In a recent instagram Between Two Books (a book club run by fans of Florence + the Machine) announced their participation in Elle Magazine UK's Elle Feminism campaign--- a promotion for their 'feminism issue' featuring Carey Mulligan of the upcoming film Suffragette. A discussion quickly arose in the comments, with followers declaring that #FlowsForFeminism "needs to be a thing."
A photo posted by The Flo +the Machine Book Club (@betweentwobooks) on
I am 100% behind #FlowsForFeminism. Whether or not feminism is a conscious, central part of the project and work of Florence and Florence + the Machine, I do count Florence as one of the contemporary figures who have influenced my evolution as a feminist and a person. Namely, she introduced to me the idea that women can be loud if they want.
Florence + the Machine's music is full of big sounds. Florence's voice is infamous for being particularly distinctive--- big and full, declarative, "witchy," full of octave jumps, shrieks, howls, and endless, drawn-out notes. Layers of choirs and drums build the dramatic songs. All together the sounds are noisy, loud, declarative, full--- there is no hiding them, and there is no hiding from them.
Women are so often expected to be seen and not heard, to speak only when spoken to, to hold their tongues, to let things go, to suffer in silence. If they must make themselves heard and visible, they should do it in a way that pleases others, in which they are cute, sexy, pretty, or attractive. Listening to Florence I realized that things could be different.
I recently had the opportunity to finally watch Beyond the Lights (Thanks Netflix!). I was excited to watch another film starring Gugu Mbatha-Raw (from Belle) and also Minnie Driver (who rocks), and by a female writer-director (Gina Prince-Bythewood), but I sadly missed it in theatres.
In brief: Beyond the Lights follows the struggles of a young pop star, Noni, on the verge of superstardom. The film opens as she is heading towards her chance at making it big, but as just one young woman against the "intimate psychic violence of racism and sexism" (as A.O. Scott describes it so well) that the music industry inflicts upon her, Noni finds herself standing on a balcony considering suicide. It is only through the intervention of a young police officer that Noni decides to try to live.
The film at its simplest is a love story between Noni and Kaz (the police officer)--- and this story is frequently rather contrived and fantastical. A.O. Scott describes it as silly in an affectionate way, but also argues that the fantasy of Noni and Kaz's relationship is part of the central project and purpose of the film. (Read his review for more.) However, it is important to note that while Kaz sparks Noni's move towards freedom and wholeness, as Minnie Driver explains in an interview: "Kaz saves her physically, but Noni saves herself."
Putting the romantic storyline aside what I found most moving, terrifying, powerful about the film was it's perspective on the music industry (the film arguably focuses more on the hip-hop/R&B industry in which Noni seems to operate, but I'm sure the criticism can apply to other genres as well). First, the film forces us to witness the overpowering, in-your-face objectification that female artists are subjected to through the music videos Noni has recently released and the photoshoots she endures. By contrasting this with the first impression we get of Noni (a talented little girl, sensitive, vulnerable and a beautiful soul with a moving voice, who loves singing and wants to make her mother proud) we get to really understand just how reductive, humiliating, sad, and violent these conditions are. These forces are so powerful in their obliteration of the artist's self and disrespectful of their talents, it is abundantly clear how Noni is so easily chewed up and destroyed by the industry that at the same time it promises to give her everything, strips her of any dignity, safety, or support.
I've wanted to write a post about popular music for a while, but the content eluded me. At one point I wanted to write about alternative conceptions of female beauty in music, but could only think of Queen's Fat Bottomed Girls and Jim Croce's Roller Derby Queen. Both songs are awesome, but not really enough to write a whole post about.
Then there was Jason Derulo's irresistible but horrid-when-you-actually-think-about-it Talk Dirty. Oh, and let's not forget Robin Thicke's Blurred Lines.
Most recently, as I despaired over the battered woman vibe in Ariana Grande's One Last Time, two new songs on the pop hits station (or whatever you call what Ryan Seacrest is on) blew my mind.
OMI - Cheerleader
Andy Grammer - Honey I'm Good
Given how tuned into popular culture I am, I'm probably the last person around to have found these songs. Nevertheless, I think they are deceptively revolutionary. With catchy, fun music, both songs deliver messages we don't often hear on the radio.
How often have we heard the equivalent of "Baby baby [insert phrase to indicate interest in sex]" or "baby baby I'm so in love with you", but actually this song is about me? Instead of these overused but still too common themes, both songs say "Thanks but no thanks, I already have an amazing person in my life." The singers (both male) are saying, it's not about me, its about my amazing partner. Sitting in my car, I couldn't believe it as these songs came across the radio.
And the music videos! Couples of all shapes, sizes, ages, locations, relationship types, and relationship lengths are demonstrating their pride and joy at being together! Maybe there is such a thing as progress.
Just wanted to share this Gem/Froot from a female and feminist rockstar! Some lines have really sparked debate about what feminism is, but I feel all Marina is saying that women can be whatever the heck they want to be!
"Can't Pin Me Down"
Marina and the Diamonds
https://www.youtube.com/watch?v=Wsi2xvbTwQw
You can paint me any color
And I can be your clown
But you ain't got my number
No, you can't pin me down
Yeah, you can't pin me down
Yeah, you can't pin me down
Now I got your back up
What do you not like
Do you think I'm stuck-up
'Cause I'm always picking fights
You might think I'm one thing, but I am another
You can't call my bluff
Time to back off, motherfucker
Do you really want me to write a feminist anthem
I'm happy cooking dinner in the kitchen for my husband
Yeah, yeah
I'm coming off my high of seeing Sleater-Kinney completely blow away Terminal 5 in NYC last weekend and thinking a lot about this article I read earlier this week about the lack of female musicians booked for festivals in the UK. Definitely read it, even though it's about UK festivals it completely carries over to festivals in the United States and is also very telling of the music business overall. It's worth noting how the line-up images look when they only include acts that include a female musician in the band.
When was the last time a band led by a female (or even including a female musician) headlined a major music festival? Obviously there may be exceptions but I have found them to be very rare.
As a lover of music, I am beyond frustrated that others actually believe that female musicians are not as talented as their male counterparts. Obviously music preferences is all based on individual tastes but there is no argument to be had for talent.
Buzzfeed has posted a few articles regarding Feminism in 2014. I came across this article, and as someone who is always listening to music, I was surprised to have never heard of a good majority of these. Either I live under a rock, these songs are not really that famous, or maybe their "feminist message" is not ringing loud and clear. Let's take a look (BuzzFeed annotation, followed by mine in red)
1. Beyoncé and Nicki Minaj, “Flawless (Remix)” 15M+ views
Beyoncé’s feminist call to arms is even fiercer with a feature from Nicki Minaj. The two women take turns explaining all the ways they stay flawless in the face of constant gossip and hate. You can say what you want, Nicki and Bey know they’re the shit and they want everyone feel the same.
Girl-power lyric: “And you can say what you want / I’m the shit (what you want I’m the shit) / I’m the shit, I’m the shit, I’m the shit / I want everyone to feel like this.”
My take: So this is the iconic song with Beyoncé standing proud as the definition of Feminism flashes behind her. I love that. Awesome. Not much room for discrepancy about what she is trying to say there. I love this as an example of two powerful ladies (minority ladies at that) proving their success and using it to send a message. A++++
However, I am totally confused by this genre. I don't know what they are singing about for half the song:
I'm with some flawless bitches because they be mobbin' pretty'
Cause niggas love bad bitches that be on they grizzly
Throw that ass back I be on my frisbee
Princess cut diamonds on my Disney
Rhyming on point, but I am totally lost. However, the chorus is pretty clear: I'm flawless. You're flawless. Women are flawless, let's get it done. I can get behind that.
I could write pages and pages of adoring commentary about Janelle Monae and what a role model she is for women, minorities, musicians, artists, etc. Instead, I thought I would post this video and let her speak for herself:
If you don't know this woman you should. And boy, can she dance.
