Touted as the year of the woman since its inception, 1993 will only be remembered by Hillary's new hair-do, a few actresses' academy angst, and the bountiful Bobbitt media blitz.

And then there's music.

At the risk of ghettoizing musicians, who happen to be women, into "musical muses" or "women's music" box-sets, it is in freeform's interest to promo the essential qualities, characteristics and concerns of the composing, improvising second sex.

The question is, what does this mean?

Just as long as people have debated that dirty word "feminism," (or "femi-nazis" as affectionately coined by Rush Limbaugh) we have similarly argued about the role us chicks play in a society's creative development. Almost everyone, liberals, conservatives, even anarchists, praise women's capacity to create childrenÑoften to the point of envy. But what of this accord?

Are all mothers feminists? Do all mothers naturally develop their vocal techniques from screaming during intensive labor? Is this how avant-guarde diva Diamanda Gal‡s developed her delightfully deranged decrescendos?

Many believe music composed and performed by women contains an aesthetic different from men's. Drawing from the belief that women maintain certain traits because of their innate child-bearing ability, some musicologists persist that nurturing, caring, and even enveloping feelings are inherent in their compositions. Furthermore, some suggest women's music differs for sociological reasons. An analogy is the distinct African roots in blues and jazz, to some degree a creative expression against Western cultural subjugation. Think free-jazzers Ornette Colemen and today's Charles Gayle. Similarly, some believe so-called "women's music" intrinsically expresses an emancipation of a "male" aesthetic. As evidence, critics cite Hildegard von Bingen's mystical medieval compositions and Nadia Boulanger's experimental scores. A combination of an African and distinctly feminine declaration may be the allure of New Orleans queen Irma Thomas and Zap Mama. Lost yet?

On the other hand, some suggest that women compose exactly in the same manner that men do, that their aesthetic is not any different, but their involvement in the musical arena is limited by the "old boys" record industry. More apparent in the mainstream, women are restricted to the Madonna or "ho'' icon historic to art in general. Look at the development of the performance art scene, with Karen Finley, Laurie Anderson and many gay male and lesbian musicians. Sexuality, spectacles, and erotic visuals are often used to promote their musicÑsometimes by choice, sometimes for better "marketing".

Of course, it is a fact that there are just as many aspiring female musicians as male. But what ever happened to all those classically trained band members who won all those awards in college? Did they all just call it quits once they hit "the real world"? Did they just not want to play music anymore? What record label are they all on? Well, some turned out to play with bands like Straight Ahead, Kronos Quartet, and The Klezmer Conservatory Band. Others keep touting their own horn (literally) in between waiting tables, raising children, and attending classes. A few believe that there isn't any sexism, either in the musical realm or elsewhere. Or if there is, it's simply part of "human nature" that will always exist and we can't do anything about it. Sure it's difficult to compose as a woman, but that's the state of the art for all composers, especially if they're experimental. There comes a point where women need to be less focused on themselves as victims and more responsible for themselves as artists. Musicians compose and play because they have to are born to not because they are encouraged. Female musicians have no reason to be angry. So how would you explain ex-stripper turned riot grrrl Kathleen Hanna's rants, screams and coos? What does Bikini Kill really mean by their use of the term "Pussy Whipped"? And why are they so pissed off?

I tend to agree, to a certain degree, with all of these perspectives (yes, even Rush's). The whole point of freeform is to take a pluralistic approach to music. Each and every perspective is valid instead of the narrow mind of one. The problem comes when we do not actively question why or how our aesthetics are formed. We need to examine our own reactionary response. Unfortunately, it's only on college and community radio like WCBN that women are able to play music, recite poetry, discuss their concerns openly, and yes, even yell, if they want, about backlashes, inequalities, lesbianism, abortion, menopause, masturbation and music. Are any or all these subjects related? Maybe. Everyone wants to change the world, but nobody wants to change themselves.

The rest of the nineties will be fresher, not just with the likes of Liz Phair, L7, and Insane Jane, but with new sounds from composers and improvisors who are women. Hey, even Ann Arbor's own Big Chief counted on Detroit blues babe Thornetta Davis this year...