Women in Rock

Call them the "Mothers of Blues," the "Singers of Gospel," the "Teen Angels," or the "Sisters of Soul." Label them "cowgirls," "disco queens," "acid dreams," or "perveyors of punk." But don't call them the backup because they've stolen center stage. Today you will hear the voice of a woman over the radio, and whether she's a "diva" or a "siren", she's rockin' the charts.

"Women are ruling the roost," said Joel Whitburn, the Billboard chart master, in a recent interview with the Rolling Stone. "Women are the big names...Just try to name five top male vocalists who have come along in the past ten years." The Rolling Stone magazine has put out 773 issues since 1967, and decided to dedicate the 30 year issue to the "Women of Rock." A few vocal artists believe that such attention "genderizes" music, which is an art that is universal. "I don't think of them (women vocalists) as different than anyone else." explained senior John Kesting. "Females help you to relate more to their problems through their singing and you may learn something, as opposed to men. Women sing about men and give an insight on how women feel. Men need to hear that sometimes." said Kesting. Singer Sheryl Crow consented to an interview with the Rolling Stone, but also agrees with the genderization. "As long as this women-in-rock movement is treated as a novelty, we're still looking at it as something that's not here to stay," she said. Mike Schaefer, a teacher at W.F. West, gave his insight on the issue. "I think Americans like to catagorize and label things. Whether that's good or bad depends on your perspective." He went on to explain, "I think it (genderization) can be good, in that, it focuses on issues that are important to women, such as relationships; the mistreatment of women is often emphasized in the music, and also the demand for equality. The negative is, by giving labels, things are more easily dismissed by those who are opposed to those viewpoints."

Nonetheless, major publications are continuing to recognize this female feat. "Not since the glory days of Motown in the late Ô60's have so many female voices been at the top of the pop charts, forcing one-time giants like R.E.M., U2, and Aerosmith to sag far below them," noted the New York Times. "GALAPALOOZA!", shrieked the cover of Time magazine in reference to Lilith Fair, the summer's all-female tour. Many agree that if Lilith Fair is a result of the "women-in-rock" novelty, then the genderization of music is worth being temporarily glorified. Lilith Fair was an idea born in the mind of singer, Sarah McLachlin. Sixty-one female singers/songwriters performed, including artists such as Cassandra Wilson, Tracy Chapman, Fiona Apple, Paula Cole, Jewel, and McLachlin herself. It all began in George, Washington at the Gorge Ampetheater, then continued on to 29 more cities in the U.S. and Canada during summer Ô97. Lilith is also believed, by critics, to beat the Lollapalooza tour at the box office.

With this decade came the notable change for females in the music industry. Women are topping the charts and noticably shaping the face of music. But as writer, Gerri Hirshey stated, "Women have been at the heart of rock and roll all along. They were wailing loudest at rock's beginningÑin its blues and gospel prehistory. At times, they've sung stalwart background or had their sounds and their looks arranged by the whims and marketing plans of men. And at other momentsÑlike nowÑthey've held forth in the boldest of spotlights. They've been worshipped and objectified, overdubbed and underpaid. Like their male counterparts, they can be deeply passionate or chillingly calculated. But they have never-ever-been quiet."

In years to come, will women continue to share the top ten list with the great male artists? Have these female vocalists set a new standard for music that will remain? Only the Billboard will show...