In recent years, much attention has been lavished on the New
Women of rap and rock. From rap stars such as Queen Latifah to
bands such as Velocity Girls, popular music has been aggressively
redefined by a new generation of women, with a startling range of
musical styles.
Yet, women's role in contemporary music, and in music history,
extends far beyond MTV or the latest riot grrrl troupe. In Girls
Girls Girls , Sarah Cooper has assembled a broad- ranging
collection of essays to provide an entertaining and impressionistic
portrait of women and music. Whether in the form of Helen
Kolawole's discussion of the bitch- bashing misogyny of gangsta rap
or Caroline Sullivan's exuberant assessment of women rock critics,
the volume raises, and addresses, some of the most provocative and
challenging issues concerning women's active involvement in and
relationship to music. From indie labels to opera queens, from
symphony orchestra to salsa queen, from swing to women's music in
South Asia to the confessions of a British country music fan, Girls
Girls Girls has something for everyone, music critics, feminists,
and fans alike.
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