Pretend We’re Dead: The Rise, Fall, and Resurrection of Women in Rock in the ’90s – Tanya Pearson
In Pretend We’re Dead: The Rise, Fall, and Resurrection of Women in Rock in the ’90s, Tanya Pearson dives into the evolution of women in the alternative rock music scenes of the 1990s, the commercialization and mainstream absorption of alternative rock, which led to the marginalization of many of these artists, and the resurgence of these female artists in the 2010s and ’20s, both for their own careers and as catalysts for the young artists emerging today.
The book chronicles the significant impact that female musicians and rock bands had in the ’90s, including Courtney Love of Hole, Shirley Manson of Garbage, Nina Gordon and Louise Post of Veruca Salt, and Tanya Donelly of Belly, alongside solo acts like Liz Phair and Tracy Bonham. These women not only dominated the airwaves but also challenged the traditional, often misogynistic, norms of the music industry, being outspoken, unapologetic, and helping to redefine the notion of femininity in rock. At least until the shifting landscape of the music and radio industries left them behind, starting with the rise of nu-metal in 1997 and the inherent misogyny that entailed and, finally, in the backlash against non-conformity following the 9/11 attacks.
This era and these artists covered by Pearson were the soundtrack to my college experience. There are the groups I listened to, the concerts I went to, and, in many cases, still do today. I’ll need to do some homework to catch up on the newer releases and to see how their influence has spread amongst the artists of today.
On April 10, 1994, while watching 120 Minutes in my dorm room late on a Sunday night, I saw the video for Liz Phair’s Never Said, the lead single from her debut album, for the first time. Nearly 30 years later, she came to the Chicago Theatre for the 30th anniversary of the release of Exile in Guyville.
