In her critical study of later twentieth century women’s music festivals, Eileen Hayes sets the tone and identifies her intended audience in a trenchant dedication, which really serves as an effective epigraph for her book:
_Some say feminism is dead. Others say black feminism stopped by but left in a hurry. A few claim that “women’s music” is dull; “Besides,” they say, “Bessie Smith is so last century.” Others don’t know any lesbians and would rather watch them on TV. It was chic to be lesbian—last year. They say you can’t be black, lesbian, and musical at the same time.