Music: Children Of The Revolution: Women in the music industry

Music: Children Of The Revolution: Women in the music industry: "Some of the children of the real revolution are now sadly dead, although in this callow, hollow, plastic age their voices have never sounded..."

Music: Children Of The Revolution: Women in the music industry

Music: Children Of The Revolution: Women in the music industry: "Some of the children of the real revolution are now sadly dead, although in this callow, hollow, plastic age their voices have never sounded..."

Women in the music industry

Some of the children of the real revolution are now sadly dead, although in this callow, hollow, plastic age their voices have never sounded more plangent, their lyrics more craved and ached for and, dare I say, vital than ever before.

 I have just turned off Rihanna's last-but-one track 'S&M' featuring Ester Dean's man-pleasing lyrics 'Cause I may be bad, but I'm perfectly good at it /Sex in the air, I don't care, I love the smell of it /Sticks and stones may break my bones /But chains and whips excite me'


I have turned it off NOT because I am Ms-Disgusted-Of-Chipping-Norton but because I am so very ashamed to be a woman right now. Someone has made a suggestion that Rihanna is helping women take command of the bedroom and, in turn, turning them on to better and hotter sex. I somehow doubt that this is the case. The Jeremy Kyle loving female audience who buy into this masochistic clap-trap are probably still making do with their customory thirty seconds baby-making shag.

One dead child of the revolution is the fabulously quirky ultra talent that was Poly Styrene [3rd July 1951-25th April 2011]. of seminal punk band X-Ray Spex. This flaming hot female who dared to be a size 12, who dared to wear a brace on her teeth, who dared to write lyrics that sent bullets to the listener's heart and once there, the bullets stayed lodged. Hard, nowadays, to comprehend that in their 1977 lyrics there is not a trace of tease in her voice when she remarked that some people seemed to think that girls should be seen but not heard. Not a smidgeon of passivivity when she told such people where they could stick their out-moded sexism. I would argue that Poly did more to aid female sexuality than Rihanna could dream of achieving. Engaging in none of the self-loathing plastic surgery so beloved of 21st slave-women, her self-image made it all OK to be mixed-race [no Beyonce Knowles style hair straightening & blue eye contacts for Poly], made it OK to wear clothes that were to your liking, [as opposed to being dressed in a bargain-basement Victoria Beckham style dress as endorsed by Heat magazine], made it OK to say what is really on your mind. This confidence, this commiunication, this sense of self-liking is key to bedroom frolics, jollies and, more importantly, respect, so don't let anyone attempt to convince you otherwise.

All the more terrifying then, when we fast-forward to what a female from a poor background now selects to do when Lady Luck smiles upon her and she finds herself in front of a microphone. Taking the path of least resistance, diet and diet and diet, smile and smile and smile whilst blowing out any hot-air bubble-gum flavoured lyrics given to you seems to be the best-trod path. Whilst Cheryl Cole was in Girls Aloud, she opted for this unsavoury option. Rather than using her platform as a method of informing and empowering other women, she elected to gurgle subservient lyrics in the GA track 'Biology' 'I've got one Alabama return/That'll take me far away from you/Cause when you take me in your arms I turn to slave but I can't be saved/So I got my cappuccino to go and I'm heading for the hills again'. This is pure nonsense. In short, any old tat as long as it sort of rhymes and so what if it means less than zero. Why did people subscribe to this? Why weren't they asking, no, demanding so very much more from their female artists?


Also it's worth noting that ensconced on this weary old hoss, Cole continued trotting along the same path in her first solo single 'Fight For This Love'.

A beautiful women in the music industry is hardly a new phenomena. Witness the luminous bruised-Monroe looks of Debbie Harry of New York New Wave band Blondie. Why did and do women like this stunning blonde woman as opposed to being jealous and/or threatened by her? Easy anwer. They realise that it's not looks alone that she is bringing to the table. Let us never forget that supurb voice. A  voice capable of growling out insults 'She's so dumb/hah! Rip her to shreads' or soaring to heights so pure that the air starts to thin out around you when you listen to it 'Maria,You've gotta see her/Go insane and out of your mind /Latina/ Ave Maria/A million and one candlelights' Let's not forget that Harry can out-perform most front-men and when she skirts on the subjects of love or sex, she does so with a delicate powder-light touch so at loggerheads with the ex-Playboy Bunny's usual toughie- deliverence that it generally makes listener's lips curve up in a smile. In short, Debbie Harry got irony.


In the final deduction when it comes to Cheryl and Rihanna I feel the lyrics to 'Oh Bondage Up Yours' are very much in order. I await for them to learn the long-overdue, subtle art of showmanship and look forward to them putting aside the faux-horniness and/or faux-victim mentality that will eventually undermine both of their respective careers. 


Look at footage of spectacular Debbie Harry and the late but great Poly Styrene and doff your caps at women who really knew how to empower women.
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