Black Womenâs Liberation Movement Music argues that the Black Womenâs Liberation Movement of the mid-to-late 1960s and 1970s was a unique combination of Black political feminism, Black literary feminism, and Black musical feminism, among other forms of Black feminism. This book critically explores the ways the soundtracks of the Black Womenâs Liberation Movement often overlapped with those of other 1960s and 1970s social, political, and cultural movements, such as the Black Power Movement, Womenâs Liberation Movement, and Sexual Revolution. The soul, funk, and disco music of the Black Womenâs Liberation Movement era is simultaneously interpreted as universalist, feminist (in a general sense), and Black female-focused. This musicâs incredible ability to be interpreted in so many different ways speaks to the importance and power of Black womenâs music and the fact that it has multiple-meanings for a multitude of people. Within the worlds of both Black popular movement studies and Black popular music studies there has been a longstanding tendency to almost exclusively associate Black womenâs music of the mid-to-late 1960s and 1970s with the Black male-dominated Black Power Movement or the White female-dominated Womenâs Liberation Movement. However, this book reveals 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 Womenâs Liberation Movement. Black Womenâs Liberation Movement Music is an invaluable resource for students, teachers, and researchers of Popular Music Studies, American Studies, African American Studies, Critical Race Studies, Gender Studies, and Sexuality Studies.