words.' | | |
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 | Royalty Exchange |
| The former VP of Licensing for Bluewater Publishing gives some background into the publisher's recently filed lawsuit agains Spotify. | | |
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 | The New York Times |
| Gillian Moore, the director of music at the Southbank Center in London, focuses on what is closest to her heart. | | |
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 | Stereogum |
| Before we see Dawn Richard play Pitchfork Festival's Blue Stage, we see what she's built for us: three jagged peaks made of neon tubing rising up from the floor. They're the latest iteration of her personalized set design, which previously has taken the shape of a single neon triangle yawning nine feet high behind her. | | |
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 | Hollywood Reporter |
| Hardball tactics in a big antitrust lawsuit involving works performed by Taylor Swift, Jay-Z and Madonna prompt a demand for an injunction. | | |
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 | Mic |
| For her latest studio full-length, LDR proves there's more to her than the flower-crown aesthetic. | | |
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| © Copyright 2017, The REDEF Group |
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