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It is not Nori and Chicago’s essential personhood that prompts West to nurture them, but their relationship to him: one in which he is both role model and custodian, dream giver and disciplinarian. West cherishes the attendant control. Even in his attempt to share a realization that affects how he will now treat a sizable portion of the population, West once again centers himself. [...] West pays particular attention to the contours his daughters’ bodies may develop in the future, referencing his wife’s famously enhanced curves in the process. He threatens hypothetical future boyfriends, then imagines a scenario in which a battered daughter comes racing back to him. The lines are disturbing, reminiscent of how Donald Trump speaks about his eldest daughter, whom he has called “hot” and whose sex life he often alludes to. On an album full of references to a president whom West has received no shortage of criticism for defending, “Violent Crimes” stands out for the perverse intimacy with which it links West to Trump. The two men’s arrogance may be staggering, but the ease with which they discuss—and seek to control—women’s bodies is just as striking. Both men draw from deep reservoirs of entitlement; when trained on girls and women, that potent mixture of shielding and possession can grow much more pernicious.

The notion that the best way to introduce a streaming music service to women is to present it as an emotional dildo is confounding.

Rihanna won’t let us feel better about ourselves through her story, and she won’t even say sorry.

Rap music clearly has a serious misogyny problem. Admitting that won't lead to the elimination of the music altogether and it doesn't mean that all other social issues have to take a backseat. But once the problem has been acknowledged, let's don't just leave the self-evident truth sitting there. Actually continue to think about this stuff. Too often, rap's misogyny has been treated as a given. And that's just as dangerous.

I’m done with being passive about any kind of status quo that allows anyone to suffer or to be disrespected.

In an exclusive in ELLE's May issue, Sonic Youth's Kim Gordon talks candidly about her next chapter, and what really happened between her and Thurston Moore.

On the height of a performer and what it’s like to attend a show as a woman.

Comparing the excellent work and perspective of seminal music writer Ellen Willis and the horribleness of ‘Record Collecting for Girls’ by Courtney E. Smith.

Many musicians express a complex relationship with the term 'riot grrrl'-- a reverence for the movement's origins but also frustrations about the difficulty of escaping the limits of gendered language.

Nitsuh Abebe on Odd Future's energy, and their unfortunately exclusionary lyrics.

“The whole joy of hearing Minaj swoop through a bunch of different registers, for me, in this verse, is that all of them are the same person making the same point. They’re not in dialogue with one another!”

On whether Best Coast's guys-treat-me-like-shit-but-I-just-keep-crawling-back lyrical content is hindering the female experience. Read all of the follow-up Tumbls and comments to get the full perspective. It would be interesting to hear Bethany herself comment on this.

Palin and Perry, sittin' in a tree. "She kisses a girl—sure, okay. She likes it—um, and? Oh, and she hopes her boyfriend doesn't mind, because sexual autonomy is inextricable from the male gaze, and that's fucking awesome. 'I Kissed a Girl' is infuriatingly ass-backward: cynical adherence to outdated values made into titillation, snide calculation dressed up as the underdog, the same old bullshit disguised as rebellion."