A week or so ago, Alanis Morissette showed up at a Taylor Swift concert to sing her breakout hit, “You Oughta Know.” This prompted Taylor Swift fans to ask, “who the hell was that?”, which prompted Amanda Marcotte at Slate to answer, “Alanis sucked, you’re better off for not knowing.” Marcotte explains:
Alanis Morissette was a singer who, in the mid-1990s, capitalized on a small but growing trend of “angry woman” rock acts, such as L7 and Hole, and made an absolute killing, selling 33 million copies of her album Jagged Little Pill worldwide. But while her predecessors wrote songs protesting sexual harassment and rape, Morissette’s big hit protested guys who break up with you.
Although Marcotte compares Morissette to other “angry women” in the mid-1990s, I think that a better comparison is mid-’90s rock music in general. (I’ll also set aside the direct line from “You Oughta Know” to Taylor Swift’s catalog of songs aimed at people who have wronged her, which suggests that Swift’s fans are familiar with this form of protest with or without knowledge of Morissette.) The ’90s were, for better or worse, a particularly whiny time. From Pearl Jam’s “Black” to less-remembered songs like Stabbing Westward’s “What Do I Have to Do?” lots of men were singing about unrequited love. Hell, Weezer’s Pinkerton, with songs like “Pink Triangle” and “Across the Sea” helped launch an entire genre of music made by whiny men.
In this context, it seems unfair to deny Morissette the ability to whine about a failed relationship just because some of her less popular female peers sang about more serious topics. “Jagged Little Pill” is no “Little Earthquakes” or “Not a Pretty Girl,” but it wasn’t intended to be. That it sold many more copies than all of these other other albums by “angry women” put together speaks to its broader relatability, regardless of its misuse of the word “Ironic.” Marcotte seems to think that the world would have been better off if Morissette had simply said, “boys will be boys” and moved on with her life, though I bet that Taylor Swift and Carrie Underwood disagree.
Whatever you think of “Jagged Little Pill” or Alanis Morissette’s music in general, Marcotte’s criticism seems to be rooted in the relative dearth of female-fronted rock bands, whether in the ’90s or today. As Shonda Rhimes has noted, when there is a lack of diversity in a particular medium, the depictions of those in underrepresented groups are expected to meet a higher standard. A lot of white men in the ’90s could whine because white men made nearly all rock music and, between them, covered the entire range of emotions and topics. If anything, the presence of L7, Hole, Tori Amos, and Ani DiFranco in the ’90s, with their music about serious issues, made more room for Alanis Morissette to talk about things that were less serious, or serious in different ways. To expect every female musician to be all things to all people indicates that there aren’t nearly enough female musicians.
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