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I just want to say that Mr. Stuart's show should be on mainstream USA television. I miss true country music. I watched John Anderson perform on RFD-TV and I remember how much we need the real artists of country music back on the big stages of this country. The country artists today all sound the same and look the same. It is truly a shame. I am thirty-eight years old and started listening to Ralph and Carter Stanley, Bill Monroe and Lester Flatt & Earl Scruggs with my Grandfather when I was four years old. I still am a huge Bluegrass fan. I bought Sirius radio just so I could have Bluegrass music in my truck at all times. I love it when Mr. Stuart plays the mandolin. I have been learning the mandolin now for about five years but I don't practice like I should. When I see Mr. Stuart play the mandolin it makes me want to get mine out and start playing. The gospel part of the show is wonderful also. I grew up in a old regular/modern Baptist church in a small Southern Indiana town. We only had one member that played guitar but most of the signing was done by vocals only. I was truly touched by the Bands performance.

So I impulse bought a greatest hits Dixie Chicks CD the other day in Wal Mart. I've always liked them on a casual - song coming on the radio basis, but never really listened to them seriously. However, I have always felt Emily's completely underrated as a banjo player. And why is this? I'm not really interested in the controversy over the last decade. There are many examples of virtuoso banjo players trying to bring the banjo back into the mainstream by reconnecting with popular trends in music. Bela Fleck for example. I've always felt that becoming more acrobatic and being able to play jazz is less important in this regard than being able to connect the banjo tastefully to modern songwriting. Which is something Emily does exceptionally well, and it's not easy to do. Most of the Dixie Chicks material strays radically from traditional bluegrass rhythms and tempos, so to a large extent she's reinvented the context of the banjo. And she hasn't gone on a fact finding tour to Africa to do it. Her picking on 'Lubbock or Leave It' is freakin' killer. Low down, mean and uncomplicated. She just pops that first string in the way it's meant to be popped. Nothing flashy - very early rock n' roll. I love it. So why isn't she heralded as Scrugg's sucessor? Why isn't she up there for banjo player of the year? Why is she ignored almost completely on these forums? Answers please.

Download Radio Zu Most Wanted Martie 2023

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We\u2019re answering the \u201chow\u201d and \u201cwhy\u201d of gender and politics news. Subscribe to our daily newsletter.\n\n\n\nIt began with 11 words: \u201cWe\u2019re ashamed the president of the United States is from Texas.\u201d\n\n\n\nNatalie Maines, lead singer of The Chicks, couldn\u2019t have known how that sentence about George W. Bush and the burgeoning Iraq War would change everything for her and her bandmates, Emily Strayer and Martie Maguire. Those words, proclaimed to a London audience on March 10, 2003, would echo through the rest of The Chicks\u2019 career. \n\n\n\nIn the two decades that have passed since people burned the country trio\u2019s CDs in front yards nationwide and The Chicks were excised from country radio, things have gotten only more complicated for women in country music. \n\n\n\nFor many entrenched in the genre, what happened in 2003 is a salient explanation of exactly why what happened to The Chicks hasn\u2019t been entirely limited to one moment or even one band. \n\n\n\n\u201cI have a hunch that if it wasn\u2019t what happened on that stage on March 10, then it would have been something else,\u201d said Marissa R. Moss, a music journalist and the author of \"Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be.\" \u201cThere would have been another breaking point for The Chicks \u2014 they were too popular, too opinionated, too loud.\u201d \n\n\n\nThe Chicks \u2014 they dropped \u201cDixie\u201d from their name in 2020 \u2014 became a cautionary tale for women in country music, a genre that has held fast to often undefined \u201ctraditional\u201d values and patriotism. \n\n\n\n\n\n\u201cThis incident nearly ended The Chicks\u2019 career, and the aftermath had a major effect not only on them but many other artists,\u201d said Leslie Fram, the senior vice president for music and talent at Country Music Television. \u201cThe term \u2018Dixie-Chicked\u2019 became a real thing, and artists, especially female artists, didn\u2019t want to make their opinions known due to the fear of being ostracized by conservative fans or radio.\u201d\n\n\n\nThe Chicks\u2019 freefall began on March 10, 2003, when Maines tried to connect with a crowd while playing a show in London: \u201cJust so you know, we\u2019re on the good side with y\u2019all. We do not want this war, this violence.\u201d And then that fated sentence.\n\n\n\nMaines\u2019 words didn\u2019t become a global headline until March 12, when The Guardian ran their review of the show. In the pre-social media era, the comments didn\u2019t spread in real time. But when they got back to Nashville, all hell broke loose. \n\n\n\nMaines was already known for being outspoken, someone who proudly identified as a feminist and had previously waded into debate about the looming war. The Chicks not only regularly appeared at country music festivals, but were also staples at the women\u2019s music mecca Lilith Fair. Maines feuded with the country megastar Toby Keith over his hit \u201cCourtesy of the Red, White, and Blue (Angry American).\u201d Maines had called the lyrics \u2014 written in response to the 9\/11 attacks \u2014 \u201cignorant, and it makes country music sound ignorant. It targets an entire culture \u2014 and not just the bad people who did bad things.\u201d\n\n\n\nLocal country radio personalities K. C. Daniels shows off the darts he has been throwing at a poster of The Chicks taped to the studio door at radio station KRMD-FM in Shreveport, Louisiana in March 2003.\n (Mario Villafuerte\/Getty Images)\n\n\n\n\u201cThe Chicks were already perceived as dangerous in that moment. They had already been embroiled in a court case against their label, suing them for unpaid royalties,\u201d said Jada Watson, an assistant professor of information studies at the University of Ottawa and principal investigator of the SongData project, which tracks the evolution of music genres through data analysis. \u201cThe industry saw them as ungrateful little girls. It\u2019s almost like the industry had all the ammunition they needed to get rid of them.\u201d\n\n\n\nIn March 2003, The Chicks were country music stalwarts. They had performed the National Anthem at the Super Bowl earlier that year and had singles on the Billboard charts. After March 10, though, thousands of phone calls flooded into country radio stations across the country asking them to ban The Chicks. And the industry listened. \n\n\n\nFor The Chicks, \u201cthe glass was already filled all the way to the top and this was the very last drop to make it overflow,\u201d Moss said.\n\n\n\nThe Chicks declined to comment for this article.\n\n\n\nThe 19th spoke to women country artists, who watched the backlash play out as they built or dreamed about their own career, about how they still feel the impacts of The Chicks\u2019 cancellation. They spoke about the ways in which they have existed in, around and outside of that legacy of retaliation for bucking the genre\u2019s norms. \n\n\n\n\n\n\n\nAs an out queer woman who first became known to the pop culture public through her appearance on \u201cThe Glee Project,\u201d Harper Grae has always looked to The Chicks as a major source of inspiration. \n\n\n\n\u201cI wouldn\u2019t have had the courage to be out my whole career if not for The Chicks,\u201d she said.\n\n\n\nHer first memory of watching the news was when the fallout with The Chicks began, when people burned the band\u2019s CDs in massive public displays. For Grae, who was 12 at the time, the moment only intensified her love for The Chicks \u2014 and her understanding of what it meant to be an artist. \n\n\n\n\u201cIt showed me that your opinions do matter,\u201d Grae, now 32, said. \u201cThey matter so much that it affected a whole country and a whole genre when they spoke out.\u201d\n\n\n\nThe Chicks taught Grae about the importance of speaking out without fear. \n\n\n\n\u201cI\u2019m raising a family in one of the most conservative states in the country and in an incredibly conservative genre, but I\u2019m not a conservative. I have to not be afraid,\u201d Grae said. \u201cThe Chicks taught me to speak your mind, speak your truth, and also not be afraid because not everyone is going to agree with you and maybe a conversation you start will help people meet to find some common ground.\u201d\n\n\n\nStill, though Grae was invigorated by The Chicks\u2019 statements, it had a quieting effect on many artists.\n\n\n\n\u201cEvery artist has had a Chicks moment where they seem to be grappling with, \u2018Do I say something or not?\u2019\u201d Watson said. What happened to The Chicks, she said, \u201csends a really harmful message that you need to stay in your lane. That you can\u2019t question authority. That you\u2019re just supposed to \u2018shut up and sing.\u2019\u201d \n\n\n\nEarly in her career, Grae said she was advised to not bring girlfriends to public events, or describe them as \u201cjust a friend.\u201d After a year in the industry, she said she realized she didn\u2019t want to play that game \u2014 and was quickly told by industry executives that they \u201cdidn\u2019t know what to do\u201d with her. \n\n\n\n\u201cI was told that I have a commercial sound, but that my lifestyle is not commercial,\u201d she said.

\u201cThat was a speed bump for me, for sure.\u201d\n\n\n\nThis generation of artists, Watson said, watched what happened to The Chicks over the past 20 years \u201cand understand that the institution cannot and will not love them.\u201d The message was clear: The country music machine that exists to \u201csupport only one type of artist \u2014 a White, straight man.\u201d The women who try to make their own way have to do something different, Watson said, and then they often face criticism for not sounding \u201ccountry enough\u201d by mainstream country standards. \n\n\n\nCountry singer-songwriter Harper Grae\n (Harper Grae)\n\n\n\nArtists who pursued crossover paths as a means of seeking an alternate path to reaching an audience, like Shania Twain in the early aughts and Kacey Musgraves in recent years, were then \u201cpunished for not being loyal\u201d to country music and further ostracized from it. Musgraves, for instance, had her album blocked from contention in the Grammys\u2019 country category in 2021 after crossing over into broader pop music, something that men in country have done while still remaining in contention for awards. \n\n\n\nAll of the artists The 19th spoke to for this piece are White. People of color in country music face additional hurdles breaking through in a genre dominated by White men, with extra layers of scrutiny on what can be considered part of the genre. \n\n\n\nThe Grammy country committee rejected Beyonc\u00e9\u2019s 2016 song \u201cDaddy Lessons\u201d \u2014 defended by many country titans as a squarely country song \u2014 from contention in its categories. Just a month before, Beyonc\u00e9 had performed \u201cDaddy Lessons\u201d with The Chicks, who went on to record their own version of the song, at the Country Music Association Awards. \n\n\n\nLil Nas X, a Black queer artist, was launched into stardom by the twangy, bass-laden country crossover hit \u201cOld Town Road\u201d in 2019. The song broke through on Billboard\u2019s Hot 100, R&B\/Hip-Hop Songs and Country charts all at once. And then, quietly, Billboard removed \u201cOld Town Road\u201d from its country charts, saying its initial inclusion on the genre\u2019s chart was a mistake. \n\n\n\nStreaming services like Spotify have opened up pathways for artists to build their own audiences outside of the radio, which Watson says has revealed the flaws in country radio\u2019s logic \u2014 that airplay meant popularity \u2014 and allowed more flexibility in defining the genre. The way that Carrie Underwood, Miranda Lambert, and even Taylor Swift transitioned their brands to reach a pop audience is evidence of that, too, Watson said. \n\n\n\n\u201cAll anyone would talk about was airplay as a sign of what the population wanted, but we know better than that now,\u201d Watson said. \u201cWe know that radio actively curates its audience based on what it plays, and an audience isn\u2019t going to get anything different than what radio feeds.\u201d \n\n\n\nThis could mean ushering in a new generation of listeners who have not always been represented as quintessential country fans. As someone who regularly plays Pride shows and festivals, Grae is struck by how many queer country fans there are \u2014 and doesn\u2019t take lightly what her presence as an out artist means. \n\n\n\n\u201cRepresentation matters. I want to be someone that a little girl in Alabama can look up to, regardless of her circumstances,\u201d she said.\n\n\n\nGrae sees herself as someone who is very grateful to have \u201ca seat at the table, is being served food at the table, and now I am wanting to have some thoughtful conversations with the other people I am sitting with.\u201d She thinks about the future: \u201cI just want to be a grip for the people now coming up behind me.\u201d\n\n\n\nGrae is in talks with the Country Music Awards about creating a space for LGBTQ+ songwriters to work together surrounding the annual industry festivities. She continues to speak out on social media, whether it\u2019s about issues that impact her directly like language in anti-abortion bills that might limit in vitro fertilization and other forms of assisted reproduction, or Tennessee\u2019s recent law targeting drag performers. When she does, though, she says she tried \u201cto remain in a space where I feel like someone would still talk to me, even if they disagree with me.\u201d\n\n\n\nShe looks to The Chicks in how she thinks about this work. \n\n\n\n\u201cThey are the poster children for overcoming adversity within this genre,\u201d she said. \u201cTheir journey is incredibly inspiring. I could hope for nothing more than to have a career that mimics theirs, even with its pitfalls \u2014 because I don\u2019t see it as a pitfall, but as a transformational breakthrough in seeing who is really there for you as a human and as an artist.\u201d\n\n\n\n\n\n\n\nMargo Price, 39, was in college during the uproar over The Chicks. At the time, Price was trying to forge a career as a folk musician in the vein of Bob Dylan or Joan Baez. Political statements seemed central to that work. She hasn\u2019t lost that thread today: Her four critically acclaimed alt-country albums have helped amplify messaging around issues that matter to her. She regularly speaks out about climate change, abortion rights and gun violence in America. \n\n\n\n\u201cMy art is a reflection of my human experience, and I guess my experience is filtered through a sort of feminine lens,\u201d she told The 19th. Even though Price didn\u2019t consider herself a mainstream country music fan at the time The Chicks found themselves in the culture wars crosshairs, Maines\u2019 London comments struck her.\n\n\n\n\u201cIt was pretty rad that they took a stand, because I definitely didn\u2019t support Bush or the war, and I remember the backlash,\u201d Price said. \n\n\n\nShe specifically remembers The Chicks on the cover of Entertainment Weekly\u2019s May 2003 issue. The bandmates posed naked save for words like \u201cboycott,\u201d \u201cSaddam\u2019s angels,\u201d \u201ctraitors,\u201d \u201cbig mouth\u201d and \u201cDixie sluts\u201d painted over their bodies \u2014 all descriptors hurled at them after March. It was the first major interview the band had done since the scandal had erupted. \n\n\n\nPrice said she was struck by the way that, even as the masses continued the pile-on, The Chicks doubled down on calling attention to the tenor of the conversation about them, and how gendered it inherently was, by choosing to participate in that kind of cover shoot.\n\n\n\n\u201cI thought it was a pretty cool statement, and a continuation of what artists have long been doing, which is speaking their mind,\u201d Price said.\n\n\n\nMargo Price poses for a portrait backstage at the Grand Ole Opry in October 2022 in Nashville, Tennessee.\n (John Shearer\/Getty Images)\n\n\n\nToday, Fram says, country music is having a unique moment, with a crop of what she describes as \u201cour modern-day outlaws\u201d who are letting their songwriting and artistry speak for itself. She points to Price, Musgraves, and Maren Morris \u2014 who achieved mainstream success while also continuing to speak out on abortion rights and voice support for transgender youth \u2014 as key examples of what this new movement looks like. \n\n\n\nBut Fram also stresses that while these women identify as country artists, they also \u201cdon\u2019t depend on country radio.\u201d Their music has reached audiences outside of airwaves as a result of a digital-first music climate, where artists can build strong fandoms through social media, garner press independently of genre publications and awards systems, and reach listeners' ears through streaming services and cross genres with ease. \n\n\n\nPrice said she focuses only on \u201cjust trying to carve out my space in the musical world\u201d \u2014 which means not caring about however she does or does not exist within the norms of mainstream country music. \n\n\n\n\u201cAs soon as I got my career off of the ground, I got pregnant and the pandemic hit. I\u2019ve had haters from day one who tried to smear my name and say I didn\u2019t deserve my success. Like I hadn\u2019t worked hard enough for it,\u201d Price said. \u201cBut I don\u2019t pay them any attention.\u201d \n\n\n\nShe has kept her focus on her own sound and musical evolution as an artist, penning a memoir about her own experiences with addiction and the loss of a child in the interim.\n\n\n\nWhat Price does pay attention to, though, is the radio charts and festival billing line-ups that she said send a very clear message about just where the country music industry wants women to be and how they want women to be \u2014 lower ranked, literally. Even with her 2019 Grammy nomination for Best New Artist, Price knows she will rarely if ever find herself on those lists.\n\n\n\n\u201cMany of the old farts who run these establishments want women to sit and look pretty and have no opinion. They want it to remain white and straight and male dominated like some outdated episode of \u2018Leave It To Beaver.\u2019\u201d Price said. \u201cThat\u2019s why so many of us women turn to other genres for acceptance. But that doesn\u2019t mean we\u2019re going quietly into the night.\u201d\n\n\n\nPrice acknowledged that she isn\u2019t played on country radio. Her outsider status feels good, though. \n\n\n\n\u201cI\u2019m an anarchist in the country music establishment,\u201d she said. \u201cI am the black sheep wandering on the hill. I am more worried about how to solve climate change and gun violence for our children.\u201d\n\n\n\nThe notable absence of women on country radio \u2014 Watson found that women artists received just 11 percent of all reported airplay in 2022 \u2014 is a part of the same kinds of attacks happening on reproductive rights right now, Price said. \u201cEven when we think we\u2019ve made progress, there are still entrenched biases and judgments that we all make daily.\u201d\n\n\n\nSinger-songwriter Margo Price performs at Riverside Revival Nashville in January 2023 in Nashville, Tennessee.\n (Jason Kempin\/Getty Images)\n\n\n\nWomen seeking to find their ways both within and outside of the corporate country music system often have politics and art that force them to operate independently from the industry. In doing so, they are providing a kind of road map for younger artists and finding new avenues and sounds for their music to connect with audiences excited by their interpretations of what it means to be country. \n\n\n\nWatson noted that many of the women in country music who dominated the charts around the same time as The Chicks, such as Martina McBride, Faith Hill, Trisha Yearwood and Shania Twain, also stopped receiving the kind of airplay they once did after The Chicks fallout. She said she could not determine whether it was an effect of \u201cretaliation against The Chicks\u201d or because of age-related assumptions about marketability of women who had by then reached their mid-30s. \n\n\n\nThat created a system, she said, where only two or three women at a time are anointed with the status of mainstream country music star. \u201cIt\u2019s always groups of two or three, two or three women that are allowed to succeed to the levels that allow them to make a good living. We can always name who they are in each era following The Chicks, and we can\u2019t possibly name all the men who make money to the same capacity. I would need your hands, mine, and other people\u2019s hands to do that.\u201d\n\n\n\n\n\n\n\nLindsay Ell\u2019s first full-length country album, \u201cThe Project,\u201d debuted at No. 1 on the Billboard country sales chart when it first came out in 2017, but coming from Calgary, Alberta in Canada, Ell said it took her living in Nashville for a while to fully understand how country music, and country radio, functioned as an industry. \n\n\n\n\u201cAs female artists, we have so many challenges with our songs being heard, let alone our voices being heard,\u201d Ell, 33, told The 19th. \n\n\n\nIt makes figuring out what Ell calls \u201cspeaking your voice\u201d even more difficult, especially with the specter of what happened to The Chicks hanging in the background. Growing up, Ell looked up to artists like Twain and The Chicks, people who she perceived as \u201cwriting music that mattered.\u201d She loved that country music was music that told stories, where lyrics and the art of songwriting were prioritized. \n\n\n\nShe\u2019s also felt the effects of The Chicks\u2019 legacy firsthand. \n\n\n\nIn November, Ell posted on Instagram about the importance of voting and offered a ticket giveaway tied to it. In her post, Ell wrote about passing her citizenship test and the importance of midterms. She continued: \u201cOne of the best things I\u2019ve learned is that the biggest number of newly registered voters are young women. This makes me so hopeful because I\u2019m a young woman and I know the power we hold, especially when we rally together.\u201d \n\n\n\nAlmost immediately, Ell saw a significant drop in her follower count. The comments to her post are filled with messages calling her out as a supporter of abortion rights, despite zero mentions of abortion anywhere in her post. One in particular asks her where in the Constitution or the Bill of Rights does it say you can murder a baby before concluding, \u201cThis comment on your page will be the defining moment and demise of your career.\u201d\n\n\n\nEll said the experience made her feel even more committed to talking about what she perceives as \u201cimportant things,\u201d like voting. \u201cI\u2019m not going to force my beliefs onto someone, but I can talk about participating in society and loving each other.\u201d\n\n\n\nLindsay Ell performs onstage in February 2021 in Nashville, Tennessee.\n (John Shearer\/Getty Images)\n\n\n\nAfter 12 years in Nashville, Ell said she has come to think of country music and the Nashville scene as \u201ca family\u201d \u2014 but that the 2020 surge in the movement Black Lives Matter movement following the murder of George Floyd made her understand that community differently, especially as a White woman. Ell participated in the protests following Floyd\u2019s death in Nashville and posted about it on social media. On Instagram, she showed herself at the protest holding a hand painted sign that read \u201c1Love.\u201d In the caption she wrote: \u201cFor the family of George Floyd, and to the black community as a whole, my heart breaks for you. We have to start speaking up and teaching each other there is only one kind of love. Racism is a learned behavior and we are far too educated of a society to let this injustice continue to happen.\u201d\n\n\n\nCountry artists like Morris and Musgraves joined in posting messages of support for Black Lives Matter. But many of the genre\u2019s biggest artists stayed silent. It was an issue Ell assumed everyone in the industry automatically would rally behind. She was surprised when that wasn\u2019t the case.\n\n\n\n\u201cIt was wild to go through things like Black Lives Matter and see a division within our country music family,\u201d Ell said. \u201cIt was like like, \u2018Whoa, wait a minute \u2014 I thought we were supposed to love each other wholly.\u2019\u201d\n\n\n\nEll said she also had the sense that women artists especially felt pressured to not speak out in that moment, or about other issues that have felt important for them, knowing what it may mean for their careers. She said she perceives this as being part of the different standard to which women artists are held in Nashville. \u201cWe need to work harder, we need to work longer hours, and we need to do it with two hours of glam before getting on camera to do it. That conversation is often forgotten.\u201d \n\n\n\n\n\n\n\nTwenty years after Maines spoke those 11 words, women in country are still envisioning a separate reality. What if they could \u2014 like Willie Nelson, for example \u2014 freely speak their mind and still have audiences\u2019 focus remain on their music? \n\n\n\n\u201cHow different would things be for The Chicks, and for the genre, if their comments were just taken as \u2018opinion\u2019 and not started a ripple effect which banned them from radio airplay, therefore hurting their livelihoods, potential touring and record revenues, awards?\u201d Fram asked. \u201cWho knows what other amazing voices would have broken through if history played out differently?\u201d\n\n\n\nMoss wonders what it would mean to envision a contemporary country landscape where women artists aren\u2019t first contextualized and evaluated on political rhetoric. The Chicks\u2019 newest album, \u201cGaslighter\u201d \u2014 released in 2020 after a 14-year silence \u2014 marked the band\u2019s fifth time appearing as No. 1 on Billboard\u2019s Top Country Album chart. Still, talk of what happened to them in 2003 still surrounds their every achievement \u2014 including their return to country radio with \u201cGaslighter.\u201d It\u2019s a fate many other women in country music face. \n\n\n\n\u201cTo what degree can you see a future for Maren Morris that doesn\u2019t mention her \u2018hot button\u2019 topics, but just talks about her artistry?\u201d Moss asked. \u201cDo women get the same in-depth analysis of their art in music journalism?\u201d \n\n\n\nNatalie Maines, Emily Strayer and Martie Maguire of The Chicks perform at The Greek Theatre in Los Angeles in July 2022.\n (Timothy Norris\/Getty Images)\n\n\n\nTo Moss, what happened to The Chicks triggered an erasure of meaningful, historical conversation about The Chicks as artists \u2014 the thing that got them in front of a large London crowd in the first place. \n\n\n\n\u201cI don\u2019t think we talk enough about how good The Chicks are \u2014 how good they were then, and how good they are now. At the moment when this happened, they were and still are incredible singers and players and performers,\u201d Moss said. \u201cThe Chicks were also already one of the greatest country bands of all time and I don\u2019t think we talk about that enough. It is so easy to take that part of the story away and get so caught up in that moment. It\u2019s important to learn from the lessons of the past, but it\u2019s also important to talk about the impact of their music and the quality of their music. That\u2019s part of their story, too.\u201d\n","post_title":"The Chicks were silenced over politics. 20 years later, those lessons shaped country music\u2019s new generation.","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"the-chicks-silenced-politics-20-years-influence-country-music","to_ping":"","pinged":"","post_modified":"2023-03-15 14:33:39","post_modified_gmt":"2023-03-15 19:33:39","post_content_filtered":"","post_parent":0,"guid":"https:\/\/19thnews.org\/?p=52173","menu_order":0,"post_type":"post","post_mime_type":"","comment_count":"0","filter":"raw"},"authors":[{"name":"Jennifer Gerson","slug":"jennifer-gerson","taxonomy":"author","description":"Jennifer Gerson is a reporter on our breaking news team. She was the recipient of the 2015 Maggie Award for her reproductive and sexual health reporting work at Yahoo Health. In 2019, she was twice nominated by the American Society of Magazine Editors for her work in Marie Claire and Cosmopolitan. She was also one of the founding editors of Jezebel.com.","parent":0,"count":134,"filter":"raw","link":"https:\/\/19thnews.org\/author\/jennifer-gerson"}]} The 19th

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