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Sarah Borkowski 1

Annotative Bibliography

Adams, Terri M., and Douglas B. Fuller. "The Words have Changed But the Ideology Remains
the Same: Misogynistic Lyrics in Rap Music." Journal of Black Studies 36.6 (2006):
938-957. JSTOR. Web. 9 Mar. 2014. This article outlines misogyny against the African
American woman, and compares the same misogyny to that seen in rap music. The
authors make note that not only do women get objectified by their cultures, especially in
music, but the African American women had a particularly tough battle -- Civil Rights
and gender equality. This pertains to my research as I am going to use this as a contrast
to women oppressed by the music they participate in, and music that just generically
excludes women.

Bessett, Danielle. ""Don't Step on My Groove!": Gender and the Social Experience of Rock."
Symbolic Interaction 29.1 (2006): 49-62. JSTOR. Web. 10 Mar. 2014. Bessett's article
consists of data collected from numerous interviews with people who enjoy and
frequently listen to selected female artists. The article explains each persons reaction to
music -- many critiquing the women's voices physically and the ability to connect with
these women. I plan to use this information to understand and explain the already
present perception of women in music as explained by real examples from consumers of
music.
Blee, Kathleen M., and Ann R. Tickamyer. "Racial Differences in Men's Attitudes About
Women's Gender Roles." Journal of Marriage and Family 57 (1995): 21-30. JSTOR.
Web. 10 Mar. 2014. The article sets out to understand and evaluate different races
perceptions of traditional roles of women. The study finds that domestication of women
to the home-family role is generically seen amongst middle class white males, and is not
homogenous to men in general. This information is very interesting to me understanding
where the men who derogate women get their original perceptions from. Understanding
the origin of discrimination against women from taking the lead in a musical act can be
traced back to this article in my opinion.
"Chvrches' Lauren Mayberry: 'I will not accept online misogyny'." theguardian.com. Guardian
News and Media, 30 Sept. 2013. Web. 9 Mar. 2014.
<http://www.theguardian.com/music/musicblog/2013/sep/30/chvrches-lauren-mayberry-
online-misogyny>. This article is by Lauren Mayberry, the lead female singer of the
band Chvrches. Mayberry, an educated women and outspoken feminist, recounts the
numerous occasions where men specifically berate her via the internet for being a
woman. This pertains to my proposal as a first hand account of a modern female in a pop
music role, as a front woman and now "popular" artist. Her frustration must be shared
with other women, too.
Sarah Borkowski 1

Davies, Helen. "All rock and roll is homosocial: the representation of women in the British rock
music press." Popular Music Oct. 2001: 301-319. JSTOR. Web. 14 Mar. 2010. Davies
begins on the presumption that all music fans are male, and those writing about said
music are male as well. The article explains that women are inherently ignored when in
important musician roles, and are also ignored as fans. I plan on using this article as a
source of questioning for why women are treated so poorly in the music industry.
Hall, Elaine, and Marnie Salupo Rodriguez. "The Myth of Postfeminism." Gender & Society
17.6 (2003): 878-902. JSTOR. Web. 10 Mar. 2014. The article speaks about the decline
in feminism beginning in the 1990s. The claims the women speak of is that feminism has
"become irrelevant". Younger women are now ignoring feminism because it is "taken
for granted" since previous generations have already paved the way for equality. I will
use this information to determine if there really is a gender inequality within female
musicians, if women themselves are generically blase about equality.
O'Meara, Caroline. "The Raincoats: Breaking down Punk Rock's Masculinities." Popular Music
22.3 (2003): 299-313. JSTOR. Web. 9 Mar. 2014. O'Meara explores whether or not
music is inherently "male or female" via the punk-rock group The Raincoats. Articles
argue that the sub-rock genre of music played by the group could be seen as women
playing in a male space, and at the same time others argue for the removal of biology
from music. This article pertains to my research as it explains how women ride the fine
line between trying to be feminists as frontmen and the general masculinity of music.
Rosenblum, Paula. "You've Come the Long Way, Baby...A Responsive Commentary." National
Art Education Association 22.1 (1980): 65-66. JSTOR. Web. 10 Mar. 2014.
Rosenblum's article is actually a response to an article entitled "You've Come the Long
Way, Baby...". Rosenblum argues that while the conversation of masculinity and
femininity in the arts is prevalent and there are many discussions around it, there is no
real action to course correct the fallacies of this ideology. I plan to use this information
to further explore why women are talking about change but failing to act.
Schmitz, Marlene, and Carol Edelson. "national music festival." Off Our Backs July 1975: 1, 18-
20, 25. JSTOR. Web. 10 Mar. 2014. This article is a first hand account of a music
festival held for women and women's rights at a college in Illinois. Although the article
dates back to the 1970s, there are many points to be made, as the authors chronicle a
weekend filled with women's activities for vocal work, learning to express themselves,
and the celebration of those who have conquered this feat. I am planning on using this
info to support a "solution" -- things that have worked in the music industry to put
women's voices in the forefront admits adversity from the media in general.
Scott, Britain, and Christiane Harrassowitz. "Beyond Beethoven and the Boyz: Women's Music
in Relation to History and Culture." Music Educators Journal 90.4 (2004): 50-56.
JSTOR. Web. 14 Mar. 2009. This article speaks about the different women of music, all
the way from classical music to modern pop music. The authors articulate that women
Sarah Borkowski 1

were not necessarily uninvolved with music throughout the years, just that we identify
with female pop musicians more than classical composers. This pertains to my paper as I
will use the sources and women spoken about to detail some issues found within each
discourse of music amongst women.

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