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In Women Singer-Songwriters in Rock: A Populist Rebellion in the 1990s, Ronald D. Lankford Jr. argues that women singer-songwriters formed a substantial movement within popular music during the 1990s, making a significant social and aesthetic contribution that pushed feminism into mainstream American culture. Lankford examines in depth the work of several artists―including Alanis Morissette, PJ Harvey, Liz Phair, Courtney Love, Tori Amos, Sarah McLachlan, and Sheryl Crow―offering thorough descriptions and analyses of their music, lyrics, and album art. By looking at both the broader movement and individual performers, this book provides a comprehensive and accessible overview of the movement and its message.
Lankford introduces the singer-songwriter movement and the artists and genres that paved the way for these 1990s rockers, establishing the arch of the popular movement of women in rock as it mirrored the rise of third wave feminism and sketching the cultural and political landscape that served as a backdrop to the women's singer-songwriter movement during the 1990s. Drawing from resources in books, journals, and zines, Lankford focuses on the exploration of women's issues within the music through analyses of its lyrics and album art and examines how the often hard-edged feminist content was able to filter into mainstream popular culture. To help illustrate this, the book includes a select discography of albums and singles, including their placement and number of weeks spent on various charts. A complete bibliography and index round out this important study, which is a must for fans and scholars of music, popular culture, and women's studies.
- Sales Rank: #3960749 in Books
- Published on: 2009-11-25
- Original language: English
- Number of items: 1
- Dimensions: 9.04" h x .78" w x 6.06" l, .90 pounds
- Binding: Paperback
- 274 pages
From Booklist
Lankford readably examines the 1990s work of Alanis Morissette, P. J. Harvey, Liz Phair, Courtney Love (and her band, Hole), Tori Amos, Sarah McLachlan, and Sheryl Crow, and discusses selected themes in the singer-songwriter world, from the riot grrrl philosophy to the less confrontational style of performers at McLachlan’s brainchild, the Lilith Fair, which reflects her mellow tastes, for which she and it were criticized. Despite very pronounced differences in musical styles, all these women wrote and sang their own material. Lankford notes that the women singer-songwriter trend arrived roughly simultaneously with third-wave feminism, and he believes the trend shares many qualities with the ideology, which he contends was born out of the nomination of Clarence Thomas to the Supreme Court. These singer-songwriters’ music, which he says constitutes populist feminism, became the soundtrack to many third wave feminists’ and non-feminists’ lives in the 1990s. Fans of the individual artists will enjoy Lankford’s detailed discussions of their music, as will anyone who wants to understand this particular aspect of 1990s pop-music culture. --June Sawyers
Review
Extensively researched and endnoted, Lankford's book reads as much like a primer on third-wave (or 'lipstick') feminism as on the music and artists embodying it. . . . Lankford's book will serve as a definitive resource for women's studies as well as music history and popular culture programs on college campuses and it is broad enough in coverage and appeal to be of interest also to public library audiences. (American Reference Books Annual, May 2010)
Fans of the individual artists will enjoy Lankford's detailed discussions of their music, as will anyone who wants to understand this particular aspect of 1990s pop-music culture. (Booklist, March 2010)
About the Author
Ronald D. Lankford Jr. is an independent scholar and freelance writer. He is the author of Folk Music USA: The Changing Voice of Protest (2005).
Most helpful customer reviews
4 of 4 people found the following review helpful.
A few pet peeves
By Melanie B
As a woman who grew up in the 90s listening to and loving this music, I was pleasantly surprised to find this book on the shelf. His selection of artists was well chosen and he even includes other artists that are not as central to the story, but make his work more inclusive of different genres of music. One exception: Ani Difranco was noticeably missing.
A few pet peeves though:
I felt that Lankford overdescribed some of the album art and refused to take a stance on some of the meanings of the songs. Instead of describing every color or image on an album insert, it would have been more helpful if Lankton included photos of what he was discussing.
Since his book is written in monograph form, using the artists as case studies to argue his points, he should have speculated on what he thought they were trying to say through their music, or provided interviews in which they discussed these topics. For instance, in the section on Courtney Love and Hole, he attempts to analyze the song, "Live Through This," and appears frustrated that Love does not spell out what she meant by, "this." Live through what? he wonders. It's silly. In addition, I challenge any reader to find a chapter in which he does not mention the artist's "exposed breasts" or chest in some fashion. The significance of this is not explained by Lankton, but it certainly left a bad taste in my mouth. In some cases, he exaggerated the nudity as in his discussion of the cover of Liz Phair's "Exile in Guyville." Her breasts are not in any way exposed as he claims. In addition, he describes the flannel shirt worn by a young Courtney Love as "V-neck" and seemed to suggest that it was pointing toward her breasts. A bit much, Mr. Lankton.
Another issue was his complete omission of some of the songs on certain albums. Some of the chapters discuss entire albums by artists while others only analyze specific songs. In those chapters on entire albums, Lankton should have discussed each song, if not equally, well then at least made mention of all of them. When discussing PJ Harvey's, "Rid of Me," Lankton makes no mention of the second track, "Missing." He makes the same mistake on his discussion of Liz Phair's, "Exile in Guyville" when he leaves off "Divorce Song." Since neither have overtly feminist messages, perhaps Lankton did not feel they meshed well with his argument.
While it's clear Lankton is a fan of these artists, his feigned ignorance of some of the meanings or imagery in the music was tiresome. In addition, his paraphrasing of the lyrics was frustrating. When discussing the meaning of Hole's "Doll Parts," instead of just citing the lyric, "Someday you will ache like I ache," Lankton instead says "One day he will feel pain like she does" (p.86). His rewording of some of the lyrics had me going back and trying to figure out which song he was talking about...and I've been listening to this music for nearly 10 years.
Beyond all the above-mentioned issues, it was a welcome addition to the fields of both music history and Women's Studies.
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