Rock Culture and Gender Identity
Since its arrival in the 1950s, Rock and Roll has been overwhelmingly dominated by male musicians, male industry functionaries, and a male press corps. Not surprisingly, sexism – defined as the systematic discrimination and degradation of women – found its way into almost all quarters of the culture. The institutionalization of sexist values built up almost insurmountable obstacles to females who wished to become involved in any phase of the music business. Ironically, the industry’s attitude of rendering women as absent or insignificant also invites the full participation female fans because the success of many (male) bands depend upon their appeal to this cohort. The arrival of the Folk Revival in the 1960s, however, saw a growing number of female singer‐songwriters, such as Joni Mitchell, Buffy Sainte‐Marie, Laura Nero, Carole King, and Carly Simon, who rightfully staked out claims to practice and make a living from their art. While Mitchell’s confessional songwriting style influenced scores of male and female artists, the radicalized feminist perspective did not fully emerge until the arrival of Patti Smith in
the 1970s. Listen to Joni Mitchell’s Blue (1971), Patti Smith’s Horses (1975), and Tori Amos’ The Beekeeper (2004) and examine the lyrical content and musical style of each album as a barometer of the expanding expressive range which celebrates a uniquely female perspective.
You must including this one as one of your sources: Elizabeth Keenan
“Who are You Calling A Lady ‘?’: Femininity, Sexuality, and Third‐Wave
Feminism.” Journal of Popular Music Studies 20 (2008): 378‐401.
Rock Culture and Gender Identity
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