ABSTRACT
The conclusion emphasizes that, while there have been books focused on the Black political feminism and Black literary feminism of the Black Women’s Liberation Movement, rarely have the respective soundtracks of the movement been discussed in relation to, and as musical reflections of, the core principles of the movement. Within the worlds of both Black popular movement studies and Black popular music studies there has been a long-standing tendency to almost exclusively associate Black women’s music of the 1960s and 1970s with the Black male-dominated Black Power Movement or the White female-dominated Women’s Liberation Movement. However, the book ends by emphasizing that much of the soul, funk, and disco performed by Black women was most often the very popular music of a very unpopular and unsung movement – the Black Women’s Liberation Movement.
