Do kids still go to book fairs? I hope so. In grade school, I always anticipated them. It was at book fairs that I got some of my favorite titles, including Dyan Sheldon’s Tall, Thin, and Blonde, Sherryl Jordan’s Winter of Fire, and selections from Beverly Cleary’s Ramona series. Well, that and the odd Garfield digest because dammit if that lasagna-eating tabby didn’t garner my affection at an early age. But I’d also grab those biographies and user-friendly historical surveys about Beethoven or alternative rock. Hence why I bring up book fairs for a post on Marissa Meltzer’s Girl Power: The Nineties Revolution in Music–it’s great for the sixth grader who’s just starting to pick up a guitar or headphones and wants some direction toward ladies who rocked when his/her parents were coming of age. If I could assign readings for my Girls Rock Camp music history workshops, I would. Perhaps I’ll tell them to consult their local library or give it a skim on Google Books. Not that I endorse Google as an intermediary.
However, I’m not sure Girl Power will do much for folks who were there or have a deeper understanding of women’s contributions to alternative rock, riot grrrl, Lilith Fair, and pop music in the 1990s. I anticipated how sentences would end before my eyes registered closing punctuation marks. Like, I was there when everyone bought Alanis Morissette’s Jagged Little Pill. I’ve seen Courtney Love . . . evolve. I wore barrettes and black nail polish and made bedroom wallpaper fashioned from magazine images. I remember when girls pretended to be the Spice Girls at junior high talent shows. I didn’t know about riot grrrl in 1993, but after college and student radio, I think I could teach an undergrad course on it.
This isn’t to dismiss Meltzer’s efforts, as she succinctly outlines the players, the period, and the stakes with user-friendly, assured prose that evinces her success as a music journalist. However, I wasn’t surprised by any of her findings and was frustrated by how little there was for me to latch onto. I do commend Meltzer for attempting not to present the decade as a halcyon era whose promise hasn’t been fulfilled in subsequent generations of female musicians. However, I would have appreciated more context about why this decade is especially significant to the development of women in popular music beyond being the time in which Meltzer, some of her respondents, and her peers experienced and identified with music for the first time. At roughly 140 pages, there’s little room to explore these issues.
I certainly appreciate Meltzer’s acknowledgment that riot grrrl and alternative rock were largely the pursuits of white, middle-class musicians and that these subgenres are often privileged by third wave feminists, who reflect these racial and class identities. I empathize with her surreptitious attitude toward women’s music’s earnestness, its influence on the development of Lilith Fair, and the transphobic practices of some women’s music festivals. However, I don’t think she does a good job presenting counterexamples. Her chapter on girl groups focuses almost exclusively on the Spice Girls, without addressing the group’s racial make-up or discussing black female vocal groups like En Vogue, SWV, TLC, or Destiny’s Child. When she talks about solo artists, she inadvertently constructs a binary between commercially friendly confessional singer-songwriters like Fiona Apple or jailbait bubblegum starlets like Britney Spears. Hip hop reached its peak during the decade and several female emcees were responsible for its success, but folks like Salt-N-Pepa, Lil’ Kim, Missy Elliott, Da Brat, Foxy Brown, Lady of Rage, and Sistah Souljah get at-best minimal attention. R&B artists like Adina Howard and Aaliyah confronted and challenged cultural assumptions of black female sexuality. Selena’s influence continues to grow. Here’s hoping subsequent editions of the book include them.
This book is a good start, but begs to be dialogued with books like Sara Marcus’ Girls to the Front: The True Story of the Riot Grrrl Revolution. I’d love to get feedback on what seventh grade musicians thinks about how these books represent their musical periods. Better yet, let’s hear how they might be honoring, improving upon, or dispensing with their legacies altogether. I have a hunch Meltzer and Marcus wanna know too.