The daughter of Jewish Communists, Dobkin did not shy from controversy during her life, releasing a memoir called “My Red Blood” in 2009. Her legacy is marred by her anti-transgender positions in recent years, including a column called “The Emperor’s New Gender.”

Legendary lesbian comedian Suzanne Westenhoefer mourned her passing. “The first time Alix saw me perform she said not only was I hilarious, but FINALLY there was someone who could call out and be obnoxious to straight boys and make them laugh &&133; and she was so happy I was a feminist and knew about/supported separatist lesbians,” Westenhoefer recalled. “Her place in lesbian feminist history is huge and her being gone is a vacancy I hope some young folk performer will fill.”

The post Groundbreaking lesbian artist Alix Dobkin dies at 80 first appeared on Lesbian.com.

Pamela Means and The Reparations
Live At Northfire
Six tracks of mastery on full display

Pamela Means’s growing audience continues groove and get woke

PAMELA MEANS, acclaimed singer-songwriter, jazz musician, and activist, has released, Pamela Means and The Reparations, “Live at Northfire,” her tenth album. An in-studio performance, recorded live, for a small group of fans, at Northfire Recording, in Amherst, MA.

“Live at Northfire” showcases six Pamela Means original songs. Primarily, politically-charged indictments of our sociopolitical landscape plus a dose of romantic reprieve from two mesmerizing ballads. For Means, an artist known for mastering many musically diverse projects with ease, this is the first release with a new empowered trio. A live set of punchy protest songs, primal, funky, focused grooves, and sultry queer love songs that will surely send a listener adrift on a soulful journey, soothing and searing, yet, still, speaking truth to power.

Pamela Means’s clever, concise lyrics, tender to raging vocals, and fleet-fingered fretwork are elevated with the thick bottomed bass lines, infectious conga beats and lush, velvet harmonies of bassist, Cinamon Blair, and, percussionist, I-SHEA. Pamela Means puts her gentle wit, big loving spirit and powerful songwriting to work for peace in the world. She just keeps getting better and better. Her voice is strong, her musicality is entertaining and her commitment to peace is deep, genuine and consistent.

Produced by Pamela Means
All songs by Pamela Means
Pamela Means: guitar,vox
Cinamon Blair: bass, vox
I-Shea: percussion, vox

Recorded by Garrett Sawyer, Northfire Recording Studio
Mixed by Garrett Sawyer, Northfire Recording Studio
Mastered by Mark Alan Miller, Sonelab Mastering

TRACK LIST:
Impeachment Now!
James Madison
Color of the Skin
Cinnamon and chocolate
My Love
Hands Up

PAMELA MEANS
guitar, vocals

Pamela Means, singer-songwriter with a penchant for protest songs, guitarist, vocalist, educator and social activist, is an Out and proud queer artist that cannot be musically contained. A conservatory-trained musician, Means also fronts her own jazz quartet, breathing life into classics once sung by Billie Holiday, Chet Baker and the like; performs the entirety of the album, The Beatles Abbey Road, solo acoustic, in celebration of its 50th anniversary, and now releases her tenth album, “Live at Northfire,” the first with new empowered trio, Pamela Means and The Reparations.

CINAMON BLAIR
bass, vocals
Cinamon Blair, bassist and support vocalist from the Empowered Trio, Pamela Means and The Reparations, is a singer, songwriter, bassist, musician, and composer who has been growing her creative expression over the past 30+ years. She loves to sing, play, vocalize harmonies and use music as a tool to self-soothe and build greater connections, to educate and activate herself and the listener into whatever needs to happen. Music is part of our DNA and has real health wealth applications. Cinamon Blair is a collaborator by nature, consistently broadening her musical family, understanding and appreciation.

I-SHEA
percussion, vocals
I-SHEA is the percussionist and support vocalist from the Empowered Trio, Pamela Means and The Reparations. I-SHEA is an eclectic ARTist and musician aka ‘The Original Jewminican’ hailing from the source of hip hop and raised in the sauce of merengue, bolero, rumba, salsa, nyabinghi and West African rhythms. I-SHEA has lit up the east/west coast USA, Canada, Latin America, The Caribbean, and Africa, performing at legendary venues like Daniel Sorano National Theatre of Dakar, Nuyorican Poets Cafe, The Apollo in Harlem. She has opened up for Dead Prez, Sadat X (from Brand Nubian), and Morgan Heritage and has shared stages/performances with Howard Zinn, Rha Goddess, Rosario Dawson, Jane Fonda and Eve Ensler.

The post Pamela Means and the Reparations: Live at Northfire Album Release first appeared on Lesbian.com.

She grew up playing everywhere from street festivals in Paris to the folk circuit in Manhattan, influenced and inspired by a life of constant change. After spending almost a decade on Canada’s west coast, she returned to London to record her EP, “Explode,” which won her a 2015 Jack Richards on music award (and again in 2017) leaving a mark on the London music scene.

She has gone on to participate in various outreach projects, with a strong commitment to giving back in her community. She has toured Canada and Europe, performed at several festivals including Home County, CMW and NXNE. Writing with honesty and integrity, Carly has a voice easy to relate to, and makes folk“ish” music interesting and intelligent.

What gives you the heebie jeebies and why?
I have a huge fear of hospitals and anything medical. I think they call it “white coat.” I’ve fainted several times just after getting a shot, but strangely enough I can handle tattoos and piercings like a pro. I have no idea why, it started in childhood and I haven’t been able to desensitize no matter how many ex-girlfriends have tried.

What’s the strangest thing you’ve ever done while driving?
Probably changed my pants once or twice on way to a show.

If you could host a dinner party and invite any five people — past or present — to attend who would be on that guest list?
Shara Nova, Ani Difranco, Joni Mitchell, Margaret Atwood, Tina Fey. I will quickly move on because this is definitely a question I would overthink and have a million rough drafts.

What’s the last book you read?
“The War Of Art” by Steven Pressfield

What are the biggest culinary differences between the United States and Canada?
Vinegar on fries.

Learn more about Carly Thomas.

The post Fast 5: Carly Thomas first appeared on Lesbian.com.

The latest single from Bitch, “New Year” is a dance epic of purpose and power and pure explosive joy. With her soulful vitality and do-or-die intensity, the LA-based singer/producer transforms her sharp-eyed commentary into a wildly cathartic anthem. And though it’s a sonic departure from her work in the alt-folk duo Bitch and Animal, “New Year” unfolds with the same electrifying presence Bitch has always brought to her music—an irrepressible energy that makes the track feel immediately essential.

“‘New Year’ is about empowerment,” says Bitch. “It’s about claiming who you are, and letting go of patterns that no longer serve you.” With its brightly repeated refrain of “I’m the woman,” “New Year” also continues Bitch’s longtime mission of disrupting gendered language. “So much of our language is built on empowering men, and part of my life’s work has been to make sure we’re also empowering women,” she says. To that end, Bitch sees “I’m the woman” as an alternative to “I’m the man,” a declaration of strength and autonomy and all-around indomitability.

Like many of Bitch’s songs, “New Year” started out as a poem. “It was New Year’s Eve and I was doing this ritual of writing down all the things I wanted to let go of,” she says. “I was ripping the pages out and throwing them into the fire, and that led to the first stanza: this idea of wanting to forgive everything that’s harmed me.” Sparked by a bassline banged out on her keytar in a log cabin in Northern Michigan, “New Year” eventually took shape with pounding rhythms and massive piano riffs, urgent beats and indelible melody.

For Bitch, “New Year” marks the start of a new chapter in a life long guided by musical passion. Originally from Pittsburgh, she began playing violin at age four and later took up bass, ukulele, and keytar, steadily carving out her own singular path as an artist. “Because I had that classical training from such a young age, it was a big shift to go from playing from my eyeballs (reading music) to playing from my heart (writing music),” she says, listing the Muppets, her Mother’s tap-dancing school run from the basement, and Cyndi Lauper among her early inspirations. (“When I was 11 I wrote to Cyndi Lauper to ask her if she would give me one of her skirts,” she recalls.) In addition to releasing three Bitch and Animal albums (including two on Ani DiFranco’s Righteous Babe Records), she put out a solo album via Kill Rock Stars, three on her own imprint (Short Story Records), and also starred as herself in Shortbus (the 2006 feature film from Hedwig and the Angry Inch’s John Cameron Mitchell).

With more music to come from Bitch in 2019, “New Year” is accompanied by a poignant yet playful video featuring broom-centric choreography from LA-based dance artist Megan Fowler-Hurst. Along with driving home Bitch’s themes of self-liberation and solidarity, the “New Year” video embodies the unfettered spirit at the heart of the song. “To me it’s very much a celebration,” she says. It’s about taking stock of what the world has done to us and what we’ve bought into, and then plunging forward into the new year with a new sense of boldness —like, ‘Here I fucking am.’”

The post Bitch celebrates 2019 with new single first appeared on Lesbian.com.

The official kick off, which took place during the band’s 2nd Annual Antigone Rising BeachFest in Sea Cliff, NY on September 19th, comes on the heels of a two-week-long trip as Cultural Ambassadors of the United States to Vietnam performing outreach programs, master classes and public concerts.

Since stepping onto the music scene, AR fused their success with helping educate youths around the world on accomplishing goals as Cultural Ambassadors to the United States Government.

Girl Bands Rock is a not for profit foundation set to inspire and educate kids, especially young girls, to pursue careers in the music industry.
Antigone Rising partners with school districts and youth centers to create innovative programming dedicated to building confidence in youth by developing leadership and creative skills through musical workshops, outreach programs and performances.

Realizing that the music industry does not provide enough worthy female role models, especially women in self contained rock bands, the Girl Bands Rock program provides kids the opportunity to see women excel in a male dominated profession and offers them strong female role models to emulate.

As Cultural Ambassadors to the U.S. Government, the band has done outreach programs in Israel and Palestine and has recently returned from an inspiring trip to Vietnam this past July, 2015.

The ladies of Antigone Rising have also played a part in LGBTQ advocacy, making news when Kristin Ellis-Henderson appeared on the cover of Time Magazine with wife Sarah Kate Ellis-Henderson, the president/CEO of GLAAD, for a feature on marriage equality.

This past June, the band also came together along with other artists to support LGBT acceptance at the inaugural Concert for Love and Acceptance, presented by Grammy-nominated and Dove Award-winning artist Ty Herndon and GLAAD, and co-hosted by political commentator and author Meghan McCain.

Best known for relentless touring and masterful musicianship, Antigone Rising played upwards of 280 shows a year in their early days. Whether it was an open mic on a Monday night or a jam packed New York City hometown show, the ladies and their infamous Vanna White (the band’s beloved 15 passenger van) eventually blazed a trail straight to arenas alongside some of the biggest names in rock history including The Rolling Stones, Aerosmith, The Allman Brothers Band, The Bangles and Rob Thomas.

Founding sisters Cathy and Kristen Henderson have always had the same philosophy- play better than the boys and make sure the fans feel like part of the family! That philosophy–along with writing undeniably catchy songs–has allowed this self sustained group to maintain their independence and leave an indelible mark on an industry best known for leaving girl (bands) behind.

For the all-female-boot-stompin’-alt-country-rock band ANTIGONE RISING, helping aspiring young artists while giving back to their community is something that comes second nature to a group that is helping to create music and history.

The post Antigone Rising launches Girl Bands Rock foundation first appeared on Lesbian.com.

The fab four comprised of Nini Camps (lead singer), Dena Tauriello (drums) and founding sisters Kristen Henderson (bass/vocals) and Cathy Henderson (guitar/vocals), are showing no signs of slowing down!

Since releasing “Whiskey & Wine – Volume 1” on iTunes and the band’s official website last year, the band has not only kept busy with a non-stop touring schedule but as well with long studio hours to complete the highly anticipated Volume Two of the double EP project.

“With W&W Vol. 2 the songs have gotten much more personal, the productions a little more elaborate. These songs all have something to say.” says Kristen Henderson. “It’s important to the band that we write songs that say something about who we are and what we stand for. We are looking forward to touring and performing the songs for a live audience, getting the crowd’s reaction and visiting cities we haven’t been to in quite some time. It’s going to be a great year for Antigone Rising.

The massive success of Volume One kept the band on the road for the most part of 2014. The first single “That was the Whiskey”, co-written with Nashville songwriter Lori McKenna (Faith Hill, Little Big Town, Hunter Hayes), premiered on CMT trending in the Top 10 and was nominated in the “Country Song” Category at The 13th Annual Independent Music Awards.

Antigone Rising have toured with such A-listers as Aerosmith and The Rolling Stones; were appointed as cultural ambassadors by the United States government to tour Israel and the Middle East; and have also played a part in LGBTQ advocacy, making news when Kristin Ellis-Henderson appeared on the cover of Time Magazine with wife Sarah Kate Ellis-Henderson (president/CEO of GLAAD) for a feature on marriage equality.

The girls have consistently been turning up everywhere from the pages of Curve Magazine, Billboard, Out Magazine, Buzzfeed, AfterEllen and the Huffington Post to appearances on The Today Show and The Tonight Show, among others.

No one can deny the momentum behind Antigone Rising!

Known for their unique and electrifying live performances featuring toe-tapping beats and powerful vocals, Antigone Rising is not just good; they are insanely good and best experienced live. And whether on stage or on an iPod, Antigone Rising continues to make a lot of noise!

The post Antigone Rising unleashes ‘Wiskey & Wine, Volume 2’ first appeared on Lesbian.com.

Palm Springs, CA — Pop music’s new “it” girls, Bebe Rexha and Ivy Levan have been added to the 2015 Club Skirts Dinah Shore Weekend blockbuster entertainment line up.

Celebrating its 25th Anniversary, The Dinah is once again showcasing the hitmakers of tomorrow. Earlier this month, pop sensation Meghan Trainor was announced as one of the headliners for the upcoming event, which runs April 1-5 in Palm Springs and coincides with the Coachella Valley’s annual LPGA event.

The event also includes pool parties, a comedy show, a film festival and a slew of other activities. Ivy Levan will take center stage at the Dinah’s White Party on Friday, April 3, while Bebe Rexha will be performing at “Black Party” on Saturday, April 4, both held at the Palm Springs Convention Center in Palm Springs.

As a MUST-DO venue that has proven to be the catalyst for propelling new young artists to superstar status, The Dinah was a logical choice for Bebe Rexha and Ivy Levan who are poised to reach household name status and conquer a global audience in the New Year.

One of the fastest rising artists to keep your eyes on in 2015, Bebe Rexha has been racing up the charts with her 2014 debut single, “I Can’t Stop Drinking About You.” The song is currently at US Top 40 radio, with over 125,000 singles sold to date and counting, and approaching 10 million streams on Spotify.

The pop sensation is now working on her debut album to be released in the Summer of 2015, and readying to release her second single “I’m Gonna Show You Crazy” in January 2015.

“Bebe Rexha is a girl on fire and we are so excited she is going to burn it up at The Dinah. She’s slated to have a big year in 2015 and we’ll have the opportunity to see her before she takes off, “ says Mariah Hanson, founder & producer of The Dinah. “Not just a huge talent, she’s also a blazing beauty so us Dinah girls get a double whammy this year. I’m looking forward to her CD early next year and can’t wait to watch it ignite and take off.”

The Brooklyn native made a name for herself most famously penning the Eminem and Rihanna No. 1 Billboard Hot 100 hit “The Monster” and performing vocals on Cash Cash’s 2014 US-certified massive club smash “Take Me Home”, which she also co-wrote. She fronted Fall Out Boy’s Pete Wentz’s side project “Black Cards” before embarking on a solo career.

Billboard Magazine named the gifted young singer-songwriter “an Artist That Will Help Define 2014″ — a title she shares with another buzz-heavy breakthrough artist: Sam Smith. Make no mistake, 2015 will be the year Bebe Rexha will be storming the charts and selling out arenas.

The same is true of singer-songwriter and Cherrytree Records recording artist Ivy Levan. Raised in Bentonville, Arkansas, Ivy displayed an affinity for singing and performing from a very young age. Ivy’s mother filled the house with an enormous variety of music: R&B, Soul, Dance, Big Band and Rock ‘n’ Roll and as she grew up, she began to widely expand her musical palette ranging from Whitney Houston to Depeche Mode, Etta James to The Misfits.

While there were no musical boundaries at home, Ivy was most drawn towards music by extraordinary vocalists, hard-driving rock bands and heavy, urban beats which culminate in her own distinct version of swagger with a unique sound built around powerful, sultry vocals full of grit and venom.

“Ivy Levan. Wow, what a force. She is so mesmerizing and sultry! I love her music and her raw intensity. She brings serious girl power to The Dinah and that’s what we’re all about. I have no doubt she is going to be a force to be reckoned with in 2015 and we get a sneak peak in April. I personally can’t wait,” said Mariah Hanson.

Levan’s debut EP titled “Introducing the Dame,” sparked buzz from Access Hollywood, Billboard, Allure, CBS News, Glamour, Perez Hilton, Huffington Post and more.

Billboard said, “(Ivy Levan is) an entrancing pop singer with uninhibited soul-infused stylings,” while Glamour deems Levan “the next big thing…toe tapping rhythms and sultry vocals,” and Huffington Post praises Ivy’s “vocal virtuosity.” Performances include the Carnegie Hall stage in support of the Rainforest Fund Benefit, “The Late Show with David Letterman” with Sting and many more.

Ivy has already hit No. 1 on Billboard’s Next Big Sound Chart, won two consecutive MTVU’s “The Freshman” and her music has over 2 million YouTube/VEVO views. Earlier this month, Ivy debuted the lyric video for “The Dame Says” — the track which she co-wrote is a taste of what’s to come in anticipation of the release of her brand new single “Biscuit” out January 13 on Cherrytree Records/Interscope. Levan will release her debut album this Spring 2015.

Don’t miss the chance to see pop music’s next big thing at The Dinah.

The post Dinah’s next big stars: Bebe Rexha and Ivy Levan first appeared on Lesbian.com.

In 2003, Jennifer Knapp had a successful career as a contemporary Christian singer-songwriter. She had sold over a million albums. She had a Grammy nomination and several Dove Awards. However, she was not enjoying her success the way one would expect. She was exhausted, going through what she described as a “crisis of confidence.” She walked away from music and virtually disappeared.

Four years ago, Knapp returned with an announcement that would test the loyalty of her fans and provoke many conservative Christians. She was a lesbian. She released an album called “Letting Go” and began her comeback.

In October 2014, Knapp released a new album called “Set Me Free,” as well as a memoir, titled “Facing the Music: Discovering Real Life, Real Love, and Real Faith.” Both works are honest and emotional and continue to spread what initially gained her fame — her message of love and faith.

Jennifer Knapp took some time to talk about why she left music, her journey back, and how her faith still plays a part in her career.

In 2002, you walked away from a successful career as a contemporary Christian artist. What were the factors that made you leave it behind? Did your sexuality play a part in that?

In general, I left my Christian music career exhausted. I was going through such a crisis of personal confidence to such a point that I simply didn’t have it in me to continue wrestling my private needs while living such a public life. I had so many issues weighing me down: crisis of faith and questions about whether or not I even wanted to be a Christian “on display”. I had a host of philosophical doubts about my role in the industry and many questions about what, if any of my own faith experience I was willing to share in public. Looking back, I’d have to say that my sexuality had a part to play in it,sure, but it was more of a symptom of need rather than a catalyst. It was, however a huge wake up call that I needed to start taking my mental and physical well-being a lot more seriously, and so, I did.

In 2010, you came out and also released a new record “Letting Go.” What was the reaction of your fans after you came out?

I’ve experienced the entire, perhaps predictable spectrum. There were fans absolutely celebrating with me, the joy of returning to music after having come back from such a dark place, all the way to having CDs sent back and hate mail. There were Christians who went out of their way to be supportive, while others angrily insist I could never claim my Christianity again. Good or bad, though, my coming out has definitely been a significant factor for many of the fans I’ve lost and kept since coming back.

What is your relationship with your earlier, more faith based records, “Kansas,” “Lay It Down,” and “The Way I Am”?

There are a handful of songs I still play live, but I’m pretty selective about when and where they get played. There are some personal, faith-based reasons why I won’t play some and there are some I just don’t enjoy playing. In the end, I suppose like any artist performing their own stuff, you keep playing what speaks to you and leave out what doesn’t fit.

In what ways has your music evolved since these earlier releases?

I’d like to think that, in general, that my overall skills have matured. I like more of what I write these days, lyrically, melodically, structurally — yet I don’t know that I’ve experienced a great sonic shift either. I think if there’s been any major evolution, it’s been one more of confidence and philosophy. I’m not a 20-year-old kid any more. I don’t feel that once nagging pressure to have to out-sing or out-write the last song in order to keep moving forward.

What is the song you are most connected to on your new album?

It’s hard to pick really, because just about every song has a moment that is so deeply personal. Today, it might be “Neosho” and tomorrow “What Might Have Been.” It’s more likely that one or two over the course of time might slip out of use, but for now, any one of them could be my heart’s cry for the day.

You have a book, “Facing the Music: My Story”, that just came out. What were your reasons for writing a memoir?

Mostly, I just wanted to take a moment to ask myself “how did I get here?” Especially after coming out, it was a question asked of me so many times, it seemed like the timing was right to sit down and reflect. From growing up in a small country town, to being a Christian pin-up girl, to coming out and questioning everything my faith community had ever taught me, I really wanted to go back and trace the path of what felt like was a fight for survival.

Based on your history as a Contemporary Christian musician, I am sure people tell you that homosexuality is a sin. What is your response?

It’s not like I have a standard response, but the place I usually try to get to is one that moves away from any Biblical debate and moves toward the testimony of what it’s like to suffer under that teaching. So much has been said to defend one theological position or another, but what we’ve really missed out on are the everyday people, families, LGBTs and their allies that have been caught in the crossfire. I think we need to move away from our tendencies to talk about our varying beliefs as Christians (of which there are many) but rather, get back to the business of defining our faith by how we love our neighbor. There’s really not much to debate now that the lines have been drawn, either you do or you don’t think LGBT love is a sin. The belief you hold doesn’t make you a Christian, it just let’s people know what kind of Christian you are.

You have stuck to your faith. What are people’s reactions this this?

Whether the response is from people in the church, those who have left the church or don’t care about religion, the kinds of reactions I get almost always depend on the backstory of the person making their commentary about my experience. For some LGBTs who have spent their lives serving and worshiping in full view of the pulpit, it makes sense that they’d be happy that I call myself a Christian. On the other hand, I’ve heard plenty from those who have been hurt, discriminated against or cast out, who question why I would stay. There will always be people who insist they know the best path for you or that they know what you need. It’s not that that can’t be an act of true enthusiasm and love, but in the end, each of us have to be responsible and honor our own conscience and experience. It’s in that way that claiming my faith and being honest that I’ve kept it has been very similar to coming out as a lesbian. Not everyone gets it. I don’t always have the words that will convince anyone that I’m legit, but there’s what I know and what I’ve got. It’s all any of us have, our experience. Our story. The real challenge is giving each other a wide enough path to travel it and for each of us to learn how to move ahead without destroying everything in our path.

Does your faith still play a large role in your music?

It has a role to play in my life personally, so I suppose there’s a trickle down into my music in some ways. I hope that what shows up in my music is a reflection of what’s going on in my life, yet, just like when you meet me on the street, or we sit down to have a coffee, I would rather the impact of faith in my life actually shows up more in my actions—to the benefit and joy of my neighbor — rather than it be a message of words. Compassion, love, forgiveness,a sense of something deeper than what I can see — I’d like to think are some of the themes that are woven through all my expressions in some way, but it would be a mistake to confuse that with any interest in writing music for the sake of promoting religion.

If you could take back one lyric from a song you wrote, what would it be?

Really, there’s only one song that concerns me and that’s “The Way I Am”. The lyrics in the chorus being: “It’s better off this way to be deaf, dumb and lame than to be the way I am/it’s better off this way to be groping for the flame than to be the way I am”. They are my words but a take on the Bible when Jesus said “if your eye causes you to stumble pluck it out.”

A lot of LGBT folks living in the church world have used that song almost like a talisman of religious shame. It’s too easily confused for a song that encourages reparative therapy or self harm. That’s exactly what I was trying to point out to the church, that not every metaphor in the Bible was meant to be literal, and in doing so, it causes more harm than good. Yet in trying to make my point, some couldn’t avoid the shaming tactics I was meaning to criticize in the first place.

I want the songs that I write to inspire confidence, a sense of self-worth and hope…this song failed that for way too many, I think.

Who are your influences?

Well, I hope in all of the years I’ve been amazed and listening their powers have rubbed off…the likes of Tracy Chapman, Natalie Merchant, Cowboy Junkies, Patty Griffin, Jonatha Brooke, Mary Chapin Carpenter, Amy Ray and Emily Saliers, U2, Dave Matthews and the list goes on. Their poetry is what inspires me most. They write music that echoes in your heart for a lifetime. They never seem to write music just for the sake of selling records or themselves. There are no B sides, they are always cutting to the marrow.

What else is in store for the rest of 2014 and into 2015?

The balance of 2014 is skipping around in support of “Set Me Free” and “Facing the Music”. One day I’m singing, next I’m doing book readings, then after that speaking to the LGBT faith conversation. This fall I’m doing a little bit of everything. The plan getting into Spring 2015 is putting a nice tour together in support of the album.

For more information about Jennifer Knapp, visit her website, jenniferknapp.com.

Heather Smith is the creator and producer of Rubyfruit Radio, a podcast featuring the best in female artists.

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We are so happy to announce our first music video from our debut album “Take Me To Heaven” was released this Sunday, December 14. The long anticipated video will highlight a love story between two women.

BriaAndChrissy have been making YouTube videos for a little over two years, in this short time between their two channels they have accumulated 60 million views and 350 thousand followers. They are a real life couple who create music and videos to help inspire people, be it about their sexuality, depression, anti-bullying or suicide prevention. Their videos often use comedy to help spread these messages. This debut music video’s goal is to help change hearts and minds.

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New York, NY — Yahoo! Music is hosting the exclusive premiere of the new video, “Wax” by prolific songstress Rachael Sage. The video for the song “Wax”, from her new album Blue Roses, may just be her most evocative yet. Directed by award-winning filmmaker Nick Clark and set in the eclectic, non-profit Los Angeles-based MorYork Gallery, the clip shows the colorful Sage – who is also a visual artist herself – seamlessly integrated within the extraordinary industrial jungle of veteran sculptor Clare Graham.

Made entirely of recycled materials such as soda cans and puzzle pieces, Graham’s unusual artwork provides the perfect context for Sage’s alt-pop song about the karma we create within relationships. Renowned theremin master Armen Ra (Antony & The Johnsons, Marc Almond) also makes a guest appearance in the video.

Rachael Sage’s 11th studio album “Blue Roses,” which premiered via All Music Guide, is available in stores and online now. Called “a treasure chest in a candlelit chamber, glimmering with myriad delights,” by Curve Magazine, “Blue Roses” is a collection of songs about the impact any single person can have upon the destiny of another. Billboard.com sums up Rachael’s work as: “the stitch between the great rock and pop traditions of the past…”.

Produced by Sage with two-time Grammy&right; nominee John Shyloski (Stephen Kellogg, Johnny Winter), “Blue Roses” features 13 chamber-pop gems, supported by an impressive lineup of musical guests including legendary folk icon Judy Collins, drummer Quinn (Daft Punk), percussionist/singer Everett Bradley (Bruce Springsteen, Hall & Oates) and guitarists James Mastro (Garland Jeffries, Ian Hunter) and Jack Petruzelli (Patti Smith, Rufus Wainwright).

The theme of transformation recurs throughout the the album Blue Roses, which was why Sage embraced the opportunity to bring the song “Wax” to life in such a unique space. The singer admits that when she first entered MorYork Gallery she “felt like the inside of my brain had exploded into an enormous loft. I was so at home in Clare Graham’s imaginative universe. The way he had transformed everyday items into transcendent, shockingly beautiful sculptures felt like it captured the essence of what is possible when art intersects with idealism.”

Another highlight of the album is Neil Young’s “Helpless” — re-imagined as a duet featuring folk icon Judy Collins, with whom Sage is currently on tour. Propelled by her signature piano accompaniment, Sage imbues the classic anthem with a warmth that is entirely her own. This rendition of “Helpless” also appears on Judy Collins’ “Both Sides Now: The Very Best Of Judy Collins,” which also hit stores on November 4.

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