566:, how festivals serve women throughout the stages of their lives. Festivals support a safe space for coming of age rituals for young women, adult romance and commitment ceremonies, the expression of alternative perspectives on motherhood, and the expression of grief and loss. Though historically controversial, The Michigan Womyn's Music Festival is sometimes posed as an example of an environment that celebrates all women, not just those who conform to stereotypes in mainstream media. Morris describes attendees at the festival as "women who are sexy in wheelchairs, women who are sexy at 260 pounds, women who are sexy at age 70, long-term interracial romances - and all the rest of womenkind that television will not show or will tell us does not count." Festivals also help create a sense of community for the lesbian community. The National Women's Music Festival has in addition to the many lesbian participants and organizers, the festival's music, humor, and crafts promote a "positive lesbian identity." The festival has also been a place where women can openly display their sexuality including same-sex affections.
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lesbian and feminist community, offer activities such as arts, crafts, fitness classes, and athletic events, and serve to provide opportunities for women to take advantage of resources they often cannot find in mainstream culture. One festival that provides such workshops is the
National Women's Music Festival. In 1992, the festival provided workshops covering topics such as “drama”,” film and video,” “access-abilities,” “women’s health/sports and fitness,” “older women,” spirituality,” “women’s empowerment,” “women of color, and a writer's conference in addition to other topics in a "general workshop series."
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Tyler and Tori
Osborne co-produced the festival, which received seed money from an accident settlement. From 1985-1995, The West Coast Women’s Music and Comedy Festival was held at Camp Tawonga. Every year, the organizers came with an all-women crew to set up an all-women space for a weekend of good food and entertainment. On the stage were Melissa Etheridge, Sweet Honey and the Rock, Teresa Trull, Ferron, Casselberry and Dupree, Lucie Blue Tremblay, Holly Near, and Chris Williamson. The last known festival took place on Labor Day Weekend in 1995.
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313:, a composer, encoded her lesbian life experiences in her music. Genders of composers, writers, artists, and more have a lot to do with how music is perceived and interpreted. Cues such as tempo, articulation, and other dynamics signify many different types of meanings – they are not standard. Each musician uses these codes and cues to suit their music, and thus express themselves through song.
149:(N.O.W.) to lesbians. N.O.W. member Betty Friedan alleged lesbians were a lavender menace. A series of movements against the homosexual community began, with the central role labeling Gay Liberation as counterrevolutionary and bourgeois. The extreme rejection of lesbians led many political-concerned women to join lesbian-feminist collectives and sometimes led to lesbian separatist.
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business discussed the prevalent questions/concerns that were affecting women's music at that time. The main topics at the conference were the drop in concert sizes, the unreal pay demands by the female performers, the lack of diversity in women artists, and how Olivia
Records, which was initially intended to be a female ran company, was giving high positions to men.
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However, being labeled as Women's Music musicians may limit people's imagination on their music ability. Some musicians are more likely to give a more specific classification for their music based on the type of music, thus expanding the listening group. Some musicians did not want to show their identity to the public due to the marketing aspect.
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Though the festivals are centered on music, they support many other facets of lesbian and feminist culture. Designed to provide a safe space for women's music and culture, many festivals are held on college campuses or in remote rural locations. Many festivals offer workshops on topics concerning the
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There were many social and economic components that caused the women's music business to start failing in the 1980s and 1990s. In order to solve these different issues, the MIC (Music
Industry Conference) came together to figure out what could be done. For an entire week around 80 women in the music
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The Women's Music classification is based on the identity of musicians such as women, feminist, and lesbian, etc. This label let the lesbian community have chances to break their isolation from other communities in that they can use Women's Music to hint or shows their identity as lesbian to others.
169:" expressing threatened emancipation, as the singer refrains to a lover that they "don't 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
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formed in 1976 to promote and distribute women's music. Olivia's informal network formed WILD (Women's
Independent Labels Distributors) in 1977 to distribute music into different regions of the United States. The organization had two purposes - to formally network and educate distributors on sales
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There are common
European classical semiotic codes that have been used throughout centuries to express femininity. These musical gestures changed over time as the meaning of femininity changed from the image of a beautiful woman gazed at from the male point of view to a woman's view of herself full
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In the late 1960s and early 1970s in the United States, some critics and musicians 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
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was established and would stage a protest just outside the festival's venue each year until 2010, when it was forced to shut down. Though the incident that happened in 1991 with
Burkholder was the only time a trans woman was asked to leave the Festival, the controversy became an organizing tool to
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which toured from 1997–1999 and the Ohio
Lesbian Festival, near Columbus Ohio, was created in 1988 and continues to be an ongoing celebration of womyn's music and culture. Many other festivals have been created throughout the United States and Canada since the mid-1970s and vary in size from a few
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was created in 1976, and became the largest festival in the United States before ceasing operations after the fortieth festival in August 2015. The first West Coast Women's
Musical and Cultural Festival, also known as Women’s Music & Comedy Festival, was held in October 1980 in Yosemite. Robin
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All throughout the 1980s and 1990s, many women's bookstores that sold women's records relocated into smaller spaces or shut down. As a result, Olivia
Records spread out to different industries to help its music projects become more profitable. With this expansion Olivia Records entered the travel
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The late period of Women's Music, the white women dominant extreme central ideas that led to racism to other groups, such as people of color, straight women, men, transgenders, even lesbians who have children and who had relationship with men before. The extreme musicians aspect infuse into their
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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 in terms of social justice regarding gender as well as the right of privacy concerning abortion and
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In the late period of the Women's Music, the focus became lesbian separatism. Most Women's Music festivals used either private land or one-time event contracts in order to insure that they could exclude men from the space. Certain ones either excluded boys above a certain age or didn't even allow
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Goldenrod Music Distribution, founded by Terry Grant in 1975, has been credited by Lauron Kehrer as a major influence in the launch of the women's music movement. Kehrer noted that although the organization was founded on the premise of helping women and lesbians, it was unable to work around the
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The Michigan Womyn's Music Festival, or MWMF or MichFest for short, was a subject of controversy for much of its existence due to its intention to create a space for womyn born womyn. In 1991, Nancy Jean Burkholder was asked to leave MichFest on the basis of her being a trans woman; the festival
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Additionally, as lesbian musicians expressed themselves through music, they also broke the isolation of lesbians in North American. They let the lesbians evolve a group identity and another possible coming-out process. Such that lesbians are able to hint to their families and friends about their
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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,"
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Old lesbian separatist ideas, such as the exclusion of transgender women, were often more rigid and tended to dominate late Women's Music. The new generation of lesbians were more inclusive of transgender and other lesbian identities, leading to division between the two groups. For example, the
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Due to the speciality of purpose of Women's Music, create a women-only space, and the cultural shocks to traditional patriarchal society, it is hard for the companies whose focus on Women's Music to gained any financial through it under a male dominant and capitalized society, such as the male
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began, feminists did not fight for lesbians. While the Stonewall Riots in 1969 became the cradle for the Gay Liberation Movement, political feminists felt the danger of their past efforts and that their activities may be negatively labeled. They were often hostile to lesbian women. Further
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With the growth of independent record labels and increasing demand for women's music, an organized system for distribution and promotion became necessary. Goldenrod Music was formed in 1975 to distribute for Olivia Records, and later expanded distribution to include other labels.
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While this controversy highlighted some of women's music's key issues with inclusivity, it is still notable that the "movement was engineered by an out trans woman" and that "Olivia Records, the radical feminist lesbian separatist music collective, was itself trans inclusive".
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publication and named after Zipter's erotic poem "Finding the Hot Wire". The publication focused exclusively on lesbian feminist musicians, festivals, venues, and various topics pertaining to writing, theater, dance, comedy, and the arts. Each 64-page issue included a
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Women's music was initially capturing the feminist’s central point, in bands such as Deadly Nightshade, the Chicago, and New Haven Women's Liberation bands, etc. They broadcast the ideas of the feminists' position but did not highlight the lesbian's aspect of view.
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dominant companies refuse to collaborate with them. Additionally, the risk in Women's Music financially that appears is clear that as Women's Music records tried to financing, rarely got anyone took the risk to invest. Thus most of Women's Music records shut down.
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Women's music initially focused on feminism questions which exposed the unfair treatment on female from society and families that was ignored by men. Its lyrics focused on the power of women individually and in women solidarity. Later, it became lesbian music.
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was a women's music magazine published three times a year from 1984–1994. It was founded in Chicago by volunteers Toni Armstrong Jr., Michele Gautreaux, Ann Morris and Yvonne Zipter; Armstrong Jr. became the sole publisher in 1985. Tracy Baim of
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due to a group of women who threatened to boycott to the company due to her identity as a transgender woman. This led to series of movements during the era to protest against the exclusion of transgender women from women-only spaces.
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while MichFest founder Lisa Vogel insisted that it is not transphobic to have a "healthy, whole, loving space" for women who were assigned female at birth to come together. The festival ceased operations after its 2015 rendition.
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boys. The most extreme and controversial shows were at the Michigan Womyn's Music Festival. The extreme central idea from musician cross into the context of their music and the performance that contains racism to other groups.
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and business issues, and to bargain with Olivia while Olivia's financial pressures in turn pressured the distributors. In 1978, a national booking company, Roadwork Inc. was formed to promote women artists.
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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.
217:," 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.
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206:. 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
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in 1978. As these record labels grew, so did the music genres represented, and the ethnic and social diversity of the artists expanded. Several other labels were also formed by artists;
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in Washington, D.C., as well as promotion by word of mouth. In May 1974, the women who would go on to form the first European women's rock band performed at a women's music festival in
232:). Feldman had been performing the song since 1969, and its lyrics were specific to her feelings and experiences as a lesbian. In the same year the feminist all-woman bands
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Eder, Donna; Staggenborg, Suzanne; Sudderth, Lori (January 1995). "THE NATIONAL WOMEN'S MUSIC FESTIVAL: Collective Identity and Diversity in a Lesbian-Feminist Community".
555:, which kicked off in 2007 with over 2,500 attendees, and which was originally scheduled to return in 2009, but has been on indefinite hiatus after the first event.
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228:, who had been an "out" (openly gay) performer since 1964, recorded the first overtly lesbian record, "Angry Atthis" (Atthis was a lover of the Ancient Greek poet
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with the record label Redwood Records in 1972. Redwood records expanded the scope of women's music recordings to include women of color by recording
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subsequently implemented its "womyn-born-womyn" policy that would face fierce criticism from trans and LGBTQ+ activists and organizations. In 1995,
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Staggenborg, Suzanne; Eder, Donna; Sudderth, Lori (1993). "Women's Culture and Social Change: Evidence from the National Women's Music Festival".
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509:"the national voice of the burgeoning women's music movement and a wide-ranging chronicle of lesbian feminist culture." The magazine was a
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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."
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was the best-selling women's music album and one of the best-selling albums by an independent label during the 1970s, in concert in 2013
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Sterneck, Wolfgang (1998). "Das Zeichen Der Frau: Frauen und Lesbenmusik" [The Sign of the Woman: Women's and Lesbian Music].
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This article is about the Western movement for music "by women, for women, and about women". For women in music in general, see
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to be entirely produced by women. "Changer" is the all-time best-selling album to come out of the women's music genre.
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Several other independent labels were created by artists such as Kay Gardner with the record label Wise Woman/Urana,
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McCarthy, Kate (2006). "Not Pretty Girls?: Sexuality, Spirituality, and Gender Construction in Women's Rock Music".
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McCarthy, Kate (2006). "Not Pretty Girls?: Sexuality, Spirituality, and Gender Construction in Women's Rock Music".
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McCarthy, Kate (2006). "Not Pretty Girls? Sexuality, Spirituality, and Gender Construction in Women's Rock Music".
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protest the intention of the Festival for 20 years. Petitions and boycotts ensued from notable organizations like
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was founded in 1990. However, even with this expansion, sales in women's music continued to decline dramatically.
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Morris, Bonnie J. (December 2001). "'Anyone Can Be a Lesbian': The Women's Music Audience and Lesbian Politics".
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103:. Women's music is not only associated with female performers but also had all female workers in the industry.
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was "one of the all-time best selling albums on any independent label" at that time, and was also the first
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Morris, Bonnie J (Spring 2023). "Archiving a Movement: Preserving the Sounds of Women's Music Festivals".
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The first women's music festival occurred in 1973 at Sacramento State University. In May, 1974 the first
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817:"Bouffants, Beehives, and Breaking Gender Norms: Rethinking 'Girl Group' Music of the 1950s and 1960s"
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came the first distributed examples of music created specifically for lesbians or feminists. In 1972,
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Lont, Cynthia (1992). "Women's Music: No Longer a Small Private Party". In Garofalo, Reebee (ed.).
1756:"IndigoGirls.com: Correspondence: 2005-06-13: Amy - Michigan Womyn's Fest Interviews: Interview #3"
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As an offshoot of the feminist movement, the genre was referred to as a musical expression of the
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1724:"GLAAD President/CEO Sarah Kate Ellis and wife pen op-ed supporting trans inclusion at Michfest"
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music thus cause the audiences from those communities got mad which limit the audience groups.
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of strength and inner charm, but they always kept to their purpose: truthful expressionism.
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Kehrer, Lauron (2016). "Goldenrod Distribution and the Queer Failure of Women's Music".
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fragmentation between straight women and lesbians during the era was the rejection by
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contradictions surrounding the company's ethics and place in a capitalist society.
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Currently, festivals continue to thrive in the United States and other countries.
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Tilchen, Maida. "A New Wave in Women's Music." Gay Community News Jun 23 1984: 7.
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The Sounds of the Women's Movement - Women's Rock Bands in Germany (1974 – 1985)
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Dougher, Sarah (Fall 2010). "Sex and Laughter in Women's Music, 1970-77".
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Peraino, Judith (2001). "Girls with Guitars and Other Strange Stories".
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Lesbians found ways to express themselves through musical composition.
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Roberts, Robin (1990). "Sex as a Weapon: Feminist Rock Music Videos".
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Songs in Black and Lavender: Race, Sexual Politics, and Women's Music
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Mockus, Martha. "Radical Harmonies." Women & Music 9 (2005): 111.
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Baim, Tracy, ed. (2008). "Hot Wire: Documenting Women's Culture".
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Out and Proud in Chicago: An Overview of the City's Gay Community
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Michigan Womyn's Music Festival transgender exclusion controversy
1672:"Camp Trans - InYourFace News Interview with Riki Anne Wilchins"
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1619:"New York Columns - Trouble in Utopia - page 1 - Village Voice"
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1444:"This Year's Michigan Womyn's Music Festival Will Be the Last"
957:'Der' Kampf um die Träume: Musik, Gesellschaft und Veränderung
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hundred to thousands of attendees. The newest festival is the
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Sergeant, Desmond C.; Himonides, Evangelos (March 31, 2016).
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with at least four songs by lesbian and/or feminist artists.
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1782:"Michigan Womyn's Music Festival on Facebook | Ghostarchive"
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Michigan Womyn's Music Festival § Exclusion controversy
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2004:
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1405:"UI grad student organizing national women's folk festival"
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Separation between New Lesbian and Old Lesbian Separatist
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identity by send them a CD of lesbian musicians' work.
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622:(2002 documentary about the history of women's music)
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1222:. London: Bloomsbury Publishing Plc. 1995. pp.
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530:was held in Champaign-Urbana, Illinois, founded by
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961:The Struggle for Dreams: Music, Society and Change
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496:HOT WIRE: The Journal of Women's Music and Culture
490:HOT WIRE: The Journal of Women's Music and Culture
460:were distributed by Olivia through their network.
432:with the record label Righteous Babe Records, and
16:Movement of popular music for, by, and about women
1995:The National Women's Music Festival official site
1919:Rockin' the Boat: Mass Music & Mass Movements
1698:"Myths and The Truth About the Michigan Festival"
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633:, feminist music promoter and concert organizer
186:had only signed a few women's bands, including
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127:, and festival organizers who are also women.
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1968:Journal of the American Musicological Society
1887:Women and Music in Cross-Cultural Perspective
376:Record labels, distributors, and publications
1646:"Setting the Record Straight About MichFest"
1556:Bennett, Andy; Peterson, Richard A. (2004).
963:] (in German). Hanau, Germany: KomistA.
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275:and released one self-titled album in 1975.
213:The genre, which first came to be known as "
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1559:Music Scenes: Local, Translocal and Virtual
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271:. They formed the German women's rock band
2831:Azalea: A Magazine by Third World Lesbians
2358:Connexxus Women's Center/Centro de Mujeres
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1912:]. Montréal: Éditions du Remue-ménage.
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1352:"Chicago's Place in Women's Music History"
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2855:Amazones d'Hier, Lesbiennes d'Aujourd'hui
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1906:La Création musicale des femmes du Québec
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234:The Chicago Women's Liberation Rock Band
161:In 1963, the American singer-songwriter
59:movement and included the female labor,
2554:Lesbians in the Spanish Second Republic
2000:The Ohio Lesbian Festival official site
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1644:Macdonald, Jocelyn (October 24, 2018).
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83:, African-American musicians including
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1296:Simonette, Matt (September 23, 2015).
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238:New Haven Women's Liberation Rock Band
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1851:. The University Press of Kentucky.
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921:. No. 90. pp. 35–56, 125.
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1350:Albright, Jean (October 13, 2004).
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91:, Gwen Avery and activists such as
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2692:Boots of Leather, Slippers of Gold
2684:The Straight Mind and Other Essays
2408:Leeds Revolutionary Feminist Group
2015:UK and Irish women's music archive
1921:. Cambridge, MA: South End Press.
1910:Concerns women composers of Québec
1812:TSQ: Transgender Studies Quarterly
1621:. January 15, 2009. Archived from
1403:Huttel, Richard (March 26, 1974).
977:
553:Los Angeles Women's Music Festival
14:
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2700:Your Silence Will Not Protect You
2338:Atlanta Lesbian Feminist Alliance
1988:
1700:. October 6, 2014. Archived from
1674:. August 17, 2000. Archived from
1382:. Agate Publishing. p. 163.
1247:Martin, Dawn L. (May–June 1994).
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454:Berkeley Women's Music Collective
165:recorded and published her song "
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2368:Daughters of Bilitis (Australia)
1904:Lefebvre, Marie-Thérèse (1991).
1870:. University of Illinois Press.
1758:. March 19, 2006. Archived from
1732:. August 8, 2014. Archived from
1465:Demello, Edwiges (May 9, 2024).
1073:10.1111/j.1540-5931.2006.00204.x
877:10.1111/j.1540-5931.2006.00204.x
834:10.1111/j.1533-1598.2012.01322.x
821:Journal of Popular Music Studies
428:with the record label Pleiades,
140:At the beginning of 1970s, as a
2984:Michigan Womyn's Music Festival
2668:Zami: A New Spelling of My Name
2438:Lesbian Organization of Toronto
1799:
1774:
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1576:
1562:. Vanderbilt University Press.
1549:
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687:10.5406/americanmusic.34.2.0218
679:10.5406/americanmusic.34.2.0218
540:Michigan Womyn's Music Festival
528:National Women's Music Festival
202:and the band that evolved into
147:National Organization for Women
48:, for women, and about women".
2847:Onyx: Black Lesbian Newsletter
2473:Sisters for Homophile Equality
2398:June L. Mazer Lesbian Archives
2378:First Black Lesbian Conference
2343:Bi-National Lesbian Conference
1806:Williams, Cristan (May 2016).
1061:The Journal of Popular Culture
865:The Journal of Popular Culture
856:
841:
808:
182:gender. At the time, major US
176:
67:. The movement was started by
1:
2443:Lesbians Against Pit Closures
2005:Goldenrod Music official site
1519:Berkeley Journal of Sociology
1442:Trudy Ring (April 21, 2015).
637:
171:second wave feminist movement
2323:Amazon Bookstore Cooperative
1979:Rentmeister, Cillie (1985).
1961:(Documentary). Woman Vision.
1324:Doyle, JD (September 2005).
1088:The Journal of Popular Music
642:
412:The Changer and the Changed.
7:
2994:Mountain Moving Coffeehouse
2549:Lesbians in Francoist Spain
2423:Lesbian Feminist Liberation
2235:Del Martin and Phyllis Lyon
601:
415:The Changer and the Changed
389:The Changer and The Changed
367:Financial and Social Issues
354:transgender sound engineer
261:lesbian-feminist bookstores
200:Goldie and the Gingerbreads
10:
3107:
3091:Songs with feminist themes
2887:Journal of Lesbian Studies
2839:Common Lives/Lesbian Lives
2751:The Woman-Identified Woman
2504:Compulsory heterosexuality
2448:Lincoln Legion of Lesbians
2433:Lesbian Movement (Denmark)
2348:Chicago Lesbian Liberation
1836:
1597:10.1177/089124195023004004
790:Journal of Lesbian Studies
576:
479:Olivia Cruises and Resorts
358:, was made to resign from
130:
18:
3032:
3024:Women's Week Provincetown
2941:
2710:
2619:
2612:
2486:
2458:Oregon Women's Land Trust
2428:Lesbian Herstory Archives
2353:Combahee River Collective
2308:
2057:
1866:Hayes, Eileen M. (2010).
1467:"Women's Music Festivals"
1275:Chicago LGBT Hall of Fame
1218:Cassell's Queer Companion
339:
321:Downfall of Women's Music
257:Lavender Jane Loves Women
2529:Gender-critical feminism
2010:Roadwork Archives Online
1825:10.1215/23289252-3334463
1493:"History - Camp Tawonga"
1008:10.3389/fpsyg.2016.00411
335:Fission in the Community
2791:Lesbian Feminist Circle
2388:Gay Women's Alternative
2215:Melanie Kaye/Kantrowitz
1955:Mosbacher, Dee (2002).
1936:Morris, Bonnie (1999).
1885:Koskoff, Ellen (1989).
1253:Feminist Bookstore News
995:Frontiers in Psychology
522:Women's music festivals
470:non-profit organization
438:Sweet Honey in the Rock
157:Origin of Women's Music
135:
97:Sweet Honey in the Rock
44:, to promote music "by
3066:Political music genres
2927:Hannah Gadsby: Nanette
2863:Dykes to Watch Out For
1326:"QMH Sept 2005 Script"
1249:"They Went That-a-way"
532:University of Illinois
392:
93:Bernice Johnson Reagon
2383:The Furies Collective
2280:Margaret Sloan-Hunter
1843:Carson, Mina (2004).
1736:on September 11, 2014
802:10.1300/J155v05n04_04
456:, Woody Simmons, and
383:
196:The Deadly Nightshade
142:second-wave feminists
99:, and peace activist
2974:Lesbian pulp fiction
2569:Political lesbianism
2363:Daughters of Bilitis
1652:on December 19, 2018
1471:Queer Music Heritage
1330:Queer Music Heritage
1271:"Toni Armstrong, Jr"
546:Other festivals are
57:second-wave feminist
3042:Feminism portal
2783:Dykes & Gorgons
2519:Feminist separatism
2413:Lesbian Art Project
1889:. Greenwood Press.
1808:"Radical Inclusion"
1625:on January 15, 2009
815:Stos, Will (2012).
448:singers founded by
387:, whose 1975 album
242:Mountain Moving Day
222:separatist movement
208:feminist separatism
31:feminist separatism
2969:Lesbian literature
2807:Lesbian Connection
2574:Radical lesbianism
2463:Salsa Soul Sisters
2250:Ruth Mountaingrove
2085:Evelyn Torton Beck
1938:Eden Built By Eves
1704:on October 6, 2014
1678:on August 17, 2000
1491:Demello, Edwiges.
919:Current Musicology
564:Eden Built by Eves
393:
326:Label on Musicians
69:lesbian performers
35:lesbian-separatism
3048:
3047:
3009:Peg's Place (bar)
2989:Motherpeace Tarot
2942:Actions and ideas
2937:
2936:
2534:Lesbian bed death
2140:Stormé DeLarverie
2090:Miriam Ben-Shalom
2075:Ti-Grace Atkinson
1958:Radical Harmonies
1947:978-1-55583-477-7
1928:978-0-89608-427-8
1896:978-0-252-06057-1
1877:978-0-252-03514-2
1858:978-0-8131-2310-3
1762:on March 19, 2006
1569:978-0-8265-1451-6
1411:. pp. 19, 21
1389:978-1-57284-100-0
1233:978-0-304-34301-0
970:978-3-928988-03-2
706:Project MUSE
619:Radical Harmonies
119:, cover artists,
3098:
3081:Women in society
3040:
3039:
3038:
3014:Some Prefer Cake
2660:The Wanderground
2644:Le Corps Lesbien
2617:
2616:
2599:Womyn-born womyn
2564:Lipstick lesbian
2544:Lesbian feminism
2418:Lesbian Avengers
2300:Bonnie Zimmerman
2245:Bonnie J. Morris
2190:Donna Gottschalk
2165:Lillian Faderman
2065:Paula Gunn Allen
2051:Lesbian feminism
2044:
2037:
2030:
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2020:
1984:
1975:
1962:
1951:
1940:. Alyson Books.
1932:
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1827:
1818:(1–2): 254–258.
1803:
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502:Windy City Times
446:African-American
167:You Don't Own Me
105:Studio musicians
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3086:Lesbian culture
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2539:Lesbian erasure
2509:Corrective rape
2499:Butch and femme
2482:
2453:Mujeres Creando
2403:Lavender Menace
2333:Artemis Singers
2304:
2290:Cris Williamson
2205:Sheila Jeffreys
2160:Elana Dykewomon
2105:Charlotte Bunch
2070:Dorothy Allison
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404:I Know You Know
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273:Flying Lesbians
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65:peace movements
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2999:Olivia Records
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2922:(2007–present)
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2890:(1997–present)
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1113:(1): 105–122.
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2210:Jill Johnston
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2145:Diane DiMassa
2143:
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2126:
2123:
2121:
2118:
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2111:
2110:Cheryl Clarke
2108:
2106:
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2016:
2013:
2011:
2008:
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2001:
1998:
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1992:
1982:
1977:
1973:
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1445:
1438:
1432:, p. 28.
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866:
859:
853:
849:
844:
835:
830:
826:
822:
818:
811:
803:
799:
796:(4): 91–120.
795:
791:
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774:
766:
761:
754:
749:
747:
739:
734:
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400:Meg Christian
397:
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332:
318:
314:
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265:Lambda Rising
262:
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247:
243:
239:
235:
231:
227:
223:
218:
216:
215:lesbian music
211:
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201:
197:
193:
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185:
184:record labels
174:
172:
168:
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150:
148:
143:
128:
126:
122:
118:
114:
110:
106:
102:
98:
94:
90:
86:
85:Linda Tillery
82:
78:
77:Meg Christian
74:
70:
66:
62:
58:
53:
49:
47:
43:
42:popular music
40:
36:
32:
28:
27:Women's music
22:
3076:Music genres
3018:
2979:Maud's (bar)
2925:
2917:
2909:
2901:
2895:Jane's World
2893:
2885:
2877:
2869:
2861:
2853:
2845:
2837:
2829:
2821:
2813:
2805:
2797:
2789:
2781:
2775:Lesbian Tide
2773:
2765:
2757:
2749:
2741:
2733:
2725:
2719:Die Freundin
2717:
2698:
2690:
2682:
2674:
2666:
2658:
2650:
2642:
2634:
2626:
2604:Womyn's land
2255:Jean O'Leary
2185:Carolyn Gage
2175:Marilyn Frye
2120:Kate Clinton
2095:Julie Bindel
1980:
1971:
1967:
1957:
1937:
1918:
1909:
1905:
1886:
1867:
1846:
1815:
1811:
1801:
1789:. Retrieved
1785:
1776:
1764:. Retrieved
1760:the original
1750:
1738:. Retrieved
1734:the original
1727:
1718:
1706:. Retrieved
1702:the original
1692:
1680:. Retrieved
1676:the original
1666:
1654:. Retrieved
1650:the original
1639:
1627:. Retrieved
1623:the original
1613:
1588:
1584:
1578:
1558:
1551:
1539:
1522:
1518:
1512:
1500:. Retrieved
1497:Camp Tawonga
1496:
1486:
1474:. Retrieved
1470:
1460:
1448:. Retrieved
1437:
1425:
1413:. Retrieved
1408:
1407:. Features.
1398:
1379:
1373:
1361:. Retrieved
1355:
1345:
1333:. Retrieved
1329:
1319:
1307:. Retrieved
1301:
1298:"1985 Music"
1291:
1279:. Retrieved
1274:
1265:
1256:
1252:
1242:
1217:
1210:
1201:
1192:
1182:Koskoff 1989
1173:
1163:Koskoff 1989
1154:
1147:Koskoff 1989
1127:
1110:
1107:ARSC Journal
1106:
1100:
1091:
1087:
1081:
1067:(1): 69–94.
1064:
1060:
1054:
1045:
1042:NWSA Journal
1041:
1035:
998:
994:
960:
956:
950:
935:
918:
897:
885:
871:(1): 69–94.
868:
864:
858:
843:
824:
820:
810:
793:
789:
760:
738:Peraino 2001
733:
670:
666:
617:
596:
582:
568:
563:
561:
557:
545:
536:Kristin Lems
525:
506:
500:
495:
494:
489:
483:
475:
462:
458:Teresa Trull
430:Ani DiFranco
423:
414:
411:
403:
394:
388:
370:
352:
343:
329:
315:
308:
299:
295:
286:
282:
256:
241:
219:
212:
180:
160:
151:
139:
121:distributors
89:Mary Watkins
61:civil rights
54:
50:
26:
25:
2959:Lesbian bar
2898:(1998–2018)
2874:(1991–1998)
2866:(1983–2008)
2850:(1982–1984)
2842:(1980–1996)
2834:(1977–1983)
2818:(1976–1990)
2802:(1974–1984)
2799:WomanSpirit
2794:(1973–1986)
2786:(1973–1976)
2778:(1971–1980)
2770:(1971–1976)
2762:(1970–2008)
2746:(1963-1972)
2743:Arena Three
2738:(1956–1972)
2730:(1947–1948)
2722:(1924–1933)
2589:Stone femme
2584:Stone butch
2559:Lesbophobia
2468:Sister Spit
2230:Audre Lorde
2220:Joan Larkin
2150:Alix Dobkin
2100:Ivy Bottini
1546:, p. .
1544:Morris 1999
1430:Morris 1999
1167:Carson 2004
631:Ruth Dworin
548:Lilith Fair
466:Ladyslipper
426:Margie Adam
356:Sandy Stone
311:Ethel Smyth
303:Helen Reddy
253:Kay Gardner
246:Alix Dobkin
244:. In 1973,
220:Out of the
177:Development
163:Lesley Gore
117:technicians
81:Margie Adam
3055:Categories
2954:Dyke march
2949:Cineffable
2919:Velvetpark
2911:AfterEllen
2815:Conditions
2735:The Ladder
2727:Vice Versa
2579:Soft butch
2487:Key issues
2260:Pat Parker
2225:Anna Livia
1119:2867375212
1048:(1): 1–15.
765:Hayes 2010
703:A512374031
638:References
586:Camp Trans
516:soundsheet
511:separatist
442:a cappella
434:Holly Near
101:Holly Near
2478:Van Dykes
2200:Karla Jay
2135:Max Dashu
2130:Mary Daly
1791:April 19,
1766:April 19,
1708:April 19,
1682:April 19,
1656:April 19,
1629:April 19,
1605:146580782
1525:: 31–56.
1363:March 21,
1335:March 21,
1309:March 21,
1281:March 21,
1178:Lont 1992
1159:Lont 1992
1132:Lont 1992
940:Lont 1992
927:918124143
902:Lont 1992
890:Lont 1992
848:Lont 1992
726:Lont 1992
695:193493400
643:Citations
613:Riot Grrl
444:group of
240:released
125:promoters
109:producers
1740:June 22,
1531:41035465
1450:June 13,
1259:(1): 57.
1115:ProQuest
1094:(1): 80.
1027:27065903
923:ProQuest
608:Ladyfest
602:See also
534:student
507:HOT WIRE
250:flautist
236:and the
71:such as
2328:Anjaree
2318:AMASONG
1837:Sources
1018:4815278
1001:: 411.
505:called
263:, like
131:History
39:Western
2930:(2017)
2754:(1970)
2703:(2017)
2695:(1993)
2687:(1992)
2679:(1991)
2671:(1982)
2663:(1979)
2655:(1976)
2647:(1973)
2639:(1973)
2631:(1969)
2310:Groups
2170:Ferron
2058:People
1944:
1925:
1893:
1874:
1855:
1603:
1566:
1529:
1502:May 9,
1476:May 9,
1415:May 8,
1386:
1277:. 2019
1230:
1117:
1025:
1015:
967:
925:
710:629959
708:
701:
693:
685:
340:Racism
269:Berlin
230:Sappho
192:Birtha
63:, and
2903:Curve
2711:Other
2652:Lover
2620:Books
2613:Media
2524:Femme
2494:Butch
1908:[
1729:GLAAD
1601:S2CID
1527:JSTOR
959:[
691:S2CID
683:JSTOR
591:GLAAD
440:, an
188:Fanny
46:women
2879:Diva
2514:Dyke
1974:(3).
1942:ISBN
1923:ISBN
1891:ISBN
1872:ISBN
1853:ISBN
1793:2023
1768:2023
1742:2023
1710:2023
1684:2023
1658:2023
1631:2023
1564:ISBN
1504:2024
1478:2024
1452:2015
1417:2018
1384:ISBN
1365:2019
1337:2019
1311:2019
1283:2019
1228:ISBN
1023:PMID
965:ISBN
699:Gale
468:, a
406:and
204:Isis
136:Root
79:and
33:and
1820:doi
1593:doi
1224:123
1069:doi
1013:PMC
1003:doi
873:doi
829:doi
798:doi
675:doi
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