The Merriam-Webster dictionary defines “womanhood” as “the state of being a woman.” In attempting to define this abstract concept, the dictionary strips away the utterly personal and ever-changing nature of the word. No one definition of womanhood exists; only a collection of individual experiences that mold together to create a kaleidoscopic view of the splendor, agony and triumph encompassed in this state of being. Female experiences include companionship and camaraderie, admiration and acceptance, frustration and fatigue.
To celebrate Women’s History Month, listen to the following five albums that speak to these diverse experiences, challenge traditional gender narratives and relish in the complicated beauty of womanhood.
‘Born to Die’ by Lana Del Rey (2012)
In her major-label debut album, “Born to Die,” Lana Del Rey confronts the elusive American dream and its subsequent effect on women’s behavior. Staring with red-rimmed eyes at the promise of material happiness, Lana Del Rey ponders the depth of this fabricated joy. The baroque pop album combines elements of rock and pop with classical string instruments to intoxicate the listener. “Born to Die” is laden with glitz, glamor, sex and drugs — distractions that draw the listener away from the album’s underlying message. Held close to Lana Del Rey’s chest like playing cards, the harsh realities of this lifestyle manifest themselves.
In “Carmen,” Lana Del Rey represents how sexual or romantic desires often substitute genuine care regarding a woman’s well-being. “The boys, the girls, they all like Carmen,” but neither group acknowledges the starlet’s struggles. In “This Is What Makes Us Girls,” Lana Del Rey criticizes the competitive nature of women and their tendency to prioritize romance over platonic relationships. “Don’t cry about it, don’t cry about it,” she sings. Lana Del Rey’s nonchalance toward the subject suggests the singer does not envision a future in which women value their platonic relationships as much as romantic ones.
Despite being her first major album, “Born to Die” is Lana Del Rey’s declaration of defeat. Men and women equally reflect societal evils such as greed, ignorance and self-absorption in the album. Nevertheless, Lana Del Rey’s acceptance of the role women play in perpetuating this behavior is an assertion of female agency.
‘Puberty 2’ by Mitski (2016)
On this indie-rock record, Mitski battles with the chronic cloud of her depression, expressing her desire for brighter, happier times. On “Happy,” Mitski personifies happiness as a wandering man, one that enters and exits her life as he pleases. “So he laid me down, and I felt happy come inside of me,” she sings. The line reflects Mitski’s lyrical ability to create sensory reactions from the listener, often sensual, visceral and all-encompassing. By conflating happiness with the devotion of a lover, Mitski represents not only the gruesome realities of depression but also the degrading ways through which women are invited to relish in their pain. “Happy” does not only speak to the female experience with mental health, but it also sheds light on the experiences of women in vulnerable states.
“Puberty 2” likewise explores the distinct struggles of women of color. As a Japanese American, Mitski is no stranger to the racism, ostracization and sexualization directed at this community of women.
In “Your Best American Girl,” Mitski confronts her alienation in a relationship with an “all-American boy” and her desire to transform herself into the perfect — presumably white — lover and her subsequent shame. “Your mother wouldn’t approve of how my mother raised me,” Mitski sings, further emphasizing their cultural gap. “Puberty 2” is an exploration of womanhood in regard to both cultural and gender identity.
‘Just Because I’m a Woman’ by Dolly Parton (1968)
In her second studio album, “Just Because I’m a Woman,” Dolly Parton battles with reckless romance, overwhelming heartbreak and damaging female stereotypes. The singer’s smooth voice trembles like that of a songbird throughout the 14-track album.
On the majority of the record, Parton confronts a cheating ex-lover and expresses her complicated emotions toward her old companion. The album moves through the many stages of grief — anger, denial, bargaining, depression and acceptance — in a nonlinear sequence. “I’ll be hurt many times / Before the right one I find,” Parton sings on “Love and Learn,” acknowledging that she will kiss plenty of frogs before finding her lifelong lover.
The title track, “Just Because I’m a Woman,” tackles the double standard between men and women regarding sexual liberation. “My mistakes are no worse than yours / Just because I’m a woman,” Parton asserts. With her powerful but soft vocals, Parton serves her frustration to the listener upon a silver platter, easily digestible and non-threatening. Nevertheless, with her lush femininity, Parton speaks boldly and unapologetically as she declares, “I was just a victim of / A man that lets me down.”
‘Preacher’s Daughter’ by Ethel Cain (2022)
Ethel Cain, the pseudonym for singer-songwriter Hayden Anhedönia, comes in guns-blazing with her debut album, “Preacher’s Daughter.” The album explores motifs of religious resentment, the deglorification of the Southern United States and the disenchantment of modern youth experiences. The standout single, “American Teenager,” serves as a thesis for the album, introducing her anger in a pop-rock banger. “Say what you want, but say it like you mean it / With your fists for once,” she threatens.
Anhedönia envisions Ethel Cain as a character and originally pictured the album as a screenplay. “Preacher’s Daughter” chronicles her journey of self-discovery in the face of the unachievable American dream. The album likewise explores Anhedönia’s experience as a trangender woman while negotiating her own identity as well as her relationship with family and religion.
Ethel Cain emphasizes the double standard between pious men and pious women in addition to the physical and emotional abuse women in toxic relationships endure. “Says he’s in love with my body / that’s why he’s fucking it up,” she narrates on “Gibson Girl.” On “Preacher’s Daughter,” Ethel Cain speaks to the experience of dissatisfied U.S. teenagers but particularly focuses on the overlooked methods of emotional and physical abuse women face daily.
‘Cuz I Love You’ by Lizzo (2019)
While womanhood is by no means simple, a uniquely beautiful joy emerges when the silly, sassy and sensual elements of this state are celebrated. On “Cuz I Love You,” a musical fusion of rap, R&B and pop, Lizzo encapsulates the infectious energy of unabashed femininity. The singer toasts to the power of all women. On “Like a Girl,” Lizzo encourages her sisters to shatter the glass ceiling. “Woke up feelin’ like I just might run for president / Even if there ain’t no precedent,” she sings.
What is so refreshing about “Cuz I Love You” is Lizzo’s unapologetic confidence and glorification of her femininity. For Lizzo, being feminine is an admission of power, not weakness. She celebrates her body, her sexuality and her intellect. “True love finally happens when you by yourself,” she suggests on “Soulmate.” This album is the perfect background music for a girls’ night, a dance party or even a solo hype session. Something wonderful for every woman to find lay within “Cuz I Love You,” however cheesy it may sound. On her most recent album, “Special” (2022), Lizzo reaffirms her commitment to empowering, inspiring and energizing all women. One of my mom’s favorite lyrics comes from Lizzo’s track “Grrrls”: “That’s my girl, we CEO’s / And dancin’ like a C-E-ho.” Of all the ways to honor my femininity, singing that line with my mom is my absolute favorite.
