Drawing on fieldwork conducted at eight women's music festivals, Eileen M. Hayes shows how studying these festivals--attended by predominately white lesbians--provides critical insight into the role of music and lesbian community formation. She argues that the women's music festival is a significant institutional site for the emergence of black feminist consciousness in the contemporary period. Hayes also offers sage perspectives on black women's involvement in the women's music festival scene, the ramifications of their performances as drag kings in those environments, and the challenges and joys of a black lesbian retreat based on the feminist festival model. With acuity and candor, longtime feminist activist Hayes elucidates why this music scene matters. Veteran vocalist, percussionist, producer, and cultural historian Linda Tillery provides a foreword.

In 1982, two friends Bob and Sigrid opened their new radical lesbian, gay and feminist bookshop, 'Lavender Menace' on Edinburgh's Forth Street. On the eve of the shop's 5th birthday, sales assistants Paul and David take a look back at its origins, in this funny, moving play. Cast your mind back to 1982 - Margaret Thatcher sends the British Fleet to the Falklands, Channel 4 comes to the living room and Prince William is born. But this play has nothing to do with all that. This play is about activism, community and fighting for acceptance with words, music, humour and heart. The play looks back at 1982, as Bob and Sigrid open their shop. A trailblazing venture that began life in the cloakroom of a gay club, the shop will become the beating heart of Edinburgh's LGBT+ community. Now, on the final night of the shop's existence, sales assistants Lewis and Glen look back at its origins, its importance, its celebration of queer culture, how things have changed for the better (maybe)...And straight away the arguments begin! Love Song to Lavender Menace is a beautifully funny and moving exploration of the love and passion it takes to make something happen and the loss that is felt when you have to let it go. "Ley's script achieves a deft and sophisticated balance of subjects and registers, shedding light on queer experience with humour, warmth, passion and complexity." (The Scotsman)

Features a collection of essays that detail black women's experiences in various forms of music and details such topics as black authenticity, sexual politics, access, racial uplift through music, and the challenges of writing black feminist biographies.

In her provocative new book Rednecks, Queers, and Country Music, Nadine Hubbs looks at how class and gender identity play out in one of America’s most culturally and politically charged forms of popular music. Skillfully weaving historical inquiry with an examination of classed cultural repertoires and close listening to country songs, Hubbs confronts the shifting and deeply entangled workings of taste, sexuality, and class politics. In Hubbs’s view, the popular phrase "I’ll listen to anything but country" allows middle-class Americans to declare inclusive "omnivore" musical tastes with one crucial exclusion: country, a music linked to low-status whites. Throughout Rednecks, Queers, and Country Music, Hubbs dissects this gesture, examining how provincial white working people have emerged since the 1970s as the face of American bigotry, particularly homophobia, with country music their audible emblem. Bringing together the redneck and the queer, Hubbs challenges the conventional wisdom and historical amnesia that frame white working folk as a perpetual bigot class. With a powerful combination of music criticism, cultural critique, and sociological analysis of contemporary class formation, Nadine Hubbs zeroes in on flawed assumptions about how country music models and mirrors white working-class identities. She particularly shows how dismissive, politically loaded middle-class discourses devalue country’s manifestations of working-class culture, politics, and values, and render working-class acceptance of queerness invisible. Lucid, important, and thought-provoking, this book is essential reading for students and scholars of American music, gender and sexuality, class, and pop culture.

This second volume of Music in Black American Life offers research and analysis that originally appeared in the journals American Music and Black Music Research Journal, and in two book series published by the University of Illinois Press: Music in American Life, and African American Music in Global Perspective. In this collection, a group of predominately Black scholars explores a variety of topics with works that pioneered new methodologies and modes of inquiry for hearing and studying Black music. These extracts and articles examine the World War II jazz scene; look at female artists like gospel star Shirley Caesar and jazz musician-arranger Melba Liston; illuminate the South Bronx milieu that folded many forms of black expressive culture into rap; and explain Hamilton's massive success as part of the "tanning" of American culture that began when Black music entered the mainstream. Part sourcebook and part survey of historic music scholarship, Music in Black American Life, 1945–2020 collects groundbreaking work that redefines our view of Black music and its place in American music history. Contributors: Nelson George, Wayne Everett Goins, Claudrena N. Harold, Eileen M. Hayes, Loren Kajikawa, Robin D. G. Kelley, Tammy L. Kernodle, Cheryl L. Keyes, Gwendolyn Pough, Bernice Johnson Reagon, Mark Tucker, and Sherrie Tucker

Black Power Music! Protest Songs, Message Music, and the Black Power Movement critically explores the soundtracks of the Black Power Movement as forms of "movement music." That is to say, much of classic Motown, soul, and funk music often mirrored and served as mouthpieces for the views and values, as well as the aspirations and frustrations, of the Black Power Movement. Black Power Music! is also about the intense interconnections between Black popular culture and Black political culture, both before and after the Black Power Movement, and the ways in which the Black Power Movement in many senses symbolizes the culmination of centuries of African American politics creatively combined with, and ingeniously conveyed through, African American music. Consequently, the term "Black Power music" can be seen as a code word for African American protest songs and message music between 1965 and 1975. "Black Power music" is a new concept that captures and conveys the fact that the majority of the messages in Black popular music between 1965 and 1975 seem to have been missed by most people who were not actively involved in, or in some significant way associated with, the Black Power Movement.

Sixteen-year-old Rilla Marseas has a gift that would guarantee her a spot in the annual Showcase, a competition to select the emperor's next concubines. All the girls in her village would find it the highest honor for the chance to compete. Five winners enter his harem, and the losing participants secure a reputable lifetime position as a palace servant. Rilla's magical healing voice would make her a top contender if she chose to reveal it, but she has other ambitions. She longs to become a healer. When a palace scout coerces her into revealing her power, she's thrown into the competition, and all her dreams come to an abrupt end. If she wants to win the Showcase, she'll need to learn the secrets of seduction under the tutelage of an experienced concubine and navigate palace politics. Other obstacles in her way include the jealous empress and two dozen contestants who want her to fail. But Rilla soon discovers that the emperor and empress keep girls with magical powers as caged pets, and if they find out she can use her voice to reverse old age and cure all ailments, she will become their caged nightingale. With the help of her allies, the handsome, brooding Prince Carrick, and his mysterious bodyguard, Rilla must find a way to escape, or she will lose her freedom forever.