WOMR International Women's Day, Sunday, March 8, 2026

WOMR International Women's Day, Sunday, March 8, 2026 Mark Your Calendars for WOMR International Women's Day on Sunday, March 8th, 2026 WOMR 92.1FM/WFMR 91.3FM

An Annual Event every International Women's Day when the women DJ's take over the airwaves at WOMR/WFMR to celebrate women around the world.

06/03/2026
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06/02/2026

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In 1966, a teenage girl from the Bronx sat down at a piano and wrote something most adults would never dare to write. A song about dying. Not tragic dath. Not romantic dath. Just the simple, inevitable fact that life ends and maybe that was okay.
She called it ""And When I Die.""
Laura Nyro was 17 years old.
Most teenagers were writing about first crushes and summer heartbreak. Laura was writing lines like: ""And when I die, and when I'm gone, there'll be one child born in this world to carry on."" That isn't precocious. That is unsettling. And the music industry didn't know what to do with her.
Peter, Paul and Mary recorded it first in 1966. Their version was gentle, folk-style, and safe. It barely made a ripple. Then in 1969, Blood, Sweat and Tears took the same song and transformed it. Horns. Swing. Fire. That signature jazz-rock sound that made people stop mid-conversation and just listen. It shot to number two on the Billboard charts. Suddenly ""And When I Die"" was everywhere. Radio. Jukeboxes. Vinyl collections across America.
But here is what almost no one knew.
The girl who wrote it was still performing in small clubs, struggling to get the recognition the song was getting. Because Laura Nyro didn't fit. She was intense and emotional. Her performances were raw and confessional in an era that wanted female singers to be polished and pretty. She played piano like she was wrestling with it. She sang like she was trying to pull something out of herself. Critics called her brilliant. The mainstream called her too much.
So the industry found a solution. Take her songs. Give them to other artists. Let them have the hits.
And it worked.
The Fifth Dimension took her song ""Wedding Bell Blues"" to number one. Three Dog Night made ""Eli's Coming"" a massive hit. Barbra Streisand recorded her music. So did Blood, Sweat and Tears. Laura Nyro's songwriting made other people famous. But Laura herself stayed in the shadows. Not because she wasn't talented. Because she refused to perform the way the industry wanted her to. She wouldn't smile on cue. Wouldn't soften her edges. Wouldn't pretend the songs weren't coming from somewhere deep and complicated. So the world took her words and gave them to people who would.
By the 1970s, Nyro had stepped back from the spotlight almost entirely. She had grown exhausted trying to fit into a business that only wanted her songs and not her. She kept writing and kept recording but stopped chasing mainstream success.
When she ded in 1997 from ovarian cncer at just 49 years old, the obituaries were small. Most of them mentioned the artists who had covered her songs more than they mentioned Laura herself. Even in d*ath, she was remembered as the woman behind the hits. Not the hits themselves.
""And When I Die"" became one of the most iconic songs of the 1960s. But Laura Nyro never got to experience what that felt like. She wrote about mortality at 17. She lived long enough to watch other people become famous for her words. And she d*ed knowing the world had loved her music, just never quite loved her the way it loved everyone else who sang it.
That isn't just unfair.
That is the music industry in one devastating story.
Laura Nyro didn't f*il. The world just wasn't ready for a woman who refused to be anything other than exactly who she was. And by the time anyone was ready to listen, she had already stopped trying to be heard.

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05/14/2026

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She reported him to the FBI in 1996. They had the file all along.
Maria Farmer arrived in New York City with charcoal on her fingers and a portfolio tucked under her arm. She came from Paducah, Kentucky, the kind of small town where everybody knows who you are, but almost no one expects you to leave. By 25, she had earned her master’s degree from the New York Academy of Art. She was standing at the edge of the future she had been sketching in notebooks since she was a child.

Then a wealthy financier walked into her graduate exhibition.

At first, what followed looked like opportunity. He bought art. He knew powerful people. He hired her to work at his Manhattan townhouse, answering phones, organizing pieces, and advising on acquisitions. For a young artist trying to enter an almost impossible world, it felt like fate.

It was a trap.

In the summer of 1996, while working at an estate in Ohio, Maria says she was sexually assaulted by Jeffrey Epstein and his associate, Ghislaine Maxwell. She locked herself inside a room and stayed there until her father could come and take her home.

Then she did something that took remarkable courage.

She went to the police. They directed her to the FBI. In 1996, almost ten years before Epstein’s first arrest, Maria Farmer sat in a federal office and told agents everything. She gave names. She explained what she had witnessed. She warned them about other girls.

Then she waited for someone to contact her.

No one did.

For years, Epstein’s network kept operating. More women spoke out. More women were dismissed. And Maria lived in hiding, changing her name, moving from city to city, looking over her shoulder, carrying a truth that no one in power seemed ready to listen to.

In 2003, she tried once more. She shared her story with a journalist working on a Vanity Fair profile of Epstein. The editor removed her account from the final article.

So Maria stopped painting. For twenty years, she did not pick up a brush.

She left New York. She left the art world. She survived, but she stopped creating.

Then, in recent years, as long-buried documents about Epstein’s crimes began to emerge, people finally saw what Maria had tried to tell them back in 1996. The FBI complaint. The dates. The details. All of it, just as she had reported.

They had possessed it the entire time.

By then, Maria had been diagnosed with a rare brain tumor, then lymphoma. Surgeries, radiation, chemotherapy. The kind of sickness that feels even heavier when your body has spent decades carrying fear.

But something changed.

She picked up a paintbrush again.

Not to reclaim the career that had been taken from her, but to do something larger. She began painting portraits of survivors. Bright, large-scale works. Women painted in gold, turquoise, coral, and cobalt. Faces the powerful tried to erase, brought back into view. Made radiant. Made impossible to deny.

When the documents were finally made public, Maria’s words traveled across the world:

“I’ve waited nearly 30 years. They can’t call me a liar anymore.”

She told the truth when she was 25. The proof appeared when she was in her fifties.

That is 29 years of being right and being ignored.

But Maria Farmer never stopped. Not when they silenced her. Not when they removed her from the story. Not when her body gave way under the weight of everything she had carried.

She kept speaking. She kept painting. She made sure the women the world wanted to forget became impossible to overlook.

Some people paint to get away from reality.

Maria Farmer paints to make sure we never look away.

05/14/2026

When you make a gift to CAMFED, you're ensuring more girls like Lydia can stay in school, complete their education, and build brighter futures.

Incredible story
05/12/2026

Incredible story

In August 1996, twenty-two-year-old Julia Hill was driving a friend home after a night out. She was the designated driver; she was doing everything right. Then, a drunk driver rear-ended them.

The impact was so violent that the steering wheel penetrated her skull, causing severe brain damage. Her short-term memory was shattered, her speech was slurred, and she could no longer walk without help. Doctors told her family to prepare for the possibility that she might never fully recover.

It took nearly ten months of intensive therapy before she could function again—ten months of relearning how to form sentences, remembering what she had said five minutes earlier, and forcing her body to perform movements it had forgotten. During that long, slow recovery, something inside her shifted.

Julia had graduated high school at sixteen and had been working nonstop ever since, eventually becoming a restaurant manager. Her life had been defined by a simple cycle: work harder, make more money, buy more things. The crash shattered that trance like glass.

"The steering wheel in my head," she later said, "both figuratively and literally steered me in a new direction."

When her doctors finally released her, Julia went on a road trip to find herself. She drove to California. At a fundraiser for the redwood forests, she learned a heartbreaking statistic: only about three percent of the ancient old-growth redwood ecosystem remained. For thousands of years, these trees—some taller than the Statue of Liberty—had stood as the tallest living things on Earth. Now, they were nearly gone. She saw photographs of clear-cut logging sites that looked like bomb craters, with entire hillsides stripped bare.

Then, she stepped into the forest herself.

"When I entered the majestic cathedral of the redwood forest for the first time," she wrote, "I dropped to my knees and began to cry."

She had never felt so small and so connected at the same time. These trees had witnessed the birth and death of entire civilizations, and now they were being cut down for patio furniture.

Activists from Earth First! had been rotating volunteers in and out of threatened trees on Pacific Lumber Company land. They needed someone to sit in a particular ancient redwood on a ridge overlooking the town of Stafford, where a massive mudslide—caused by clear-cutting—had recently buried homes and killed seven people.

They needed someone to climb into that thousand-year-old tree and stay there to protect it. No one else volunteered. Julia said yes.

On December 10, 1997, at twenty-three years old, she climbed 180 feet into the canopy. Her hands bled and her legs shook, but when she reached the top, the moon was rising over the Pacific. The activists below named the tree Luna.

Julia thought she would be there for a few weeks. Instead, two weeks became two months. Two months became two years.

Seven hundred and thirty-eight days.

Julia lived on a six-by-six-foot wooden platform. She had a single-burner stove, a sleeping bag, and a solar-powered cell phone. Volunteers hiked supplies through the forest, which she hoisted up by hand. That first winter was one of the harshest in California’s history. El Niño storms brought ferocious winds that swayed the tree violently, sometimes bending it forty feet in either direction.

"Imagine you're on a bucking bronco," she wrote. "Now put that bronco on a ship at sea in a storm, 180 feet in the air."

She gripped Luna’s trunk and prayed, certain she would die. But nature wasn't her only challenge. Pacific Lumber flew helicopters low over her platform to blast her with rotor wash; security guards surrounded the base for ten days to starve her out; loggers yelled threats from below.

Julia did not descend.

She stayed because she realized she wasn't there out of rage, but out of love. She began to see Luna as a living being, singing to the tree and feeling its bark beneath her hands. She believed Luna was holding her just as much as she was holding Luna.

Media attention grew. Some called her a hero, others a fool. But she stayed.

On December 18, 1999, Julia’s feet finally touched the ground. Pacific Lumber had agreed to preserve Luna and a 200-foot buffer zone in perpetuity. In exchange, $50,000 raised by supporters was donated to Humboldt State University for forestry research. When she reached the bottom, her legs nearly gave out. She stood in the dirt, looked up at Luna, and wept.

A year later, a vandal attacked Luna with a chainsaw, cutting 32 inches deep around half the trunk. It was a catastrophic wound. Yet, in an extraordinary turn of events, arborists, biologists, and even employees from Pacific Lumber came together to save her. They fabricated steel braces, packed the wound with clay, and stabilized the tree with cables.

Luna survived.

She still stands today, over 25 years later. Julia went on to write The Legacy of Luna, co-found the Circle of Life Foundation, and inspire everything from hit songs to Broadway musicals. But for Julia, the most important lesson wasn't about politics.

"The question is not 'How can I, one person, make a difference?'" she said. "The question is 'What kind of difference do I want to make?'"

A tragedy gave Julia a second chance at life, and she used it to climb into the sky and protect something worth saving. She held on for 738 days, and because she did, Luna is still standing.

Somewhere, right now, someone else is realizing they have a choice: they can go back to the life they had before—or they can climb.

How one woman stopped an annual killing spree😳
05/08/2026

How one woman stopped an annual killing spree😳

In 1934, a wealthy New York socialite walked into a real estate office in rural Pennsylvania and did something that seemed completely irrational.

She leased an entire mountain — just to stop people from killing birds on it.

Her name was Rosalie Edge. She was fifty-seven years old, a mother, a grandmother, and one of the most determined conservationists America has ever seen.

Every autumn, thousands of hawks, falcons, eagles, and other raptors followed ancient migration routes along Kittatinny Ridge in eastern Pennsylvania. The ridge acted like a natural highway, with thermal currents carrying the birds south for the winter. It was one of the greatest concentrations of migrating raptors in the world.

It was also a slaughterhouse.

Hundreds of men with shotguns lined the ridge each fall. They waited for the exhausted birds — many already weakened by their long journey — and opened fire. The ground became carpeted with carcasses. Wounded birds fell into the brush to die slowly. It wasn’t hunting for food. It was sport killing on an industrial scale.

The state of Pennsylvania actually encouraged it. There was a five-dollar bounty on every goshawk killed. The official belief was that predators were vermin — threats to chickens and game birds that needed to be exterminated. Even the National Audubon Society refused to get involved. They told Rosalie Edge that protecting hawks simply wasn’t worth their time or resources.

She was furious.

Rosalie Edge had money, education, and connections in New York society. But more importantly, she possessed something rarer: moral clarity and the willingness to act on it. She understood a truth that many people still struggle with today: once a species is gone, it is gone forever. She famously said, “The time to save a species is while it is still common.”

She didn’t write polite letters that would be ignored. She took direct action.

When established conservation groups refused to buy the land to stop the shooting, Rosalie Edge did it herself. She leased 1,400 acres of Kittatinny Ridge — the heart of the migration corridor — and hired a warden named Maurice Broun to guard every inch of it.

When the hunters arrived that fall, expecting their annual sport, they found “No Trespassing” signs and a determined woman with her warden blocking the paths. The slaughterhouse was closed.

The hunters were enraged. There were threats against her life. Promises of violence. Local newspapers mocked her. But Rosalie Edge stood firm. She had legal rights as a private property holder, and she was not going to surrender them.

She turned a place of death into the world’s first sanctuary specifically for birds of prey — Hawk Mountain Sanctuary.

In the years that followed, Maurice Broun kept meticulous daily records of every bird that migrated through the ridge. He tracked species, numbers, weather patterns, and behavior. Those records became some of the most valuable long-term data sets in ornithology.

That data proved crucial in one of the greatest environmental battles of the 20th century.

In the 1950s and 1960s, American farmers and the government sprayed millions of tons of the pesticide DDT across the landscape. They believed it would solve insect problems. Instead, it poisoned the entire food chain. Birds of prey at the top — eagles, hawks, falcons — absorbed concentrated doses of the toxin. Their eggshells became so thin that they cracked under the weight of the mother bird sitting on them. Populations plummeted toward extinction.

The long-term counts from Hawk Mountain Sanctuary provided irrefutable scientific evidence of the decline. When Rachel Carson wrote Silent Spring in 1962, she drew heavily on that data to expose the dangers of DDT. The evidence was overwhelming.

The federal government eventually banned DDT in 1972. Bald eagles, peregrine falcons, and other raptors that had nearly vanished from the skies began a remarkable recovery. Today, bald eagles are no longer endangered in most of the United States.

None of that would have happened without Rosalie Edge’s stubborn decision in 1934 to lease a mountain and stand against an entire culture of killing.

She proved something that is still true today: a single citizen with courage, resources, and a clear moral vision can change the course of history. You don’t need a government agency or a massive organization. Sometimes you just need someone willing to say “not on my mountain” and back it up with action.

Rosalie Edge died in 1962 at the age of 82. Hawk Mountain Sanctuary still stands today — a living monument to her vision. Every fall, thousands of raptors migrate safely along the ridge, passing over the very land that was once a killing field. The sanctuary has become one of the premier sites for raptor research and education in the world.

Rosalie Edge is not as famous as some conservation icons. She didn’t seek the spotlight. She simply saw suffering and injustice and refused to look away. She used her privilege not to enjoy comfort, but to protect the vulnerable.

In an era when most people accepted the mass killing of predators as normal, she declared it unacceptable. In an era when women were often told their place was in the home, she bought a mountain and changed wildlife policy. In an era when environmental concerns were dismissed as sentimental, she insisted that future generations deserved to see the same skies filled with eagles and hawks.

Her legacy is not just the sanctuary or the recovered raptor populations. It is the idea that ordinary citizens — even those dismissed as “just a socialite” or “just a woman” — can stand up and force the world to do better.

She didn’t wait for permission. She didn’t wait for consensus. She saw a mountain being used as a slaughterhouse and decided it would become a sanctuary instead.

And because she did, millions of birds have flown safely over Kittatinny Ridge for nearly a century.

The woman who leased a mountain to save the hawks showed us what real conservation looks like: not just studying problems, but stopping them. Not just talking about the future, but protecting it with your own resources and resolve.

Rosalie Edge didn’t just save birds.

She saved a piece of America’s soul — the idea that wild things have a right to exist, even when they are inconvenient to human convenience.

And every time a hawk or eagle soars overhead, riding the same ancient currents along the ridge, we are witnessing her victory.

A quiet, determined victory won by a woman who refused to accept cruelty as tradition.

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