Mind, Baby Contrary to Popular Belief, Sex

¶ … Mind, Baby

Contrary to popular belief, sex and sexuality has been present in popular music for at least the past 60 years. Since the age of "oldies" -- which in this discourse is defined as the "doo wop" period of the 1950's and the 1960's and which hearken to tunes such as "Blue Moon" and "Angel Baby" -- the lyrics of songs have included elements of sex. However, in much the same way that other forms of art -- particularly those with a pervasive appeal as disseminated through media such as film and television -- have modified their presentation to go from subtle implications to overt displays of a graphic nature, the tendency to portray sex in popular music has gone from what began as implicit references that required the upper reaches of the imagination to fully understand, to blatant references of a carnal nature that oftentimes are noticeably deficient in etiquette (Klein, 2010). The primary difference in these two forms of presentations of this element of songwriting -- that which involves sex -- is that sexual references were merely the means to a totality of spiritual and other intangible qualities during the 50's and 60's, whereas in contemporary music, it is often simply the basis for transitory pleasure.

An examination of the lyrics to the Shirelle's "Will You Love Me Tomorrow," which embodies much of the ideology of the doo wop zeitgeist as well as its code of aesthetics in regards to lyrical etiquette, certainly proves this point. Although the overall focus of this song is a woman's concern for her lover's attention after a night together (in which there is a strong implication that the pair will engage in sexual activity), it still encompasses elements of sexuality with a degree of sophistication and regard that were not only befitting of the times, but which also upheld the (somewhat idealist) overarching point of sex in the first place. The following excerpt from the song demonstrates these qualities. "Tonight you're mine, completely/you give your love, so sweetly." This quotation is an extremely subtle reference to sex, but is a rather obvious reference to what many believe is the true purpose of sex. The fact that the lovers are together for a night is apparent, and the fact that they have engaged in sex can be demonstrated by the fact that the male (it is a woman singing) has managed to "give" his "love" so sweetly. Giving love, of course, hearkens to the concept of making love. However, this quotation also refers to the aspect of consummation that is intrinsic to sex, since it is both metaphorically and literally a representation of two becoming one. The consummation, the totality of feelings and desire and the physical manifestations of that which are sex are all demonstrated in this song that utilizes sex as a vehicle for love.

Quintessentially, sex is a way to get further into the body, the mind, and even the spirit of lovers. It is a means of using the physical to ultimately liberate and connect with the spiritual. So many of the songs that were sung and popularized during the doo wop era were about love. As the preceding quotation alludes to, virtually the only reason that sex was referred to in the music during this era was as a way to access and express such love. It may feel good, but sex without love does not complete its true purpose, which is a consummation between two beings that connects them on planes and levels greater than that of the physical connection. Yet in the music of contemporary times, only the base, physical aspect of sex is referred to, without its higher means of spiritual and mental connotations.

An analysis of the lyrics of "How Do You Want It," which was recorded by 2 Pac in 1996 yet is still indicative of much of the treatment of sex in contemporary rap music, evidences this point. As the title of this song suggests, the tune is explicitly about the physical aspects of sex. In the title, the rapper is asking his lover in what sort of ways or positions does she want to engage in sexual activity, as the following quote demonstrates. "Love the way you activate your hips and push your ass out/Got a brother wanting it so bad I'm 'bout to pass out." This quotation demonstrates the carnal incarnation of "love" that is little more than pure sex for a physical desire -- without any of the intrinsic qualities of consummation, spirituality, or other redeeming features of sex. The imagery in this quotation is highly explicit leaving nothing to the imagination as the references to "hips" and "ass" indicate. Furthermore, what the rapper is "wanting," is little more than an instant physical gratification -- which in many times leaves virtually as soon as the act is over, and merely leaves a void for future gratification. This song and its treatment of sex is graphic, somewhat crass, and highly overt, all of which are qualities discernibly missing from the references to sex in the doo wop era.