Because it’s Lykke Li, heartache is the obvious impetus for “I Never Learn,” a ceaseless outpouring of dire, pillow-soaked woe inspired by the Swedish singer’s very public post-breakup brokenness.
A song off Dolly Parton’s 42nd studio album, “Lover du Jour,” is as hilariously cheesy as some of the legend’s own quips. On it, she warns, “I am not for your amusement.” Except, well, she kind of is – and, for over 50 years, she has been.
Essayist Jancee Dunn (co-author of “Cyndi Lauper: A Memoir”) sums up the influence, reach and enduring relevance of Cyndi Lauper’s 1983 debut “She’s So Unusual” with a single thought: “How many albums can you name that can be heard at both Pride parades and preschooler’s birthday parties?”
You gotta feel bad for every non-gay American not currently enraptured by Kylie Minogue. Sure, they know the Aussie diva for “The Loco-Motion” and, if they are at all conscious, her chart-ruling, early-00s “Can’t Get You Out of My Head,” but post-”Fever,” Minogue’s been our best-kept secret. Sorry, straight world, but you’re missing out.
The business of turning a theater-born star into a bona fide pop act isn’t as easy as it looks, and Lea Michele knows this from seeing her “Glee” co-stars, Matthew Morrison and Kristin Chenoweth, make failed attempts.
The remarkable thing about “Transgender Dysphoria Blues” – besides, of course, it being an emancipating declaration of independence – is that it even exists. Can you imagine, in the late ’90s when this punk-rock quartet from Florida first rocked its way to notoriety, something as transgender-focused as this?
Jennifer Holliday is not going. And even though it’s been 23 years since the Grammy winner – the original Effie in Broadway’s “Dreamgirls” – released a secular solo studio album, she’s telling you … and you … and you.
It’s a new year, but we’re not done gushing over Beyoncé and that juggernaut of an album she surprise-dropped to a web blitz of industry-shattering joyousness.