New Canon: in the popular music, women are at the center of the story.
A few years ago, my friend Jill Sternheimer and I started talking when we were driving in the streets of New Orleans one night. Both of us are fans of music, and we often participate in music reviews that have become common in this era of historical exploration through contributions and historical playlists. In fact, Jill often organizes such performances outside the center of the forest, where she is the director of public programs. I sometimes write them down and often think about how music history is recorded and modified in the digital age. Why do we want to know that the importance of women is often seen as a trend, rather than a source of lasting influence? We conclude that, in 2017, no one will be surprised: the general history of music is told through the great works of men,
This is a truth has been strengthened in many different ways: on a shelf heavy about jimi hendrix and ana’s books, but only one or two about aretha franklin or Patty Smith sitting nearby; Through a radio playlist, only women are still only once or twice an hour; Even the “classic rock” t-shirts that were sold in the big box stores, with the Rolling Stones’ tongue and Led Zeppelin’s airship, had no Heart pink marker. Since I become a music critic in the 1980 s, my first important work is on the Go – Go and Joan Jett, I often put women as a category of music, often in the homework, I was asked to put women’s music creation as a trend, like something unusual things rather than center. My brave peers, has created about the history of the subject or edit corpus (most of them women, although some are male) tries to correct this assumption, namely rock, soul and hip hop’s most valuable story, image and sound is produced by men. Back in the 1980s, in my college women’s course, I was taught to be skeptical of the universality of the “pseudo-universal” -assuming that the male perspective represented all perspectives. Today, in our Shared social media space and in the conversations that are generated there, countless identities in the gender spectrum flourish. However, in popular culture, especially in music, this pseudo-universal person has rules. Even if our definition changes, writing gender issues is still necessary for me. However, I’m tired of writing music to realize that women are gender-specific, but when music itself is a topic, it almost always brings the focus back to the male. When it comes to this issue, I and several NPR colleagues about this problem, I began to doubt, by focusing on the women do in music aspect, rather than constantly say wow, their presence may be a method of correcting the pattern.
What you’ve seen before is a list that I want to be seen as an intervention. Nearly 50 women who played the role of NPR were edited and voted on the list. It features albums by female artists, including some mixed-sex bands such as Fleetwood Mac and X, which, in our view, depend on the creativity of women as their spark. The album released in 1964, the beatles invaded the United States and began what might be called “album of the classic era”, in 2016, when beyonce with her album “vision” lemonade ushered in a new period. The key is to provide a view of the history of pop music, centered on women’s work. This list does not represent “alternative history”. It represents the history of music, reaching every major trend, social problem, a series of music innovations, and new ways of self-expression that have been running through music for the past 50 years.
Lists have their limitations. In fact, in addition to grocery shopping, the list is a fundamental lie. They reflect unconscious biases and low compromises; They solidify the beliefs that may seem relevant at the moment, but become unintelligible to the next generation. They are also anti-feminist. As Robin Morgan (Robin Morgan) to help determine the selection of the second wave of feminism, you wrote in the 1970 s sister image is strong, “the women’s movement is a non levels of movement, it is a collective and experimental.” In music, the list is the experiment after things alone – listen, then listen together, sharing music and debate, and aware of how the artist’s personal expression may be personal (and political) expression of the audience. A list says that it is not possible for any other list on the same topic to be valid. It forces authority.
Still? Another way to view lists is the beginning of a new conversation. Despite decades of effort by feminist historians, critics, activists and musicians, it still takes a woman’s place in the history of music. Over the past half-century – the list has been largely covered – the number of women in the most mainstream music “best” lists is very small, especially among the top. Rolling stone’s “the 500 greatest albums of all time”, edited in 2003 and updated in 2009, none of the top 20 women were women. The pitchfork’s “people’s league table” has been published, from women’s top 20 recent list to entertainment weekly, time and NME showing similar results. The rock and roll hall of fame has never solved the under-representation of women in this position.
Those lists are egg – laying cock. First of all, do men make more historic music than women, or do men make a set of albums that are institutionalized? Because most of the list goes from sergeant major. Chilli’s lonely hearts club band has nothing to do with horror, to determine the computer, something that Joni Mitchell or Aretha Franklin came up with in the 30th, and defining the great paradigm is still the core of men. This means that the beatles represented modernity rather than Nina simone, while Bob dylan represented the poetics of populism, while Mitchell or franklin were secondary. It puts Nirvana and Pearl Jam at the center of the rock and roll Renaissance of the 1990s and never suggests that Alanis Morrisette or PJ Harvey belong to the same place. It insists that hip-hop’s golden age belongs to rappers such as Biggie and Tupac, not Missy Elliott and Lauryn Hill. This belies the fact that the nation’s largest contemporary influence not Willie Nelson (Willie Nelson) or MEL Haggard (Merle Haggard), or even Garth Brooks (Garth Brooks), but a fairy ni the twain.
Affirmative action provides a possible antidote to the music past and present distortion. (as Rhiannon Giddens puts it, there used to be.) Why not remake those old lists and increase the number of women? The problem is that as soon as the Canon is formed, it gets the same aura. In addition to the simple task of adjusting Numbers, you need to change your point of view in order to dramatically change the problem. If that’s not true, at least one of the countless lists produced on print, television, film documentaries and the web will have a top woman’s album. No. In addition, there are only a few lists that focus on women’s albums.
In setting up a new classic, rotating table contributors maintain a wide range of parameters. We leave behind a recognized rock age classic and a pop song that has been fired by others as a space for fluff. Here are some of the highlights of the music game, with a one-time impact that mostly affects small communities. Some work directly emphasizes the experience of women, and producers try to eliminate gender boundaries. The original list was more than 500 albums, made up of unbiased voters from all participants.
Our voters took part in the popular music culture in a different way, which is one of the reasons why this list, though standard, is very diverse. Some critics talk about music’s taste and legitimacy every day. Others are radio producers or moderators working with musicians on a regular basis and incorporating music into NPR’s coverage. There are also some people who are in the 21st century version of the old fashion DJ, absorbing the new music daily to create a historical extension from popular music and pushing forward its listening experience. Voters range in age from 20 to 60. These women have a very different approach to music, a list that reflects a broad understanding of the classics, but also challenges them.