I thought "broad" might have come from the circus, where they had women in the sideshows called "bally broads". But there was a reason why criminality and the circus were often equated in some people's minds...
I just know it was quite common when I was growing up in films and in my own home, but I just thought it was a synonym for women. Still hear it sometimes!
If I could come back as someone else, I’d want it to be as Tina or Etta James, minus the abusive relationships. Soul in abundance. Humanity too. And serious vocal chops.
I'm excited about this series for a number of reasons -- it's a fascinating subject and I'm impressed by your approach to researching it -- but this is really an interesting note to introduce it.
"The egalitarian folk music that had played such a prominent role in the early sixties was being pushed off the stage and into the wings, and the eminently pragmatic and adaptable Bob Dylan went along to get along and caused an uproar by strapping on an electric guitar at the Newport Folk Festival in 1965."
I was just starting a post about a relatively unknown female singer from the 60s, and in my notes I have the comment, "listening to this, you can understand why people were so upset when Dylan went electric." I wasn't sure that I should use that -- it felt like hyperbole, but interesting to see you making a comment along the same lines.
I'm so glad to hear that you're excited by it, Nick.
I wouldn't hold back on surmising in your post, if I were you. Big changes were happening in the mid-60s with the British invasion and folk music being superceded by rock. I remember hearing a lot of folk on the radio that then got supplanted by folk rock, so it really resonates with my experience growing up. But I'm not a historian, so I tend to consult sources who know far more than I do, and they seem to confirm that it wasn't a small change and it did upset people in the folk crowd. I think of Simon and Garfunkle as, literally, a bridge over troubled water as they combined elements of both folk and rock into something both sides could enjoy, and something that parents could like as well.
Thinking about it, I want to bounce a separate idea off of you -- since you're somewhat immersed in the period. In addition to Dylan going electric, I think that Dylan and the Beatles produced a major change in the importance of performers writing their own songs.
Obviously they weren't the first, but there was a strong tradition of superstar performers who weren't songwriters -- Sinatra, Bing Crosby, even Elvis wasn't successful based on his ability as writer. But, by the 70s, there was more of an expectation that bands would writer their own material.
You wouldn't think I'd complain about that, since 70s singer-songwriter is one of my favorite genres of music, but I think there were some negative effects in moving away from the idea of a common cultural heritage of musicals "standards" and creating more of a separation between audience and artist. In the folk revival, there was a real sense songs were shared. That's still true; plenty of people did and still do learn Beatles of Dylan songs and play them on guitar but I see a shift, and I wonder if that also made it harder for women to be part of the scene.
You can point to plenty of women known for their songwriting -- from Joni Mitchell to Taylor Swift -- but I think that became part of the framework for what has been called "rockism" -- https://en.wikipedia.org/wiki/Rockism_and_poptimism
I'm certainly not an expert on this, so you might want to ask Richard Elliott if he has a take. He seems to know a lot about different eras and the evolution of popular music.
A few thoughts. Rock and roll in the 50s had singer-songwriters because they were creating a new genre, e.g. Little Richard and Buddy Holly. But then many were not, like Elvis. From the beginning of the 60s onward you had singer-songwriters in rock and roll ( I would include early 60s AM radio folk music under this umbrella) -- Dylan, the Beach Boys, Beatles, etc -- but pop songs continued to be cranked out by Tin Pan Alley for singers looking for radio hits. The crooners you mention by and large were not songwriters, e.g. Sinatra and Crosby, but they came up in the big band era and in movies, so they were hit-makers and interpreters.
But your question is whether Dylan and the Beatles made it imperative that rock artists write their own stuff. It does seem that in rock you were expected to generate your own material if you wanted cred. Not if you were in pop, folk, soul, etc., but my sense is that that was true in rock.
Another reason that could be the case is because of the inception of FM radio and the rise of the album as opposed to needing to have AM singles. Bands could fill out the album with covers, but they had to have some of their own pieces -- especially with the liner notes pored over by keen audiophiles.
So it wasn't the case that artists were no longer sharing, as people were still doing lots of covers of other artists, and that's always been the case. But I would say that rock artists were less prone to commissioning songs and more prone to writing them themselves. That doesn't seem to be the case for pop artists in every era, who are not expected to write their own tunes, and fans don't care anyway (and don't pore over the liner notes or credits).
I hope that helps, but again, maybe ask Richard to get an informed opinion, as I'm just sharing my limited understanding of how things evolved.
Thank you, I appreciate both the observations and caution about drawing too strong a conclusion from a limited set of examples. I should ask Richard; I don't think of him as a Rock person but his musical knowledge is impressively broad.
Seems like the perfect time to mention the funkiest, most badass woman of all, Ms. Betty Davis! Her brazen confidence and rebellious spirit scared the shit out of every man and woman. For me, she is the definition of "rock & roll." Thankfully, her music is finally receiving its fair dues.
Thanks for this suggestion, Michael. I'll watch the documentary as I didn't find a biography or autobiography, but I may just repost your excellent post about her at the right time in the series.
She's a great addition -- innovative and ahead of her time, and someone who forged a different path in the face of an overly controlling industry averse to any sort of female power.
Excited to see you kicking this off! So much to look forward to. The question of a "male brain in a female body" leads to the tougher question of "what is male or female in the first place?" One term that has been used for the early, hypermasculine swaggering rock was "cock rock", and some commentators have said that Suzi Quatro and Joan Jett are quintessential cock-rockers. Others (myself included) would say rather that women like that have erased the gender distinctions altogether. Ie., hard rock is not inherently male, and its association with maleness was purely a consequence of the exclusion you so rightly focus on in your piece. Obviously a charged issue in today's political climate.
You already registered my support for including Sister Rosetta. I hope Suzi Q is in there--despite being completely ignored by the music establishment, she has sold over 60 million records! I'm not sure if Lzzy Hale made your chronological cut, but she is very accessible, has a lot of interviews out there, and, importantly, is idolized by the younger generation of female rockers (Plush, Liliac, the Warning, and many of the Japanese bands all cite Lzzy as a role model.)
Speaking of the Japanese, I respect your decision to put geographic (and chron) boundaries on your project--especially given your desire to do primary research. Still, I would consider doing one article looking at how the challenges and opportunities for women (including the elephant in the room, which as you point out is the role of beauty) play out in other cultures. I would be happy to collab on that if you are interested.
OK, enough rambling. Great start! And I love that you led with a picture of Tina Turner. Simply the Best!
I do have Suzi Quatro, Joan Jett, and Lzzy Hale on the list. I think you brought Lzzy to my attention.
At some point I may have to address the male/female dichotomy head on. As a cognitive psychologist who also believes in reincarnation, I have a lot of views about this having to do with distinctions and integration between body, mind, and spirit. Not the distinctions that probably most people hold. I've worked with several people who changed biological gender, including one of the earliest to do so in the US, and heard about their experiences. Talking with them the overriding role of culture, and gender expectations within that particular culture (which varies by region/place), becomes dramatically apparent, often in ways they didn't expect and weren't prepared for. Definitions of gender will always be contested, and that happens within cultures and even sub-cultures. It's such a big issue that I'm hesitant to engage with it, especially also given that gender definitions have changed over time. The sixties ain't the 2020s. So we shall see. It's a bit of a minefield, as you note.
I would be delighted to collaborate on an article about how things play out in other cultures. I'd see you as the expert, so when you get a chance, let me know your first thoughts. I'm wondering when women started making a dent in rock in other cultures, how that grew over time, etc., and also, as you say, opportunities and challenges they face and how those are the same and different. But whatever you find of special interest.
Looking forward to discussing more ideas! My perspective on gender issues is more informed by conversations I've had with academic feminists than by psychology, so our sources would be complementary. The feminists of course are quite steeped in Lacan and psychoanalysis but that is a special world unto itself! Ok, more to come!
Hi Ellen! I am so excited about this series! Great start so far in this article. You bring up some fascinating areas to explore and I am looking forward to your insights.
I have two suggestions for women to cover. The first might already be on your list-- Patti Smith. I became obsessed with her after reading Just Kids, her memoir of NYC in the late 60's/early 70's Have you read it? I'm looking forward to seeing her in Chicago in November for the 50th anniversary of the album, Horses. And just this week there was a celebration of her at Carnegie Hall: https://www.nytimes.com/2025/03/27/style/patti-smith-carnegie-hall.html
The other woman fits this description-- "But I’m not coming up trumps with women in production, management, or technical roles for whom there is good source material."-- and that would be May Pang.
I'm so glad you're excited and thanks for those suggestions.
I have read Patti's Just Kids, which I loved, also subscribe to her substack and enjoy following her adventures on there. She's on the list, but May Pang is a great recommendation I'd never thought of. I see there's a documentary about her time with John, but I've recently become obsessed with learning more about him as well as Yoko, so I have quite a few books that talk about their relationship with May. I've added her to the list, so thanks for that (and for expressing your interest in the wonderful Patti).
May Pang was on my podcast ("Rock & Roll Nightmares") -- she'd be a great one to profile. Also Chris O'Dell. (She wrote her memoir, and there's a brand new documentary about her.)
Wow, your substack has so much incredible content, Staci. I found both of those podcasts as well as Pamela des Barres and June Millington, who are both on my list. But I'll have to explore further. So many incredible interviews. Thanks for suggesting Chris O'Dell, now added. Talk about an insider view!
Thanks so much for these suggestions, Bob. I know I have Kathleen Hanna and Siouxie Sioux, and I'll add the rest to my list. Siouxie may not happen because the authorized biography is out of print and used copies cost a fortune, but I'll see if I can find other authoritative sources once we get to her era.
Sounds like an amazing series. I can’t wait to read it. One suggestion: Ace Of Cups was a Haight Ashbury all-female band who wrote and played their own music/instruments. Hendrix was a fan, as well as Jerry Garcia and others. They couldn’t get a record deal and eventually broke up. They reunited and recorded an album of their original music a few years ago. They are all still alive and would probably be happy to chat with you.
Thanks for that suggestion, Thea. I just read their Wikipedia entry and what an intriguing story, not to mention playing in two very different eras. I'll put them on the list.
This sounds like a very ambitious project. You’ve got a diverse list. Immediately following the Wings gig I did a short Japanese Tour with The Runaways. That was the early days for all of us actually. They were “barely legal” as the saying goes, but I wasn’t a whole lot older. I’ll be looking forward to reading your research. I have to admit after reading your introduction, it may be the first time I’ve ever seen Yoko Ono and musician used in the same sentence. 🙂
I have Joan, Lita, and Cherie on the list, as each has written an autobiography. I'm sure you have an NDA or I'd want to know more!
About Yoko, it seems to be her avant-garde music before she met John and while the Beatles were still together that puts people off. But she did contribute a lot of songs to the Double Fantasy album with John that were completely hers, and that album won a Grammy for album of the year. She's put out quite a lot of music over the years and also collaborated with and influenced a lot of musicians. I'm hoping to get a better handle on that when I research and write the post on her because I think many have the impression she didn't do anything beyond that avant-garde stuff and I'm not that well-informed about what she's done myself.
Enjoy your remaining days of relaxation and fun! (Count me envious being here on a gloomy cold day.)
It's not hard to step into a whirlpool of cultural morass if you're a neanderthal like me: if it was a woman who discovered tool use, it was a man who sharpened it into a weapon: if it was a woman who discovered fire, it was a man who brought home meat: if it was a woman who planted the first seed, it was a man who plowed with beasts: if it was a woman who first sang a tune, it was a man who caused her to dance.
Music is an expression of sexuality - "money for nothing and the chicks for free".
For me it's more like - "nothing for money and free from the chicks".
As for gender, I never saw them as anything other than equal in all respects, we just do things differently.
"It's groovy when the young chicks dig ya' man" Sammy Davis Junior.
Quite a lot of guys have said that once they joined a rock band or strapped on a guitar, all of sudden they were catnip for the ladies. So there's definitely something to what you're saying.
But any kind of power or creativity will do that. It's the life force being expressed through something that attracts us, and we tend to identify it with the person rather than with what has come from and through them, and think by getting close to the person we can capture it or have some of it rub off on us.
It doesn't work that way, as you find out when you hang around powerful or creative people and realize that they're just people with a 'gift.' They're not necessarily great to live or work with, as I know from experience. What you want is the gift itself -- the music, the novel, the inspiring speech, etc.
I think we're all stepping into cultural morasses these days. Hard to avoid it with all the schisms in society. I'm sure some will think me a neanderthal too.
I thought "broad" might have come from the circus, where they had women in the sideshows called "bally broads". But there was a reason why criminality and the circus were often equated in some people's minds...
Interesting, didn't know that about bally broads or the circus and criminality connection.
Apparently the term does refer to sexual promiscuity but the exact derivation and meaning of 'broad' is unclear -- https://www.wordorigins.org/big-list-entries/broad
I just know it was quite common when I was growing up in films and in my own home, but I just thought it was a synonym for women. Still hear it sometimes!
If I could come back as someone else, I’d want it to be as Tina or Etta James, minus the abusive relationships. Soul in abundance. Humanity too. And serious vocal chops.
I don't know about Etta, but Tina had a really interesting life. So I hear you! (Not sure who I would come back as. Good question.)
I'm excited about this series for a number of reasons -- it's a fascinating subject and I'm impressed by your approach to researching it -- but this is really an interesting note to introduce it.
"The egalitarian folk music that had played such a prominent role in the early sixties was being pushed off the stage and into the wings, and the eminently pragmatic and adaptable Bob Dylan went along to get along and caused an uproar by strapping on an electric guitar at the Newport Folk Festival in 1965."
I was just starting a post about a relatively unknown female singer from the 60s, and in my notes I have the comment, "listening to this, you can understand why people were so upset when Dylan went electric." I wasn't sure that I should use that -- it felt like hyperbole, but interesting to see you making a comment along the same lines.
I'm so glad to hear that you're excited by it, Nick.
I wouldn't hold back on surmising in your post, if I were you. Big changes were happening in the mid-60s with the British invasion and folk music being superceded by rock. I remember hearing a lot of folk on the radio that then got supplanted by folk rock, so it really resonates with my experience growing up. But I'm not a historian, so I tend to consult sources who know far more than I do, and they seem to confirm that it wasn't a small change and it did upset people in the folk crowd. I think of Simon and Garfunkle as, literally, a bridge over troubled water as they combined elements of both folk and rock into something both sides could enjoy, and something that parents could like as well.
Thinking about it, I want to bounce a separate idea off of you -- since you're somewhat immersed in the period. In addition to Dylan going electric, I think that Dylan and the Beatles produced a major change in the importance of performers writing their own songs.
Obviously they weren't the first, but there was a strong tradition of superstar performers who weren't songwriters -- Sinatra, Bing Crosby, even Elvis wasn't successful based on his ability as writer. But, by the 70s, there was more of an expectation that bands would writer their own material.
You wouldn't think I'd complain about that, since 70s singer-songwriter is one of my favorite genres of music, but I think there were some negative effects in moving away from the idea of a common cultural heritage of musicals "standards" and creating more of a separation between audience and artist. In the folk revival, there was a real sense songs were shared. That's still true; plenty of people did and still do learn Beatles of Dylan songs and play them on guitar but I see a shift, and I wonder if that also made it harder for women to be part of the scene.
You can point to plenty of women known for their songwriting -- from Joni Mitchell to Taylor Swift -- but I think that became part of the framework for what has been called "rockism" -- https://en.wikipedia.org/wiki/Rockism_and_poptimism
I'm certainly not an expert on this, so you might want to ask Richard Elliott if he has a take. He seems to know a lot about different eras and the evolution of popular music.
A few thoughts. Rock and roll in the 50s had singer-songwriters because they were creating a new genre, e.g. Little Richard and Buddy Holly. But then many were not, like Elvis. From the beginning of the 60s onward you had singer-songwriters in rock and roll ( I would include early 60s AM radio folk music under this umbrella) -- Dylan, the Beach Boys, Beatles, etc -- but pop songs continued to be cranked out by Tin Pan Alley for singers looking for radio hits. The crooners you mention by and large were not songwriters, e.g. Sinatra and Crosby, but they came up in the big band era and in movies, so they were hit-makers and interpreters.
But your question is whether Dylan and the Beatles made it imperative that rock artists write their own stuff. It does seem that in rock you were expected to generate your own material if you wanted cred. Not if you were in pop, folk, soul, etc., but my sense is that that was true in rock.
Another reason that could be the case is because of the inception of FM radio and the rise of the album as opposed to needing to have AM singles. Bands could fill out the album with covers, but they had to have some of their own pieces -- especially with the liner notes pored over by keen audiophiles.
So it wasn't the case that artists were no longer sharing, as people were still doing lots of covers of other artists, and that's always been the case. But I would say that rock artists were less prone to commissioning songs and more prone to writing them themselves. That doesn't seem to be the case for pop artists in every era, who are not expected to write their own tunes, and fans don't care anyway (and don't pore over the liner notes or credits).
I hope that helps, but again, maybe ask Richard to get an informed opinion, as I'm just sharing my limited understanding of how things evolved.
Thank you, I appreciate both the observations and caution about drawing too strong a conclusion from a limited set of examples. I should ask Richard; I don't think of him as a Rock person but his musical knowledge is impressively broad.
Seems like the perfect time to mention the funkiest, most badass woman of all, Ms. Betty Davis! Her brazen confidence and rebellious spirit scared the shit out of every man and woman. For me, she is the definition of "rock & roll." Thankfully, her music is finally receiving its fair dues.
https://substack.com/@michaelfell/p-141591290
Thanks for this suggestion, Michael. I'll watch the documentary as I didn't find a biography or autobiography, but I may just repost your excellent post about her at the right time in the series.
She's a great addition -- innovative and ahead of her time, and someone who forged a different path in the face of an overly controlling industry averse to any sort of female power.
Thanks, Ellen. I noticed the video I originally linked is no longer working, so I just fixed it. I look forward to your series!
Incredible funk. I can see why it wasn't allowed on AM radio!
What a brilliant read! Thank you.
Excited to see you kicking this off! So much to look forward to. The question of a "male brain in a female body" leads to the tougher question of "what is male or female in the first place?" One term that has been used for the early, hypermasculine swaggering rock was "cock rock", and some commentators have said that Suzi Quatro and Joan Jett are quintessential cock-rockers. Others (myself included) would say rather that women like that have erased the gender distinctions altogether. Ie., hard rock is not inherently male, and its association with maleness was purely a consequence of the exclusion you so rightly focus on in your piece. Obviously a charged issue in today's political climate.
You already registered my support for including Sister Rosetta. I hope Suzi Q is in there--despite being completely ignored by the music establishment, she has sold over 60 million records! I'm not sure if Lzzy Hale made your chronological cut, but she is very accessible, has a lot of interviews out there, and, importantly, is idolized by the younger generation of female rockers (Plush, Liliac, the Warning, and many of the Japanese bands all cite Lzzy as a role model.)
Speaking of the Japanese, I respect your decision to put geographic (and chron) boundaries on your project--especially given your desire to do primary research. Still, I would consider doing one article looking at how the challenges and opportunities for women (including the elephant in the room, which as you point out is the role of beauty) play out in other cultures. I would be happy to collab on that if you are interested.
OK, enough rambling. Great start! And I love that you led with a picture of Tina Turner. Simply the Best!
I do have Suzi Quatro, Joan Jett, and Lzzy Hale on the list. I think you brought Lzzy to my attention.
At some point I may have to address the male/female dichotomy head on. As a cognitive psychologist who also believes in reincarnation, I have a lot of views about this having to do with distinctions and integration between body, mind, and spirit. Not the distinctions that probably most people hold. I've worked with several people who changed biological gender, including one of the earliest to do so in the US, and heard about their experiences. Talking with them the overriding role of culture, and gender expectations within that particular culture (which varies by region/place), becomes dramatically apparent, often in ways they didn't expect and weren't prepared for. Definitions of gender will always be contested, and that happens within cultures and even sub-cultures. It's such a big issue that I'm hesitant to engage with it, especially also given that gender definitions have changed over time. The sixties ain't the 2020s. So we shall see. It's a bit of a minefield, as you note.
I would be delighted to collaborate on an article about how things play out in other cultures. I'd see you as the expert, so when you get a chance, let me know your first thoughts. I'm wondering when women started making a dent in rock in other cultures, how that grew over time, etc., and also, as you say, opportunities and challenges they face and how those are the same and different. But whatever you find of special interest.
Looking forward to discussing more ideas! My perspective on gender issues is more informed by conversations I've had with academic feminists than by psychology, so our sources would be complementary. The feminists of course are quite steeped in Lacan and psychoanalysis but that is a special world unto itself! Ok, more to come!
Hi Ellen! I am so excited about this series! Great start so far in this article. You bring up some fascinating areas to explore and I am looking forward to your insights.
I have two suggestions for women to cover. The first might already be on your list-- Patti Smith. I became obsessed with her after reading Just Kids, her memoir of NYC in the late 60's/early 70's Have you read it? I'm looking forward to seeing her in Chicago in November for the 50th anniversary of the album, Horses. And just this week there was a celebration of her at Carnegie Hall: https://www.nytimes.com/2025/03/27/style/patti-smith-carnegie-hall.html
The other woman fits this description-- "But I’m not coming up trumps with women in production, management, or technical roles for whom there is good source material."-- and that would be May Pang.
I'm so glad you're excited and thanks for those suggestions.
I have read Patti's Just Kids, which I loved, also subscribe to her substack and enjoy following her adventures on there. She's on the list, but May Pang is a great recommendation I'd never thought of. I see there's a documentary about her time with John, but I've recently become obsessed with learning more about him as well as Yoko, so I have quite a few books that talk about their relationship with May. I've added her to the list, so thanks for that (and for expressing your interest in the wonderful Patti).
May Pang was on my podcast ("Rock & Roll Nightmares") -- she'd be a great one to profile. Also Chris O'Dell. (She wrote her memoir, and there's a brand new documentary about her.)
Wow, your substack has so much incredible content, Staci. I found both of those podcasts as well as Pamela des Barres and June Millington, who are both on my list. But I'll have to explore further. So many incredible interviews. Thanks for suggesting Chris O'Dell, now added. Talk about an insider view!
Thanks so much! I’m loving yours as well!
Looking forward to seeing where this goes.
A couple of ideas.
Dale Krantz, Rossington Collins Band
Kathleen Hanna, Bikini Kill
Siouxsie Sioux, The banshees
Nina Hagen
Doro Pesch, Warlock, Solo career.
Poly Styrene, X-Ray Spec.
Thanks so much for these suggestions, Bob. I know I have Kathleen Hanna and Siouxie Sioux, and I'll add the rest to my list. Siouxie may not happen because the authorized biography is out of print and used copies cost a fortune, but I'll see if I can find other authoritative sources once we get to her era.
Awesome, they rest are not as well known. There are so many great women in the rock, punk, and new wave genres.
Sounds like an amazing series. I can’t wait to read it. One suggestion: Ace Of Cups was a Haight Ashbury all-female band who wrote and played their own music/instruments. Hendrix was a fan, as well as Jerry Garcia and others. They couldn’t get a record deal and eventually broke up. They reunited and recorded an album of their original music a few years ago. They are all still alive and would probably be happy to chat with you.
Thanks for that suggestion, Thea. I just read their Wikipedia entry and what an intriguing story, not to mention playing in two very different eras. I'll put them on the list.
Awesome. Contact Denise Kaufman (co-founder, bassist) and let her know what you’re doing. She’s pretty responsive. Tell her I sent ya!
Thank you so much, Thea! That's remarkably helpful and I appreciate it.
This sounds like a very ambitious project. You’ve got a diverse list. Immediately following the Wings gig I did a short Japanese Tour with The Runaways. That was the early days for all of us actually. They were “barely legal” as the saying goes, but I wasn’t a whole lot older. I’ll be looking forward to reading your research. I have to admit after reading your introduction, it may be the first time I’ve ever seen Yoko Ono and musician used in the same sentence. 🙂
Back to reality on Thursday. 🤿
I have Joan, Lita, and Cherie on the list, as each has written an autobiography. I'm sure you have an NDA or I'd want to know more!
About Yoko, it seems to be her avant-garde music before she met John and while the Beatles were still together that puts people off. But she did contribute a lot of songs to the Double Fantasy album with John that were completely hers, and that album won a Grammy for album of the year. She's put out quite a lot of music over the years and also collaborated with and influenced a lot of musicians. I'm hoping to get a better handle on that when I research and write the post on her because I think many have the impression she didn't do anything beyond that avant-garde stuff and I'm not that well-informed about what she's done myself.
Enjoy your remaining days of relaxation and fun! (Count me envious being here on a gloomy cold day.)
It's not hard to step into a whirlpool of cultural morass if you're a neanderthal like me: if it was a woman who discovered tool use, it was a man who sharpened it into a weapon: if it was a woman who discovered fire, it was a man who brought home meat: if it was a woman who planted the first seed, it was a man who plowed with beasts: if it was a woman who first sang a tune, it was a man who caused her to dance.
Music is an expression of sexuality - "money for nothing and the chicks for free".
For me it's more like - "nothing for money and free from the chicks".
As for gender, I never saw them as anything other than equal in all respects, we just do things differently.
"It's groovy when the young chicks dig ya' man" Sammy Davis Junior.
Big thanks for your hard work!
Quite a lot of guys have said that once they joined a rock band or strapped on a guitar, all of sudden they were catnip for the ladies. So there's definitely something to what you're saying.
But any kind of power or creativity will do that. It's the life force being expressed through something that attracts us, and we tend to identify it with the person rather than with what has come from and through them, and think by getting close to the person we can capture it or have some of it rub off on us.
It doesn't work that way, as you find out when you hang around powerful or creative people and realize that they're just people with a 'gift.' They're not necessarily great to live or work with, as I know from experience. What you want is the gift itself -- the music, the novel, the inspiring speech, etc.
I think we're all stepping into cultural morasses these days. Hard to avoid it with all the schisms in society. I'm sure some will think me a neanderthal too.
Session musician Carol Kaye has a fascinating story - the only female member of The Wrecking Crew.
Yes, great addition! I was just reading about her as an anomaly. Thanks for suggesting including her.