摘要：As we celebrate forty years of the women’s music movement, its founding mothers and elders are beginning to pass on. Feminist scholars and activists are just beginning to write historically about the events (concerts and women’s music festivals) and material culture (recordings and photographs) from two generations of women’s music. This essay raises questions about how we will remember and historicize the unique politics and contributions of women’s music artists, and offers a glimpse of drum artist Ubaka Hill’s 1997 recording session with the late Kay Gardner.
