Popular Music and Society: Women's Studies and Popular Music Stereotypes

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Popular Music and Society: Women's Studies and Popular Music Stereotypes

Analyzing women's images in popular lyrics calls for measured subtlety rather than forced choices. Too often, well-intentioned ideologues have selected particular songs such as "Born a Woman" (a miserable female lament) or "Under My Thumb" (a paean to male domination) to illustrate lyric-based gender dichotomies and cultural hierarchies. This approach docs a disservice to women and men alike. A more healthy perspective on lyric imagery requires consideration of entire spectrums of gender-related behavior. Sharp demarcations between beauty/ugliness, dominance/submission, or wisdom/stupidity must give way to more flexible acknowledgments of situational conditions. Stereotypes never lack factual bases. They are simply expansions to unreasonable extremes. Among women's images, ideas about hateful maternal relatives ("Mother-in-Law"), overly-critical wives ("Nag" and "Get a Job"), fickle girlfriends ("Paper Doll" and "Nadine [Is That You]"), and absolutely flawless beauties ("Powerful Stuff" and "My Girl") need to be tempered. The realm of popular lyrics is huge. All types of marginal and mainstream characters are featured. Numerous types of rebellious and normative behavior, along with a wide variety of attitudes, values, and beliefs related to women's roles, relationships, and responsibilities should be expected.

The bipolar viewpoint of women as either perfect or imperfect is not uncommon in popular songs. This circumstance arises because romantic involvements undergird the thematic attention of most singers and songwriters. The pursuit of the perfect mate dulls critical, factual commentary and produces "When a Man Loves a Woman" exclusions of balance. Similarly, cheating, suspicions, breakups, and divorces spawn angry, hateful, and biased views toward female emotionalism, infidelity, fickleness, and moodiness. Once recognized, the roots of such biased viewpoints should be intertwined with other more neutral images to weave a whole-cloth image of women. The complexity, diversity, and universality of human traits that emerge can then enlighten both genders.

The recent rewording of the Elton John/Bernie Taupin tune "Candle in the Wind" amply illustrates the rosy acknowledgment of a contemporary heroine. Diana Spencer, the Princess of Wales, died in 1997. Her life was a mediated mural of extremes and excesses. She was virginal, maternal, unfaithful, common, royal, troubled, happy, carefree, socially committed, quiet, outspoken, moody, radiant, obedient, rebellious, and uncertain. Her life was incredibly public--and critically documented in writing and photographs and on film. The lyrics for "Candle in the Wind--1997" attempt to honor not perfection, but an authentic life that assumed legendary proportions. The woman in question is not a fantasy. She is historical. But the singer and the listening audience are moved toward decidedly subjective considerations of beauty, royalty, and death. The song is a tribute. It is the affirmation of a single woman's journey. It parallels earlier lyrical salutes to Billie Holiday ("Angel of Harlem") and Marilyn Monroe ("Candle in the Wind"). But the sense of life's complexity is much more vivid to the general public because of recent popular exposure to all facets of Diana's tragically triumphant life.

If popular lyrics are to provide clues to the nature of womanhood, they must be viewed over time, in the very broadest occupational context, across stylistic genres, and against the background of a culture that has historically marginalized even the best and brightest female role models. Let Bonnie Raitt give us "Something to Talk About"; let Aretha Franklin define a "Natural Woman"; and let thousands of other male and female performers project images of wild witches, wonderful wives, and other wise, witty women.

Throughout the twentieth century sound recordings have provided various perspectives on the lives of women. Images vary. Sometimes females are portrayed as naive, virginal, submissive creatures in need of male protection, adoration, and direction. At other times women are cast as wily, wicked, lustful beings, guilty of heartbreaking, homewrecking, and all forms of lawless behavior. Gender defies simple analysis. But it is informative as well as entertaining to examine the visions of women in popular song lyrics.

Many writers have excoriated popular songs (along with artists who perform them) for too often imaging women as sex objects and passive playthings. Criticisms of music videos have commonly combined attacks on visual exploitation and lyrical misogyny. Frankly, such commentary is justified. However, there is a much broader perspective that can be investigated. How are women portrayed lyrically throughout their lifetimes of personal and social development? What is a baby girl? How is a preadolescent female educated, both formally and informally? How is sexuality explored? What is a girlfriend, a lover, a wife, a mistress, or a grandmother? How does a woman learn to become a workplace contributor, a mother within a family, a community leader, or a politician? What postfamily roles, postmarriage activities, and postmenopausal relationships should women anticipate or plan for? Few generalizations can be made about the evolution of lyrical images of women in popular songs. One thing is certain, though. The simplistic era that launched "You Must Have Been a Beautiful Baby" and "Paper Doll" has yielded to a much more complex musical period that features greater diversity, more complexity, and dramatically mixed messages about the individual female persona and women's roles in society.

The following pages present a compilation of sixty years of recordings featuring commentaries on images of women. While far from complete, this brief discography explores lyrical images of women as family members, friends, lovers, competitors, enemies, and social deviants. This discography focuses directly on the gender-defining, gender-imaging process inherent in lyrical representations. Songs say things simply, directly, and (because they are played and replayed in various venues) repeatedly. They tattoo minds with images. A significant number of singers have noted that female stereotypes emerge--for either good or bad--and these same performers ponder the impact of such imagery on both women and men in American society. Hopefully, these recorded resources will add light to the ongoing discussion and debate concerning the role of popular music imagery in socialization processes.

Continued from page 1.

"All I Really Want to Do"
(Imperial 66114)
  by Cher (1965)

"Angel of Harlem" (Island 99254)
  by U2 (1988)

"At Seventeen" (Columbia 10154)
  by Janis Ian (1975)

"Bad Girls" (Casablanca 988)
  by Donna Summer (1979)

"Black Pearl" (A&M 1053)
  by Sonny Charles and the
  Checkmates, Ltd. (1969)

"Born a Woman" (MGM 13501)
  by Sandy Posey (1966)

"Brown Eyed Woman" (MGM 13959)
  by Bill Medley (1968)

"Butterfly" (Cameo 105)
  by Charlie Gracie (1957)

"California Girls"
(Warner Brothers 29102)
  by David Lee Roth (1985)

"Candle in the Wind" (MCA 53196)
  by EIton John (1987)

"Candle in the Wind 1997"
(Rocket 31456)
  by Elton John (1997)

"Cinnamon Girl" (Reprise 0911)
  by Neil Young (1970)

"Coal Miner's Daughter"
(Decca 32749)
  by Loretta Lynn (1970)

"Daddy's Little Girl" (Capitol 5825)
by Al Martino (1967)

"Different Drum" (Capitol 2004)
  by Linda Ronstadt and the Stone
  Poneys (1967)

"Fever" (Capitol 3998)
  by Peggy Lee (1958)

"Get a Job" (Ember 109)
  by The Silhouettes (1958)

"The Girl Can't Help It"
(Specialty 591)
  by Little Richard (1957)

"Girls Just Want to Have Fun"
(Portrait 04120)
  by Cyndi Lauper (1983)

"God Blessed Texas"
(Warner Brothers 18385)
  by Little Texas (1993)

"Good Hearted Woman"
(RCA 10529)
  by Waylon and Willie (1976)

"Half-Breed" (MCA 40102)
  by Cher (1973)

"The Happiest Girl in the Whole
U.S.A." (Dot 17409)
  by Donna Fargo (1972)

"Hard Hearted Hannah"
(ABC-Paramount 10164)
  by Ray Charles (1960)

"Harper Valley P.T.A." (Plantation 3)
  by Jeannie C. Riley (1968)

"Honky Tonk Women" (London 910)
  by The Rolling Stones (1969)

"I Am Woman" (Capitol 3350)
  by Helen Reddy (1972)

"I Gotta Woman"
(ABC-Paramount 10649)
  by Ray Charles (1965)

"I'm a Woman" (Reprise 1319)
  by Maria Muldaur (1974)

"I'm Every Woman"
(Warner Brothers 8683)
  by Chaka Khan (1978)

"I'm Livin' in Shame"
(Motown 1139)
  by Diana Ross and the Supremes
(1969)

"Invisible Touch" (Atlantic 89407)
  by Genesis (1986)

"Just Like a Woman"
(Columbia 43792)
  by Bob Dylan (1966)

"Just the Way You Are"
(Columbia 10646)
  by Billy Joel (1977)

"Keep Your Hands to Yourself"
(Elektra 69502)
  by Georgia Satellites (1986)

"Lady" (Liberty 1380)
  by Kenny Rogers (1980)

"Lady Godiva" (Capitol 5740)
  by Peter and Gordon (1966)

"Lady Marmalade" (Epic 50048)
  by LaBelle (1975)

"Like a Virgin" (Sire 29210)
  by Madonna (1984)

"Long Legged Hannah (From Butte,
Montana)" (BNA 62976)
  by Jesse Hunter (1994)

"Lucille" (Specialty 598)
  by Little Richard (1957)

"Lucille" (United Artists 929)
  by Kenny Rogers (1977)

"Maggie May" (Mercury 73224)
  by Rod Stewart (1971)

"Mama Said" (Scepter 1217)
  by The Shirelles (1961)

"Maneater" (RCA 13354)
  by Darryl Hall and John Oates
  (1982)

"Mary Lou" (Roulette 4177)
  by Ronnie Hawkins (1959)

"Material Girl" (Sire 29083)
  by Madonna (1985)

"Mean Woman Blues"
(Monument 824)
  by Roy Orbison (1963)

"Mississippi Queen" (Windfall 532)
  by Mountain (1970)

"Mother-in-Law" (Minit 623)
  by Ernie K-Doe (1961)

"Mother's Little Helper"
(London 902)
  by The Rolling Stones (1966)

"Mustang Sally" (Atlantic 2365)
  by Wilson Pickett (1966)

"My Girl" (Gordy 7038)
  by The Temptations (1965)

"My Heart Belongs to Me"
(Columbia 10555)
  by Barbra Streisand (1977)

"My Woman, My Woman, My Wife"
(Columbia 45091)
  by Marty Robbins (1970)

"Nadine (Is It You?)" (Chess 1883)
  by Chuck Berry (1964)

"Nag" (7 Arts 709)
  by The Halos (1961)

"A Natural Woman (You Make Me
Feel Like)" (Atlantic 2441)
  by Aretha Franklin (1967)

"Nine to Five" (RCA 12133)
by Dolly Parton (1980)

"Oh, Pretty Woman" (Monument 851)
by Roy Orbison (1964)

"Only the Good Die Young"
(Columbia 10750)
  by Billy Joel (1978)

"The Other Woman" (Arista 0669)
  by Ray Parker, Jr. (1982)

"Paper Doll" (Decca 18318)
  by The Mills Brothers (1943)

"The Pill" (MCA 40358)
  by Loretta Lynn (1975)

"Polk Salad Annie" (Monument 1104)
  by Tony Joe White (1969)

"Powerful Stuff" (Elektra 69384)
  by The Fabulous Thunderbirds
(1988)

"P.Y.T. (Pretty Young Thing)"
(Epic 04165)
  by Michael Jackson (1983)

"Respect" (Atlantic 2403)
  by Aretha Franklin (1968)

"Rhumba Girl"
(Warner Brothers 8795)
  by Nicolette Larson (1979)

"Rock My World (Little Country
Girl)" (Arista 12636)
  by Brooks and Dunn (1994)

"Rolene" (Capitol 4765)
  by Moon Martin (1979)

"Ruby, Don't Take Your Love to
Town" (Reprise 0929)
  by Kenny Rogers and the First
  Edition (1969)

"She Works Hard for the Money"
(Mercury 812370)
  by Donna Summer (1983)

"Simply Irresistible"
(EMI-Manhattan 50133)
  by Robert Palmer (1988)

"Single Girl" (MGM 13612)
  by Sandy Posey (1966)

"Society's Child (Baby I've Been
Thinking)" (Verve 5027)
  by Janis Ian (1967)

"Something" (Apple 2654)
  by The Beatles (1969)

"Something to Talk About"
(Capitol 44724)
  by Bonnie Raitt (1991)

"The Son of Hickory Holler's Tramp"
(Columbia 44425)
  by O. C. Smith (1968)

"Suzanne" (Reprise 0615)
  by Noel Harrison (1967)

"Sweet Little Sixteen" (Chess 1683)
  by Chuck Berry (1958)

"A Sweet Old Fashioned Girl"
(Coral 61636)
  by Teresa Brewer (1956)

"Take a Letter Maria" (Arco 6714)
  by R. B. Greaves (1969)

"These Boots Are Made for Walkin'"
(Reprise 0432)
  by Nancy Sinatra (1966)

"Three Times a Lady" (Motown 1443)
  by The Commodores (1978)

"To Be Young, Gifted, and Black"
(RCA 0269)
  by Nina Simone (1969)

"To the Other Woman (I'm the Other
Woman)" (Canyon 18)
  by Doris Duke (1970)

"Treat Her Like a Lady"
(United Artists 50721)
  by The Cornelius Brothers and
  Sister Rose (1971)

"Treat Her Right" (Back Beat 546)
  by Roy Head (1965)

"Under My Thumb" (London LP 476)
  by The Rolling Stones (1966)

"Valley Girl"
(Barking Pumpkin 01972)
  by Frank Zappa (1982)

"The Way You Do the Things You
Do" (Gordy 7028)
  by The Temptations (1964)

"Wedding Bell Blues" (Soul City 779)
  by The 5th Dimension (1969)

"What Have You Done for Me Lately"
(A&M 2812)
  by Janet Jackson (1986)

"When a Man Loves a Woman"
(Columbia 74020)
  by Michael Bolton (1991)

"When Will I Be Loved"
(Capitol 4050)
  by Linda Ronstadt (1975)

"Wild Women Do" (EMI 50275)
  by Natalie Cole (1990)

"Woman Is a Man's Best Friend"
(Swan 4102)
  by Teddy and the Twilights
  (1962)

"Women" (Atlantic 3651)
  by Foreigner (1980)

"Working Girl" (RCA 12282)
  by Dolly Parton (1981)

"You Can Have My Husband"
(Rounder RCD 2110)
  by Irma Thomas (1991)

"You Don't Own Me"
(Mercury 72206)
  by Lesley Gore (1963)

"You Must Have Been a Beautiful
Baby" (Decca 2147)
  by Bing Crosby (1938)

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