The role women have historically played in the evolution of the music industry is fascinating to document, since they were often very criticized for stepping away from tradition western expectations. “Big Mama” Thornton was very influential in her refusal to conform to societal norms, where her confidence as a performer made her very threatening. “…The ways she challenged the primacy of men in a male-dominated arena, marking her as a dangerous woman.” (Mahon, 2011) This is important to note, as women, especially women of color, have been facing an uphill battle to gain representation and respect in the music industry. This is also discussed throughout Women Who Rock, a history archive appreciating the challenges women have faced in the music industry. Their mission statement says they “bring together scholars, musicians, media-makers, performers, artists, and activists to explore the role of women and popular music in the creation of cultural scenes and social justice movements in the Americas and beyond.” (Habel-Pallán, Macklin, and Retman, 2014) Both these readings highlight the lack of recognition that women have gotten throughout the music’s history, when they are responsible for much of the progress to where we are today.
An example of such empowering pleas for recognition can be found in Aretha Franklin’s “Respect,” (https://www.youtube.com/watch?v=6FOUqQt3Kg0) which represents an anthem to the masses strengthening the momentum of the civil rights and feminist movements. Also, “You Don’t Own Me” by Lesley Gore (https://www.youtube.com/watch?v=vNb-8gLcXLs) is another tale of caution for controlling men, and empowerment for neglected women everywhere, inspiring women to represent themselves proudly and confidently.
Works Cited
Habell-Pallán, Michelle, et al. “WOMEN WHO ROCK.” ::: Federal Emergency Relief Administration (FERA) Collection ::: 2014, content.lib.washington.edu/wwrweb/.
Mahon, Maureen. “Listening for Willie Mae ‘Big Mama’ Thornton’s Voice: The Sound of Race and Gender Transgressions in Rock and Roll.” Oral History Review, Oxford University Press, 16 Nov. 2011, muse.jhu.edu/article/457048/.
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