Charlotte Church Criticizes Miley Cyrus, Rihanna, Sexualization of Female Music Stars
LONDON U.K. singer Charlotte Church late Monday criticized the hypersexualization of young female music stars, lashing out at the likes of Miley Cyrus and Rihanna for their raunchy performances. our editor recommends PHOTOS:THR’s Women in Entertainment Power List Speaking at the Radio Academy radio festival in Salford, a suburb of Manchester, Church said: “What this industry seems to want of its women increasingly is sex objects that appear childlike. Take your clothes off, show you’re an adult.” Talking about her own experience early in her career, she said: “There was a big clamor to cover my breasts as they wanted to keep me as young as possible. Then it became, ‘You should definitely get them out, they look great.'” Church also said she was pressured into dressing provocatively for music videos, which still affects her. “Whilst I can’t defer all the blame away from myself, I was barely out of my teenage years, and the consequence of this portrayal of me is that now I am frequently abused on social media,” she told the festival. “Now I find it difficult to promote my music where it would be best suited.” Seen as a child prodigy, she sang at the closing ceremony for the 2002 Salt Lake City Winter Olympics before performing at Murdoch’s wedding. Church lauded the likes of Erykah Badu as having “strong messages” for music fans. STORY:Charlotte Church Turns Down ‘X Factor’ Gig; Says Show ‘Kills Music’ But many young performers are “encouraged to present themselves as hypersexualized, unrealistic, cartoonish, as objects, reducing female sexuality to a prize you can win,” Church argued. She added that performances by the likes of Rihanna, Christina Aguilera and Cyrus, including her “twerking” at the MTV Video Music Awards, only help continue gender stereotypes in the industry. “If women are to become free agents of their gender’s destiny in a music world that is reliant upon shouting loudest over the clamor, it stands to reason that online pissing contests only serve to detract,” Church said in a reference to the showdown between Cyrus and Sinead O’Connor. Addressing Rihanna’s latest video, “Pour It On,” Church said: “You only have to look at the online response to see that it is only a matter of time until the public turns on an artist for pushing it too far. But the single, like all Rihanna’s other provocative hits, will make her male writers, producers and record label guys a ton of money.” The Welsh singer was also asked if British radio stations should consider the portrayal of young female artists when choosing songs to play and promote.
By Associated Press, Linda Thompson, Wont Be Long Now (Pettifer Sounds) Linda Thompson briefly plays the role of proud parent on her new album, happily slipping into the background while her children sing Anna McGarrigles As Fast As My Feet. Looking for things to do? Select one or more criteria to search Kid-friendly Get ideas Its a rousing rendition and a rare moment of peppy pop on Wont Be Long Now. With Thompson front and center, doom and gloom dominates the rest of the record no surprise to longtime fans of Thompson and her ex-husband, Richard. She sings of war, fear, domestic abuse, loneliness and death, and like the gray sky on the cover, theres a bleak beauty to the music. Thompsons bracing, unvarnished alto remains a wonder despite her history of career-curtailing voice trouble. She chooses her material wisely, mixing traditional British and Irish folk with songs she wrote that have the same timeless feel. The family provides plenty of help. Daughter Kami takes the lead on As Fast As My Feet, and son Teddy contributes as a composer on four songs, including the wry title cut. Even Richard lends a hand, with his acoustic guitar the only backing instrument on the lovely opener Loves for Babies and Fools. It sounds like something they might have performed together 40 years ago again, timeless. Copyright 2013 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.
Music Review: Timeless doom and gloom from Linda Thompson on latest, and it sounds lovely
Overcoming Limitations The transition from a simple idea to a workable prototype, however, took much longer. Specifically, it took four prototypes, five interfaces, and multiple firmware builds to get the INSTRUMENT 1 to its current state. In his efforts, Butera, who is the youngest member of his team, was helped by Nashville-based veterans from the recording and music industries. We could have released a workable product one-and-a-half-years ago, says Butera, who admits that notoriously perfectionist companies, such as Apple Apple and Bang and Olufsen are his inspirations. The original prototype for the instrument had twelve buttons and featured components, such as Arduino, that are standard to several hardware startup products. However, Butera says the resulting prototype was limited in variety and scale. They were nice for Western music scales but they were simply switches, he says. In other words, their resulting notes were binary, which toggled between on/off switches. It was bit like the piano that could only be played at a single volume, says Butera. To overcome these limitations, Butera introduced pressure sensitivity and a raft of other features, such as velocity and sensitivity in chords. These features enable tuning of the instrument in multiple modes.