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Sarah Borkowski
Dr. Griffin
English 1102-097
4 April 2014
Those Were The Days
Among strikingly loud guitars, microphones, and crowds, the ability to not be heard in a
concert setting reigns unfathomable. Music inherently weaves its way the society, culture, and
education of those exposed form very young ages through the years of a life. Regrettably, voices
still remain unheard, especially of those who belong to the feminist community of music. On the
surface, these women would appear to command respect and dignity, but oftentimes the culture
around women in power actually adversely punishes these women into not letting their whole
voice be heard. From socioeconomic upbringing, to subtleties in the texts that outline the mood
of these female careers, the antifeminist undertone sprawling throughout the music industry is
truly a poison to those who simply just want to be heard.
The first step to admitting there is a problem is actually admitting the issue in the first
place, right? Many women at this day and age amidst a digital storm still fail to recognize that
feminism is an issue. Who is the desired audience of female frustration? Will the outcome be
worth the time and effort? Thinking back to times where action was necessary abortion rights,
womens suffrage, etc. there was a need for women to speak up because they simply had
something to say about injustice. There is in our present day no need to become part of the
actual group who fights for equality, because there is seemingly no immediate benefit.
Typically, women who do not group up in these times of hardship are lumped into what Hall and
Rodriguez call pockets of antifeminism (Hall, Rodriguez, 882). The pockets these ladies
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refer to are chunks of the female population did not experience suffrage, or the fight for respect
in the workplace. Then, feminism was more of a necessity than a cause for uprising. More
women who were removed from this generation were oftentimes against female movement
because the need to react was not apparent. Women are shied away from feminist mentality for
the negative media representation of feminists as unattractive, unfeminine, and lesbiansthey
fear it distances them from men (Hall, Rodriguez, 884). Media perception of women bears no
resemblance to the equality deserved by the women being judged by this same media. There is
an unattainable image thusly created for women. And those who do not conform may suffer
tremendously.
Taking a dive into a sphere where women are seemingly encouraged to speak their minds
and be a prevalent force, albeit tough, the brave women who form musical groups and tour the
countries face the same issues as women everywhere. Where the true nature of antifeminism in
the music world rears its ugly head can be seen in traditional male genres, such as punk rock.
More specifically, these traditionally male genres ostracize women by a fundamental principle
that is unavoidable biology. To no surprise, biologically women and men differ; thus, a
comparison of their difference leaks over into how women express themselves through music.
Before understanding the plight of punk rocks women, critics already have a predetermined
notion of what female music should sound like fundamentally soft or non-
hierarchal(OMeara, 302). Before the women of punk rock are even heard, they are compared
to mental catalogues of what female music should be pop music, or somewhat dainty and
fragile. Looking specifically to The Raincoats, a UK based all-female punk band, they were able
to find a voice despite rocks male-dominated and misogynist culture. The Raincoats carved a
subspace of the male dominated rock culture to get their opinions out. These ladies used punks
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ideology of opposition as the basisYet they refused to use their gender as a starting off point
for punks politics of shock (OMeara, 304). Stripping away this inherent gender from music,
these women just felt the movement as men had already done.The ideology of opposition
expresses an idea of nonconformity, although this principle contradicts what the traditionally
male sphere was doing to these women oppressing them and reducing them to just women.
Music was the vessel for these women who strongly advocated womens rights. Their identity
was not one of women trying to play in a male space, but of genuine concern and the right
vehicle punk to do the job.
The media, very interestingly, also reacted to the no-nonsense attitude of the Raincoats
appearance and musical message. OMeara speaks of how publicity photos rarely focused on
their whole bodiesthe Raincoats often interacted with each other[creating] a feeling of
community around the band, rather than one of stardom (OMeara, 305). Since the Raincoats
attempted to prove their individuality away from a typical view of how women should dress and
act, the media adjusted accordingly. Almost shying away from showing the true form of these
ladies, the media did not allow to see the Raincoats unique style as beautiful and feminine in its
own right. These women preached a tale of no-frills and equality, in comparison to many modern
media outlets. Take into consideration an event such as the Grammy Awards. For days preceding
the event, news anchors and media aficionados attempt to guess what each celebrity will wear,
who will attend alongside, and the like. In these photos, the body of the women is the focus. The
Raincoats understood there was more to be said than physical appearance, and their community
of punk rock needed to support this portrayal of strong, musical women with a message
(OMeara). By committing to an image in music where gender role is removed form the art itself,
the Raincoats and women in general can push back this outrageous, unattainable image of
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women as the softer sex. Allowing women to look like women, regardless of garb, will help chip
away at the walls of antifeminism.
Not only is the punk rock world facing such blatant disregard for women in music, but
other genres as well subjugate positive self image for women. Rap music, specifically gangsta
rap, is no stranger to the treatment of women in the community and behind the performances.
Differently from the punk community, the actual content of a lot of gansta rap [reduces women]
to mere objects objects that are only good for sex and abuse and are ultimately a burden to
men (Adams and Fuller, 940). Although the women themselves hopefully do not spread such
hate and sexism, the fact the community they belong to supports such misogyny speaks volumes
about the issue. Predominantly in the African American communities of the US, but no limited
to, the cultural attitude towards the women of rap stems from a capitalists patriarchal system
based on the principles of White supremacyracism, and sexism (Adams and Fuller, 942).
Seen with the Raincoats and the feminists attitude of the womens rights movement, the
lamentation for forward action in the rap community stems from the cultural burden placed on
African Americans, and the upbringing by parents who experienced such degradation of
character. Men in this community are engrained with images of a need to feel superiority, and
that women are inherently subhumans, who willingly perform degrading acts (Adams and
Fuller, 950). As a women in this sphere, such comments dissuade the individual fromt akin a
stand and pursuing such a genre as rap, not particularly at the fault of those who discriminate,
more often than not from the society form which they are bred. The need for removal of such
hate from a subculture of popular music such as rap will again lead women closer to the respect
they deserve as a representation of half of the population.
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Key to understanding this society being referenced by all genres of music, the focus
must be taken away from the community for a moment and placed onto those who are consumers
of such products. Underlying perceptions of womens gender roles make informal decisions
about their ability to physically perform on the same level as men whether this means not
having skill to play an instrument, command a crowd, and the like. Across all races and
socioeconomic backgrounds, determinations that women are the primary figures for most
childrensuggests that mothers will exert a significant influence on future attitudes of their
children (Blee and Tickamyer, 23). Noticing there is no gender added, just that most children
will formulate opinions on properness of actions based on parenting. If a womans mother
deemed particular interest in the womens rights movements of the mid-20th century, that same
woman may be more apt to speaking up and speaking out. Similarly, if a mans mother adhered
closely to the role of a traditional housewife, he may wish the same for his future with women.
In this same case, quite interestingly, African American men are more inclined to be favorable of
hard-working women, where White men seem to be more conservative on the idea mostly
analyzed as being a difference in where the two groups grew up and under what circumstances
(Blee and Tickamyer). This research may lead to suggestions that the success of women in the
music world can be directly correlated to the views of women as a child progresses to adulthood.
Thinking to the Raincoats and punk rock music, although these women face injustice, other
women typically support their plight to gain a bit of notoriety for feminists behavior. However,
these women are not taken as seriously as their male counterparts in the same genre of music.
In rap music, women who are largely objectified by the music are not necessarily discussed as
being outrightly discouraged from participating in the genre. This sort of adverse affect on
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gender role perception and participation ay have more to do with the fans themselves of the
genre than gender alone, by allowing men to objectify and not taken women more seriously.
After taking the preconceived notion by the fans of the genre, and coupling this with
group mentality, the effects can be devastating. Specifically turning back to rock music, men and
women in this particular discourse seem to form biased opinions of music based on the gender of
the lead performer. When integrated into the discourse, the music press assumes that all its
readers are male (Davies, 301), not accounting for how women perceive the same music men
may listen to. This dangerous assumption aims to dissuade women from entering a career of
music performance; essentially, women are blatantly told they will not be taken seriously as
artists, by critics and fans. Women are considered in music to be a perpetual novelly, hater
than carving an auspicious place int he respect of artists (Davies, 302). Davies also mentions that
women in music are not considered musicians, rather just women. Again, the biology of the
female form is taken into consideration and the term musician holds a masculinity proving the
daunting task ahead to remove gender from an unnecessary place. Once the stigma lifts, women
will may still be treated as just that women rate than performers with something to give
back to their communities.
Apparently not each and every word a women is taken seriously when performed; yet,
fans are able to expressly identify with those women whose message is particularly emotional
again, a biologically female response. Men and women alike admit that musical lyrics and
meaning are not necessarily thought about in a social setting the key to realizing the true
nature of the music is observed while alone. While men subconsciously distanced themselves
from lyrical content that specifically represented women performers gendered lives offstage,
they revere the women speaking about their issues as good role models for women (Bessett 57-
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58). Men are inherently acknowledging that here are issues within the feminist community and
music, while at the same time excluding it form being an important factor to their personal
enrichment. However, men fail to see that they can learn just as many lessons from these
passionate women as women themselves can. This mutual exclusion is poisonous, especially ion
musical discourses of male dominance (like punk rock) where these men could potentially serve
as vessels for the propulsion of the womans plight.
When women do decide to speak up on the issue, an important analysis to consider is the
language women chose to represent themselves and the misogyny they face by the culture at
large. Internet communication allows female performers and fans to connect much more easily
than ever before. The sexually aggressive comments against women in music, such as pop
rocker Lauren Mayberry expresses, are seeded form a long root of bias and distaste for women in
the limelight. These comments of sexual degradation are viewed on YouTube videos, blog
comments, Facebook comments, etc. and are categorized as banter. The musings, however,
have urged people like Mayberry to reject an acceptance of the status quo, namely the
acceptance of anti-female reactions of fans of female led bands (Chvrches Lauren Mayberry).
Interesting to the discourse, looking specifically at Mayberrys syntax, she seems to rant on the
issue rather than including herself as a proponent of its success. Mayberry chooses to use phrases
such as in my position, referring to her position as a woman in the music industry only once.
She does, however, refer to her plight as a music group, mentioning the band and us and
we much more frequently. Her message is clear and concise misogyny in must must cease
to exists, and sexism in general must go with it (Chvrches Lauren Mayberry). Based on
Mayberrys discomfort with accepting the issue as her own, this feat is going to be difficult for
anyone in her position. She does not directly address the feminist issue or prove a concrete
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solution throughout the entire article. With the enlisted help of men who proliferate the music
that women are creating, women may feel more empowered to let their poignant voice ring truth
to the problems ahead.
Another interesting case where language plays a vital role in womens own degradation
of their public image in feminism can be observed in an interview with Kathleen Hanna, a
member of the Riot Grrl movement band Bikini Kill (and more presently the group Le Tigre).
Hanna, in an interview, speaks of the negative media representation of women. She claims Im
not really interested in creating positive images of women (Hanna and Klein, 7). Interestingly
enough, she herself does not claim a need or necessity to form a positive image of women.
Rather, Hanna professes she [doesnt] believe that, okay, there are all these really sexist
representation of women in the media and theyre really negative and therefore Im going to
create positive onesIm going to create other ones, and I cant tell you if theyre positive or
negative because I dont know (Hanna and Klein, 7). Instead of trying to be a role model and a
positive influence, the neutrality of Hanna just trying to do whats right for society speaks
volumes. She is not concerned with the perception of her actions as actions for a cause but
more of ignoring the feminist and right thing to do by correcting the wrong silently. Just as
Mayberry argued for a removal of the sexism from the culture, Hanna believes by ignoring the
stigma and emulating strong females will thusly create an end to the misogyny.
After reviewing the femininity of music versus the general masculine sphere it inhabits,
the key to reversing the bias may lie within those who fuel the outlet in the first place the big
whigs in power. Generalized to the arts as a whole, the reason for purveying music as a career
stems from gain. The end result of choosing to perform is for a profit of some sort. The operators
of the music industry deny that womens rights have any profitability for the company as a whole
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or for an individual (Rosenblum, 66). Thusly, womens degradation in music, albeit horrendous,
is not detrimental to the thriving of nature of the business as a whole. Again, even in a business
mentality, women are seen as women and not again as performers where the
performers are the true source of income for these corporations. Rosenblum so tastefully
chooses that these businesses [have] turned art into a commodity, rather than just that an
actual art form. At the end of the day, womens plights are not marketable and are difficult to
capitalize on. Just as Mayberry spewed her heartfelt disdain via the internet blog, there would be
no way for the industry to capture and more importantly capitalize on her energy and efforts. As
long as consumers accept this as fact, and disregard the powerful voices of these women as
unprofitable, the media will continue along the same path and not allow introspective analysis of
the true problem.
Impossible to ignore, the culture in which a modern human lives shapes the lives of the
same inhabitant. Our culture continuing along a path of misogyny and distrust of women will
only proliferate the issues at large. Feminism is now, and will continue to be, a pressing issue in
our daily regiments of musical enjoyment. Instead of ignoring the cries of women in the media,
to truly solve the issue at bay, the community must make a conscious effort to course correct.
The positive and equal treatment of women must start at the home from a young age, and those
who are not brought up in the same spheres must mutually agree that women hold a viable future
to the success of our cultures progressiveness. Evident from multiple examples across different
disciplines of music, the creative nature of women must not be pushed aside and seen as
feminist and cute, but rather a serious issue that is paramount to the success of a nation and
world as a whole. The media will continue to play an important role in our lives as our interest in
the digital sphere increases. By listening to the women who already have spoken up and given
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their best efforts, harnessing this power and control will undeniably create a better life and
equality for generations to come.












Works Cited
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.
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.
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.
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"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>.
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.
Hall, Elaine, and Marnie Salupo Rodriguez. "The Myth of Postfeminism." Gender & Society
17.6 (2003): 878-902. JSTOR. Web. 10 Mar. 2014.
Hanna, Kathleen, and Melissa Klein. "RIOT GRRRLS." Off Our Backs 23.2 (1993): 6-12. Print.
O'Meara, Caroline. "The Raincoats: Breaking down Punk Rock's Masculinities." Popular Music
22.3 (2003): 299-313. JSTOR. Web. 9 Mar. 2014.
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.