Category Archives: Women Who Rock

The Women in Rock Question: Washington Post

“There have always been women at the center of rock music,” as I told Travis M. Andrews of The Washington Post in his self-probing take on “women in rock.” Lots of great artists featured in this article, who all “happen” to be female. 

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The Feminist Music Bucket Brigade

Matt Giles interviewed me for a Topic magazine story on women in the music industry circa 2000. I’m in great company: Allison Wolfe, Melissa Auf der Mar, Louise Goffin, JD Samson, Amy Finnerty, etc. There are intriguing and often divergent POVs in here, as one would expect/hope. A few comments particularly strike me. One is when Auf der Mar talks about her decision to join Hole being a statement of feminist solidarity:

“I felt a higher calling about women in rock, and quickly understood that this was much bigger than me. It was about women in general.”

And when Samson reflects on touring with Le Tigre, she perfectly expresses what grrrl power is all about:

“We wouldn’t have been who we were without the audience. Those people in that room, thinking about those things, sweating, feeling safe in our bodies, taking up that space, breathing the same air—that’s what we needed.”

On a more personal note, I love the moment when New York Times deputy culture editor Sia Michel talks about starting her career as my intern at SF Weekly, and how San Francisco criticism was led by women including Ann Powers and Gina Arnold:

“In my mind, music journalism was something that women did.”

Elsewhere, Ultragrrrl Sarah Lewitinn reflects on how Michel supported her career (as she did NYT music editor  Caryn Ganz). I see us as a feminist music-critic bucket brigade, passing each other these support lines. These are all examples of the importance of women helping other women, creating safe spaces for each other to exist — musical matriarchies and matrilineals.

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Riot at the Times

I was so excited to be part of The New York Times‘s multimedia package on Bikini Kill and Riot Grrrl, I forgot to blog about it. I co-wrote with Elisabeth Vincentelli the main piece, the essential Riot Grrrl listening guide. And I got to write about my first Bikini Kill show and their first show in years. And I took part in the Popcast! Plus there are historic videos of 1990s Bikini Kill shows by my grrrlfriend Lucretia Tye Jasmine. PRDCT!!!

 

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Pop Afterlife

Death and the Maiden pnael

Death and the Maiden panel, Pop Conference 2019: Solvej Schou, Michelle Threadgould, Lucretia Tye Jasmine, Holly George-Warren, and Evelyn McDonnell. Photo by Janet Goodman, artwork by Marianne Stokes.

We should have packed tissues. The theme of the annual Pop Conference at the Museum of Pop in Seattle this year was death. It was couched in a lot of verbiage: “Only You and Your Ghost Will Know: Music, Death, and Afterlife” was the official 11-word title. But it didn’t take a seance to locate the ghosts. They were all around, as we tried to pontificate without breaking into tears. I failed at both the panel and roundtable I moderated, suddenly finding myself unable to speak. I believe so did everyone else I shared a dais with. It was weird to find oneself suddenly, repeatedly vulnerable in the quasi-academic space of delivering a paper. As I always tell my kid, weird is good.

MoPop felt like a safe space to let oneself feel, perhaps because in the conference’s 17 years, so many bonds have been formed. I was riding with multiple posses myself. And of course, there was a ghost in this machine: It was the first year PopCon was not run by Eric Weisband, with keynote assistance from his spouse Ann Powers (both of whom I have known since long before there was a PopCon). Charles Hughes, of Rhodes College, nobly and ably ferried us across the Mersey to this Pop afterlife. It was the saddest year, and the funnest year.

There were more than 100 presentations over four days, and I can’t possibly mention even all of those I saw. Let’s just say it began with a keynote panel where Journey frontman Steve Perry was the most solid, emotionally honest classic rock star you could imagine sitting with a bunch of scholars and lesser luminaries, and it ended, for me, with a fascinating rumination on the influence of Franz Liszt on Donny Hathaway by I. Augustus Durham. The highlight, perhaps of any PopCon presentation I have ever seen, was the slideshow duet by Hugo Burnham and Jon King on the strange business of rock-band reunions, a subject they know all too well. They were brilliant and poignant and funny, and they were one-half of Gang of Four!!! Dave Allen was in the audience, and the Gang of Three DJed that evening. Women who write Vivien Goldman and Holly George-Warren and I danced till the midnight hour.

Earlier that day, I moderated What Becomes Legend Most, a panel featuring the authors of the first four books from the Music Matters series, which I not incoincidentally edit (along with Oliver Wang) for University of Texas Press. Fred Goodman delivered seemingly without notes a lyrical summary of the extraordinary art and life of the late singer Lhasa de Sela. At the end, he simply played a video of her performing “The Bells”  a few months before her death from cancer at age 2010. You could have heard a pin drop in the JBL Theater.

LHASA_LIVE IN MONTREAL 2009, part 5 from Vincent Moon / Petites Planètes on Vimeo.

Tom Smucker compared the crazy death of Beach Boy Dennis Wilson to the unlikely survival of his brother Brian. Karen Tongson pondered the suburban tragedy of her namesake, Karen Carpenter. Donna Gaines paid ode to her heroes and friends in the Ramones. Hearing their literary meditations all together made me understand on an emotional level what we are trying to accomplish with this series: putting on the page that ongoing argument you have with every music lover you know, about why your favorite band/musician is the GOAT. That night we held a release party for Tongson’s Why Karen Carpenter Matters that doubled as a launch party for the series; attendees included future authors Caryn Rose (Why Patti Smith Matters), Michelle Threadgould (Why Rage Against the Machine Matters), and Annie Zaleski (Why the B52’s Matter).

Too early after the late night of parties and dancing, Saturday morning I moderated Death and the Maiden, a roundtable of contributors from Women Who Rock: Bessie to Beyonce. Girl Groups to Riot Grrrl. The venue was the museum’s capacious Sky Church, so we began the proceedings with Solvej Schou singing “Amazing Grace”, then took a moment to pay respect to Nipsy Hussle and Gary Stewart, two visionaries from the City of Angels who are now angels themselves. We discussed how death – supposedly the great equalizer – can be shaped by gender. Holly George-Warren compared the tragic trajectories of Patsy Cline, whom she wrote about for Women Who Rock, and Janis Joplin; her biography of the music legend will be published in the fall. Lucretia Tye Jasmine spoke hauntingly about hunger, shaming, and Karen Carpenter (yes, I presided over two papers about Carpenter). Schou paid homage in words and song to Sharon Jones. Threadgould weaved a poetic narrative about mortality through the works of Diamanda Galas, Laurie Anderson, and Selena. Folks were smart and deep. I was proud to be their editor/interlocutor.

And then we had fun fun fun. Vivien and I took the theme literally, ghosting for an afternoon to shop at Pike Place. Donna and Tye read tarot cards. There was sushi with Tricia Romano. For the first time at Pop Conference, I checked out Saturday night karaoke, and was glad I did. Attendees’ love of the music they get all theoretical about was on drunken display, and I marveled at everyone’s humility, their lack of embarrassment – as well as at some genuinely great voices (Kate Kay, Kathy Fennessy). Hearing Karen Tongson sing “On Top of the World” made me all weepy again. Girl sings it like she writes it. The day that began with Solvej’s “Amazing Grace” ended with her karaoke of “Respect.” Baby she got it.

We should have organized a jazz line. That’s how I felt flying back from Portland on Tuesday, having followed the conference with a visit to my oldest bestie, Cindy, who has been busy the last seven months kicking cancer’s butt. If you’re going to spend four days talking about death and music, book a New Orleans brass band to march you outta there. And then on Thursday came the Tweet. Thanks, Beyonce.

 

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Who Cares About the Cock Rock Hall?

My Longreads piece on the Rock’n’Roll Hall of Fame and other perpetrators of gender inequity, “The Manhandling of Rock’n’Roll History,” seems to have hit a chord (so to speak). Future Rock Legends, THE watchdog site for the Rock Hall, published an article about it. And I did a really fun interview with Who Cares About the Rock Hall?, a podcast by comedians Joe Kwaczala and Kristen Studard.

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Women Who Rock and Whales!

Celebrate the last day of Women’s History Month with myself and other contributors to Women Who Rock: Bessie to Beyoncé. Girl Groups to Riot Grrrl tomorrow, March 31, at 4 at the Cabrillo Marine Aquarium in San Pedro. I’ll talk/read a bit and sign books. Come early and stop by Corny’s KAUFhof and House 1002 for a little shopping. Stay late and watch the whales.

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Manhandling Rock’n’Roll

Kudos to Stevie Nicks and Janet Jackson for their inductions into the Rock’n’Roll Hall of Fame. Sadly, as I broke it down for Longreads.com, women still make up less than 8 percent of Rock Hall inductees. The Hall exemplifies the historical manhandling of women’s roles in rock, from Rolling Stone to Mystery Train to, now, the Metropolitan Museum of Art. I don’t just critique: I offer plans of action, including an (almost) all-female inductee list next year, and removal of Ahmet Ertegun’s name from the museum’s exhibition hall and industry award, in the wake of charges of sexual harassment. This isn’t the first time I’ve called the Hall to task for their systemic exclusion of female artists; sadly the numbers haven’t improved a bit since that 2011 Salon article.

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