Abstract
This book concerns the music and musical practices of a select group of Jewish singer-songwriters in the United States, who consider themselves and their music to be feminist and Jewish. Because of this and for practical reasons, the purpose of this book is not to provide hard representative data about each feminist Jewish singer-songwriter in the United States. Rather, it seeks to impart their and my understanding of and reflections on the flavor of the interrelationships of some singer-songwriters who collectively constituted the feminist Jewish music scene in the United States between the 1960s and the 2000s, and a