Rock Essay

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[21] One of Rock's most significant prospects in creating that kind of identity owes to the recent insurgence (beginning primarily in the 1990s) of ecofeminist singer-songwriters. That insurgence, of course, owes to a long line of female artists, many of whom have delivered fervent feminist messages.[10] Even Madonna's reversal of sexual dominance (which Brittany Spears and other youth have further commercialized) defies the kind of sexual stereotyping, if not discrimination that typify traditional values as well as the themes regarding sexual relations of many or most male Rockers. Women, far more often than not, have been regarded in rock and roll as objects to be lured, possessed, and manipulated. That is, one of the last holds of patriarchal consciousness that has plagued the industry and art form is gradually disintegrating: women are not only breaking the business barriers, they are dismantling the demystification and objectification that has dominated the majority of romantic themes from Elvis to rap. Obviously, many women have had momentous careers in Rock.[11] However, the rising number of female artists and their propensity for integrating alternative, socially provocative themes has given new life to the medium and the revolution that it helped instigate. As Pielke submits, "It is no exaggeration to say that the success or failure of the revolution will depend largely on the support given to it by the women's movement, and the clues will be found in the role of women in rock and roll" (1988, 194). That role has become so prevalent that ecofeminist rock has not only become a legitimate genre, it may be Rock's most spiritually significant development.[12] [22] More than ever, female Rock artists are conscious of their revolutionary role. In the tradition of concerts for Bangladesh, MUSE, No Nukes, Farm Aid, Band Aid, Live Aid, and Tibetan Freedom,

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