By Sheila Whiteley
Women and well known Music explores the altering position of ladies musicians and the ways that their songs resonate in pop culture. Sheila Whiteley starts via analyzing the counter-culture's reactionary attitudes to girls throughout the lyrics of The Beatles and The Rolling Stones. She explores the ways that artists like Joplin and Joni Mitchell faced problems with sexuality and freedom, redefining women's participation within the undefined, and assesses the non-public fee in their achievements. She considers how stars resembling Annie Lennox, Madonna and k.d. lang have faced problems with gender stereotyping and sexuality, via pop video clips for 'Justify My Love' and 'Sweet desires (Are made up of This)', and appears on the enduring value of the singer-songwriter via artists comparable to Tracey Chapman. finally, she assesses the contribution of latest artists together with Tori Amos, P.J. Harvey and Courtney Love, and asks even if the Spice women are only a 'cartoon feminist pop group' or in the event that they supply optimistic position versions for teenage ladies.
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Extra resources for Women and Popular Music: Sexuality, Identity and Subjectivity
The use of a familiar melodic contour, juxtaposed with the exotic timbres of the celesta sound in the opening organ melody, the filtered vocal delivery, the surrealistic lyrics, are evocative of a good trip. As such, the song elicits a sense of confidence. The Beatles have enjoyed hallucinogenic experience, they know the effects of LSD and can musically guide the initiate through to a new and heightened sense of awareness. The foregrounding of the psychedelic imagery ('tangerine trees', 'marmalade skies') is thus strongly supported by the musical coding to evoke a spatial dimension5 comparable to that of a hallucinogenic trip, where heightened awareness causes the ordinary to take on new colours and dimensions.
4 Musically, the gentle beat works towards a slowing down of the listener's own pulse rate, while the gradual shifting harmonies in the chromatic descent in the bass line suggest a relaxation into a comfortable and languorous 'dream' state. The melody line of the verse is trancelike, the repetitive phrases revolving around the third degree of the scale. For the listener, the effect is both reflective and reassuring as the gentle melodic contours respond to the dactylic metre of the words. 'For No One', 'And I Love Her', and 'Yesterday' were also structured around rising and falling phrases and short melodies and, as such, 'Lucy' evokes a feeling of reassurance.
In common with many late Victorian paintings, there is an implied sense of voyeurism. 'She tripped naked through the woods, roamed carelessly among the bushes, and grew like a white-breasted human waterlily among the flora of the sea'14 – or, in the words of the Rolling Stones, 'She swims to the side, the sun sees her dried ... ' Similar to Louis Eilshemius' wellknown painting of a cluster of women afloat in The Afternoon Wind (1899), the eroticised and naked body invites the man to take charge.