- Sandra Trim da Costa, Miles Davis’ publicist (facilitating an interview)
- Taylor Swift (being interrupted by Kanye)
- Rihanna (being abused; using social media)
- Miley Cyrus (making better music as Hannah Montana — interesting, if they mean it, but a tangent — becoming Miley2K3)
- Madonna (getting sub-Facebook-posted by deadmau5, “[representing] everything awful about the commercial music industry and celebrity industrial complex”)
- Paris Hilton (being tweeted about by deadmau5)
- Ronnie Spector (being abused)
- Kim Kardashian (being married to Kanye)
- Laura Palmer (a fictional character)
- Britney Spears (marrying Kevin Federline)
- Bianca Jagger (apocryphically riding a white horse into Studio 54)
- Blondie (is a band, but at this point I’ll count it; making “extremely satisfying uptempo songs)
Aside from Trim da Costa, who’s referred to periodically doing publicist stuff, and Miley Cyrus, who gets a couple sentences, everyone here is an offhand mention.
In 2014, The Classical World Still Can’t Stop Fat-Shaming Women : Deceptive Cadence : NPR:
After a week full of discussions about gender and the newsroom in the U.S., a pile of weekend reviews arrived from London, courtesy of five older male critics writing about an emerging Irish mezzo-soprano named Tara Erraught. Erraught is singing Octavian in the Strauss opera Der Rosenkavalier at the Glyndebourne Festival, which opened Saturday night.
What is stunningly apparent is just how much a woman’s body matters onstage — way more, if these five critics are to be believed, than her voice, her technique, her musicality or any other quality…
I find it astounding that across five widely read publications, not a single editor saw fit to go back to the writer and challenge what he had written. Yes, visuals matter — even more now, in the age of live broadcasts — but these critics have seized this as license to forget why anybody shows up at an opera house to begin with.