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Women's music
Women's music (also womyn's music or wimmin's music) is the music by women, for women, and about women.〔Garofalo 1992:242〕 The genre emerged as a musical expression of the second-wave feminist movement〔Peraino 2001:693〕 as well as the labor, civil rights, and peace movements.〔Mosbacher 2002〕 The movement (in the USA) was started by lesbians 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.〔Mosbacher 2002〕 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.〔Garofalo 1992:242〕
==History==
In the late 1960s and early 1970s in the USA, some people perceived〔Others disagree and highlight examples spanning all popular genres of music such as The Supremes, The Mamas and the Papas, Joni Mitchell, Jefferson Airplane, Janis Joplin, Nancy Sinatra, Billie Holiday.〕 that there were few "positive women's images within popular music" and a "lack of opportunities for female performers" in the USA.〔Garofalo 1992:243; Mosbacher 2002〕 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.〔Garofalo 1992:243〕 In reaction to this perceived lack of inclusion of women in the mainstream, some feminists decided it necessary for women to create a separate space for women to create music. Lesbian and feminist separatism was then used as a "tactic which focused women's energy and would give an enormous boost to the growth and development of women's music".〔Garafalo 1992:244〕
Out of the separatist movement came the first distributed examples of music created specifically for lesbians or feminists. In 1972, Maxine Feldman, who had been an "out" openly gay performer since 1964, recorded the first lesbian record, "Angry Atthis," (Atthis was lover of the poet Sappho) a single with lyrics specific to her feelings and experiences as a lesbian. In the same year the feminist all-woman bands The Chicago Women's Liberation Rock Band and the New Haven Women's Liberation Rock Band released ''Mountain Moving Day''. In 1973, Alix Dobkin, flautist Kay Gardner, and bassist Patches Attom created the group Lavender Jane, and recorded an album entitled ''Lavender Jane Loves Women,'' the first full-length album for and by lesbians. These early recordings relied on sales through mail order and in a few lesbian-feminist bookstores, like Lambda Rising in Washington, D.C., as well as promotion by word of mouth.〔Garafalo 1992, Mosbacher 2002〕
Feminist musicians aimed to show a positive, proactive, and assertive image of women that not only critiqued the rifts in regards to gender, but also demonstrated the goals of the feminist movement such as social justices regarding gender as well as the right of privacy concerning abortion and birth control. With the goal of breaking down the gender divide and level the gender differences, some women in this genre of music "adopt() male dress codes and hair styles". Women also voiced their opinions and the goals of the feminist movement through lyrical contributions. In "I Am Woman," Helen Reddy sings, "I am woman/hear me roar/And I've been down there on the floor/No one's ever gonna keep me down again. Reddy creates a feeling of "girl power" that reflected the ambitions of the feminist movement.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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