original entry is here with astonishing no. of recs in the comments. As usual, be not an asshole.
I read all of these which are about the experience of white, cis, ablebodied women for the most part, and was inspired to do a post featuring vocal diversity among women rockers. .LADYPALOOZA PRESENTS: I Went To Your Concert and There Was Nothing Going On, or, A Meditation on Dude Music
ACCOMPLISHMENTS: Classically trained pianist; frequently constructs songs in complex, non-standard time signatures (9/4? Is that even a thing?) and uses more than one of said time signatures over the course of a song; said songs also feature carefully worked-out, highly complex piano-vocal melodies and harmonies, often referencing classical pieces or styles of note, with unusual chords, non-standard voicings and keys, and frequent key changes; improvises substantially on and/or re-arranges those highly complex songs on every tour; can play piano, synth, harpsichord, Hammond, and basically anything else with a keyboard on it; on last tour, switched between four keyboards, often playing two simultaneously, on nearly every song.MORE
I was able to do a bit of correcting for WOC rockers, but came up blank on disabled and/ or transwomen rockers. If you have any recs, put em in the comments! Albay Philippines I – How Albay Makes A Scene which while a bit off topic, I found interesting.
Yoko Ono:In a recent Tokyo visit, the septuagenarian sounds off Which reminds me that I need to repost this: Yoko Ono: A Feminist Analysis (Introduction: Oh Yoko!), Yoko Ono: A Feminist Analysis (Part One: The Ballad of John and Yoko), Yoko Ono: A Feminist Analysis (Part Two: Don’t Let Me Down), Yoko Ono: A Feminist Analysis (Part Three: Woman), Yoko Ono: A Feminist Analysis (Addendum: Just Like Starting Over)
And finally, Black Women Who Rock Links to:
The black female rock singer is invisible. By rock, I don’t mean popular music, as the two terms are often injudiciously interchanged, but the loud, guitar and drum-driven energy of the actual genre. Though black music—rhythm and blues—is essentially the DNA of rock music, social and industry barriers confront black female artists who embody the aural and visual aesthetics of the rock idiom.
What leads to this invisibility is the way black female vocalists in pop are consistently relegated to specific genre categories created by the music industry and the media that exclude them from rock music. In the post-Woodstock landscape of popular music, these categories essentially consist of soul (Aretha Franklin), pop (Dionne Warwick), dance (Donna Summer), R&B (Anita Baker), hip-hop (Lauryn Hill) and rap (Missy Elliot). Because of these rigid parameters, black female singers who pursue rock are often met with opposition, confusion and commercial disappointment. Nona Hendryx, for example, is essentially a rock singer whose palette is diversified—not determined—by R&B and dance music. Her first solo album rocked as hard as any record released in 1977, but radio (and Epic Records) was puzzled by the supposed incongruity of her racial identity to the music. Donna Summer, who fronted a rock band in the late 1960s (The Crow), has often stated that were it not for disco, she would have steered towards a career in rock music. As disco retreated to the underground in the early 1980s, Summer released a rock-oriented album, The Wanderer. Rock-formatted radio was hesitant to embrace Summer, even though her songs were not stylistically dissimilar to the songs of white female rockers like Pat Benatar.
So black women in rock have existed, but have been by and large invisible, with the exception of the anomalous Tina Turner. Her indisputable talent notwithstanding, the support of British male rock artists such as Rod Stewart and David Bowie were still necessary to facilitate her comeback in the mid-1980s and reintroduce her to rock audiences. A rare combination of forces enabled Turner, a middle-aged black woman, to achieve mainstream success with rock music—a unique combination ultimately impossible for her black female peers to replicate. But that doesn’t mean they are not out there. The galvanizing voices of Betty Davis, Joyce Kennedy, and Sandra St. Victor are but a few who have electrified rock music over the last four decades, but remain relatively obscure to mainstream audiences.
So we start with JD Natasha’s Plastico The IDIOT Music Company EMI has disabled embedding. I cannot STAND these freaking dumplings, but moving along.
THE ACCOLADE – PINOCCHIO
Skunk Anansie – Twisted (Everyday Hurts)
Shiina Ringo – Sakuran
BJORK HUMAN BEHAVIOUR
Yeah Yeah Yeahs – Skeletons
Yeah Yeah Yeahs – Kiss, Kiss
ELY GUERRA – PELIGRO
Aterciopelados – El Estuche
yui – cherry
ARCH ENEMY – My Apocalypse (OFFICIAL VIDEO)
Nina Simone – Ain’t Got No…I’ve Got Life (yes I know she isn’t rock, I love this song and how her voice sounds here)
Otep "Confrontation" Official Video
Deerhoof – The Perfect Me
Joanna Newsom – Peach, Plum, Pear
The The Empty – Le Tigre
Apocalyptica/Nina Hagen – Seemann
Noiseaux – Cessation
Tori Amos – Welcome to England
FlyLeaf – I’m so Sick
Shonen Knife – It’s a New Find
Orphan Hate – Circus
"You Will Remember" by Lumaya
Straight Line Stitch “Black Veil”
ETA: HOW COULD I FORGET: Tanita Tikaram!
Twist in my sobriety
ETA2: Tessanne Chin Black Books
Anyone else ya’ll wanna rec?