The struggle for women to gain equal access to the world of professional popular music is clearly one of the key themes to emerge so far within music history and rock culture. Female performers have long been viewed as inadequate in comparison to their male counterparts in popular music culture. In this essay, I will discuss gender roles within music, making reference to the Riot Grrrl movement, a feminist punk rock movement which strived to empower females, as well as provide a brief examination on why female performers have perhaps never received the attention of their male counterparts within popular music. I will discuss dominant female figures in the music industry, particularly those who challenged society’s patriarchal gender norms. …show more content…
As Shmutz and Faupel stated in ‘Gender and Cultural Consecration in Popular Music,’ the dismissal of censorious attention and affirm for the female performer is exceptionally problematic due to the role that critics have in ‘cultural fields and in processes of consecration.’ (Shmutz et al, 688). They go on to confirm that female performers are at a greater risk of neglect in receiving ‘cultural legitimacy’ of any type, whether this be critical, professional or popular. (Shmutz et al, 697). It is evident in rock culture and popular music history that male performers represent a more prominent historic importance to the general public, perhaps solely due to their gender and natural position in the patriarchy of society. Critic’s have a tendency to discuss male artists with regards to performers autonomy, historical importance and high art criteria which contrasts greatly to the way in which they draw on female artists. For female artists it is more typical for critics to comment on the nature of their personal and professional ties, whether it be within or outside the industry, as well as their ‘perceived emotional authenticity.’ (Shmutz et al, 703.) The strategies more often utilised for male artists which place direct emphasis on for example, their ‘autonomy in the creative process’ and the ‘originality and complexity of their music attribute a certain degree of agency to male …show more content…
Much like Madonna, the Spice Girls provided an idea of physical and mental strength as well as power and authority for females through their music and image. They were popular not only in their physical appearance, but based on their representation of confidence, self awareness, energy and comfort in who they are as individuals. They introduced an idea of ‘Girl Power’ which comprised elements of a ‘free spirit, self acceptance and self fulfilment.’ (Lemish, 21). There was a rather remarkable depth however to the cliches in which they represented. Lemish argues that they were a ‘group of five “hot,” energetic and extremely successful young women, declaring their independence, taking control of their lives and inviting you, a nine or ten year old girl growing up in a confusing world of indeterminate gender boundaries to join in!’ (Lemish, 21). The spice girls completely disobeyed ideas of male authority and they display a conscious demonstration of sexuality in which sexuality is portrayed as a sense of pride that should be celebrated rather than hidden. They portray ideas of passion and sexuality in such a way that they are ‘not at war with rationality and dignity.’ (Lemish, 22). Evident in many of their songs, their authority can be seen in the lyrics ‘stop right now thank you very much/ I need somebody with a human touch/ if you want to be
Throughout history, music has been the artistic stage of philosphoical output of both ideas, emotions and stories, enducing emotional and cogitational responses from the audience, through it’s representation of ideas and through ‘words in music’. Victor Hugo says- “Music expresses…. that which cannot remain silent” (26 February 1802 – 22 May 1885), and is a predominant feature in the early 1990s ‘Riot Grrrl’ movement, in which female-empowerment bands would address modern issues of sexual abuse, racism, and the patriarchy through their underground, punk rock music.
While beauty pageants, Barbie, and icons such as Marilyn Monroe present a more provocative and sexual image than standard 1950s sitcoms, such as Leave It to Beaver or I Love Lucy, they do still fit into a prescribed gender stereotype. Most significantly, do not challenge the overarching notion that women are to be feminine and aim to sexually please males (Meyerowitz 16). Rather, they present and support the culturally-defined understanding of the ideal woman, physically. 1950s beauty pageant contestants, Barbie, and Marilyn Monroe all embodied the ‘perfect women.’ These women, icons, and toys were voluptuous, but petite. They were small in frame, had larger breasts, full hips, and a tiny waist. Their hair was done in a very feminine style
Looking back on the dazzling and male-dominant world of music in the Sixties and Seventies, there stood a petite woman who was especially eye-catching. Janis Joplin, the female icon of the Sixties’ counterculture, conquered millions of audiences with her confidence, sexiness, straightforwardness, hoarse voice, and electrifying on-stage performance. To this day, no one can ever compare with her. She is thus known as the greatest white female rock and blues singer. Not only has her flabbergasting singing style innovated the music in the Sixties and Seventies, Janis Joplin herself is also character with most controversial and interesting characteristics.
Popular music in the United States throughout the decades have always consisted of different genres of music and during the late 70’s and early 80’s, many of the popular bands consisted of only male artists and members. In an era dominated by male artists, Fleetwood Mac featured their lead female singer Stevie Nicks, who went on to transcend the gender expectations of the time and pursue a solo career in the midst of heavy adversity. Fleetwood Mac’s lead singer, Stevie Nicks, is a prime example of the evolution female artists have endured as they struggled to gain equal footing in this male dominated industry. This essay will examine the different factors contributing to Stevie Nicks’s popularity, along with her breaking these normative masculine roles and the way she combined different genres and personal
Traditionally, an image of Honky tonk girls permeate the collective unconscious of the American country music (Wilson, 2000). Honkey tonk are referred to bars that play country music and women in country music are represented as corrupted temptresses who sit in honky tonks with painted lips and tinted hair to seduce men or as innocent virgins who are loving and patient (Wilson, 2000). However, contemporary female country musicians reject this traditional view on women because such simplistic dichotomy fails to recognise diverse identities that are adopted by women in a contemporary world (Wilson, 2000). In other words, country music provides a space for female musicians to challenge normative gender roles that dominant culture embraces and
Women in popular music have created a tremendous history in the wake of feminism. They have made their presence visible by identifying themselves as feminists. Being a woman was hard during that stage. Women were not allowed to do many things due to gender inequality such as the right to vote and to own a property. Therefore, from that moment onwards, women decided to stand up and make some changes. During the early stage of feminism, women developed their skills in popular music to create awareness. They associate popular music with feminism. Although there were racial issues between the black and white during that time, both sides continued to establish in different ways, through different genres of music. Black women focused on ‘black genres’ such as blues, jazz, and gospel, whereas white women performed in musical theatres. Female artists such as Lilian Hardin, Sister Rosetta Tharpe, and Nina Simone were among the notable exceptions of female instrumentalists during feminism. In this essay, I will assess feminism focusing on the second-wave.
Additionally, I will look at fan feedback of the band and see if even the people who are buying the albums and going to the concerts are even acknowledging the successes of the band as something of merit, or are viewing their music in terms of how the patriarchy tells them to (i.e as a guilty pleasure). This is where I will apply the idea of discourses (whole systems of thought, speech, and knowledge production that structure institutional and social practices, (O’Brien & Szeman, 2014), ISAs, and feminist ideas of patriarchy spurring off Gill’s challenges of postfeminist assumptions of power that “women have not overthrown but rather internalized the disciplinary regime that dictates particular and compulsory ways of looking and acting” (O’Brien & Szeman, 2014), the idea that not only is the band not given respect musically, but perhaps these young women themselves become convinced that their music is more of a “guilty pleasure” than it is “quality
The music industry’s history is a convoluted mess. There is no real consensus on what the music industry IS and what paths it has taken. Were the Beatles the greatest band to ever exist? Maybe. Is there a hyper objectification of women throughout the “men’s club” that is the music industry? Probably. It’s this hard to define, frankly confusing business that is worth roughly $130 billion dollars today. With it’s flimsy and opaque edges, can the music industry ever be called into question on its wrongdoings? The racist undertone throughout its history may force it to. With the music industry as an ever growing business that seems to change almost every decade, the one thing that has not changed throughout time is an undercurrent of racism that
We have always been told from a young age that there is a big difference between men and women. First of all, they look different from their body structure, their views are different, and what’s expected from them is different. But since then, the world has changed so much, to a point where women are able to do things that men can do and vice verse. There are still things that both aren 't able to do just because of nature. As connecting to jazz music, it is considered american classical music, which can be used to describe as strengths of American diversity. Women that have been associated with jazz music have held much respect.
By communally addressing the common interests of music and feminism, the women decided Riot Grrrl was an essential innovation. As it is noted, two women named Allison Wolfe and Molly Neuman, worked alongside a fanzine editor, Jen Smith, to establish a collectively-authored feminist zine called Riot Grrrl (Dunn and Farnsworth 139). During this timeframe, another woman named Kathleen Hanna was hosting weekly meetings where Riot Grrrl motives and potential aims would be deliberated among various women (Dunn and Farnsworth 139). By incorporating live music, the dynamism, and enthusiasm that the subculture of youth and punk projected further pushed this alternative medium to defy societal norms. Instead of being concerned with individual reactions and social benchmarks, the movement’s biggest concern was to project an affirmative message.
The article “Post-feminism and Popular culture” by Angela McRobbie(2004) befittingly deals with post-feminism, defining it as ‘’an active process by which feminist gains of the 1970’s and 80’s come to be undermined.’’ In this insightful article, McRobbie envisages post-feminism in a positive way, raising feminism and achieving equality. She associates 1990 as a year of change, “the moment of definitive self-critique in feminist theory” (McRobbie, ). In this period, post-colonialist feminists interrogate the claims of the second-wave-feminism, and popular feminism could express itself. Ultimately McRobbie suggests that by means of tropes of freedom and choice that are now connected with the category of ‘young women’, feminism is decisively aged and made to seem redundant. McRobbie demonstrates how 21st century post –feminism challenges the ideology of feminism by using the example of the “Wonderbra” advertisement (1994) picturing the model Eva Herzigova, to emphasize the work of the “undoing” feminism (post feminism) or third wave feminism. In this advertisement, Eva admiringly looks at her body and is inviting the audience to look at her. She does it out of her own choice, not caring about anything or anyone. She seems to be in an active position and makes her a subject rather than an object. In doing so, this advertisement gives a sense of seeing feminism as a past matter, not being relevant anymore. The advertisement provocatively presents sexism. To me it seems that women present themselves in an ironical way and consequently, they are the subjects with power, or their body is the sight of power. Women have control over their body and hence, are
The signs employed within the ad and the connection between signifiers and the signified were subjective and based on cultural representations. The denotative and connotative meanings that a message represents along with ‘doctrine of sign’s’ known as iconic, indexical and symbolic dimensions engaged by the advertiser to send ideology and mythical messages within the Katy Perry ad, such as wealth, authority and beauty are desirable and this can be attained if you buy this perfume. On a border and more thought provoking ideological level, the ad could perhaps interpret the message of freedom, prosperity and justice that women have culturally fought for throughout history. The basis of the selling pitch of the advert is sex, beauty and wealth. A contradiction perhaps, is an alternate meaning with the syntagm “Own the Throne’ intentionally placed underneath her genital area with Katy’s legs crossed. This may signify a deeper meaning that she is truly the one that ‘owns’ her sexuality not the advertiser. It is crucial advertiser’s understand that accomplishment of linguistic and non-linguistic communication is a result of the integrated system of cultural norms that allows potential buyers, to organise their world and give collective representations. In order to permit the reader to receive and successfully decode the
Music videos originally served the purpose of creating an outlet through which artists could generate publicity for their work, broaden their popular appeal, and reach wider audiences with interesting audio-visual content (Berry & Shelton, 1999). Over the years, the visual imagery in music videos has increasingly become as significant as the music it represents, as music videos have now become major outlets for propagating views and stereotypes that influence popular culture.
As one moves past the initial onslaught of rhythmic beats that calypso has to offer, it is difficult to miss the way in which it reverberates with negative and demoralizing images of women to their male counterparts. Whether it is within the lyrics of Sparrow’s “Drunk and Disorderly” or Square One’s “My Ding-a Ling”, an ample number of verses are often dedicated to making lewd comments about the female body and the suggestive body language described through thinly veiled rhymes and puns, can be offensive depending on the listener. The half naked models being displayed on the various album covers of calypso, soca and rap mix tapes further reinforces these negative connotations. This bandwagon has been jumped upon by many, including the rap genre in the last two decades, wanting to capitalize on a marketing strategy that generally purports to flag consumer attention, playing on their sense of eroticism. The sections titled “Music, Sex, Sexism” and “Woman Rising” within Peter Manuel’s text: Caribbean Currents, dive into the many issues surrounding gender within music as well as female portrayal specifically in calypso. Observations can be made simply by reading through the textual comparisons. Many aspects of this subject area allude to the fact that the issue of gender portrayal in music can be construed differently depending on who the critical listener happens to be. With the increased awareness and heightened sensitivity to the way in which females are portrayed in popular media, it is important to reflect on the impact these lyrics have on male-female relationships within the communities who most often enjoy this music genre.
The lyrics of music play an important part of interpreting the meaning of the song. The roles which women have been allowed by the society to embody have changed drastically. Women may question their roles because of what they see portrayed by popular culture or media. Change in female’s identity can be seen in how women are viewed or how they portray themselves in popular culture specifically through music. In general, music continues to...