Masculinity and punk

It is well known that punk is considered violent, with violent lyrics and riffs, violent dancing and violent passion, there is little that is soft and gentle about punk music. It is also very strongly associated with masculinity. When asked to describe a punk, very few people would describe a woman and probably none would mention the word feminine. As I have mentioned before, even female punkers are expected to behave in many masculine ways. Female singers frequently have to have rough, husky voices to become popular (although certainly not always) and their lyrics make use of masculine attitudes and sometimes genitals.

Though the singer could be talking about her breasts, this is not what is implied later when she refers to her mother telling her "You've got to be polite girl". And this is very insightful. Part of the reason many women shave their hair into a mohawk, dress in torn clothing and wear heavy, smeared makeup is to rebel against the very strict gender expectations this society has. Girls are expected to be polite and do whatever men want. They aren't supposed to spit or growl or tell people to suck their left one, and breaking these expectations can be very satisfying. Breaking these expectations can, in some small way, balance the odds and fight the gender inequality that still exists.

Punk women are still women however, and they often do things to retain their femininity and balance. Some girls dress strictly in lingerie or dress as though they are baby dolls. One woman pulls off a very striking balance between her masculine rage at the way she and other women have been treated and feminine quiet and softness. The contrast between the two seems almost bipolar but it is very fun to listen to and her lyrics are killer commentary and societal expectations of sexually active women.

A cool essay on women in punk can be found here: http://visualvitriol.wordpress.com/women-in-punk-an-essay-punk-aesthetic-uses-to-question-and-reclaim-the-female-gender/

But women aren't the only ones who are expected to be masculine. Men in punk are pictured as almost hyper-masculine: tough, angry, violent and never weak. And this is frequently true, in reputation at least. My personal experience has shown me that there is much more to it than that though. I have found the punk community to be surprisingly supportive when men experience a loss. Men are allowed to dress in women's clothing and hug their friends, sing and dance and kiss each other and no one bats an eye. They're also permitted to show emotion without retaliation in most cases, anger most often, but also love and sadness. This is not often done in public where people other than punks are around but in the actual scene itself it's not unheard of. There are even punk love songs.

And even sillier, a psuedo-satire song that claims to be against the violence often present at shows. This one starts out almost like a campfire sing-along.

By the same band, here is a song that reclaims the word gay, using it as one of it's original meanings. 

So punk may be very masculine at times but there are many instances where this is not the case. Either way, gender norms are frequently challenged, very often with humor. 

More positive songs in Hip Hop

      Over the semester, I have focused on more "negative" views on sex, gender, and/or sexuality in hip-hop music. For this blog, I have focused on the more "positive" views.
      There are many songs that do not just focus on having sex with anyone and everyone. For example, Trey Songz has a new song on the radio called, "Sex Aint Better Than Love". The title alone takes a different view than most of hip-hop. Here are some lyrics to this song...

Sex Ain't Better Than Love
I been outchea in these streets and I done learned that
Sex Ain't Better Than Love
I dun seen it all done done it all so much better when you fall
Sex Ain't Better Than Love
Girl you've been my teacher and I've learned that
Sex Ain't Better Than Love
Sex Ain't, Sex Ain't...Sex Ain't better than love

lyrics from azlyrics.com

     Tupac Shakur also took a more "positive" view on a song. In his song, "Keep Ya Head Up", he talked about how women are being abused, raped and forced to get pregnant, left and abandoned. He says that things will get better and that women should keep their heads up. This song, in a way, gives those women experienceing those things hope for a better future. Here are some lyrics...

And since we all came from a woman
Got our name from a woman and our game from a woman
I wonder why we take from our women
Why we rape our women, do we hate our women?
I think it's time to kill for our women
Time to heal our women, be real to our women
And if we don't we'll have a race of babies
That will hate the ladies, that make the babies
And since a man can't make one
He has no right to tell a woman when and where to create one
So will the real men get up
I know you're fed up ladies, but keep your head up

lyrics from azlyrics.com

By Toni



Gender Stereotypes in Country Music

There is a song that has been around since 2007 that has made every feminist shiver with anger. The song "I'm Still A Guy" by artist Brad Paisley has had enormous success, even hitting #1 on the Billboard "Hot Country Songs" list; but there are some that think it shouldn't be played on any radio station. The lyrics are very straight-forward and hard-hitting, the opening lyrics speak for themselves:

When you see a deer you see Bambi
And I see antlers up on the wall
When you see a lake you think picnic
And I see a large mouth up under that log
You're probably thinking that you're going to change me
In some ways well maybe you might
Scrub me down, dress me up but no matter what
I'm still a guy

When you see a priceless French painting
I see a drunk, naked girl
You think that riding a wild bull sounds crazy
And I'd like to give it a whirl
Well love makes a man do some things he ain't proud of
And in a weak moment I might walk your sissy dog, hold your purse at the mall
But remember, I'm still a guy

Now you see why this song is controversial. I don't intend to sound like I think Brad Paisley is a bad guy, he's just the unfortunate songwriter whose lyrics stuck out the most to me.

Paisley claims that the song is not an attack on women, rather that it's addressing society and how society tries to feminize men. I don't know if I believe that statement or not, but the bottom line is, upon listening to the song I felt offended.

Musical Theatre and Sexuality

Musical Theatre constantly touches upon the idea of sexuality. In this post, I will take you on a "timeline" of musical theatre and how it has explicitly referenced and involved sexuality through its generations.

The first musical ever was called "The Black Crook" (1866).  This show was a book musical (or a musical that has a full story line with songs integrated into the plotline.) One song in particular, "You Naughty, Naughty Men" reflects sexuality and gender roles of the era.

"We've no wish to distress you, we would sooner far caress you,
And when kind we'll say, oh, bless you, oh! you naughty, dear, delightful men."
http://pdmusic.org/1800s/66ynnm.txt

In the 1890's, a new era of musical theatre began. "A Trip to Chinatown" was the first ever musical comedy (featuring songs like "Bowery" and "Push Dem Clouds Away").  Even in the 1890's, sexuality was present in the songs. Here is an except from "Bowery" about the nightlife of New York,

"The Bow'ry, the Bow'ry! They say such things, And they do strange things"

With the arrival of WWI, another generation of musical theatre began. "The Merry Widow" is an operetta centered around the psychological battle of a widow as she finds new love. This piece defines gender stereotypes of the time and reflects feminine sexuality.

Musicals became even more popular in the roaring twenties. A show called "Oklahoma" took the scene. Here the west was represented passionately and comically. "The Surrey With the Fringe on Top" helped to define the conservative sexuality of the time.

With the end of the great depression, an explosion of musicals rocketed around the country. Famous titles like: "Anything Goes" "West Side Story" and "Sweeney Todd" became popular. In "West Side Story", a great deal of emphasis focuses on sexuality.  The central plot revolves around two lovers separated by a family feud and how their hate killed love.

From here, musical theatre was revolutionized by Rodgers and Hammerstien.  Together they wrote, “The King and I”, “South Pacific”, “Carousel” and much more.  These are often still performed in high schools today.  “South Pacific” was particularly radical with it’s musical number “Honey Bun”.  Two characters cross-dressed and danced for a group of military soldiers.

In the 1950’s, musicals dived even deeper into sexuality.  “Gypsy” premiered and expressed the wild spirit of vagabonds and thieves.

With the 1960’s, theatre once again morphed into an even different creation.  Shows like “Hello Dolly”, “Cabaret”, and “Hair” took the scene.  “Hair” represent the hippie movement and it is full of a diversity of sexuality.

In the 1970’s, theatre became even more radical and sexual.  “Jesus Christ Superstar”, “Godspell”, and “The Rocky Horror Show” immerged.

Throughout the 1980’s and 1990’s theatre began to partner with iconic pop artists of the time to produce upbeat feel good shows like “The Lion King”.  Also in this era, “Rent” began to rock throughout America.  “Rent” expresses a very diverse range of sexualities and passions from bisexuality to homosexuality and everything in between.

This brings us to the modern scene.  Theatre is just as radical today (if not more) than it was in its early years.  Shows like “Spring Awakening”, “The Producers” and “Urinetown” are trying to break convention and draw attention to themselves through controversy.

-Written by Michael Herman