What do Bjork, Alanis Morissette, Joan Osborne, TLC, Annie Lennox,
Dionne Farris and Bonnie Raitt all have in common? Well, not a whole
lot, other than they all are nominees in a variety of categories for this
year's Grammy Awards.
The Grammy Award's 38th year is proving a landmark one for a
cornucopia of female rock, pop, R&B and alternative artists. Many of
the Grammy's most prominent categories--from Best New Artist to Best
Album--not only feature female nominees, but are actually dominated by
them. It's no big secret that women are entering the music industry in
growing numbers, but what this year's GRA reflect is that more of these
artists and bands are coming into music on their own terms. Instead of
assuming the same old tired roles pop novelty, R&B diva or earnest
singer/songwriter--these new performers are forging their own territory.
From Alanis Morissette's ace and bittersweet pop to Bjork's
experimental orchestrations to TLC's tough-kid R&B, they're breaking
away from the paint-by-numbers pop formulas, and producing music
that's often more vital than that of their male peers.
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About the only major Grammy categories not infiltrated by women this
year are Best Male Artist and, oh yeah, Best Polka Album. It's hard to
believe that just a decade ago, the only female artist up for Best Album
was Whitney Houston; and as far as Best New Artist went, the only
female presence was the phenomenal Timbuk 3 (co-led by
guitarist/vocalist/songwriter Barbara K MacDonald). Incidentally, neither
won. It's not as if women nominees have never filled these slots in
numbers though. Maria Muldaur's "Midnight at Oasis" was one of three
songs by female artists up for Record of the Year in 1977, and the
Captain and Tennille's "Love Will Keep Us Together" was one of two in
'74. But for the most part, there were only a handful of credible female
groups or artists, and it was rare that they got the recognition they
deserved.
As more women take control of their own lives, more women enter the pop world as individuals rather than studio-produced sensations be nearly impossible to ignore today's female nominees, and their growing numbers can no longer be considered part of a passing phenomenon. It's simply a microcosm of societal evolution; as more women take control of their own lives, more women enter the pop world as individuals rather than studio-produced sensations. The music we hear from new artists like Morissette or Bjork is a product of the own personalities. As a result, they reflect a lot of women's sentiments in their lyrics, providing voices and feelings that went largly unheard in the past.
The increasing numbers of unique women in pop didn't just happen overnight though. Morissette, Osborne and TLC have gained prominence in the wake of rawer female artists who paved the way--from Liz Phair to Bonnie Raitt to Salt n' Pepa. These women -- who took their cues from early pioneers like Patti Smith, Chrissie Hynde and Janis Joplin--fought hard to break through largely male dominated world of music, and in doing so, changed the course of pop history. There are still areas in the music industry largely devoid of women. Categories such as Best Producer are consistent womanless, and surprisingly, rap has gone backwards in terms of its acceptance of female artists. On the other hand it's encouraging to find women musicians such as White Zombie bassist Sean Yseult in the Best Rock Category, which has traditionally considered a Beavis and Butthead, "girl-free zone."
Not enough has changed since James Brown sang "It's a Man's World"
back in 1966. But judging by this year's Grammy nominees, more people
than ever are picking up on the message Aretha laid down when she took
Otis Redding's soul man plea and put a whole new spin on it. Talented
women are finally getting the R-E-S-P-E-C-T they deserve.
