Rock She Wrote: Women Write about Rock, Pop and Rap

Overview

Brings together music criticism, fan experience, and performers' first person accounts from more that 60 women writers for 1960s to the 1990s.

This unique, groundbreaking collection of women writing about different genres of popular music features the freshest names in music, from writers to critics to musicians themselves. Contributors include Patti Smith, Ellen Willis, Kim Gordon, bell hooks, and others.

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Overview

Brings together music criticism, fan experience, and performers' first person accounts from more that 60 women writers for 1960s to the 1990s.

This unique, groundbreaking collection of women writing about different genres of popular music features the freshest names in music, from writers to critics to musicians themselves. Contributors include Patti Smith, Ellen Willis, Kim Gordon, bell hooks, and others.

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Editorial Reviews

Publishers Weekly - Publisher's Weekly
This intelligently compiled, wide-ranging volume provides exciting evidence of women writers' inroads made over the past three decades into the still male-dominated field of popular music criticism. Pioneers such as 1960s New Yorker columnist Ellen Willis and Jazz & Pop editor Patricia Kennealy-Morrison (better known, tellingly, for her marriage to rock icon Jim) are grouped with younger counterparts, from novelist Mary Gaitskill to cultural critic bell hooks in sections broken down loosely by topic. In ``I Am the Band,'' female performers such as Sonic Youth bassist Kim Gordon, offer touring testimony; critic Jaan Uhelszki, meanwhile, finds herself onstage with Kiss, makeup and all, for a 1975 Creem magazine assignment. The latter instance points up one of the book's most fascinating aspects: in a rock-and-roll world where boys wear lipstick and girls increasingly get to make lots of noise, the effects of gender on both performer and listener are far from straightforward. Many of Rock She Wrote's strongest pieces-Joan Morgan's story on her love/hate relationship with Ice Cube's misogynist rap; Lori Twersky's musings on familiar images of the ``female teenage audience'' as screechy and sex-crazed-find their writers at the intersection of conflicting reactions to the subjects at hand. A remarkable collection, Rock She Wrote makes clear both the difference women writers have brought to music writing and the impossibility of any attempt to nail that difference down once and for all. (Nov.)
Library Journal
Editors Powers (Village Voice) and McDonnell (Rolling Stone, Spin), accurately noting an absence of collected rock music criticism by women, proffer as remedy this compilation of alert, alive, and insightful commentaries. Sixty-three essays are corraled into seven proposed relationships of women to rock: participant, muse, midwife, boy-watcher, challenger, creatrix, and theorist. While the writings are almost without exception excellent, the contribution by working musicians is quite limited: Marianne Faithfull, Patti Smith, and Sonic Youth's Kim Gordon are, in fact, the only readily identifiable artists. Thus, libraries specifically seeking first-person insider perceptions will prefer Liz Evans's somewhat more extensive interview collection, Women, Sex, and Rock'n' Roll: In Their Own Words (Routledge, 1995). And both Gillian Gaar's She's a Rebel: The History of Women in Rock & Roll (Seal Pr., 1992) and The Sex Revolts: Gender, Rebellion, & Rock & Roll (LJ 5/1/95) offer clear historical analyses of the female force within rock. Filling a less identifiable niche, Rock She Wrote nevertheless remains a unique gathering of critical voices and is recommended for cultural studies, women's studies, and larger popular music collections.Bill Piekarski, Southwestern Coll. Lib., Chula Vista, Cal.
Booknews
Provides a brilliant mosaic of the experiences, perspectives, and contributions of 61 female musicians, singers, music journalists, novelists, poets, and cultural critics. Selections include Bell Hooks' look at Madonna's success; Patti Smith on Bob Dylan as a sex symbol; and super-groupie Pamela Des Barres' interview with Courtney Love. This paperback edition is an unabridged republication of the edition first published in New York 1995. Both authors are freelance writers. Annotation c. Book News, Inc., Portland, OR (booknews.com)
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Product Details

  • ISBN-13: 9780385312509
  • Publisher: Random House Publishing Group
  • Publication date: 10/1/1995
  • Pages: 496
  • Product dimensions: 6.08 (w) x 9.17 (h) x 1.07 (d)

Table of Contents

Acknowledgments
Preface
The Feminine Critique
Excerpt from Faithfull
I Dreamed I Was Onstage with Kiss in My Maidenform Bra
Excerpt from Neon Angel: The Cherie Currie Story, 1989
The Girls Can't Help It
Jazzwomen
Boys Are Smelly: Sonic Youth Tour Diary, '87
Chainsaw
The Fallacy of Feminism in Rock
I Moshed At Mich
The New Velvet Underground
The Sex Pistols
The Rascal Republic Takes On the World
Lovers Rock
White Noise: How Heavy Metal Rules
On the Trail of the Blues
Spin Doctors: Jams for a Sleepless Generation
On 'n' on
Into the Abyss
Fuck You Punk Rock/1977 and 1979
Yoko and John
Devils or Angels? The female teenage audience examined
Motown/Smokey Robinson
Sylvia's Husband
I Hate Going Backstage
Rock 'n' Roll Needs Courtney Love
Dreaming America: Hip-hop Culture
Masked Bawl
Heavy Metal Will Stand
Can the Stones Still Cut It?
This Prince Is No Pretender
August Darnell and the Creole Perplex
The Nigga Ya Hate to Love
James Brown: Presenting the One and Only Mr. Dynamite, Mr. Sex Machine, Soul Brother Number One (Part 1)
Nelson Is as Nelson Does
Old Blue Eyes, Young at Heart
An Ordinariness of Monstrous Proportions
Patti Smith: Somewhere, Over the Rimbaud
Are You Young and Rebellious Enough to Love the Runaways?
Heart Attack
The Slits Go Native
Backing Up Is Hard to Do
One Queen, One Tribe, One Destiny
Madonna: Plantation Mistress or Soul Sister?
Houses of the Holy
K.D. Lang: How Did a Lesbian, Feminist, Vegetarian Canadian Win a Grammy and the Hearts of America?
Why I Want to Rape Olivia Newton-John (Because I'm a Troubled Young Lady)
Juliana Hatfield
Canis Rufus
Rock Around the Cock
The Blues Talk Back
Little Songs of Misogyny
Women, Sex, & Rock 'n' Roll
The Signifying Monkees: 2 Live Crew's Nasty-Boy Rap on Trial in South Florida
Revolution Girl Style Now
Speedballing with the Home Invader
Records: Rock, Etc.
Flashbacks to Boy Howdy's Prepubescence
Why Bitch?
Rock Mom
Kill Rock Stars press release, 1993
Same As It Ever Was: Youth Culture and Music
Confessions of a Hip-hop Critic
Who's That Girl?
Biographies
About the Editors
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