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American culture and music
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“I’ve Got a Woman”: Reinforcing and Rebelling Against Social Norms in Popular Music When the modern listener hears the chorus of Ray Charles’ “I’ve Got a Woman”, the first thing that likely comes to mind is Jamie Foxx’s rendition of it in Kanye West’s “Gold Digger”. However, “Woman” was one of Charles’ first major hits, climbing to the top of the Billboard R&B charts in May 1955 (Whitburn). It has also been covered numerous times, most notably by the Beatles. However, what is most interesting about this influential soul song is its interplay with contemporary expectations of adults in society, and what it perhaps says about Charles’ own place within American society. Musically, “I’ve Got a Woman” is a fast-paced, bouncy blues number, featuring Charles singing with drums, a bass, and a small swing band section backing him up, with a brief instrumental break featuring a saxophone solo. Lyrically, Charles is praising …show more content…
However, in other ways, Charles is expressing a view of love and sexual relationships that is subtly subversive of societal expectations, rebelling against strictures imposed on him by white culture. But firstly, what is Charles saying that is in line with the predominant attitude towards sex and marriage? In the opening chorus, Charles sets the scene; he has a lover who lives across town, who he describes as “good to me”. Immediately, Charles is stating that his woman treats him well, which is well in line with conformist expectations of the time, celebrating women who are unconditionally kind and loving to their husbands (Creekmur). Charles says, “She saves her lovin’ just for me”, which seems to be praising the monogamous nature of their relationship, at least on her end. He even sprinkles in a line about her knowing her place is in the home, just for good
In his most recent album, Kanye West raps, “Now if I fuck this model/ And she just bleached her asshole/ And I get bleach on my T-shirt/ I 'mma feel like an asshole.” He suggests that it is the girl’s fault for getting bleach on his tee shirt, which she only did to make herself more sexually appealing. This misogyny in hip-hop culture is recognized to bring about problems. For instance, the women around these rappers believe they can only do well in life if they submit themselves to the men and allow themselves to be cared for in exchange for physical pleasure. In her essay, “From Fly-Girls to Bitches and Hoes”, Joan Morgan argues that the same rap music that dehumanizes women can be a powerful platform for gender equality if implemented correctly.
In the article “ From Fly to Bitches and Hoes” by Joan Morgan, she often speaks about the positive and negative ideas associated with hip-hop music. Black men display their manhood with full on violence, crime, hidden guilt, and secret escapes through drugs and alcohol. Joan Morgan’s article views the root causes of the advantage of misogyny in rap music lyrics. In the beginning of the incitement her desires shift to focus on from rap culture condemnation to a deeper analysis of the root causes. She shows the hidden causes of unpleasant sexism in rap music and argues that we need to look deeper into understanding misogyny. I agree with Joan Morgan with the stance that black men show their emotions in a different way that is seen a different perspective.
In her article “But What Do You Mean” Deborah Tannen, claims that there is a huge difference in the style of communicating between men and women. Tannen breaks these down into seven different categories; apologies, criticism, thank-yous, fighting, praise, complaints, and jokes. With each of these she compares men to women by explaining the common misconceptions that each of the genders do. The different style of communication can cause some problems at the workplace and even affect the environment. The different styles of communication has been around forever and almost becomes a “ritual”(299). Tannen is effective with mainly women and not men. She is primarily successful with women due to the fact that her tone targets women, also the organization
Music can be traced back into human history to prehistoric eras. To this day archeologists uncover fragments of ancient instruments as well as tablets with carved lyrics buried alongside prominent leaders and highly influential people. This serves as a testament to the importance and power of music, as well as its influence in society. Over its many years of existence, music’s powerful invocation of feelings has allowed it to evolve and serve many purposes, one being inspiring change. American journalist and author Hunter S. Thompson once said, “Music has always been a matter of energy to me, a question of fuel. Sentimental people call it inspiration, but what they really mean is fuel.” This fuel is the very things that powers the influence of Rock ‘n’ Roll on American society, that author Glenn C. Altschuler writes about in his book, “All Shook Up – How Rock ‘n’ Roll Changed America.” Between 1945 and 1965 Rock ‘n’ Roll transformed American society and culture by helping to ease racial integration and launch a sexual revolution while most importantly developing an intergenerational identity.
Using the murder of Dee Ann’s mother as a means to intertwine the lives of the characters together, Steve Yarbrough examines the nature of relationships in “The Rest of Her Life.” The relationships in the story take a turn after Dee Ann’s mother is killed, with characters seeking to act more on their own, creating distance between many relationships throughout the story. Independent lifestyles prevent emotional bonds that hold relationships together from forming, thus preventing the characters from maintaining healthy relationships. The dysfunctional relationship present between Dee Ann and Chuckie in “The Rest of Her Life” is the result of the characters ' desire for self-gratification.
The movie Lady Day: The Many Faces Of Billie Holiday paints an interesting, and thought provoking portrait of one of jazz and blues most charismatic, and influential artists. The incomparable talent of Billie Holiday, both truth and legend are immortalized in this one-hour documentary film. The film follows Holiday, also referred to as “Lady Day” or “Lady”, through the many triumphs and trials of her career, and does it’s very best to separate the facts from fiction. Her autobiography Lady Sings The Blues is used as a rough guide of how she desired her life story to be viewed by her public. Those who knew her, worked with her, and loved her paint a different picture than this popular, and mostly fictional autobiography.
Religion is one point McDowell brings forth in her essay, during the Jazz era she stated that singers such as Bessie Smith, Gertrude Rainey, and Victoria Spivey sung about sexual feelings in their songs. Women during this Jazz era were freer about their sexuality, but due to this freeness, an article called “Negro Womanhood’s Greatest Need” criticized the sexuality of Black women. In this article, the writers criticized Black women of the Jazz era; one part stated “…“speed and disgust” of the Jazz Age which created women “less discreet and less cautious than their sisters in the years gone by”. These “new” women, she continued, rebelling against the laws of God and man” (p.368). Women showing expressing their sexuality is not only an act against God, but also against men.
For over centuries, society had established the societal standard of the women. This societal standard pictured the ideal American woman running the household and taking care of the children while her husband provided for the family. However, between 1770 and 1860, this societal standard began to tear at the seams. Throughout this time period, women began to search for a new ideal of American womanhood by questioning and breaking the barriers society had placed upon them.
Joan Baez, a famous folk singer, sang her most famous song “Oh Freedom” during the civil rights movement. She expressed her want and need for equality and freedom f...
Released in 1997, Buena Vista Social Club immediately became an international success and won a Grammy Award in 1998. Around the world, especially in U.S. where the album was welcomed most heartily, Ry Cooder was considered the hero of Cuban music (Hernandez 65). Being the producer of the album, Cooder was assumed to discover a “lost treasure” in Cuban culture. However, Tanya Kateri Hernandez, in an article about Buena Vista Social Club, revealed that Juan de Marcos Gonzalez, not Cooder, was the person “who masterminded and facilitated the collaboration.” (Hernandez 62). Also in this article, it is noted that Juan de Marcos Gonzalez “implicitly acquiesced to Cooder’s propagation of the colonial myth for the purpose of ensuring the commercial success of the collaboration.” (Hernandez 64). Other musicians in the Buena Vista Social Club ensemble followed Gonzalez’s step, as there was hardly another choice for them.
Each person in this country has been raised as differently as the fingerprints we possess. While we may have little nothings in common with one another, our upbringing and heritage may be quite dissimilar. Hurston felt the deep, narcotic, almost primal tones of jazz music while seated next to a white man in The New World Cabaret (266). The primitive instinct and response to the music went wild in her body, whooping, yelling, and dancing the jungle way (268). When the last tone of the music descended, she “crept back to the veneer we call civilization… and found the white friend sitting motionless in his seat” (268). He did not feel the vibes of the music as she did, but Hurston was not fazed (268). We should not be concerned with the contrasts in eccentricities within our society. Each person has their own way of life and we should not let that impede upon our
Unruly Women: The Politics of Social and Sexual Control in the Old South by Victoria E. Bynum begins by simply questioning the reader; asking who these “unruly women” would have been in the antebellum South, and what they could have possibly done to mark them in this deviant and disorderly light. Whenever you think of Southern Women during this time a vision of lovely refined yet quieted and weak women come to mind. It’s a time where women were inferior to men in almost every aspect. Women were expected to stay at home raising children. Women were expected to remain in the house, in the private world of home and family. White men wanted control over all dependents in his household; including their wife, children, slaves, and servants. Bynum
Throughout early American history, musical repertories have shown traces of how painful and agonizing the experiences that African American’s had dealt with during the Slave era and how painful and tragic the transition was. This a moment in African American history in which developing a new culture was a difficult process, due to the fact that they were previously stripped away from their homeland and were forced to adapt a new way of life. Spirituals were introduced throughout the culture of African American Slaves as a new form of musical expression who had converted to New World
The cultural theory helps expand the knowledge of “hip hop” as an idea and influence on society. Mark Anthony Neal discusses the development of the understanding of hip hop by dissecting the layers and complexities of the culture, “Hip-hop music and culture emerged as a narrative and stylistic distillation of African-American youth sensibilities in the late 1970s,” within What the Music Said (Woldu 18). Urban history is a large, yet vital characteristic throughout the study of hip hop and its progression; Russell Potter shows how critical the representation of black musical expression and the “history of vernacular speech” is for the hip hop community in his book, Spectacular Vernaculars (Woldu 19). As decades pass and the hip hop scene expands, the history of this culture becomes influenced by more historical movements and creations. However, that is not the only historical significance that runs deep within the hip hop culture. The history and influence of the black feminist movement within the hip hop scene became a demanding characteristic in the development of the hip hop culture. As the gender divide became an evident aspect through the hip hop generation, women, especially female rappers,
The first call I made was to a radio station program director who told me, ‘Yes, I know this record, and no, I’m not going to play it.’When I asked why, he said, ‘I think a song about older women with younger men might offend my male listeners. ‘I said, ‘Are you telling me you've played it and received complaints?’