By Daphne Antillon

Recently, a slew of songs supposedly celebrating women’s independence have topped music charts. Songs ranging from Neyo’s “Miss Independent” to Webbie’s “Independent” praise women who are financially secure and who have established lives that exist apart from their men. On the one hand, several goals of feminism have infiltrated even the most resistant sectors of society – mainstream hip-hop music. Women are being admired for their achievements, and their accomplishments are seen as attractive rather than intimidating or unlady-like. The fact that women are being discussed in terms of something other than raw sexual appeal is itself something to celebrate. Plus, these songs demonstrate that many men no longer feel the overbearing need to take care of women as if they were incompetent. Of course all things mainstream have their downfall and these songs are no exception.

                What we have here is yet another example of watered-down feminism that has slithered its way into pop culture, and during its journey it has shed many of the essential principles that had made it so powerful. Artists are merely capitalizing upon the trend of “pro-womanism” that people often mistake for feminism because it admires women’s actions in some superficial way. Let’s see exactly what this “independent” woman is supposed to be like, shall we? Well first of all, her appearance must be absolutely flawless. Both Neyo and Webbie clearly indicate that these women have manicures and pedicures. In Neyo’s music video these women don exquisite outfits in the office, topped off with high heels for their comfort and hair perfectly in place. Over and over again Neyo reminds us that this woman is “like a boss” and “is made for a boss” but sadly it is never mentioned that she is the boss. I guess her qualifications only get her “boss’ girlfriend” status and nothing more. 

                Then we go over to Webbie’s song and we find out that this type of woman seems ready for sex at all times. Many of the characteristics the song describes are stereotypes that have been attributed to women for generations. We are continually reminded that all “she want is that dick”; she cooks, cleans, shops everyday and apparently “neva smells like onion rings.” Perhaps that last phrase should clue all listeners in to the fact that this song was never meant to be taken seriously anyway. But if young girls play these songs on repeat for months, something is bound to get absorbed. In adulthood, women find themselves unable to live up to all the qualifications that constitute the “superwoman” façade that has emerged in recent decades. She must be the perfect housewife, perfect mother with 2.5 children, and perfect career-woman. Women should unlearn society’s definition of success if they are ever to feel satisfied with their accomplishments.

So according to the top radio hits an independent woman is highly sexual, physically appealing, does her chores and does not need any of her man’s money. Well this sounds more like just another male fantasy that few women can satisfy. I’m not letting female singers off the hook either. Songs like Kelly Clarkson’s “Miss Independent” equate autonomy with cold arrogance, and there are surely plenty of other songs with similar messages.

That some feminist-like principles are being incorporated into mainstream music hints at the prospect that people are slowly accepting powerful qualities in women and that such acceptance is feasible and within reach. Unfortunately, recent songs have completely missed the meaning of independence. The point of independence is that a woman should be able to define how she lives her life on her own terms. It has little to do with shallow traits like income level, appearance, sexual prowess, or cleaning skills. Hopefully song lyrics are the last place we’ll look toward for hints on how to become an independent woman.