A “demonic musical mantra.” This was how a friend recently described the position of some popular music for large portions of America’s youth.
We were discussing women and their role in the world of music. In spite of a very real presence in music throughout history, music history books have, until very recently, ignored women composers and performers. If they haven’t been ignored, women in the world of classical music have been treated with tokenism.
From the Middle Ages all the way up until the late 1500s, Hildegard of Bingen and the Comtessa de Dia are the only two women whose music is known to survive. And of course, the low profile is merely reflective of women in society at large in those long-ago days. A prime reason for this is that education, and the advancement that education can provide, was not offered equally to women and men.
By the late 16th and early 17th centuries, more women’s voices are heard. The music of Maddalena Casulana, Francesca Caccini and Barbara Strozzi survives. As we move into the 18th and 19th century, many more women in music are known. Clara Schumann, wife of the more familiar Franz, and Fanny Mendelssohn Hensel, sister of the better known Felix Mendelssohn are among the most famous. These composers’ music holds its own when compared to similar works by the men of their time.
It is most amazing that these women were able to accomplish all they did in spite of the fact that, like most women in the western world, they had to constantly deal with difficult restrictions on their behavior and activities. Restrictions included travelling only in the company of a man, focusing most of their attention and energy on their home and family. They were to be their husband’s faithful and constant caregiver, as well as a mirror of his every opinion. Essentially, a woman’s horizons and accomplishments were limited to the home. To vary from the norm could lead to the destruction of a woman’s reputation, and sometimes her family’s reputation. Even up until the late 20th century, women in the world of classical music still faced the stereotyping, the exclusionary practices, the sexism, not to mention the racism, that was prevalent in earlier centuries.
Still, regardless of their difficulties, women in the world of classical music did not fit the description of “demonic.”
When we turn to popular music, women have definitely had a much greater voice, but again one can’t really describe it as being demonic. From the early 20th century on, blues greats such as Memphis Minnie, Ma Rainy, Bessie Smith and others set the stage for later performers such as Etta James, Billie Holiday, Lena Horne, Peggy Lee and too many others to mention. Talented women who were dedicated, hard-working, devoted, sometimes troubled, they still can’t really be called demonic.
Rock, Pop, and Indie music also have their female greats, as does Christian music. Women are well represented in Country music, as well as in Folk and its close cousin, Protest music. In most of these genres, women performers are constantly faced with the decision of whether or not to use or exploit their sexuality as a means of gaining attention. The jury is still out on whether women’s’ hyper sexualized performances speak to women’s strength, power and control or pander to the male (i.e., pornographic) gaze as filtered through the media and the music industry, as Sut Jhally’s Dreamworlds would have us understand.
Many issues dealing with women and popular music have been, and are still, problematic. But demonic? I couldn’t see it, except in one genre—Hip-Hop. My companion smiled at my understanding, and at my agreement. And rather than women causing this musical mantra, it is in their exploitation that the damage happens. It is in the misogynistic expressions of Hip-Hop music that the term “demonic musical mantra” begins to make sense.
Sadly for women, all women, misogyny is a part of mainstream American culture, whether acknowledged or not. And as we read in an article by Ayanna, Hip-Hop expresses the ideas of mainstream American culture. These ideas that have “now been internalized and embedded into the psyches of American people, especially people of color, over the past number of years” (Ayanna, 1).
The jury is not out on the wrongness of continually describing women or girls as ho’s, bitches and sluts, mantra like. However, there is no consensus on how to stop the misogyny. Some young friends suggested the following possibilities:
- “Show how sexist, misogynistic values are not correct. Every effort has to be made to teach girls, and boys, how to differentiate between what is right and what is wrong, especially as regards what they see in the media.”
Education is the key. Education can come from a teacher, a preacher or pastor, a relative. A good role model is useful too. Positive role models for boys and girls may be difficult to find within the world of Hip-Hop itself, as the bands with the more positive messages get less air time. Sex sells. Misogyny must too.
- “Boycott the music labels that sell objectionable stuff. Tell your friends. Spread the word.”
A boycott can be a powerful tool, but only if it is widespread. Wikipedia tells us that “most organized consumer boycotts today are focused on long-term change of buying habits,” which can only be successfully initiated and maintained through consumer commitment. Social networking sites could be a big help in spreading the news of a boycott of objectionable, exploitive music. Regardless, this will be a difficult thing to accomplish, because the outcry against misogyny is minuscule and the music industry is mighty.
- “Empower young women (and men). Don’t let them think that the lyrics are true or that they are the only truth. Social networking sites should promote knowing what you are dancing to. . . . getting everyone to talk about the lyrics will help young girls learn to recognize what they are hearing and what affect they have.”
So many girls just tune out the lyrics, ignore them, and just start dancing to the beat. The negativity expressed in the lyrics needs to be talked about so that girls can’t easily make this “disconnect” between what is being said and the sexy, seductive rhythm that accompanies it.
- It is critical to stop women from taking on the roles expressed in the lyrics by showing women in intellectual roles or other positions of empowerment. Show women that they can defy the stereotypes expressed in Hip-Hop music’s lyrics.
- Blog about women’s negative image in Rap and Hip-Hop—this will get more people involved.
The more people are aware of the negative effects on young girls and women caused by the exploitation of Hip-Hop music, and where the roots of that exploitation lie, the more discussion can be started in mainstream America. The sooner that happens, the sooner the exploitation of women can begin to be reduced in Hip-Hop culture.
After centuries of inequality, women can now pursue the same goals as men. It is ironic that though so much has changed, in Hip-Hop culture and elsewhere, that change is ignored, demeaned or undervalued. I look forward to the day when Ayanna or one of her girlfriends can write an article about the new trend of women’s empowerment in Hip-Hop culture instead of their exploitation. That will be the day when the demonic musical mantra will be laid to rest, with a new and positive mantra taking shape in the minds, hearts, and the dance music, of the youth of America.
Works Cited
Ayanna, “The Exploitation of Women in Hip-hop Culture.” http://www.mysistahs.org/features/hiphop.htm
“Hip-Hop and Misogyny Discussion.”
http://www.amplifyyourvoice.org/u/vanessaaishacoleman/2009/6/6/Hip-Hop-and-Misogyny
Sut Jhally, Dreamworlds 3: Desire, Sex and Power in Music Video. Media Education Foundation, 2007.
Wikipedia, “Boycott.” http://en.wikipedia.org/wiki/Boycott
