Maria Raha

Overall, this book presents a good survey of women rebels in western popular culture. However, Maria Raha argues for a liberal response to social change, investing value in acts of individual resistance, rather than organized, collective revolutionary action. She is clearly more firmly situated in the tradition of third-wave, self-empowerment feminism than of second-wave, movement-based feminism. Those who believe that the work of the second wave remains unfinished may question the author's position.

There is some repetition and overlap in the chapters, and the author should cop to a few personal hobbyhorses, but these minor points don't interfere with the book's larger presentation.

One disturbing moment occurs in the closing pages of the book when the author refers to the "stifling political correctness that marked the '90s" (p. 239). The "stifling" use of inclusive and appropriate language (which, when delivered with a sneer, is simply insulting) was and is a right-wing tactic for undercutting numerous groups' legitimate struggles for recognition. I am not much of a fan of identity-based rights claims, but still it is important to recognize that the side that made these claims "stifling" was the conservatives, not the progressives.

The book is well documented and would make a suitable supplemental text for undergraduate courses in popular culture.… (mere)

Brief, engagingly written and informative overviews of a variety of female punk and indie musicians. I could've gone for a little more depth, and I wasn't always fond of the way Raha wrapped each segment up with a neat little bow (though I can't really blame her, given the format she chose). Still, it's a cool book that celebrates a whole lotta awesome, influential women rockers, including Mia Zapata of the Gits, Poison Ivy of The Cramps, Lydia Lunch, L7, Tribe 8 and more. Fun if you know the bands already, but also fun if you're trying to broaden your musical education.… (mere)