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Concept
Women's music
Summary
Women's music is music by women, for women, and about women. The genre emerged as a musical expression of the second-wave feminist movement as well as the labor, civil rights, and peace movements. The movement (in the USA) was started by lesbian performers such as Cris Williamson, Meg Christian and Margie Adam, African-American musicians including Linda Tillery, Mary Watkins, Gwen Avery and activists such as Bernice Johnson Reagon and her group Sweet Honey in the Rock, and peace activist Holly Near. Women's music also refers to the wider industry of women's music that goes beyond the performing artists to include studio musicians, producers, sound engineers, technicians, cover artists, distributors, promoters, and festival organizers who are also women.
The genre, which first came to be known as "lesbian music," has its roots in certain musical contributions of the 1960s and is defined by the artists and labels in the 1970s who built upon this foundation in order to foster a lesbian-oriented musical movement.
In 1963, Lesley Gore came up with song "You Don't Own Me" expressing threatened emancipation, as the singer tells a lover that s/he does not own her, that they aren't to tell her what to do or what to say, and that they are not to put her on display. The song's lyrics became an inspiration for younger women and are sometimes cited as a factor in the second wave feminist movement. Lesley Gore was later criticized for the rest of her songs not matching feminist aspirations and expectations.
In the late 1960s and early 1970s in the United States, some people perceived that there were few "positive women's images within popular music" and a "lack of opportunities for female performers". They viewed women as having a disadvantage in the field because of their difference in gender. At the time, major US record labels had only signed a few women's bands, including Fanny, Birtha, The Deadly Nightshade, Goldie and the Gingerbreads and the band that they evolved into, Isis.
Official source
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