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Any parent may ask, "What's the connection between my youthful self and the old fart my kids think I am?" The question is especially relevant for Evelyn McDonnell, a Janie-come-lately breeder looking back on her bohemian, feminist, punk-rock glory days and wondering, is the new me still the old me? The answer is yes: A baby changes everything but your self. In fact, though she may no longer write fanzines or engage in political performance art, McDonnell's revolutionary spirit is strengthened by having an added investment in the future--her toddler son and teen stepdaughters. As she makes the transformation from Riot Grrrl to Rebel Mom, this music journalist gives an eyewitness account of the cultural movements of the '90s, from alternative rock and third-wave feminism to hip-hop, raves, poetry, and Rent . Through this pop-culture lens she confronts the conventions and pressures of modern motherhood. Part of an emerging generation of cultural commentators and memoirists, McDonnell adds an original, humorous, and edgy voice to the ongoing literature of motherhood.
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Evelyn McDonnell is a former senior editor at the Village Voice whose work has appeared in Ms. Magazine , Rolling Stone , and the New York Times . She lives in Miami Beach with her family.From Publishers Weekly:
In a lightweight offering, McDonnell, a 1990s music critic and a former editor at the Village Voice, explores the harmonious convergence of art and motherhood at age 40. Born to suburban bohemians in Milwaukee the year the Beatles played Ed Sullivan's show, McDonnell was weaned on the Jackson 5 and the women's movement, blow-dried hair and cowl necks, Patti Smith and Iggy Pop. She attended Brown at the height of its coolness, and found "refuge in noise." Moving to Manhattan's East Village in 1989, she got a job as a copy editor at the Voice, a pacesetter in rock criticism, which segued into writing for other magazines. Her "tomboy soul" was undercut by a short-lived marriage to a man named Tad, but rebounded with a secure job as a senior editor at the Voice. Her romance with a Michigan carpenter with two young daughters, Bud, led to moving them all out to New York, then on to booming, multicultural Miami, where the author got a job as pop music critic at the Miami Herald. Motherhood soon followed in the form of son Cole, and the author has to wing it mostly as a parent and stepparent. Her rather tedious, unenlightening memoir closes as she bemoans the loss of feminist progress in the behavior of Britneys and Jessicas.
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