By Eileen M. Hayes
Eileen M. Hayes argues that the women's track competition, with its starting place in lesbian feminism, is an important institutional website for the emergence of black feminist cognizance within the modern interval. She deals sage views on black women's involvement within the women's track pageant scene, the ramifications in their performances as drag kings in these environments, and the demanding situations and joys of a black lesbian retreat according to the feminist competition version. With acuity and candor, Hayes elucidates why this tune scene issues. Veteran vocalist, percussionist, and manufacturer Linda Tillery offers a foreword.
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