Let me put it this way: In your twenties, what’s wrong with you is often a source of private shame.
"Women" are only related to "rock" by being allowed "in".
That the lyrics are spoken to the tune of “Chopsticks” isn’t a juxtaposition as much as it is a statement that going home with someone you’ve just met is as routine and familiar as the notes to a clumsy song we all learned how to play as children.: “And I kept standing 6’1” / Instead of 5’2” /And l loved my life / And I hated you.” Phair seems to relish that one can readily alter appearances; it’s as simple, she implies, as changing one’s outlooks and affinities.
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Her sound developed at the turn of the century into something more akin to pop or adult contemporary.
Phair's entry into the music industry began when she met guitarist Chris Brokaw, a member of the band Come.
But Phair found it difficult to surpass the success of her initial release; subsequent albums like Whip-Smart (1994), whitechocolatespaceegg (1998) and Liz Phair (2003) were condemned for either failing to reproduce the raw, intimate tone of Exile or, in the case of the latter record, deviating into radio-friendly pop, which branded her as a traitor to the indie cause.
Phair weathered the backlash by revisiting her past with a 2008 reissue of Exile and a second career as a composer for television.
The "in" of "women in rock" has a contingent feel about it, an aura of something that will never be complete, never fully integrated with the whole.