Welcome to Canon in She, a column about female composers of Western classical music, and a few major trailblazers in electronic music as well. Today, I present three brilliant women from the 20th century.
If I would say one thing about Come From Away, other than that it is worth every minute and dollar, it would be that it highlights that amidst suffocating hate, it is possible to find that lemon-drop of kindness in you.
Eleanor pauses in her tracks, sucking in a breath as she turns not to face the man, but the arched windows that line the passage.
Aquitaine stretches out before her, its beauty incomparable to filthy, cramped Paris.
In an age where we can barely last the year without
buying a new smartphone and throw ageing possessions before they have a chance to decay, it’s puzzling why we still refuse to throw away the remnants of the toxic colonial mindset.
Language has faced an onslaught of changes in the face of globalisation, as influences from across the world fight against local ideals of what a language should be. Language academies—organisations that act as regulatory bodies of different languages—are leading the fight against changes to language they perceive as illegitimate.