Gender and Sexism Songs
Countless research studies have proven the damaging consequences stereotypes can have, especially their influence on self-esteem and confidence. Thanks to several recent videos, the issue is getting some much-needed attention. Three national corporations and four musicians released videos that tackle gender stereotypes and bias. Scroll to the bottom for a bonus eighth video. As if the world needed yet another reason to love feminist John Legend. Be forewarned: In this special Title IX video by AAUW, the woman basketball player is flooded with taunts about how she throws and runs and shoots like a girl.
Learn more about the Title IX law that empowers women and girls to fight back against discrimination in sports and schools, and break down the stereotypes that hinder their participation. To become a computer engineer, she had to fight an uphill battle, combating stereotypes about women in math and technology.
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You can fight back by applying for an AAUW Campus Action Project grant, sponsored by Pantene, to launch a program that fights stereotypes and bias on your campus. What can you do to navigate the treacherous waters between social expectation, bias, and doing the right thing for women everywhere? August 15, at 7: This fun T-shirt will show her pride as a sports star as well as her support for Title IX, which […]. You should include the GE commercial about the female scientist who is treated like a celebrity — with babies named after her, dolls looking like her, etc.
At that time we said; " You may find much of what we publish this month offensive. That hopefully is the point. The subject matter is offensive. It is not our intent to hurt anyone or perpetuate prejudice in any way, but we do hope that everyone visiting the site this month feels more than a bit uncomfortable. All art, including music, reflects society. Just because we find it shameful or embarrassing we cannot revise or change history, neither can we conveniently forget about it.
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In this time of longing for the "Good 'ol days" it is important that we recognize that they weren't quite so good for everyone. The music of those times has become an important historical document and serves to remind us of the continuing need for tolerance and the elimination of prejudice, stereotypes and hatred. We warn you, some of the lyrics contained in this essay are distasteful, perhaps some of the worst we have ever seen. Coon songs; just that title alone can cause one to wince in pain at the intolerance and hurtful nature of the phrase.
A genre of comic song, popular from around to the end of World War I, with words in a dialect purporting to be typical of black American speech. The term coon, did not originally appear as a racial slur term for a Black American, though over a short period of time it evolved into that.
In early minstrel songs, the "coon" was reference to a raccoon, whose meat was supposedly preferred by plantation slaves. In many cases, for unknowing composers, the term "coon" became entangled with the 'possum, also thought to be a preferred food source. Apparently, many composers were not very familiar with American wildlife and could not tell the difference.
As a result, "coon" and "possum" were often used in the same context. By the mid 19th century, coon and possum songs were a regular part of the musical scene, most often heard performed in minstrel shows.
Here is an example from , Carve Dat Possum where the author has not used the "coon" word but instead, is using the alternative, yet this is categorized as a coon song. Click on the cover to see the scorch version, click here for the midi However, the style emerged much earlier than As early as , we see depictions of African Americans in songs for comic operas in America.
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About that same time, Charles Dibden produced Yanko Dear in which he featured black slaves as minor characters. In both cases, the music was deliberately simple and included exaggerated dialect lyrics, neither of which had any relationship to true African American style or speech. In , an English stage star, Charles Matthews, came to the US and became enamored with the speech patterns and physical characteristics of American blacks. He began to incorporate skits, mock lectures and songs drawing on his view of black culture and as a result, he really is responsible for the trend in stage impersonation of African Americans during the early 19th century.
In , Thomas Dartmouth Rice introduced the song Jim Crow to his audiences as a part of his impersonation of an old black man. The song became an immediate hit and was widely distributed, Click on the cover to see the scorch version, click here for the midi becoming one of the first large distribution sheet music songs in America. Rice's success spurred other performers to impersonate Blacks and soon, entire troupes of performers did, beginning with the Virginia Minstrels in Soon, the American stage was filled with groups performing in blackface and performing entire shows made up of comic dialogs, skits, dance and songs about Black Americans.
Some of the names of these groups live on today with such names as the Christy Minstrels and the Kentucky Minstrels. I think it wise to state here that the term "Minstrel", is not exclusively a blackface performer. That term has been in use for centuries and according to the Miriam Webster Dictionary is: It is only when minstrel groups began their blackface performances that the term took on its more unsavory connotation in today's lexicon.
Unfortunately, the minstrel show became the most popular and distinctive product of the American entertainment scene and reached a new peak of popularity after the Civil War. Much to our embarrassment now, when the English were introduced to Rice's music and performances by the Virginia Minstrels in , they viewed the music and performances as characteristic American music.
Perhaps the most ironic thing about that is that many of the early minstrel songs, including the lauded Jim Crow , were actually based on the melodic foundations of English folk songs!! After these early beginnings, the Minstrel show settled in as an American Institution and coon songs flourished.
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By , the term was used as a disparagement of Blacks in general and the songs took on a rather ugly tone also. Dere isn't a coon But what am a luminary in A half a quarter moon. A political song from the same year Ef de Party Wins points out the Black's loss of political and social influence at the end of Reconstruction. A flood of songs poured into the popular repertoire from this period on with titles such as The Dandy Coon's Parade, Oh Mr.
Composers capitalized on the fad by adding words typical of coon songs to previously published songs and rags. According to the New Grove Dictionary of American Music, though the ragtime elements of syncopation and harmony were borrowed for the coon song style, it is incorrect to consider them synonymous. We can clearly see fundamental differences in form, style and most of all, mood, that separates the two.
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