Earlier today, I watched (for the umpteenth time) one of my favorite films: Breakfast at Tiffany’s, which was released in 1962. It’s a whimsical love letter to eccentricity, escape and the human-feline bond, and Holly Golightly may well be Audrey Hepburn’s most iconic role. The movie is also notable, of course, for introducing the Henry Mancini-Johnny Mercer song “Moon River” to the world.
Here’s some food for thought, though: In 1962, Holly’s opportunities were extremely limited because of her gender. She would have been disqualified from many jobs; and, even if an employer made an exception and hired her, she could expect to be paid much less than a guy doing the same work. She also wouldn’t be able to get a prescription for the birth-control pill, as it was only given to married women (and only in some states); and, regardless of her marriage status, she could be fired if she became pregnant. And if a male colleague or superior grabbed her ass? She had no recourse. Sexual harassment, as a concept, didn’t exist. Oh, and even if she had graduated as the valedictorian of her high school, she couldn’t apply to Harvard, Yale or Princeton, as women weren’t accepted as students. She’d also have difficulty getting a credit card.
Which is why Good Girls Revolt, a fictionalized account of the experiences of women at Newsweek during late 1969 and early 1970, is such an important series. On the surface, of course, it’s about women fighting for the right to pursue their dreams – in this case, reporting and writing. But it’s more than that. It’s about an era when change was spreading through society writ large. And while the America of 1969-70 was different than it was in 1962, it was not as different as, at first blush, it may seem – within the counterculture? Yes. Within the wider culture? Not so much. In 1970, for instance, CBS nixed the idea that Mary Tyler Moore would portray a divorcée in her eponymous sitcom because executives feared it would offend viewers. Instead, her character (Mary Richards) moved to Minneapolis after breaking off a long engagement.
Good Girls Revolt, for those who’ve yet to see it, opens after the concert fiasco at Altamont Speedway near San Francisco in December 1969. As I said here, the dialogue’s occasionally clunky in the first few episodes and the characters sometimes teeter near stereotypical – but it’s well-acted. Let me add an adverb: It’s extremely well-acted. (Genevieve Angelson, who plays lead character Patti, deserves an Emmy Award.) While glimpses of greatness are seen in the early going, it’s not until midway through the 10-episode run – the New Year’s Eve episode, to be specific – that the series hits its stride. (That’s not a criticism; most new shows take a while to find their groove.) By the last episode, when the employees take a public stand, you’ll be left wanting more. Much more.
However, last week, Amazon nixed a second season despite the show doing well in every available metric. According to Hollywood Reporter, Sony Pictures Television, which produces the show, is currently shopping it to other networks – ABC, Freeform, USA Network, Bravo and Hulu are all said to be interested – but they won’t take it on if they don’t think there’s an audience. So head over to Care2 and sign the petition.
The women themselves let their voices be heard on March 16, 1970, the same day that Newsweek published a cover story on the nascent women’s movement. The issue is actually dated March 23rd; like most magazines, then and now, Newsweek pre-dated its issues so that it retained newsstand appeal. For the purposes of today’s Top 5, I’m sticking to the 23rd – well, actually the 21st. The charts over at Weekly Top 40 are two days off.
Anyway, here’s today’s Top 5: Good Girls Revolt, Take 2 – March 23, 1970. These are the songs by female artists that, according to Weekly Top 40, were in the Top 40 that week.
1) Aretha Franklin – “Call Me.” The top 18 hits this week are by men; the highest-charting 45 by a woman is this, at No. 19. It was the lead single from Aretha’s 1970 This Girl’s in Love With You album.
2) The Supremes – “Up the Ladder to the Roof.” The next female act, the Supremes, comes in at No. 25. It’s notable as the first post-Diana Ross single by the Motown stalwarts; Jean Terrell handles lead vocals.
3) Lulu – “Oh Me, Oh My (I’m a Fool for You Baby).” This gem from Lulu (one of my favorites by her) ranks at No. 31.
4) Bobbie Gentry and Glen Campbell – “All I Have to Do Is Dream.” Of this week’s Top 40, exactly three and a half songs are by women. (Let that sink in for a moment.) This, a cover of the Everly Brothers’ classic, ranks No. 34.
5) The Five Stairsteps – “O-o-h Child.” This was a newly ranked single within the Top 100; along with its flipside, “Dear Prudence,” it was No. 85. (The Stairsteps were five siblings – four brothers and one sister – and they all take a turn singing lead here.)
And one bonus…
6) Gladys Knight & the Pips – “You Need Love Like I Do (Don’t You).” Another new entry this week, coming in at No. 87.
And that, believe it or not, is the extent of women in the chart, which covers Numbers 1 through 50 and adds 14 additional “new this week” entries for the Top 100 as a whole.
