Browse

Whether a music writer makes a living marshalling lyrical evidence for supposedly new trends or manufacturing arguments to shore up tired clichés—and whether you applaud women’s progress in the musical arena or not—one thing’s clear: Women in music, prevalent as they may be, are consistently positioned as an aberration or an exception. Even the phraseology is troublesome: “women in music,” “women in rock,” and the erstwhile “year of the woman” (thanks for the generosity, guys).

Last fall, at a reading for Manifesta: Young Women, Feminism, and the Future, a 50-ish audience member questioned the thirtysomething authors’ ever-so-casual usage of the word “ladies.” To this woman (who turned out to be tireless second-­wave activist Laura X, creator of the Women’s History Research Center), the blithe use of “ladies” ran counter to everything she and her generation of feminists had fought for—and against.

But to the authors, Jennifer Baumgardner and Amy Richards, and their peers, the lady words can spill forth with ironic glee.