Purdue Boilermakers 2024 Maui Invitational Champions T-Shirts

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She reminds us of the adventures and rage of youth. I was never part of the passenger seat club depicted in "Casual" (and honestly, I don't really understand how she managed it - feet up on the dashboard?), but every middle-aged mom was once in her 20s, the world flashing, bright and dramatic. Roan helped us reconnect with all that. As Kira Durant, a 42-year-old mother of a twoand eight-year-old, told me: "After two kids, my pelvic floor was broken and there were only two people on the planet I would jump for and one of them was Chappell Roan."

Some girls want to be known, while others prefer to hide. Scottish singer-producer Sophie is for girls who want to hide behind the mixing board while still creating their own magic and Sophie, her posthumous record, attempts to reconcile both of those ideals. Known for the crunchy, old-fashioned production of her powerful songs, Sophie built an intensely private public profile, barely known outside of her stage name before coming out as transgender in 2017. She’s a producer, in charge of her own image and sound, but what she radiates more than anything is a kind of angelic exoticism. Sophie has only released one studio album the critically acclaimed, Grammy-nominated Oil of Every Pearl's Un-Insides (2018) and one mixtape in her lifetime,

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and both are heavy instrumentals, with some songs featuring a single phrase repeated over and over, almost stretching the limits of language, until the noise and robotic distortion take over. Her early releases, like 2015's "BIPP" and "Lemonade," just hung in the air for a while, with no one really knowing their context or who made them. (In 2021, Vince Staples recalled that some speculated Sophie was just another A.G. Cook project.) The 2017 visual for “It’s Okay to Cry” which marked the first time most fans saw Sophie’s face placed her against an ever-changing backdrop of clouds, rainbows, and a starry night sky, embracing the neither-here-nor-there nature of her presence, while the wickedly fun video for “Faceshopping” from 2018 reveled in the wild manipulations of her face. Harron Walker previously wrote about the “dissociative” element of Sophie’s music, the way it crystallized both presence and absence at the same time, in the same body. Sophie conveyed a more angelic plane, where bodies moved in and out of view under flickering club lights.

In a short documentary posted to YouTube in 2017, Roan shared of her music, “Honestly, all I really want is for people to feel something when they hear it.” She was probably thinking of her fellow 20-somethings, but her ’80s synth sounds have also energized the tired, overwhelmed middle-aged moms of the world. “The gift of Chappell is that she can be present enough to open up a moment in time for us to step back and experience all of its different dimensions sadness,

sexuality, joy, fear, and all the complicated emotions of being a young person,” Abby H., 41, a mother of an eight-year-old and a five-year-old, told me recently. Those emotions can be harder to find in the midst of motherhood and aging, but Roan’s music has a way of bringing them to the surface.

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